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Preisdatenbank abonnierenCIRCLE OF ANTON RAFAEL MENGS 1728 Aussig (Bohemia) - 1779 Rome PORTRAIT OF A BEARDED MAN Oil on canvas (old relined). 53 x 43 cm (F. 76 x 66 cm). Part. wavy, min. old rest. Frame. Rahmen. Provenance: Rhenish private collection.ANTON RAFAEL MENGS (UMKREIS) 1728 Aussig (Böhmen) - 1779 Rom PORTRAIT EINES BÄRTIGEN MANNES Öl auf Leinwand (altdoubl.). 53 x 43 cm (R. 76 x 66 cm). Part. wellig, min. altrest. Rahmen. Provenienz: Rheinische Privatsammlung.
ANDREAS PATZELT 1896 - 1980 Portrait of a Lady Oil on canvas. 71 x 81 cm (F. 94 x 84 cm). Indistinctly signed lower right. Verso: adhesive label on the stretcher with attribution. Part min. ber. Framed.ANDREAS PATZELT 1896 - 1980 Damenportrait OEl auf Leinwand. 71 x 81 cm (R. 94 x 84 cm). Unten rechts schwer leserlich signiert. Verso: auf dem Keilrahmen Klebeetikett mit Zuschreibung. Part. min. ber. Rahmen.
ITALIAN SCHOOL OF THE PROBABLY EARLY 16TH CENTURY PORTRAIT OF A YOUNG MAN WITH LONG HAIR Polychrome tempera colours on lime ground on stone. 42,5 x 35,5 cm (F. 47,5 x 40,5 cm). Partly dam. and rest. Frame. Provenance: North German private collection.ITALIENISCHE SCHULE DES WOHL FRÜHEN 16. JH. BILDNIS EINES JÜNGLINGS MIT LANGEN HAAREN Polychrome Temperafarben auf Kalkgrund auf Stein. 42,5 x 35,5 cm (R. 47,5 x 40,5 cm). Part. besch. und rest.. Rahmen. Provenienz: Norddeutsche Privatsammlung.
ROBERT GERHARD BOENINGER 1869 London - 1935 Duesseldorf Portrait of an elderly woman Oil on canvas. 94 x 63 cm (F. 110 x 78 cm). Signed lower right ,R. (G) Boeninger'. Part. craquelé. Framed. Provenance: Rhenish private collection.ROBERT GERHARD BOENINGER 1869 London - 1935 Duesseldorf Portraet einer aelteren Frau OEl auf Leinwand. 94 x 63 cm (R. 110 x 78 cm). Signiert unten rechts 'R. (G)Boeninger'. Part. Craquelé. Rahmen. Provenienz: Rheinische Privatsammlung.
ROSALBA CARRIERA (IN THE MANNER OF) 1675 Venice - 1757 Ibid PORTRAIT OF A YOUNG LADY, HOLDING A MASK IN HER HANDS Oil on canvas. 86 x 66,5 cm (F. 103 x 84 cm). Part. dam., two canvas cracks. Frame. Provenance: Rhenish collection.ROSALBA CARRIERA (IN DER ART DER) 1675 Venedig - 1757 ebenda PORTRAIT EINER JUNGEN DAME, EINE MASKE IN IHREN HÄNDEN HALTEND Öl auf Leinwand. 86 x 66,5 cm (R. 103 x 84 cm). Part. besch., zwei Leinwandrisse. Rahmen. Provenienz: Rheinischer Sammlungsbesitz.
FOLLOWER OF REMBRANDT HARMENSZOON VAN RIJN 1606 Leiden - 1669 Amsterdam HALF-LENGTH PORTRAIT OF A BEARDED MAN WITH A CAP Oil on canvas (old relined). 76,5 x 63,5 cm (F. 91,5 x 78,5 cm). Verso: On the stretcher old paper label of the auction house Lempertz' Söhne, probably late 19th century. Partly old rest., old retouching, dam. Frame. Provenance: Westphalian private collection.REMBRANDT HARMENSZOON VAN RIJN (NACHFOLGER) 1606 Leiden - 1669 Amsterdam HALBFIGURENBILDNIS EINES BÄRTIGEN MANNES MIT MÜTZE Öl auf Leinwand (altdoubl.). 76,5 x 63,5 cm (R. 91,5 x 78,5 cm). Verso: Auf dem Keilrahmen altes Papierlabel des wohl späten 19. Jh. der Firma Lempertz' Söhne. Part. altrest., Altretuschen, besch. Rahmen. Provenienz: Westfälische Privatsammlung.
MAX CLARENBACH 1880 Neuss - 1952 Wittlaer Portrait of a lady (1912) Oil on canvas (maroufl.). 57 x 47 cm (F. 62 x 52 cm). Signed, place-named and dated lower right 'M. Clarenbach Paris 1912'. Part. soiled. Framed.MAX CLARENBACH 1880 Neuss - 1952 Wittlaer Damenportrait (1912) OEl auf Leinwand (maroufl.). 57 x 47 cm (R. 62 x 52 cm). Signiert, ortsbezeichnet und datiert unten rechts ,M. Clarenbach Paris 1912'. Part. verschm. Rahmen.
Full title: Flemish school: Portrait of Philip II as a knight in the Order of the Golden Fleece, oil on panel, presumably 18th C.Description: Work: 119,5 x 86 cmÊ Frame: 137 x 103,5 cmÊ Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: European school, follower of Jan van de Venne (active 1616-1651): Portrait of a man, oil on panel, 18th C.Description: Work: 46,3 x 37 cmÊ Frame: 59,5 x 51,3 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: French school: Portrait of a gentleman, oil on canvas, ca. 1700Description: Work: 97,5 x 75 cmÊ Frame: 120,5 x 98 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: Charles Pirmez (19th C.): Portrait of a lady, oil on canvas, dated 1877Description: Work: 54,2 x 46,1 cmÊ Frame: 77,5 x 69,7 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: European school: Portrait of a lady in evening dress with an aperitif in her hand, 19th C.Description: Work: 91,5 x 69 cmÊ Frame: 102,5 x 80 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: French school: Portrait of an artist, possibly the sculptor Emile Aldebert, oil on canvas, 19th C.Description: Work: 47 x 39,5 cmIn the right bottom corner traces of a monogram.Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: Belgian or French school: Portrait of a gentleman and a lady, miniatures on paper, 19th C.Description: Work: ca. 17,5 x 14 cmÊ Frame: 34,7 x 28,6 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: French school, attributed to J. Varin de Chaumont (19th C.): Portrait of Maurice Ulmo, oil on canvas, dated 1835Description: Work: 45 x 35,3 cmÊ Frame: 51,7 x 44,8 cmÊ Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: French school: Portrait of a biblical figure, oil on canvas, 19th C.Description: Work: 50 x 42,5 cmÊ Frame: 79,7 x 71,3 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: ClŽment Serneels (1912-1991): Portrait of Jules Croes, oil on panelDescription: Work: 52 x 33,5 cmÊ Frame: 59 x 41,3 cmÊ Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: Irne Hamerlinck (1903-1995): 'Portrait de Paul Delvaux', oil on canvasDescription: Work: 92 x 73 cmÊ Frame: 112 x 93,5 cmIrene Hamerlinckwas portrayed by the Brussels painter Jean Brusselmans,which nicely demonstrates the circles in which shecirculated (link available on our website).Ê Ê Provenance:Ê Galerie Govaert (255, Avenue Louise, Bruxelles) - Hilton Gallery (38, Boulevard de Waterloo, Bruxelles) - Govaerts Gallery (737, Zeedijk, Knokke): Exposition 'Panorama de l'art flamand1976' (Panorama de l'art flamand de Laethem-Saint-Martin à nos jours / Panorama van de Vlaamse kunst van St-Martens-Latem tot heden, 19 November 1976 - 22 Januari 1977).Ê Ê Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: A burl wood and horn snuff box with a relief portrait of the Russian Emperor Alexander I, 19th C.Description: Dia.: 8 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: Chinese school: A large ancestor portrait, ink and colours on canvas, 19th C.Description: 213 x 130 cm (with mounts)Provenance:Ê - Private collection, Denmark.Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: Chinese school: A large ancestor portrait, ink and colours on canvas, 19th C.Description: Work: ca. 157 x 89 cmÊ Frame: 164 x 96 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: Belgian school, monogrammed A.D. (possibly Albert Constant Desenfans, 1845-1938): Portrait bust of a man, brown patinated bronze, dated 1925Description: H 31,5 cmThe sculpture marked 'Montagutelli Bruxelles Cire Perdue'.Ê Maybe a bust of the Belgian writer Stijn Streuvels (Franciscus Petrus Marie Lateur, 1871-1969).Ê Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
VALENTINE HUGO (1887-1968)Portrait d'Arthur Rimbaud signed and dated 'Valentine Hugo 12/33' (upper left); signed 'Valentine Hugo' and extensively inscribed (on the reverse)oil on panel with rhinestones and collage100 x 75cm (39 3/8 x 29 1/2in).Painted in December 1933Footnotes:ProvenancePaul & Lise Deharme Collection (acquired directly from the artist, by 1947); her collection sale, Hôtel Drouot, Paris, 6 March 1953, lot 56.Suzanne Chatelard Collection, Paris (by 1954).Maïta Desmarais Collection, Antibes (by 1984).Anon. sale, Catherine Charbonneaux, Paris, 17 December 2007, lot 143.Acquired at the above sale by the present owner.ExhibitedBrussels, Palais des Beaux-Arts, Exposition Minotaure, May – June 1934, no. 56.Avignon, Palais des Papes, Exposition de peintures et sculptures contemporaines, 27 June – 30 September 1947, no. 68.Paris, Bibliothèque Nationale, Arthur Rimbaud, 1954, no. 1104.Paris, Galerie Charpentier, Le Surréalisme, Sources, histoire, affinités, 1964, no. 175.Bayonne, Entretiens de Bayonne, April - May 1967.Vitry-sur-Seine, Galerie Municipale, La Part des femmes dans l'Art contemporain, 3 March - 13 April 1984, no. 54.New York, The Grey Art Gallery and Study Centre, Cocteau generations, Spirit of the French Avant-Garde, 15 May – 23 June 1984, no. 117 (later travelled to Miami and Austin).LiteratureH. Read, Surrealism, London, 1936, no. 40 (illustrated).A. de Margerie, Valentine Hugo 1887-1968, Paris, 1983 (illustrated pp. 78-79; incorrect dimensions).'Rimbaud', in Grands Écrivains, Choisis par l'Académie Goncourt, no. 22, 1984 (illustrated on the back cover).C. Bernheim, Valentine Hugo, Paris, 1990, p. 268.B. Seguin, De Valentine Gross à Valentine Hugo, Boulogne-sur-Mer - Paris (1887-1968), Boulogne-sur-Mer, 2000 (illustrated p. 131).'Valentine Hugo, l'égérie des surréalistes', in Le Figaro littéraire, 23 January 2003.Exh. cat., Valentine Hugo, Le Carnaval des Ombres, Boulogne-sur-Mer, 2018, fig. 113 (illustrated p. 130).Portrait d'Arthur Rimbaud by Valentine Hugo is one of the artist's rare oil paintings and arguably the most important. Transcending the border between visual arts and literature, it celebrates another definition of beauty in the unexpected. Valentine Hugo was a painter, illustrator, and costume and set designer for the opera and the theatre. After her studies at the École des Beaux-Arts in Paris, and a brief passage in Dadaism, she strayed from Dada's nihilistic, anti-rational ideas to devote herself entirely to Surrealism from 1925. Contrary to Dada, André Breton wrote in the first Surrealist Manifesto (1924) that art gives sense and meaning to life, and insisted on the influence of Freud, psychoanalysis, and the interpretive power of dreams which, according to Breton, were the paradigm of artistic inspiration. Trusting the freedom of imagination, the Surrealists did not explore nature but rather an inner, intimate world. Although Valentine Hugo's entourage already included some important artistic figures of the early 20th century such as Jean Cocteau, Marcel Proust, Erik Satie and Pablo Picasso, her circle widened with the Surrealists. She became close to André Breton, Nusch and Paul Éluard, René Crevel, René Char, Gala and Salvador Dalí, Dora Maar, Man Ray, Yves Tanguy, Tristan Tzara and Max Ernst, who painted a compelling portrait of her. Hugo joined the group as an artist in her own right and not as a muse: she was part of the Bureau of Surrealist Research and she was the first to draw 'exquisite corpses' on dark paper. She often took part in this collaborative artistic game, in which each participant took turns drawing on a sheet of paper before concealing their contribution and passing it to the next player. At the request of André Breton, she also participated in her first Surrealist exhibition at the Loeb Gallery in 1925. Afterwards, she was included in Surrealist exhibitions at the Pierre Colle Gallery in 1933, the Salon des Surindépendants in Paris in 1933, the Minotaure Exhibition at the Palais des Expositions in Brussels in 1934, the Gaceta de Arte de Tenerife exhibition in 1935, and the Fantastic Art, Dada, Surrealism exhibition at the Museum of Modern Art in New York in 1936.The present work is part of a very limited body of works, painted between 1932 and 1936, when Valentine Hugo focused on large formats in oil. Hugo reportedly told André Breton that she had dreamed about Rimbaud and he had encouraged her to complete the portrait. It was painted contemporaneously to her other great masterpiece, Les Surréalistes (1932), which was photographed by Man Ray before it was damaged at the MoMA exhibition in 1936. Her portrait of the Surrealists (including André Breton, Paul Éluard, René Crevel, and Tristan Tzara) follows the same structure as Portrait d'Arthur Rimbaud, laying the composition out from the lower left corner and focusing on the faces emerging from the dark, like an apparition. Valentine Hugo never met Arthur Rimbaud (1854-1891), but the French poet was well-known in the 1930s and celebrated for his oneiric poetry, which seemed to dissolve dream into reality. Accordingly, he was an important influence for the Surrealists and a dazzling figure who wrote all his poetry in a span of just four years. His career ended abruptly at the age of twenty, following the breakdown of his tumultuous affair with the Symbolist poet Paul Verlaine. Both men were passionate but violent, and Rimbaud left France to travel after the breakup. He became a merchant and travelled across continents, only returning to France after falling ill. He died in hospital in Marseille at age 37, in 1891, thus ending an extraordinary life worthy of myth.In the present work, the poet's face emerges from the dark in the lower centre, below two birds that seem to emanate from his mind. One is an eagle, whose feathers blend into Rimbaud's hair and end in sharp blades. These are covered in red, green, white, and black droplets, showing Valentine Hugo's masterful draughtsmanship and her eye for detail. The other bird is white, resembling a swan, but with red feathers. The two birds intertwine in a fight, in which the eagle seems to protect Rimbaud from the sharp beak of the white bird. Five crows, which are a notorious harbinger of death in Rimbaud's poetry The Crows (Les Corbeaux) (1871), are hidden in the white bird's feathers. Nevertheless, this white bird of ill omen crowns Rimbaud with a laurel wreath, a symbolic attribute given to poets. The glory of the poet comes at a price however: one of the thorns pierces Rimbaud's forehead and causes glistening blood to drip from the wound. The blood stains his lips with red, which contributes to the poet's androgynous appearance. This could be a metaphorical allusion to Rimbaud and Verlaine's violent love affair. Verlaine had been the first to recognise Rimbaud's talent for poetry and invited him to Paris in 1871, but their story ended in blood, when Verlaine shot Rimbaud in 1873. In Portrait d'Arthur Rimbaud the poet's face floats in murky, green water populated by strange sea creatures. A flat sea urchin lies on the foreground, and another spiny sea urchin hides behind the poet's right ear. The latter opens to reveal a soft, slimy, dripping interior surrounded by tentacles. This putrefying marine environment was likely inspired by Rimbaud's most famous poem, The Drunken Boat / (Le Bateau Ivre) (1871), which describes a similar settin... 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
MAX ERNST (1891-1976)Méduse circonflexe signed 'Max Ernst' (lower right); signed, inscribed and dated 'Max Ernst Méduse circonflexe 1933 26 rue des Plantes Paris 14e' (on the reverse, listed in the catalogue raisonné as beneath the lining)oil on canvas38.3 x 46.2cm (15 1/16 x 18 3/16in).Painted in 1933Footnotes:ProvenanceRichard Feigen Gallery, Chicago.Leo Orenstein Collection, New York.Galerie Jan Krugier, Geneva.(Possibly) Galerie 623, Paris.Galerie Jeanne Castel, Paris.Acquired from the above by the previous owner (1990s); their sale, Sotheby's, Paris, 19 October 2017, lot 1.Private collection, Europe (acquired at the above sale).ExhibitedLondon, The Mayor Gallery, Max Ernst Exhibition, 8 June – 1 July 1933, no. 3.Zurich, Kunsthaus Zurich, Was ist Surrealismus?, 11 October – 4 November 1934, no. 47.New York, Julien Levy Gallery, Max Ernst, Exhibition Surrealist, 18 November – 9 December 1936, no. 29.LiteratureW. Spies, S. & G. Metken, Max Ernst Oeuvre-Katalog, Vol. IV, Werke 1929-1938, Cologne, 1979, no. 1892 (illustrated p. 167).The primeval figure who floats suspended at the centre of the present work marries Ernst's interest in Greek mythology and the process of metamorphosis, as well as his fondness for wordplay. Painted in 1933, Méduse circonflexe also looks outward to the seismic events of contemporary Europe whilst showcasing the artist's pioneering grattage technique.Although he resisted being identified as a full member of the Surrealist group, Max Ernst became one of the key figures associated with the movement, drawn to André Breton's 1924 siren call from the Cologne Dada group alongside Jean Arp and Man Ray. Highly experimental, Ernst would utilise techniques across the spectrum of painting, sculpture, collage and literature to create haunting dream-like compositions prompted by the teachings of Sigmund Freud, aiming to unlock the unconscious mind. The title of the present work recalls Medusa of Greek mythology, commonly depicted as a winged female with venomous snakes in place of hair, turning those who met her gaze into stone. One of the three Gorgon sisters, Perseus was challenged to behead her. Armed with divine protection from the gods, he attacked, using a polished shield to deflect the reflection of her petrifying stare. Successfully severing her head, he escaped but her power remained even in death, with Perseus using it to turn his enemies to stone. Painted in 1933, Méduse circonflexe coincided with the publication of the first issue of the Surrealist journal Minotaure which 'marked the re-emergence of a mythological theme which would assume increasing importance for Surrealist painting after that date' (W. Chadwick, Myth in Surrealist Painting, 1929-1939, Michigan, 1980, p. 40). The theme of the Minotaur and the labyrinth had already appeared in works by Breton, Ernst, Masson and Picasso; the artists being drawn to the legend by Freud's writing, in which he compared the maze to the mind, the Minotaur symbolising our darker, unpredictable impulses.Ernst had long been interested in ancient myth and legend and was described by his biographer Werner Spies as one of the best-read people, having studied German, philosophy, Romance languages and the history of art at the University of Bonn from 1910 to 1914. Castor and Pollution dates from 1923, before the inception of the Surrealist movement, and references the twin brothers of classical mythology, Castor and Pollux whilst Leda and the Swan of 1927 and Napoleon in the Wilderness of 1941 illustrate his continued interest – the latter work shows the Emperor reimagined as a Greek hero, 'a horse-faced [figure who] appears on a sea coast as a kind of Odysseus [...] The figure is received by a seductive, sirenlike woman' (R. Bouvier, 'Transformations and Re-Formations, Max Ernst's Representations of the Body', in exh. cat., Max Ernst, Retrospective, Vienna, 2013, p. 117).That Ernst embraced myth is evident not only in his art but in his literature, writing about himself in the third person in 1936 thus: 'one may discern in him two attitudes, in appearance irreconcilable: that of the god Pan and the man Papou who possesses all the mysteries and realizes the playful pleasure in his union with her ('He marries nature, he pursues the nymph 'Echo' they say') and that of a conscious and organised Prometheus, thief of fire who, guided by thought, persecutes her with an implacable hatred' (Ernst writing in 1936, quoted in W. Spies, Max Ernst, Life and Work: An autobiographical collage, London, 2006, p. 133). Photographs from 1939 show the artist dressed in white robes and holding a trident, in the image of Poseidon. Jürgen Pech believes that he identified with this god in particular through his 'metaphorical description of the artist as a diver into the unconscious' (J. Pech, 'Mythology and Mathematics. Max Ernst's Sculpture' in exh. cat., Max Ernst, sculptures, Milan, 1996, p. 87).One of Ernst's earliest explorations of Greek myth is to be found in Oedipus Rex from 1922. Rather than a straightforward portrait of the tragic hero, a surreal tableau is formed of giant fingers emerging from a brick wall, pierced through by a needle. In their grasp is a large nut, pierced by arrows, before two birds' heads. Pech explains that 'the pierced hand in his painting Oedipe Rex / Oedipus Rex makes pictorial play on Oedipus' name (= Schwellfuss or Swellfoot) and verbal play on the relationship between solving a riddle and cracking a nut' (ibid. p. 67). 'Oedipus' meant swollen foot or ankle in Greek, referring to his feet being pierced and bound together when abandoned on the mountainside. Wordplay is employed to the same effect in Méduse circonflexe where the ambiguity of the title, referring to both the Medusa of Greek myth and a jellyfish, is reflected in the figure's unclear form, whose tendril-like arms recall both the tentacles of the sea creature and the snakes of the Gorgon's hair and who appears to float beneath the horizon or sea-line. The circumflex of the title appears anomalous, referring in grammar to the chevron-shaped accent placed over a vowel, until the viewer sees the inverted 'v' shape created by the tendrils or tentacles of the 'Méduse'. These forms give a sense of languorous, floating movement, at odds with the hot, fiery orange which dominates the work, punctuated by deep red and cobalt blue elements. Ernst's interest in Surreal literature and writing is well documented, a love of typography which is further shown in the Initiales frottage series from the 1960s. In 1929 Ernst created an extensive collage novel entitled La femme 100 têtes, a similarly ambiguous title which allowed women to be 'hundred-headed', 'headless', 'stubborn', and 'bloodsucking' at the same time, becoming a paradoxical complementary being – a many-head hydra and a beheaded Medusa in one' (R. Bouvier, op. cit., p. 115). The multiple meanings of his titles are reflected in the shifting identities of his subjects, which are frequently presented in the midst of transformation or metamorphosis. In his 1936 La Nymphe Écho for example, Ernst references the myth of the mountain nymph who dissolved into thin air from unrequited love for Narcissus. Relegated as a mere side note in the painting, Ernst instead focuses on another moment of metamorphosis in the tale, as a monstrous green creature formed of vegetation sprawls in the foreground, representing Narcissus, who was transformed into a flower. 'The need to establish constantly fluid boundaries between various stages of being [...] results, in Surrealist painting of the 1930s, in a gradual mythologizi... 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
MAX ERNST (1891-1976)Portrait d'un ami signed and inscribed 'Portrait d'un ami de Claire et César Peverelli Max Ernst' (lower centre)mixed media collage on card30.7 x 21.4cm (12 1/16 x 8 7/16in).Executed in 1968Footnotes:ProvenanceClaire & Césare Peverelli Collection, Paris (a gift from the artist).Galerie Boulakia, Paris.Acquired from the above by the previous owner in 2008; their sale, Christie's, New York, 6 November 2014, lot 186.Private collection, Japan (acquired at the above sale).Private collection, Japan (acquired from the above); their sale, Sotheby's, New York, 15 November 2017, lot 346.Acquired at the above sale by the present owner.ExhibitedBerlin, Galerie Brusberg, Zeitsprung - das große Finale, 31 January - 29 March 2008.LiteratureW. Spies, S. & G. Metken & J. Pech, Max Ernst Oeuvre-Katalog, Vol. VII, Werke 1964-1969, Cologne, 2007, no. 4391 (illustrated p. 275).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
FABRIZIO CLERICI (1913-1993)Le grand théâtre signed 'Fabrizio Clerici' (lower left and lower right)gouache on paper, diptych41 x 33.5cm (16 1/8 x 13 3/16in). eachExecuted in 1947Footnotes:The authenticity of this work has been confirmed by the Archivio Fabrizio Clerici.ProvenanceM. Lesage Collection, Paris; their sale, Finarte, Rome, 24 April 2008, lots 144 & 145.Private collection, Paris.Private collection, Rome (acquired from the above).ExhibitedSan Francisco, California Palace of the Legion of Honour Museum, Fabrizio Clerici, February 1956.Santa Barbara, The Santa Barbara Museum of Art, Paintings and Watercolors by Fabrizio Clerici, 17 April – 6 May 1956.LiteratureArchivio Fabrizio Clerici (eds.), Fabrizio Clerici, nel centenario della nascita 1913-1993, Milan, 2013 (illustrated p. 169).'Isn't Fabrizio Clerici perhaps one of the champions of the surreal realism that is a distinctive sign of the twentieth century? Akin to nature itself, Clerici achieves simplicity by means of countless details. Not a single pin is missing from this legion of angels and archangels that guard over his home. No object is admitted therein that isn't sublime, and whose presence does not burst with secrets.' - Jean Cocteau Bonhams is delighted to present four exceptional works by the Italian artist Fabrizio Clerici encompassing his most iconic surrealist motifs and tropes recurring throughout his œuvre and providing an overview to his work. A tall and strikingly handsome man, with a collection of the finest Borsalino hats, Clerici was born in Milan in 1913 but lived in Rome for most of his life, graduating with a degree in architecture in 1937. His trained architectural eye for spatiality and perspective influenced his work as an artist, further finessed by witnessing the Eternal City's layered history and ancient ruins reminiscent of a grand romanticised past. The vestiges of Roman Renaissance and Baroque splendour somewhat imbued his works with an aura of timelessness. His unique visual language developed in art not only through his book illustrations, first begun in 1941, but also through the creation of set and costume designs, collaborating amongst others on George Bernard Shaw's 1947 adaptation of Mrs. Warren's Profession and Stravinsky's Orpheus in 1948 to huge acclaim, and forming a strong friendship with influential Hungarian choreographer Aurel Milloss. London's Daily Telegraph noted Clerici's eccentric sets as 'in fact, spaceless and timeless in their fantastic and exotic splendour' when referring to his work on Benjamin Britten's A Midsummer Night's Dream in 1961 at Milan's La Scala theatre (quoted in Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, p. 92).Clerici's art nods to both Surrealist and Metaphysical theories, marked by his close friendships with Salvador Dalí, Leonor Fini and Alberto Savinio amongst others. Befriending Jean Cocteau and Tristan Zara in Rome and Milan, he was an assiduous reader of the Surrealist publication Le Minotaure, Andrè Breton's brainchild. 'Surrealism', for Clerici 'must be seen as a continuation of metaphysical painting, which, by the way, is one of the most extraordinary expressions of painting in the XX century, an expression which is mostly Italian, that of De Chirico, Savinio, Carrà, and a certain Morandi. I adhered to that school' (ibid., p. 73). Desolate landscapes and solitary figures coexist in Clerici's universe. Desolated and almost dystopian, elongate, landscapes on the brink of destruction are evoked in Le grand théâtre dated 1947 and L'isola from 1974 (lots 44 and 47). Figures from the 1944 series Too seen, too much felt and La grande fame, (lots 45 and 46) appear in a state of despair, reflecting the horrors of war. The present works are emblematic of Clerici's skill as a fine draughtsman and painter marking him as one of the most iconic artists carrying the legacy of Surrealism in Italy.The two exquisite drawings dated 1944 were included in Julien Levy's exhibition held at his gallery in New York the following year. The drawings were brought to New York by Peter Lindamood, a Peace Corps volunteer enlisted in the US Army and recruited in the 'Psychological Warfare Branch', a branch reserved for journalists, photographers and literary men, who sought out the Italian artists tied to Surrealism, both Giorgio de Chirico and Leonor Fini, and it was the latter with whom Clerici had a decade-long friendship and considered the leader in the Italian Surrealist movement who introduced him to Lindamood. These drawings, recalls Lindamood, are the 'few that I was able to nurse through the crushing intimacy of my barracks bag' which would be 'shown for the first time anywhere' at Levy's Gallery (op. cit., p. 44).The roman art critic Mario Praz discusses the drawing Too seen, too much felt in his book dedicated to Clerici and his chapter on these Capricci series, to be 'the most potent expression of a mass state of mind that I have found in recent years. The assuredness of the line, akin to those of the greatest masters, makes this work a memorable document of the post-war phase of life and art in Italy' (quoted in Bellezza e Bizzarria, Milan, 1960, p. 167). Both drawings can be interpreted as touching reminders of the frailty of human life.With characters appearing to reflect on the state of mankind, the drawings act today as a strong reminder that on 4 June 1944 the American troops entered Rome, finally liberating the city. Empty sardine cans and a ripped intense portrait by Sicilian Renaissance master Antonello da Messina, Condottiero, (Louvre, Paris) permeate the scenes. The series represents Clerici's skills as a draughtsman, so much so that a work in the series, Duet for Harp and 'Cello, was acquired by the Museum of Modern Art in New York. The Le grand théâtre diptych, executed in 1947 in tempera, showcases another of Clerici's recurring motifs, the empty theatre, dominated by uneasy hovering scaffoldings eerily threatening to topple at any moment. Painted in Milan, it is part of a series of works called Processi, which had been admired by Dalí at Clerici's Roman studio. L'isola from 1974 acts as an homage to Swiss Symbolist artist Arnold Bocklin's series of masterpieces The Isle of the Dead, painted between 1880 and 1901. Of Bocklin, Clerici would expand 'resuming Bocklin, after De Chirico, was a way for me to prolong the cult of metaphysical art, beyond the recognised names. I always thought that metaphysics is a characteristic of Italian painting [...] my formation as an architect fatally brings my painting to the metaphysics of space' (op. cit., 2013, p. 56). This ensemble of works provides a fascinating overview of some of the most iconic periods of Clerici's work, one of the most interesting intellectuals and artists of the 20th Century in Italy.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
FABRIZIO CLERICI (1913-1993)L'isola signed 'F Clerici' (lower centre)oil on canvas79.7 x 79.7cm (31 3/8 x 31 3/8in).Painted in 1974Footnotes:The authenticity of this work has been confirmed by the Archivio Fabrizio Clerici.ProvenanceGalleria Il Gabbiano, Rome.Anon. sale, Finarte, Milan, 15 April 2021, lot 62.Acquired at the above sale by the present owner.ExhibitedReggio Emilia, Ridotto del Teatro Comunale, Fabrizio Clerici, October – November 1974.Ivrea, Centro Congressi La Serra, Fabrizio Clerici, April 1984.Isn't Fabrizio Clerici perhaps one of the champions of the surreal realism that is a distinctive sign of the twentieth century? Akin to nature itself, Clerici achieves simplicity by means of countless details. Not a single pin is missing from this legion of angels and archangels that guard over his home. No object is admitted therein that isn't sublime, and whose presence does not burst with secrets. - Jean Cocteau Bonhams is delighted to present four exceptional works by Italian artist Fabrizio Clerici encompassing his most iconic surrealist motifs and tropes recurring throughout his oeuvre and providing an overview to his work. A tall and strikingly handsome man, with a collection of the finest Borsalino hats, Clerici was born in Milan in 1913 but lived in Rome for most of his life, graduating with a degree in architecture in 1937. His trained architectural eye for spatiality and perspective influenced his work as an artist, further finessed by witnessing the Eternal City's layered history and ancient ruins reminiscent of a grand romanticised past. The vestiges of Roman Renaissance and Baroque splendour somewhat imbued his works with an aura of timelessness. His unique visual language developed in art not only through his book illustrations, first begun in 1941, but also through the creation of set and costume designs, collaborating amongst others on G. B. Shaw's 1947 adaptation of Mrs. Warren's Profession and Stravinskij's Orpheus in 1948 to huge acclaim, and forming a strong friendship with influential Hungarian choreographer Aurel Milloss. London's Daily Telegraph noted Clerici's eccentric sets as 'in fact, spaceless and timeless in their fantastic and exotic splendour' when referring to his work on Benjamin Britten's A Midsummer Night's Dream in 1961 at Milan's La Scala theatre (quoted in Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, translated from Italian, pg. 92).Clerici's art nods to both Surrealist and Metaphysical theories, marked by his close friendships with Salvador Dalí, Leonor Fini and Alberto Savinio, amongst others. Further befriending Jean Cocteau and Tristan Zara in Rome and Milan he was an assiduous reader of the Surrealist publication 'Le Minotaure', Andrè Breton's brainchild. 'Surrealism', for Clerici 'must be seen as a continuation of metaphysical painting, which, by the way, is one of the most extraordinary expressions of painting in the XX century, an expression which is mostly Italian, that of De Chirico, Savinio, Carrà, and a certain Morandi. I adhered to that school' (quoted in Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, translated from Italian, pg. 73). Desolate landscapes and solitary figures coexist in Clerici's universe. Desolated and almost dystopian, elongated, landscapes on the brink of destruction are evoked in Le Grand Theatre dated c. 1947 and L'Isola from 1974 (lots XX). Figures from the 1944 series Too seen, too much felt and The Great Hunger, (lots XX) appear in a state of despair reflecting the horrors of war. The present works are emblematic of Clerici's skill as a fine draughtsman and painter marking him as one of the most iconic artists carrying the legacy of Surrealism in Italy.The two exquisite drawings dated 1944 were included in Julien Levy's exhibition held at his gallery in New York the following year. The drawings were brough to New York by Peter Lindamood, a Peace Corps volunteer enlisted in the US Army and recruited in the 'Psychological Warfare Branch', a branch reserved to journalists, photographers and literary men, who sought out the Italian artists tied to Surrealism, both Giorgio de Chirico and Leonor Fini, and it was the latter with whom Clerici had a decade-long friendship and, considered the leader in the Italian Surrealist movement who introduced him to Lindamood. These drawings, recalls Lindamood, are the 'few that I was able to nurse through the crushing intimacy of my barracks bag' which would be 'shown for the first time anywhere' at Levy's Gallery (Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, translated from Italian, pg. 44).The roman art critic Mario Praz discusses the drawing Too seen too much felt in his book dedicated to Clerici and his chapter on these Capricci series, to be 'the most potent expression of a mass state of mind that I have found in recent years. The assuredness of the line, akin to those of the greatest masters, makes this work a memorable document of the post-war phase of life and art in Italy' (quoted in Bellezza e Bizzarria, Il Saggiatore, Milano 1960, p. 167, translated from Italian). Both drawings can be interpreted as touching reminders of the frailty of human life.With characters appearing to reflect on the state of mankind the drawings act today as a strong reminder that on 4th June 1944 the American troops would enter Rome finally liberating the city. Empty sardine cans and a ripped intense portrait by Sicilian Renaissance master Antonello da Messina, Condottiero, permeate the scenes. The series represents Clerici's skills as a draughtsman, so much so that a work in the series, Duet for Harp and 'Cello, was acquired by the Museum of Modern Art in New York (Caption 1).Le Grand Theatre diptych (lot XX), executed c. 1947 in tempera, showcases another of Clerici's recurring motifs, the empty theatre, dominated by uneasy scaffoldings eerily seeming to hover and topple at any moment. Painted in Milan, it is part of a series of works called 'Processi' which had been admired by Dalí at Clerici's Roman studio. L'Isola from 1974 acts as an homage to Swiss Symbolist artist Arnold Bocklin's series of masterpieces The Isle of the Dead, painted between 1880 and 1901. Of Bocklin, Clerici would expand 'resuming Bocklin, after de Chirico, was a way for me to prolong the cult of metaphysical art, beyond the recognised names. I always thought that metaphysics is a characteristic of Italian painting [...] my formation as an architect fatally brings my painting to the metaphysics of space' (quoted in Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, translated from Italian, pg. 56).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
EMMY BRIDGWATER (1906-1999)The kill signed 'Emmy Bridgwater' (lower left)oil on board35.6 x 45.7cm (14 x 18in).Painted in 1942Footnotes:ProvenancePeter Nahum Collection.Private collection, UK.ExhibitedMilan, Palazzo Reale, I Surrealisti, May - September 1989.Frankfurt, Schirn Kunsthalle, Die Surrealisten, November 1989 - February 1990.Aldeburgh, Peter Pears Gallery, Festival Exhibition, June 2006, no. 33.Please note that there is a portrait painting on the reverse.British Surrealism from the Paul Conran Collection.On the 11th of June 1936, 1150 persons crowded into London's New Burlington Galleries to see André Breton open the first International Surrealist Exhibition. As he did, Breton announced that a revolution between perception and representation was taking place. The exhibition itself comprised of an array of continental and British names and played host to a raucous series of events. It saw Dalí famously don a deep-sea diving suit only narrowly avoiding asphyxiation, Dylan Thomas serve teacups of boiled string and Paul Nash remove a herring that had been attached to a Miró object on account of its smell. The exhibition was open for just a month, yet a staggering 23,000 visitors attended, confirming that an intrigue in Breton's 'revolution' had firmly permeated British shores.The legacy of this famous exhibition, and the associated movement, has at times overlooked the breadth of the British artists who were included. Favour has been focused on the continental contributors and the few larger domestic figures such as Moore and Nash. Yet several artists such as Grace Pailthorpe and Reuben Mednikoff (both 1936 exhibitors) and the associated British Surrealist Group members such as Ithell Colquhoun, Emmy Bridgwater and Conroy Maddox, have been championed by a dogged few.One such champion has been Paul Conran. In the early 1970s, with the aid of Roland Penrose, Conran set about forging connections with the then statesmen generation of British surrealist artists. Picking out names from the phonebook he arranged studio visits with Eileen Agar, Ithell Colquhoun, John Melville and Edith Rimmington (whose iconic Oneiroscpist was the first picture Conran ever bought). Often buying directly from artists Conran loaned works extensively and staged a number of exhibitions including Surrealism at David Ellis Jones in 1975. Conran, along with Andrew Murray at the Mayor Gallery, and the dealer James Birch was one of a small number of advocates who shared enthusiasm for the full range of British artists associated with the movement. In the late 80s in partnership with Birch, Conran opened a gallery in Soho and there exhibited British surrealism in depth (they also gave Grayson Perry four of his earliest exhibitions). The following seven works all hail from Conran's private collection. They include Conroy Maddox's equally disconcerting and amusing readymade Onanistic Typewriter (editioned by Maddox at Conran's suggestion), early 1930s oils by Pailthorpe and Mednikoff and rarities such as Emmy Bridgwater's The Kill. The concise group illustrates the scope of surrealist works produced in Britain in the 20th Century, which as a number of recent exhibitions indicate, including the acclaimed Dulwich Picture Gallery survey British Surrealism and the touring Pailthorpe and Mednikoff exhibition, A Tale of Mother's Bones (which Conran in part instigated), is an area ripe for re-consideration.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
A RARE CHARLES II WEST COUNTRY ROYALIST MEMENTO TREFID SPOON PROBABLY SAMUEL CAWLEY, EXETER CIRCA 1670 One mark to the oval bowl only, the top of the front of the stem with a die-struck portrait of Charles II, C and R either side, prick-engraved initials and dated A.S over E.M over 1672 to the back of the bowl 20cm (8in) long 53g See Kent pp. 20 to 21 and 73 to 75. Condition Report: So-called Bridgwater mark only to the bowl, some light scratches and nicks commensurate with age and use, the R side of the portrait lighter struck, good conditionCondition Report Disclaimer
AN ELIZABETH I WEST COUNTRY SILVER GILT APOSTLE SPOON, ST SIMON ATTRIBUTED TO RICHARD HILLYARD, EXETER CIRCA 1580 With a fig shaped bowl, a facetted tapered stem, the finial with a pierced cartwheel nimbus, later pricked HH over MH over 1652 to the back of the bowl 19.5cm (7 3/4in) long Approx. 58g See Kent, p. 100, the maker's mark not illustrated but referred to. See also Jackson, p. 519-3 and 521-4 for the acorn and RH monogram marks. Richard was the father of portrait miniaturist Nicholas Hillyard. A portrait of Richard by his son survives in the V&A (item O74855). Condition Report: Probably later gilt, minimal wear to bowl tip, scratches, nicks and wear commensurate with age and light use. Strawberry? mark to bowl, maker's mark twice to stem, gilt wear to centre of the back of the bowl, mid stem and on the terminal Condition Report Disclaimer
A LATE GEORGE III SILVER NINE PIECE COMMUNION SET REBECCA EMES & EDWARD BARNARD I, LONDON 1813Engraved with the sacred monogram IHS across the stem of a cross with three nails inside a rayed frieze, and 'Christ Church, Birmingham. 1813', comprising: Two communion cups, 20.5cm (8in) highTwo cylindrical flagons, 32cm (12 1/2in) high Two standing patens, 20cm (8in) diameter Two plate patens, 25.5cm (10in) diameterA spoon tray, 17cm (6 3/4in) long; And a fiddle and thread pattern straining spoon by William Eley, William Fearn & William Chawner, 5660g (181.95 oz)Provenance: Sotheby's, London sale 'Silver, Portrait Miniatures and Objects of Vertu', Thursday 6th June 1996, lot 415 (lot labels).Christ Church, Birmingham, was a parish church in the Church of England on Colmore Row, Birmingham from 1805 to 1899. The church was built by public subscription. The site was donated by William Phillips Ing. The foundation stone was laid on 22nd July 1805 by George Legge, 3rd Earl of Dartmouth. The Earl of Dartmouth was representing King George III, who had intended to lay the foundation stone personally, but was prevented from doing so by illness. The King gave £1,000 (equivalent to £81,746 in 2019) towards the construction. The final cost was £26,000. It was consecrated on 6th July 1813 by James Cornwallis, 4th Earl Cornwallis, the Bishop of Lichfield. It was unusual in that all of the seating on the ground floor was free and it came to be known as the 'Free Church'. Condition Report: Generally good with light scratches and nicks commensurate with age and use, readable marks, engraving generally good, all sit well. Two communion cups- 1) 4 small dents towards bottom of bowl 2) GoodTwo cylindrical flagons- 1) Slight play in hinge, cover sits well, pinprick dent in cover 2) Very slight play in hinge, cover sits well, goodTwo standing patens- Engraved with the sacred monogram under feet, feet marked 1) 0.5cm nick to one edge otherwise good 2) GoodTwo plate patens- 1) Small dent to incurve 2) Several small dents and creases to incurve and baseA spoon tray- GoodAnd a fiddle and thread pattern straining spoon- Wear to engraving but still readable, marks goodCondition Report Disclaimer
Y A PAIR OF DIAMOND SET PORTRAIT MINIATURE SLEEVE LINKSMID 20TH CENTURY The double sided links centrally set with miniature of ladies in 18th century costume on mother of pearl backing, within surrounds of cushion shaped old cut diamonds, approximately 1.20 carats total, mounted in gold backed silver, with oblong connecting linksSize/dimensions: 12.5mm diameter, 2.5cm longGross Weight: 9.30gProvenance: from the collection of Victoria, Lady de Rothschild Condition Report: Overall condition commensurate with age and use. The glass covering the miniatures is scuffed, scratched and pitted, making an assessment of the condition of the miniatures almost impossible. The mother of pearl backings appear in good condition. All diamonds are present and appear original. The diamonds are bright and lively, mostly SI Clarity, with no visible nicks or chips. No signs of damage or repair to the mounts and connections. The links are unmarked. It cannot be ascertained if the miniatures are painted on ivory.Condition Report Disclaimer
A hand touched portrait photograph on panel of 'Lieutenant Lewis Hall, Rifle Brigade': together with three others of 'Lewis Duvall Hall MA, JP DL (Buckinghamshire), ' Rt Hon Sir Charles Hall KCMG QC MO Recorder of London' and ' The Hon Vice Chancellor Sir Charles Hall' all framed and glazed , 37 x 29.5cm.* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".
British Antarctic 'Terra Nova' Expedition 1910-1913. A group of seven postcards from the Herbert Ponting (1870-1935) lectures 'I'm The Glad Eye Penguin': comprising an advertising card version of Ponting's photograph of an Adelie penguin titled 'I'm The Glad Eye Penguin', 'With Captn Scott In The Antarctic. Mr Herbert Ponting FRGS', 'Daily 3 & 8 Philharmonic Hall Great Portland Street', with newspaper reviews to the reverse, together with portrait cards of 'Captain Scott', 'Captain Oates', 'Lieut Bowers', 'Dr Wilson' and 'Petty Officer Evans',and a group card 'The Southern Party 1911' published by The Fine Art Society after Ponting's original photographs. (7)*Notes- Herbert Ponting (1870-1935) was a professional photographer who was the expedition photographer and cinematographer on Captain Scott's British Antarctic Expedition 1910-1913 during which he captured some of the most enduring images of the Heroic Age of Antarctic Exploration. In 1914 he gave a series of lectures with films of the expedition. The advertising card in this group is a different version from others as this card does not have the line 'Scene after scene of imitable comedy.-Daily Telegraph' to the front lower margin but is included in the full review on the reverse of the card.
John (1199-1216), Penny, class VIa1, London, Rauf, ravf · on · lvnd, r before sceptre, nd ligated, 1.31g/9h (Besly 197, this coin; SCBI Mass 1746-7; N 974/1; S 1353). Peripheral weakness on obverse, reverse struck slightly off-centre with a raised lip at 12 o’clock, otherwise good fine with a clear portrait £60-£80
Kings of East Anglia, Æthelstan I (c. 827-45), Penny, Portrait type, Ipswich, Eadgar, edelsta[–] around right facing diademed bust, rev. [–]a · r · mon around cross-crosslet within inner circle, 0.80g/6h (Naismith –; Pagan –; EMC 2013.0094, same dies; N –; S 948). A large fragment, fine, rare £200-£260
Henry I (1100-1135), Penny, Full Face/Cross Fleury type [BMC X], probably Worcester, Godric, godricvs : on pir (?), 1.15g/3h (cf. Allen, BNJ 2012, p.105; N 866; S 1271). Portrait of crude style, bent, otherwise good fine, extremely rare £200-£300 --- Provenance: Found in Norfolk. Dr Allen lists Godric as a Worcester moneyer for Henry I, type 13
NETHERLANDS, Crown Prince William, a uniface cast silver portrait medal, unsigned and undated, uniformed bust left, backed with beige silk, 37mm, 9.14g; Marriage of Prince William of Orange and Grand Duchess Anna Pavlovna of Russia, 1816, a brass medal, signed A & D.A. [?], 41mm (Diakov –); General Armaments, 1831, a copper medal by D. van der Kellen, 52mm (BDM III, 134) [3]. First good very fine and rare with integral suspension loop [small countermark on loop], second very fine and rare, last cleaned with traces of deposit on reverse otherwise extremely fine £100-£150
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