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283284 Los(e)/Seite
Los 999
Maler des 17. JahrhundertsPORTRAIT EINES MANNES Öl auf Leinwand. Doubliert. 40,5 x 28,5 cm. In dekorativem vergoldetem Rahmen. Vor beige-braunem Hintergrund das Brustbildnis nach rechts eines Mannes, der seinen Kopf zur Mitte gewandt hat. Er trägt grünlich-rosafarbene Kleidung und hält in seiner linken Hand einen Stab. Zudem hat er braunes Haar, rötliche Wangen und mit seinen glänzenden blauen Augen schaut er entschlossen aus dem Bild heraus. Malerei mit gekonnten Hell-Dunkel-Schattierungen und ausdrucksstarkem Gesicht. Kleine Retuschen. (1320021) (18))
Los 34
Marc Chagall (1887-1985)Portrait au Bouquet, from Songes (Cramer books 112) Etching and aquatint in colours, 1981, on wove paper, signed and numbered 41/50 in pencil, published by Lacourière et Frélaut, Paris, the full sheet with a deckle edge below, with pale light-staining, the red slightly attenuated but the colours still strong, in good conditionPlate 305 x 236 (12 x 9 1/4in.); Sheet 521 x 375mm. (20 1/2 x 14 3/4in.)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 73
Francis Bacon (1909-1992)Study for the portrait of Pope Innocent X after Vélasquez (Sabatier 14) Lithograph in colours, 1989, on Arches wove paper, signed and numbered 6/60 in pencil, published by Michel Archimbaud for Librairie Séguier, Paris, the full sheet with a deckle edge below, in overall good condition, framedSheet 1160 x 770mm. (45 5/8 x 30 1/4in.) This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 93
Banksy (born 1974)Banksquiat (Grey) Screenprint in colours, 2019, on grey card, signed and numbered 218/300 in white crayon, published by the artist, with their blindstamp, the full sheet, in very good condition, framedSheet 703 x 750mm. (27 1/2 x 29 1/2in.)Footnotes:This work is accompanied by the new certificate of authenticity issued by Pest Control Office.ProvenanceGross Domestic Product (GDP).Purchased directly from the above at the time of issue by the current owner.Banksy's latest print, Banksquiat, is an homage to New York graffiti pioneer Basquiat. It depicts a big wheel with people lining up at a ticket booth underneath. Basquiat's trademark crown motifs replace the passenger lifts. In this work, Banksy defiantly questions the unstoppable commodification of Basquiat in recent times, by bluntly adding to the relentless commodification of Basquiat in recent times. Banksy executed two murals inspired by the American artist on a wall in the Barbican Centre (Central London) on the occasion of the largest Basquiat exhibition ever held in the UK in September 2017 – January 2018 - Boom for Real. The present work reproduces one of these two graffiti and the second was captioned: Portrait of Basquiat being welcomed by the Metropolitan police – an (unofficial) collaboration with the new Basquiat show. It was inspired by Basquiat's Boy and Dog in a Johnnypump – one of his most iconic artworks.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 95
Tracey Emin (born 1963)These Feelings Were True The complete set of eight lithographs, 2020, five printed in blue and black, three printed in black, on Somerset Velvet wove paper, each signed, titled, dated and numbered 21/50 in pencil, printed at Counter Studio, Margate, published by Counter Editions, London, the full sheets, in very good condition, within the Counter Editions cardboard portfolioSheets 655 x 555mm. (25 7/8 x 21 7/8in.)(and smaller)Footnotes:Tracey Emin came to the forefront of the British art scene in the 1980s and 1990s, graduating from the Royal College of Art and achieving success and acclaim as a prominent member of the Young British Artists, who pioneered a new era of art which was innovative, irreverent and provocative. Emin is well-known for the autobiographical nature of her work, with its confessional and often shocking elements. In 1997 she produced Everyone I have ever slept with, a tent appliqued with the names of people with whom she had shared a bed and in 1999 My Bed was exhibited at the Tate Gallery, causing a sensation with its uninhibited and searingly honest presentation of her unmade bed surrounded by discarded personal items. Such personal works expressed the emotions which surfaced during particularly difficult periods in her life and these were used to make a commentary on the wider world with regards to love, sex, abandonment and death. Emin works in a variety of media, including drawing, painting, photography and sculpture. However, it is printmaking in which she specialized, citing an appreciation for the variety of techniques which allow for experimentation throughout the printmaking process. These feelings were true continues the artist's self-exploration in a series of eight self-portraits. They are small-scale intimate portraits produced in 2020 when the artist was dealing with a serious illness and can be viewed almost as a visual diary. As ever, her emotions are candidly revealed, with each portrait facing and engaging the viewer, each with its own expression. Emin says that there is a definite division between the works produced before her diagnosis, which have a sense of calm and innocence, and afterwards, where there is more visible turmoil. In previous self-portraits she has often obscured her face, but now feels it is time for her 'to make an entrance into her work', because she is grateful to be here and celebrate who she is. Emin has said of the series 'when I saw that these portraits did not look like me, I then realized I was actually drawing how I felt inside my head. An expression of myself in different moments, and this idea doing a few of them would be very honest and will be really free... the idea is how I am feeling'.This sense of freedom is conveyed through the fluid brushstrokes resulting in direct, visceral images. Emin follows in the footsteps of many artists who have become their own subjects, and who have used the nude to convey powerful emotions, but she stands apart in the sheer intensity and self-revelation of her work. This series is a testament to her continued pursuit of artistic experimentation and determination to be absolutely true in her portrayal.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 121
Prinzregent Luitpold von BayernAdolf von Hildebrand (1847 Marburg - 1921 München), dat. 1900 Kopf im Profil nach rechts. Oben das Wittelsbachische und Bayerische Wappen. Bronzerelief. Unter Halsabschnitt bez. AH. Inschrift oben MDCCCC, unten: LVITPOLD/PRINZREGENT v. BAIERN. 58,5 x 39,5 cm. Weitere bekannte Exemplare u.a in den Bayerischen Staatsgemäldesammlungen, München, und dem WAF, Schlossmuseum Berchtesgaden. Adolf von Hildebrand hatte ab 1900 mehrere Porträts des ihm freundschaftlich verbundenen Prinzregenten angefertigt. Literatur: Hass, Angela, Adolf von Hildebrand. Das plastische Portrait. München 1984, S. 146f. (Kat.-Nr. 132 a-c).
Los 191
AN ENGLISH DISH-HILTED RAPIER, CIRCA 1650; with slender blade of hollow-diamond section, signed ~Hermanus Keisser~ on the respective faces within a deep fuller running over the lower fifth, symmetrical iron hilt finely pierced and chiselled in low relief, comprising shallow dish-guard decorated with four male and female portrait busts divided by grotesques issuant with scrolls around a central scrollwork rondel, straight quillons with flattened near circular terminals decorated with hound~s heads, a pair of ring-guards each interrupted by a portrait rondel, knuckle-guard with a central portrait moulding joined to the ring-guards by a scrolling bar with a basal monsterhead front and back, globular pommel decorated en suite, and later grip bound with plaited wire between iron collars; 101.0 cm; 43 3/8 in blade; ; A number of blades by Hermanus Keisser are recorded. An English dish-hilt with a blade by the same maker is preserved in the Royal Armouries, Leeds (object no. IX 952).
Los 193
AN ENGLISH ~MORTUARY~ HILTED BACKSWORD, SECOND QUARTER OF THE 17TH CENTURYwith broad blade double-edged towards the point, stamped ~Me Fecit Hounsloe~ in a pair of long fullers on each face (areas of pitting), iron hilt comprising langets (restored), vestigial quillon, basket-guard pierced and chiselled at the base with four portrait masks divided by scrolling monsterhead tendrils all within a scaley frame, a further portrait bust at the base of the knuckle-guard, the front and rear guards each bifurcated at the base and joined to the knuckle-guard by a pair of bars, ovoid pommel chiselled with foliage, and spirally moulded fishskin-covered grip78.8 cm; 31 in blade
Los 232
Ⓜ A FRENCH ETCHED PARTISAN, SECOND HALF OF THE 16TH CENTURYwith tapering blade formed with a full-length medial ridge, etched on each face at the base with a strapwork panel filled with bouquets, foliage and a pair of espagnolette masks, one side with a portrait profile surmounted by fronds enclosing a rampant unicorn over three flowers and the French Royal arms, and the other with a further crowned portrait profile and a rampant lion beneath fronds enclosing a double eagle displayed, tapering faceted socket (laminations, the head rusted), later faceted wooden haft and tassel60.5 cm; 23 7/8 in headIt has been suggested that the portrait profiles are those of Henri II (1519, 1547-59) and Maximillian II of Austria (1527, 1562-76).Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
Los 311
A selection of pictures to include a oval watercolour portrait of a Victorian lady in a white bonnet, embossed mounting and glazed gilt frame, various woodcuts and prints to include those by Norman Kent, George Reiss, William Russell Flint, and others, along with a boxed King Henry's map of the British Isles reproduced from a map in the British Library by Beacon Press for the Folio Society, Ltd edition to 2750 copiesLocation:
Los 310
A RARE ENGLISH NEEDLEWORK ARMORIAL TAPESTRY CIRCA 1697-1709 Decorated to the centre with armorial for Sir Nathaniel Napier (1636-1709), 2nd Baronet of Middle Marsh and to the spandrels with crest and cypher for his second wife Susanna Guise by his marriage in 1697, gros and petit point work approximately 292cm high, 160cm wideProvenance:From the estate of Henry Lane Eno (1871-1928) and by descent to the current owner.Sir Nathaniel Napier travelled extensively in Europe in his early years and after his marriage in 1697 resumed his travels visiting France and Italy, 1701 Holland, 1704 Rotterdam and Hanover and 1706 Spa, Belgium. It is likely that the tapestry was created during these travels- or at home by an émigré Huguenot craftsman. The Guise family home, Elmore Court in Gloucestershire retains the wrought iron main gates, originally from Rendcombe. They display the same decorative design of the Guise emblem, the swan surmounted cypher, as this tapestry.Needlework carpets and hangings are an uncommon survivor from this date owing to the inherent fragility of their nature during everyday household life and use. The tradition of needlework, more commonly seen in chair coverings and small worked pieces, existed in England and Northern Europe through the production of 'table carpets'. There seems in this example to be a conscious emulation of the form of Chinese and Persian carpets-with the central design within roughly symmetrical floral background and spandrels. However, table carpets were designed as in the landscape view- whereas this is presented in a portrait format. Research to date has yet to reveal similar hangings from this period of this scale or quality. Condition Report: Overall; generally good given age but with typical accruing of surface dirt, dust and small areas of loss from old insect damages. The surface with some pulling in areas and signs of small spot remedial stitched repairs. Areas of creasing and lifting from being rolled- and section horizontal about 4/5ths of the way up which may be a repaired horizontal tear or pull.The sides with some unstitching and pulling- the bottom end with some fraying from more contact with floor and passage of people. Colours slightly muted by sunlight.Remnants of old backing- and newer protective backing. Slightly musty smell.ARMORIALThe blazon: argent, A saltire engrailed between three roses gules, seeded gules, inset the mark of a baronet (Nisbet) - impaling - gules, seven lozenges vaire cojoined (3:3:1), on a canton or, a spur-rowel of six points sable (Guise assumed from de Burgh) crest: issuant from a ducal coronet or, a plume of ostrich feathers (Nisbet) supporters: two eagles closed proper (Nisbet) Motto: MAJOR PROVIDENT FAI - Notably the motto widely used by the NISBET family, lately of Pennard House, Somerset, is FATO PRUDENTIA MAJOR, from whom decadency of the 2nd Baronet is assumed, is either an update or an error made at the time of the tapestry's production.Condition Report Disclaimer
Los 35
Y A GEORGE IV ROSEWOOD AND IVORY MARQUETRY TABLE CABINET CIRCA 1830The hinged cover to the caddy top lined in yellow silk and with a mirror, the doors enclosing four drawers, three with fittings for; needlework; an artist's drawer with WI Reeves pan colours, a marble palette and glass bowls; cut glass scent bottles with white metal lids and a pair of bisque portrait medallions by A Giroux, Paris and four plaster classical inprontes, the base with a pull out drawer/writing box with two glass inkpots and gilt tooled morocco leather inset writing surfaces, the whole veneered and decorated to all sides61cm high, 40cm wide, 29cm deep Provenance: Property from the Kingshott Collection Please note Dreweatts have applied for a de minimis exemption licence for the ivory in this lotRef: Y3MS4U9BCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOverall with a polished appearance, good colour, no obvious areas of fading and stainingThe secretaire drawer appears original, with the inserts and accoutrements, also the sewing, artists, and scent bottle drawers. Some minor chips and losses, old splits and cracksThere is a key to the top compartment, there is no key to the cupboard doors (this is unlocked at time of report)Please refer to additional images for visual reference to conditionCondition Report Disclaimer
Los 358
A GEORGE I WING ARMCHAIR FRAMECIRCA 1720 118cm high, 84.5cm wide, 81cm deepProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The front legs appear to be walnut, the back legs elm, oak elements including the wings.There are losses, restorations and observations including: two spliced uprights of the back; there are old upholstery tack marks to the whole frame; there are some later screws; there is evidence of worm; some ears to the front legs later; later low blocks to the front legs with holes from previous casters. It is possible that elements of this chair are from various dates, but it is difficult to conclude.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
Los 393
A GEORGE II CARVED PINE AND PAINTED WALL BRACKET CIRCA 1750 75cm high, 30cm wide, 32cm deep overallProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: Bracket with the marks, knocks, scratches and abrasions commensurate with age and use. Some old chips, splits and minor losses. Painted surface is later. Some old glued repairs to carved elements - see images for details. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Los 453
A SET OF SIXTEEN GEORGE III MAHOGANY DINING CHAIRSCIRCA 1780 each 99cm high, 58cm wide, 64cm deep overallProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport EstateRecently on loan to Wimpole Hall, Cambridgeshire The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use. Some seat rails inscribed ' WIM.F.252' followed by a letter of the alphabet, eg 'D' and 'F'. There are losses and restorations and observations including some missing sections of stretcher; there is evidence of worm including to elm seat rails; chips to the tips of some of the corners of the feet; some loose stretcher sections, some later stretchers and repairs with patches, seat rails and frame sections; hessian and webbing of various dates; cracks to some legs along the grain of the timber.The hide upholstery is variously aged, worn, torn and removed from some areas, there are a variety of fabric loose covers. We are unable to inspect some areas covered in horsehair, hessian, webbing or upholstery and so cannot comment on the condition and originality of these areas we are unable to see.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
Los 454
A GEORGE III PAINTED AND PARCEL GILT OPEN ARMCHAIR IN THE MANNER OF JOHN LINNELL, CIRCA 1780100cm high, 61cm wide, 46cm deep overall Provenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips and abrasions consistent with age and use.The paintwork is later with scratches, scuffs, some flaking and craquelure.There are losses and restorations including repairs to the back frame; there is evidence of worm; the side and back seat rails with chamfered edges; the back feet with less wear than the front.The linen and horsehair upholstery is distressed with some insect holes.We are unable to inspect some areas covered in upholstery and so cannot comment on the condition and originality of these areas we are unable to see.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
Los 455
A PAIR OF GEORGE III PAINTED AND PARCEL GILT SOFAS IN THE MANNER OF JOHN LINNELL, CIRCA 1780each 94cm high, 200cm wide, 77cm deepProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips and abrasions consistent with age and use.The later paintwork and gilding has some wear, craquelure, scratching and knocks.There is evidence of worm; there are recessed clamp marks to the underside of the seat rails either side of the legs; the bottom of the back legs show less sign of wear and age than the underside of the front legs; the frames have holes from upholstery tacks and some marks and stains.The top layer upholstery fabric is removed other than the padded arm ovals. The remaining upholstery is linen covering horsehair; the linen to the sides and back is removed or only partially fixed to the frame. The linen to the back of one sofa has a stamped bale mark in red ink '66 87' and with an ink inscribed monogram 'A ?m'. One sofa has the corner of the inner seat upholstery revealed showing the multiple layers of seat upholstery to the wood frame in sequence: wood frame/ hay / linen / coarse horsehair / linen / horsehair / linen / second layer of linen. There are vestiges of green damask to some of the padded arms, and smaller remains of red fabric.We are unable to inspect some areas covered in upholstery and so cannot comment on the condition and originality of these areas we are unable to see.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
Los 456
A PAIR OF GEORGE III MAHOGANY AND UPHOLSTERED LIBRARY ARMCHAIRSIN THE MANNER OF HEPPLEWHITE, LATE 18TH CENTURYUpholstered in natural suede with brass studded borderseach 91cm high, 63cm wide, 60cm deepProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.
Los 585
A REGENCY MAHOGANY DINING TABLECIRCA 1815In three sections, with one drop leaf72.5cm high, 262cm long when fully extended, 137.5cm wideProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.
Los 114
A RARE GEORGE III BLACK JAPANNED AND POLYCHROME DECORATED SEMI ELLIPTICAL FOLDING TEA TABLEBY HENRY CLAY, LAST QUARTER 18TH CENTURY Veneered in papier mâché and painted, the top with neoclassical reserves and with Grand Tour style vignettes within bands of Roman style profile portraits, the interior with a Chinoiserie scene, the whole with 73.5cm high, 92cm wide, 46cm deep (when closed)The discovery of this rare table is an important addition to the very small number of known examples of furniture produced by the Birmingham manufacturer, inventor and entrepreneur Henry Clay (1738-1812).In 1776 Edward Daniel Clarke noted in his book that he had visited Clay- and seen two pier tables for Lord Bristol, "which were painted after some designs brought purposely from Rome". These tables for the 4th Earl disappeared until 1987 when two appeared at Christie's London with two further appearing in 2005 and two more known to be in a private collection. The Bristol tables were designed with decoration to the top in two styles. Either fully painted scenes of Italianate landscapes- or in the Pompeian manner with vignettes within formal borders with medallions of profile human and animal heads and with central medallion of Cupids sacrificing at an altar, while crowning a roundel portrait of Beatrice Cenci as seen in the Palazzo Barberini.This table corresponds to the second form of decorative design. A papier mâché tray in the Birmingham Museum stamped Henry Clay has this exact design- presented as an oval- which is how this table design would appear if two such tables were placed back-to-back. The frieze and top and legs are veneered in what Clay referred to as "panel"- his 1772 patented version of 'stoved', or baked, japanning on papier mâché.Whilst the location and existence of the Bristol tables is recorded- it is also known that Clay carried out commissions for other similar examples of furniture and tables. Most notably it was said that he presented a pair of pier tables to Queen Charlotte, the wife of George III. There appears to be no trace of such tables in the Royal Collection but it seems that many pieces purchased by Queen Charlotte were later sold. The gift had been made with a view to currying favour and further commissions from the Queen, her retinue and the court. It is a tantalising possibility that this table may be from one such commission.The interior decoration on this table, especially the execution of the trees, may be compared with the Clay panel sold by Woolley & Wallis, 11 November 2008, Lot 365. The pendant heads bear comparison with the doors in the Marble Hall, at Keddleston Hall in Derbyshire (pl.11 p21 in "Japanned Papier Mache").We are most grateful to Yvonne Jones for her assistance and suggestions with cataloguing and researching this table.Related Literature:Yvonne Jones, 'A recent discovery of two papier mâché pier tables by Henry Clay', The Furniture History Society Newsletter, no. 162, May 2006Yvonne Jones, 'George Brookshaw - Japanner! Further light on japanned metal and papier mâché furniture c. 1740-c. 1820', The Furniture History Society Newsletter, no. 173, February 2009Yvonne Jones, 'Japanned papier mâché and tinware c.1740-1940', pp.128-130, Woodbridge, Antique Collectors' Club, 2012Condition Report: Wear, abrasions and loss from use, handling and as per age.The surface uniformly with build up of surface dirt and varnish(?) discolouration. The main top with undulations from carcass movement. Streaky patches of surface that might be from old water spillage. Interior much better condition. Some rubbing to exposed gilded detailsStructurally- all 4 legs have been off at one time or another. Back two with modern metal strip bracing, 1 front with underframe block repair- the other with cruder nail repair.Losses to veneer most notably to extremities and exposed edges notably back corners, feet and top and frieze marginsPlease see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Los 118
A BRONZE PORTRAIT BUST OF THE SENATOR TIBERIUS GRACCHUS ITALIAN, 18TH CENTURY With integral socle base 43cm high, the base 16.5cm diameterCondition Report: Some old wear to patina surface exposed sections from age, handling and cleaning. Remnants of old lead (?) to base for stability.Please refer to additional images for visual references to condition which forms part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Los 201
Charles Goldsborough Anderson (1865-1936)Portrait of a vicar and his wife, oil on canvas, one signed in full top left and the other with monogram, 55cm x 44cm, one framed and under glassNot relined, and in original frames with light wear due to the age. The lady portrait is looser and has some marks.
Los 55
λ NAPOLEON INTEREST. TWO PORTRAIT MINIATURES OF NAPOLEON AND MARIE LOUISE on ivory, Napoleon signed 'Aubry' and Marie Louise signed and dated 'Isabey 1812', in an Italian pietra dura frame and gilt metal mount frame 17.7 x 23cm, Napoleon 7.3 x 5.7cm Provenance Redlynch House, Salisbury, Wiltshire. Catalogue Note Listed in a family inventory of the contents of no.11, Belgrave Square, London of 1905, taken from old inventories of 1841 and 1856. Then valued at £21.* This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No.CGLTEUK2
Los 56
λ NAPOLEON INTEREST. A FRAMED SET OF THREE PORTRAIT MINIATURES MID-19TH CENTURY on ivory, of Napoleon, Marie Louise and Napoleon Francois Joseph, in gilt mounts and a leather bound frame Napoleon 4.8 x 3.5cm Provenance Redlynch House, Salisbury, Wiltshire. * This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No.1Z25U83C
Los 66
THREE CONTINENTAL BOXES LATE 18TH CENTURY AND LATER including: a two tone gold mounted circular box with a central ivory miniature of children playing cards, a circular box with a triple profile portrait of Napoleon, Marie Louise and Francois, a Belgian Spa rectangular box with a printed scene of a romantic couple (3) 8.3cm (max) Provenance Redlynch House, Salisbury, Wiltshire.* This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No.G1ZDYT6C
Los 87
λ A PAIR OF PORTRAIT MINIATURES OF HARVIE FARQUHAR AND LOUISA FARQUHAR MID-19TH CENTURY on ivory, inscribed 'M & E Hall' and 'E & M Hall', he with gilt inscription to verso, she with her dates inscribed to the frame and a locket of hair, in white and yellow metal frames (2) 7.2 x 5.7cm Provenance Redlynch House, Salisbury, Wiltshire.* This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. 782AA5NH
Los 529
Four: Police Constable W. Funnell, Metropolitan Police, who was twice rewarded for his bravery by the Society for the Protection of Life from Fire Jubilee 1897, Metropolitan Police, bronze (P.C. W. Funnell, H. Divn.); Coronation 1902, Metropolitan Police, bronze (P.C. W. Funnell, H. Div.); Coronation 1911, Metropolitan Police (P.C. W. Funnell); Society for the Protection of Life from Fire, 5th type (1892-1901) bronze medal (P.C. W. Funnell, 88H, Bishopsgate 21st October 1905) nearly very fine (4) £400-£500 --- Police Constable Walter Funnell was twice rewarded for bravery by the Society for the Protection of Life from Fire: Case No. 14,966: Certificate and £2 2s, for saving the life of Victor Smith, aged three and a half years, from a fire in Lamb Street, Spitalfields, on 17 January 1904, and was injured in his attempt to save the lad. One of the accompanying cuttings states that “Funnell has already received a certificate and gold medal for his bravery at the Brick-lane Fire”, but research has so far failed to throw any light on this award. Case No. 15,046: Bronze Medal and £2 2s, for saving the life of Samuel Shatzman, aged 38 years, from a fire in Steward Street, Bishopsgate, on 21 October 1905. Walter Funnell was born at St Mary’s, Birmingham, on 28 March 1863, and joined the Metropolitan Police at Great Scotland Yard on 16 January 1888, being assigned to “P” Division. In September 1889 he was transferred to “H”, or Whitechapel Division, at the height of the ‘Jack the Ripper’ serial killings then taking place on the streets of Whitechapel. Sold with two original newspaper cuttings with a portrait of the recipient; and copied reserch.
Los 84
A rare Great War D.C.M. group of three awarded to Battery Sergeant-Major A. J. Mulcahy, 2nd Canadian Motor Machine-Gun Brigade, an original member of the 50-strong Yukon Motor Machine Gun Battery Distinguished Conduct Medal, G.V.R. (107449 B.S. Mjr. A. J. Mulcahy. 2/Can: M.M.G. Bde.); British War and Victory Medals (107449 W.O. Cl. 2 A. J. Mulcahy, C.M.G. Bde) nearly extremely fine (3) £2,000-£2,600 --- D.C.M. London Gazette 11 March 1920: ‘B.S.M. A. J. Mulcahy, 2nd Bn. M.M.G. Bde. For conspicuous gallantry and devotion to duty at Naves, 10th October, 1918. While holding the bridgehead over the Erclin River he was in charge of four guns, and pushed forward to protect the bridging party. The position was heavily shelled with gas shells, and one shell landed near one of his guns. Though slightly wounded he dragged the gunners out of the cloud, administered first aid, and directed new men to man the guns.’ Yukon Motor Machine Gun Battery At the beginning of the First World War, the Canadian Minister of Militia and Defence, Colonel Sam Hughes accepted offers of financial assistance from several prominent citizens to raise four machine gun units. One of them was the Yukon Motor Machine Gun Battery. It was organised privately by Joseph Whiteside Boyle; better known as ‘Klondike Joe’ Boyle. Originally, it was to be a small force of 50 men with horses and rapid firing guns. Recruiting began in Dawson City where they were known as the "Yukon Boys". They were outfitted in khaki trousers and woollen shirts to match, yellow mackinaws, and stiff brimmed sombreros. Their cap badge consisted of crossed machine guns with a miner's pan on top on which were superimposed the initials "YT" (Yukon Territory). Legend has it that at least the first fifty men to enlist had an actual gold nugget in the ‘pan’. While still in Dawson City, they were given some basic military training and drilled by two R.C.M.P. officers. Boyle finally had them taken to Victoria B.C. where he continued to pay for their upkeep until the Canadian government took over the unit and moved them to Vancouver. By that time, they were listed as a machine gun section to the 2nd Canadian Mounted Rifles. They went overseas to the U.K. with that regiment in May 1915. When in the U.K., the Yukon Battery was amalgamated for a short time with one of the other four units, the Borden Battery. By June 1916, the Yukon's total strength had dwindled to 34 men. It was then sent to the Canadian Machine School as a prelude to being attached to 4th Canadian Infantry Division. In August 1916, having received its complement of Armoured Autocars and other equipment, it was sent to France to join the 4th Division. It fought with 4th Division until 3 December 1916, when it finally joined the other motor machine gun batteries in what was known as 1st Canadian Motor Machine Gun Brigade (1st C.M.M.G.B.). The Brigade fought as machine gunners in all of the major battles that Canadians participated in such as Vimy Ridge and Passchendaele among others. They also supported many different British formations. On 8 June 1918, the Brigade was reorganised with the addition of new units and was split into two brigades, the 1st and 2nd C.M.M.G.B. The Yukon Machine Gun Battery was moved to 2nd C.M.M.G.B. and fought with that unit to the end of the war. Both brigades came into their own during the desperate German offensive of 1918 where they moved throughout the battlefield in their armoured Autocars providing machine gun support wherever required. Sold with copied portrait photograph of Mulcahy wearing medal ribbons and the rare Yukon M.M.G. Battery cap badge.
Los 143
A good Great War 1917 ‘Western Front’ stretcher-bearer’s M.M. and Second Award Bar awarded to Private C. Keyworth, 10th (Service) Battalion, King’s Royal Rifle Corps, who was killed in action during the first day of the Battle of Cambrai, 20 November 1917 Military Medal, G.V.R., with Second Award Bar (R-4056 Pte C. Keyworth. 10/K.R.R.C.); Memorial Scroll (Rfn. Charles Keyworth, M.M. King’s Royal Rifle Corps) generally good very fine £700-£900 --- M.M. London Gazette 18 June 1917. The 20th (Light) Division Citation states: ‘On 4th April 1917, for attending to the wounded under extremely heavy fire at Metz en Couture.’ M.M. Second Award Bar London Gazette 12 November 1917. The 20th (Light) Division Citation states: ‘On night 19/20 September 1917, in organising a rescue party on his own initiative and working 3 hours under the heaviest shell fire extricating wounded from a building that had been hit by a shell near Langemarck.’ Charles Keyworth was born in Darlington, County Durham. He served during the Great War with the 10th (Service) Battalion, King’s Royal Rifle Corps in the French theatre of war from 14 November 1915 (his number appears as R/14056 in documentation). Keyworth distinguished himself during the attack and capture of Metz-en-Couture, Pas de Calais, by the 10th and 11th Battalions of the King’s Royal Rifle Corps. His Battalion suffered casualties of 6 officers killed, 2 wounded, and 22 other ranks killed with 128 wounded and 20 missing. Keyworth distinguished himself for a second time during the Third Battle of Ypres, 19/20 September 1917. Private Keyworth was killed in action on the Western Front, 20 November 1917. On the latter date the Battalion were engaged in the first day of the Battle of Cambrai, and Private Keyworth is buried in Flesquieres Hill British Cemetery, Nord, France. Sold with the following related documents and items: 2 Divisional Citation Cards; Rifle Record Office enclosure for Memorial Scroll; 3 Photographs, including a portrait photograph of recipient in uniform; and other photographic images.
Los 263
Three: Private L. J. Langdon, 11th Battalion, Australian Infantry, who was killed in action in the Gallipoli landings at Anzac Cove, 25 April 1915 1914-15 Star (1144 Pte. L. J. Langdon. 11/Bn. A.I.F.); British War and Victory Medals (1144 Pte. L. J. Langdon 11 Bn. A.I.F.) extremely fine (3) £600-£800 --- Leslie John Langdon was killed in action at Anzac Cove, Gallipoli, on 25 April 1915, aged 29. He was a native of Melbourne, son of Elizabeth Ellen Langdon and is commemorated by name on the Lone Pine Memorial. Sold with a copied portrait image.
Los 314
+ ALIX AYMÉ (FRANCE & VIETNAM, 1894-1989) PROFESSOR AT THE ÉCOLE DES BEAUX-ARTS DE L’INDOCHINE (EBAI - INDOCHINA FINE ARTS COLLEGE OF HANOI) Jeune fille assise aux fleurs – A seated young beauty with flowers Lacquered wooden panel Signed on the lower right Framed with an American case Dimensions (the sole lacquered panel, frame excluded): 77 x 49 cm This lot will be included in the forthcoming catalogue raisonne of the artist in preparation by Mr. Pascal Lacombe. Provenance: a Brittany private collection, France. + NOTICE TO BIDDERS: This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Bâtiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60. Notes: 1. Born in Marseille as Alix Angèle Marguerite Hava, Alix Aymé (this last name being that of her second husband, Georges Aymé, who eventually became the Commandant of French Forces in Indochina) was a pupil of George Desvallières (1861–1950) and then Maurice Denis (1870-1943), with whom she maintained a close correspondence throughout her career. She first traveled to Asia (Shanghai, China then Hanoi, Vietnam) in the 1920s with her first husband, a milestone from which would grow her fascination for this continent. She returned to Indochina in the late 1920s together with her new-born child and then traveled extensively the South-Eastern Asia. Alix Aymé was inextricably linked to the French colonial experience in Indochina: she lived and worked for many years in Hanoi; she was instrumental in the revival of the ancient art of lacquer that she taught at the Ecole des Beaux-Arts de l’Indochine (Indochina School of Fine Arts) along with Joseph Inguimberty (1896-1971). Her work is at the crossing point between the Nabis style and the traditional Vietnamese painting. It is also inspired from the Byzantine icons with a notable taste for gilt backgrounds. She thereby brought traditional Vietnamese subjects, such as young beauties and maternities, under the light of Western Modernity. She was particularly talented at depicting the soul and intimacy of her models. In September of 2012, an exhibition about the Ecole des Beaux-Arts de l’Indochine (EBAI) opened at Paris Museum of Asian Art (Cernuschi Museum) that drew attention to the work of Alix Aymé with the display of a magnificent lacquered cabinet by hert that was arguably the ‘star attraction’. Today, her work is found in a number of important private and public collections worldwidely, including the Cabinet des Dessins of the Louvre Museum (Paris, France), the Musée des Années Trente (Paris, France), the Royal Palace in Luang Prabang (Cambodia) and the Evergreen Museum and Library of Johns Hopkins University in Baltimore (USA) 2. This portrait seems to belong to a series of lacquered wooden panels depicting women together with flowers and may possibly be the most notable one. Indeed, it stands out because of its size (it appears to be the largest one of the series) and also because the body of the model is made visible, whilst on the other panels, their sole busts are depicted. Alix Aymé captured the soul and intimacy or her model - a very young girl with almond eyes, half-long hair and a delicate smile - who appears to be serene and calm. She is wearing a long brown long robe as well as a flower necklace and his holding a bouquet of flowers. The sobriety of her tunisque is deeply contrasting with the bright pastel colors of the flowers and with the gold background. The latter makes it looks like an icon rather than a mere portrait, which conveys spirituality and invites to meditate. 3. Compare with a panel depicting a young girl with a dove of smaller size (45,5 x 38 cm) sold at AGUTTES, Paris, France, 2020-10-06, lot 24, for €27,000 hammer price. Also compare with a panel depicting a young girl with flowers of smaller size (48 x 38 cm) sold at AGUTTES, Paris, France, 2022-03-14, lot 30, for €87,000 hammer price. This last example is the closest one to our panel and gives a good idea on the most recent trend for prices.
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A MARINE IVORY NETSUKE WITH PORTRAYAL OF A LADYJapan, 19th centuryThe marine ivory netsuke of rectangular shape, depicting a nicely carved portrait of a lady. Two himotoshi at the backside. Stunning amber hued patina.HEIGHT 4.6 cmCondition: Good condition with traces of wear and age, and natural age cracks. Provenance: German private collection, acquired between 1960 and 1990.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
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A GILT BRONZE PORTRAIT FIGURE OF A LAMAChina, late Qing Dynasty (1644-1912). Seated in dhyanasana on a on a rectangular cushion, his right hand raised in karanamudra, his left in dyhanamudra, wearing a long flowing monastic robe with floral borders at the hems and collar, the benign face with almond eyes and full lips forming a subtle smile, flanked by long pendulous earlobes. The base sealed and incised with a double-vajra. Condition: Good condition with some wear and casting flaws, few small nicks, and abrasions to gilding. Provenance: German private collection. Weight: 1 kg Dimensions: Height 14.5 cm
Los 1141
AN ANCIENT GANDHARAN COIN GOLD RINGThe coin dating to the 3rd-4th century, the mounting somewhat later. Finely crafted with subtle decorations using beads, the top with an ancient Gandharan coin, minted to one side with a portrait of Alexander the great and a standing figure to the other. Condition: Very good condition with expected wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 5.8 g Dimensions: Inner ring diameter 2.2 cm
Los 1288
AN INDIAN MINIATURE PAINTING OF A MUGHAL COURTIERMughal India, 17th-18th century. Ink, watercolors, and gold on wasli. The courtier standing in a palace terrace, wearing a white jama with gold hems and details, adorned with beaded and emerald-set jewelry, holding his cane in one hand and a flower in the other, the elaborate headdress crowned by a feather, the face with a fine expression. The lower margin with an old inscription.Provenance: From the collection of Karl Stirner, and thence by descent. Karl Stirner (1923-2016) was a German-born American sculptor known internationally for his metalwork. His art has been shown at the Museum of Modern Art in New York, the Pennsylvania Academy of Fine Arts, the Philadelphia Museum of Art, the Corcoran Gallery, the La Jolla Museum of Contemporary Art, the James A. Michener Art Museum, the Grounds for Sculpture in Hamilton, New Jersey, and the Delaware Art Museum, among other places.Condition: Good condition with minor wear, soiling, water stains, possibly microscopic touchups.Dimensions: Image size 20.5 x 13 cm, total size 33.5 x 23.5 cm (including frame). Framed behind glass.Auction result comparison: Compare a related Mughal portrait of Baqir Khan, dated circa 1635, at Sotheby's London in The Khosrovani-Diba Collection on 19 October 2016, lot 6, sold for GBP 50,000. Compare also a related Mughal portrait of a nobleman, dated circa 1780, at Christie's New York in Indian and Southeast Asian Art on 17 September 2003, lot 128, sold for USD 5,975.
Los 1148
A GANDHARAN AGATE INTAGLIO SET GOLD RINGThe seal Ancient region of Gandhara, c. 6th - 7th century, the gold setting later c. 18th century. The gold ring inset with an agate cabochon, incised with a portrait, the gold incised and with repousse decorations.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Very good condition, minor wear.Weight: 8.8 gDimensions: Diameter 2.8 cm
Los 183
Fontaine (Jean de la), THE FABLES OF LA FONTAINE TRANSLATED INTO ENGLISH VERSE BY WALTER THORNBURY, illustrations throughout by Gustave Dore, 3/4 leather, black cloth boards, gilt embossed title to cover, gilt title and decoration to spine, decorative endpapers, engraved portrait frontispiece, black and red printed title page, Cassell, Petter, And Galpin, London, undated, likely circa 1870 (at fault)
Los 186
DECORATIVE BINDINGS: A collection of decorative bindings, 18th century and later, to include Grote (George), A HISTORY OF GREECE, 9 vols (of 10), 3/4 red leather, marbled boards, portrait frontispiece, John Murray, London 1888, Shaftesbury (The Right Honourable Anthony, Earl Of), CHARACTERISTICKS, OF MANNERS, OPINIONS, TIMES ETC, 2 vols (of 3), 1/2 vellum, marbled boards, laid paper, London 1733, Rolt (Richard), MEMOIRS OF THE LIFE OF THE LATE RIGHT HONOURABLE JOHN LINDESAY, full leather, laid paper, printed for Henry Kopp, London 1753 (front cover detached), L'Estrange (Sir Roger), FABLES AND STORIES MORALIZED. BEING A SECOND PART OF THE FABLES OF AESOP, full leather, laid paper, printed for Richard Sare, London 1715 (covers detached), with a miscellany of works in French (Qty)
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Drayton (Michael), POLY-OLBION, A CHOROGRAPHICAL DESCRIPTION OF ALL THE TRACTS, RIVERS, MOUNTAINS, FORESTS, AND OTHER PARTS OF THIS RENOWNED ISLE OF GREAT BRITAIN, With Intermixture Of The Most Remarkeable Stories, Antiquities, Wonders, Rarities, Pleasures, And Commodities Of The Same, third issue, first part only, later full leather, engraved pre-frontispiece of Britannia after William Hole, text frontispiece ("Upon the Frontispiece"), title page referencing the second book of twelve songs, but this copy bound without these (ends on p303 with "Finis" but no binder's catch word for the next book), dedication to Henry Prince Of Wales with engraved full length portrait after William Hole "Henricus Princeps", note "To The Genral Reader", note "From The Author Of The Illustrations (the "Illustrations" being text commentaries by John Selden), "Table To The Chiefest Passages...", eighteen engraved double page county maps by Hole, printed for John Marriott, John Grismand and Thomas Dewe, London 1622 (at fault)
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