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Los 91
John Paul II (1920 2005) Pope of the Catholic Church 1978 2005. An excellent colour signed 8 x 11. 5 photograph featuring a touching close up portrait image of the Pope, wearing his Papal mitre, and blessing with the Papal splint in his hand. Signed ('Joannes Paulus II') in bold black ink to a clear area at the base of the image. The photograph bears at the base the embossed seal of the Secretary office of His Holiness, Secreteria Particulare di Sua Santita. Attractively matted in white to an overall of 12 x 16. In excellent condition. EX. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Los 25
Leon Underwood (British, 1890-1975)The Sculptor black Irish marble38.7 cm. (15 1/4 in.) highCarved 1938-49UniqueFootnotes:ProvenanceSidney Rothman (probably acquired from the 1953 exhibition),thence by family descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Beaux Arts Gallery, Leon Underwood, 11 May-24 June 1953, cat.no.41Colchester, The Minories, Leon Underwood: A Retrospective Exhibition, 9 August-10 September 1969, cat.no.120LiteratureChristopher Neve, Leon Underwood, Thames and Hudson, London, 1974, p.176, pl.131 (ill.b&w)Ben Whitworth, The Sculpture of Leon Underwood, the Henry Moore Foundation in association with Lund Humphries, Aldershot, 2000, p.64, cat.no.118 (ill.b&w)The Sculptor appears to be the only carving Underwood made using black Irish marble, or Kilkenny marble as it is often referred to. An exquisite, fine-grained carboniferous limestone, its main source lies just south of Kilkenny, nicknamed 'the Marble City', in south-east Ireland.Of the present sculpture, which is appearing for sale through auction for the first ever time, Christopher Neve comments:'Ironically, with the 1939 Zwemmer exhibition indicating that his print-making and sculpture was not only increasing in momentum but beginning to regain a public lost when he went to America, war was declared. In no time he was frittering away a second spell in camouflage, this time attached to the Civil Defence department at Leamington Spa, with almost no opportunities for getting on with his work. The last major sculpture before the war is, significantly, The Sculptor, a massive and powerful figure in Irish black marble in which the head is drawn into the shoulders and all the forms block in on one another, the weight of the buttocks balanced by the heavy head of the mallet and the deliberately phallic and potentially productive chisel held against the body in front' (Christopher Neve, Leon Underwood, Thames and Hudson, London, 1974, p. 176)Whilst Underwood's earliest carvings in stone and wood appeared in the early 1920s, such as Torso in Tournai slate (collection: Tate Gallery, London), it was his sculptures of the mid-to-late 1930s which achieved greatest aesthetic resonance. African Madonna (St George's Anglican Cathedral, Cape Town, South Africa) for instance, in lignum vitae with silver-gilt inlay of 1934-35, is arguably his most impressive and successful. It was received in South Africa in 1935 to mixed reviews, to which Underwood explained his thought process, as Neve goes on to explain, 'In May, Underwood replied to his critics in an open letter to the Rand Mail, saying that he hoped in time the sculpture would be accepted as belonging to a new and different order of beauty by the descendants of those African artists 'whose simplicity of expression helped to rescue Western art from the slough of naturalism and vulgar sentiment' into which it has fallen in the nineteenth century.' (Op. cit. p.156). The Sculptor shares affinities with African Madonna, including its primitive, mask-like face and powerful over-sized forearm and hand. However, with the present lot the sculptor has jettisoned the rhythmic lines of lead or silver-gilt inlay which infiltrated his work during the middle part of the decade and concentrates all his artistic prowess on the medium to hand. Here, the inherent qualities of the fine-grained Kilkenny marble have been used to maximise impact. Part polished and unpolished, the areas left roughly sanded and are therefore less black, assist in accentuating the flowing lines of the glistening figure's body and face, thereby creating a dramatic sense of depth. It is the culmination of Underwood's twenty year-long investment with carving, as Ben Whitworth remarks:'Underwood's final carving was The Sculptor in black Irish marble, begun on the eve of the Second World War. This image of artistic power must not be read as a self-portrait, but it is ironic that, after making an image that epitomises the heroic view of direct carving, Underwood never again carved a block of stone or wood'. (Ben Whitworth, The Sculpture of Leon Underwood, The Henry Moore Foundation, Much Hadham, 2000, p.64)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 9
Laurence Stephen Lowry R.A. (British, 1887-1976)Street Scene signed and dated 'L.S. LOWRY 1965' (lower right) and titled 'STREET SCENE' (on the canvas overlap)oil on canvas50.8 x 60.9 cm. (20 x 24 in.)Footnotes:ProvenancePrivate Collection, U.K., since circa mid 1970sExhibitedLondon, The Lefevre Gallery, Paintings by L.S. Lowry, 11 May-3 June 1967, cat.no.9 (ill.b&w)The late husband and father of the present owners was a close friend of the artist Harold Riley. They first met when he took up painting as a hobby and had particularly admired Riley's technique in oils. Having called his gallery to discuss this, he ended up buying several examples and the two men went on to have a long friendship. It was through this bond that the late owner became aware of L.S. Lowry and purchased the present lot on Riley's advice.By 1965 when Street Scene was painted, Lowry was less interested in creating busy compositions of frenetic activity. The setting for this street is, typically, unidentifiable and Lowry presents the viewer with limited visual information to describe the city. The presence of the factories are indicated most prominently by the two chimneys but otherwise a church spire, a lamppost and a few rooftops are all that give a clue as to the mighty throng of what is going on outside the picture plane.The number of figures is also scaled down when compared to some of the industrial compositions of the 1940s that are literally teeming. Here the people wandering along the street are pushed to the foreground and available for intense scrutiny. Walking left and right in pairs and groups, they guide our eye back and forth across the canvas in their typical splashes of red, black and blue. Unusually though, the artist has included a ghostly frieze of figures silhouetted against the dark wall, lacking all individuality. And there is one character who stands completely still and alone, a gentleman wearing a hat in the lower centre. Perhaps intended as a self-portrait? He faces out, directly, and it feels as if he is looking at us. For a second the picture is turned in on itself, as it is we, outside of the painting, and not them, the anonymous within, who are the subject of fascination.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 58
Sir Kyffin Williams R.A. (British, 1918-2006)Australian Girl signed with initials 'KW' (upper right); further signed with initials 'KW' (lower right)oil on canvas76.2 x 56 cm. (30 x 22 1/8 in.)Painted in 1971Footnotes:Provenance With The Royal Academy, London, 1972, where acquired byMr Marshall, thence by descent to Private Collection U.K., from whom acquired by the present owner in 2005Private Collection U.K.ExhibitedLondon, The Royal Academy, Summer Exhibition, 1972, cat.no.928The sitter in this portrait is Miss Rosanna Maunder of Melbourne, whom Sir Kyffin Williams met and asked her to sit for him whilst she was serving him fish and chips in a London restaurant.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 13
John Craxton R.A. (British, 1922-2009)Portrait of an Old Man (Old Cretan) signed, inscribed and dated 'alonés 5.11.48 Craxton' (lower right)conté crayon and pencil58.4 x 47 cm. (23 x 18 1/2 in.)Footnotes:ProvenanceLady Peter NortonMr and Mrs Michael AlisonWith Jonathan Clarke, London, 22 June 2012, where acquired byLady DugdaleExhibitedLondon, Christopher Hull Gallery, John Craxton, Portraits 1942-1999, 1993We are grateful to Ian Collins and Richard Riley for their assistance in cataloguing this lot.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 17
Andalusian School, XVIII century."Saint Rosalia".Oil on canvas.Measurements: 51,5 x 52 cm; 83 x 65 cm (frame).Devotional painting representing St. Rosalia of Palermo, wearing a crown of flowers and taking in his hands a stick with lilies that approaches his heart. With her gaze looking upwards, her rounded features are ecstatic. From the whiteness of her face, slightly flushed on her cheeks, emanates a light that turns into golden shades projecting on the background, so that her flesh seems to radiate divine light. The robe has been skillfully draped, contributing to the dynamism of the portrait. The palette is rich in carmine, ochre and mauve tones that accompany the soft shades of the flesh tones and the gilding of some details.Rosalia of Palermo was an Italian saint of the 12th century, whose cult was promoted by the Benedictines. She is considered a protector against infectious diseases, such as the plague, and is also invoked to seek her protection in difficult times. Rosalia lived in solitude, poverty and penance, and according to her hagiography she performed miracles such as the extinction of the plague that ravaged her native Sicily. Patroness of Palermo, she enjoys great devotion in Sicily. Saint Rosalia was an important subject in Italian Renaissance and Baroque painting, particularly in the sacre conversazioni (group images of saints flanking the Virgin Mary) of artists such as Riccardo Quartararo, Mario di Laurito, Vincenzo La Barbara and possibly Antonello da Messina. But it was the Flemish master Anthony Van Dyck (1599-1637), who was caught in Palermo during the plague of 1624, who produced the largest number of paintings of her. Saint Rosalia is usually depicted as a young woman with flowing hair, wearing a Franciscan hood or a crown of flowers and leaning toward the city of Palermo in her peril.
Los 20
Flemish school, Follower of PIETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640); 17th century."Cupid."Oil on canvas. Relined.Presents repainting.Measurements: 51 x 44 cm.The image represented here can be identified with the portrait of the God Cupid due to its wings. Cupid, equivalent to the Greek Eros, was the primordial god of amorous desire, also related to fertility. The most widespread myth describes him as the son of Venus and Mars, since he unites love and violence in his nature. In Roman art he could be represented as an ephebus or as a child, winged and armed with bow and arrows. Sometimes he is also represented blindfolded, symbol of the blindness of amorous passion. Other of his iconographic attributes are the flaming torch and the rose, emblem of the delicious but fleeting pleasures he procures. Her wings are also a symbol of transience.Due to its formal characteristics, this painting can be related to the circle of Peter Paul Rubens, a painter of the Flemish school who, however, competed on equal terms with contemporary Italian artists, and enjoyed a very important international transcendence, since his influence was also key in other schools, as is the case of the passage to the full baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. After his training, Rubens joined the Antwerp painters' guild in 1598. Only two years later he made a trip to Italy, where he stayed between 1600 and 1608. During these decisive dates, the young Flemish master was able to learn first-hand about naturalism and classicism, the works of Caravaggio and the Carracci.
Los 61
BARTOLOMEO MANCINI (c. 1630-1715); Rome, 1701."Christ and the Virgin and Child."Oil on copper.They present jumps in the painting.They retain period frames.Signed and dated on the back.Measurements: 27,5 x 20,5 cm (x2); 34 x 26,2 cm (frames, x2).Due to the material and the reduced dimensions of each of the works that make up this set, it is very likely that they were intended for private devotion. Both pieces are conceived in the same way, although they represent a different image. It is a clear and simple composition with the main protagonist imbued in an ochre background, illuminated by the rays of sanctity given off by each of the characters. These are presented through the bust inscribed in the oval format of the support, facing the viewer, although in both cases looking away and avoiding direct contact. In the representation of Jesus, she raises her gaze upwards, while Mary turns her face in profile and lowers her gaze in a completely pious attitude. Both works stand out for the softness and softening of the features, combined with the use of a chromatic range of energetic and emphatic tonalities.These characteristics invite us to think of the work of the Italian painter Bartolomeo Mancini, to whom is attributed a piece, located in the Museo di Casa Martelli in Florence, which presents the same composition as the portrait of the Virgin present here except for the format. It is his well-known Madonna Addolarata There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of them being those in which she appears next to the Child Jesus, who sleeps oblivious to the future of suffering that awaits him. In these works is usually present the cross, the main symbol of the Passion, embraced even by the Child, while Mary observes him with a pathetic expression. Another aspect is the one that is part of the Pietà, similar to the previous one, although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, the body of Christ appears disproportionately small, as a symbol of the memory that the mother has of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out in importance, where Mary appears alone, sometimes with her heart pierced by one or several swords. Since this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows is followed by that of Solitude:
Los 42
Theofilos Hadjimichael (Greek, 1871-1934)Homme de Lesvos et fille pigments naturels sur carton69 x 66.5cm (27 3/16 x 26 3/16in).natural pigments on cardFootnotes:*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'Athens Preview, du 10 au 13 novembre 2021. Cette Å“uvre restera à Athènes pendant la vente aux enchères.*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 10-13 November 2021. This work will be located in Athens during the auction.As noted by folk painting scholar G. Samourkas, 'Theofilos's Mytilene period, which lasted from around 1926 until his passing in 1934, was his most mature; his designs became more confident, his colours warmer, his compositions more structured, his backdrops more embellished and his colour combinations more elegant.'1 Here, this seductive dual portrait of Mytilene folk is lovingly filtered through the artist's imagination and imbued with a spirit of untutored simplicity. The right part of the picture is dominated by the commanding presence of a moustachioed man in a traditional eastern Aegean costume, featuring a black vraka worn over an undergarment, a waistcoat, a sash wrapped around the waist, and a velvet toque headgear (compare Theofilos, Peasants of Mytilene, Theofilos Museum of Folklore Art, Vareia, Mytilene). On the left, a young girl in a European outfit, handled with confident brushwork and vibrant colour, is perfectly integrated into her environment, evoking a sense of home and domesticity. Both portraits express the artist's lifelong fascination with Greek nature, conveying a feeling of pure vision and vibrant life.Although the picture has a contemporary western touch, it is nonetheless handled in a fashion rooted in age-long Byzantine and folk art traditions, such as the egg-shaped faces, the well-delineated features and the frontal posture, which is a defining feature of Byzantine icon painting. 1 G. Samourkas, Twelve Folk Painters [in Greek], Athens 1974, p. 90.Comme l'a fait observer G. Samourkas, grand spécialiste de la peinture naïve, « la période où Theofilos a vécu à Mytilène, qui a duré de 1926 environ à son décès, a été celle de la maturité ; ses dessins sont devenus plus aboutis, ses couleurs plus chaudes, ses compositions plus structurées, ses arrière-plans plus embellis et ses combinaisons de couleurs plus élégantes.»Dans cette Å“uvre, le double portrait séduisant de gens de Mytilène est délicatement filtré par l'imagination de l'artiste et empreint d'un esprit de simplicité naturelle. La partie droite de l'Å“uvre est dominée par la présence imposante d'un homme moustachu portant un costume traditionnel de la côte orientale de la mer Égée, qui se compose d'une vraka noire portée par-dessus un sous-vêtement, d'un gilet, d'une ceinture nouée autour de la taille et d'une toque en velours (comparer avec le tableau Peasants of Mytilene de Theofilos, Musée Theofilos d'art folklorique, Vareia, Mytilène). Sur la partie gauche, une jeune fille en costume européen, peinte d'une main très sûre et dans une couleur vibrante, est parfaitement intégrée dans son environnement, et dégage une impression d'attachement au pays et au foyer. Les deux portraits expriment la fascination que l'artiste a éprouvée toute sa vie pour la nature grecque, et donnent un sentiment de vision pure et de vie vibrante.Bien que l'Å“uvre ait une touche occidentale contemporaine, elle est néanmoins traitée d'une manière qui plonge ses racines dans les très anciennes traditions de l'art byzantin et naïf, comme en attestent les visages ovoïdes, les traits bien dessinés et la posture frontale, qui caractérisent les icônes byzantines.For further information on this lot please visit Bonhams.com
Los 43
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)École de danse signé et daté 'Ghika/ 65' (en base à droite)huile sur toile65 x 91.5cm (25 9/16 x 36in).Peint en 1965.signed and dated (lower right)oil on canvasFootnotes:ProvenanceD. Pierides collection, Athens. Private collection, Athens. ExposéAthens, Benaki Museum, N. Hadjikyriakos-Ghika, the Apollonian - the Dionysian, November 22, 2006 - January 15, 2007, no. 272 (illustrated in the exhibition catalogue, p. 164).LittératureDemetris Z. Pierides Collection of Contemporary Greek Painting and Engraving, Athens 1982, no. 63 (listed and illustrated).Tachydromos magazine, no. 1501, February 17, 1983, p. 48 (illustrated).K.C. Valkana, Nikos Hadjikyriakos-Ghika, his Painting Oeuvre, Benaki Museum, Athens 2011, p. 209 (discussed and illustrated).In one of the most insightful essays ever written on Ghika, poet Kimon Friar elaborated on the idea of the artist as composer, discussing his paintings in terms of music and rhythm: 'The works of Ghika are composed: that is, they contain the elements of both composition and composure. They are a designer's compositions in line, colour and space; they are the work of a musical composer; and their final resolution is a composure which the classical artist imposes on the recalcitrant materials of life to create a cosmos for which we all long and dream but which only the artist may invoke.'1 These perceptive remarks written in 1946 perfectly apply to École de danse, a pictorially complex exploration of youthful energy painted almost twenty years later. Indeed, rhythm, musical effect, composure, sense of space and proportion, Dionysian movement and Apollonian order all come together in a well thought out, tightly designed and dynamically balanced composition, where spirit is transformed into rhythm and vice versa. As noted by D. Iliopoulou-Rogan who curated the artist's 2006 major retrospective in the Benaki Museum, Athens, 'this spirit-rhythm duality is not disassociated from flesh and bodily pleasures, as his works call upon both the senses and the intellect.'2 This is indicated by the presence of marble sculpture alluding to lofty humanistic aims, and by the choice of subject for the easel painting in the centre which refers to more mundane interests. 'The whole point is to find the balance,' Ghika once told the art critic Dora Vallier. For him proportion was the fundamental condition for a work of art.3 Reflecting the artist's long involvement with the design of sets and costumes for Rallou Manou's legendary 'Hellenic Choreodrama' dance group4 and echoing many of Degas's complex multi-figure paintings of ballerinas set in rehearsal studios practicing their steps, Ghika's young dancers inhabit the large space haphazardly, creating casual patterns of movement and gesture that would never be seen on stage (compare E. Degas, Ballet dancers, c. 1890-1900, National Gallery, London).Moreover, demonstrating Ghika's extremely broad and varied range of artistic concerns, this exquisite canvas features a host of references to the history of art ranging from Hellenistic and Byzantine conventions to cubist experimentations and surrealism's poetic metaphors and subversively irrational visions. The sculptural figure on the right echoes André Masson's famous Gradiva, while the enigmatic dancer on the left, captured simultaneously as stone and flesh, alludes to mythical Galatea, the statue that came to life and became a surrealist muse (compare Salvador Dali, Galatea of the Spheres, 1952). This compelling duality reflects Ghika's two-sided nature: 'the one, the methodical man restrained by reason, the other, the man whom the senses restore to the centre of human life. We would be wrong to imagine that either one is struggling to dominate the other. Rather, they unite his strengths in a spirit of collaboration, not rivalry, to achieve a victory that belongs equally to both of them.'5 1 K. Friar, 'Ghika as Composer,' in Paintings by Hadjikyriakos-Ghika, exhibition catalogue, British Council, Athens 1946. 2 D. Iliopoulou-Rogan, N. Hadjikyriakos-Ghika, the Apollonian-the Dionysian, exhibition catalogue, Benaki Museum, Athens 2006, p. 60.3 D. Vallier, 'Portrait of the artist', Art News and Review, no. 157, February 1955.4 See Iliopoulou-Rogan, Parallels, N. Hadjikyriakos-Ghika [in Greek], Polyplano editions, Athens 1980, p. 41.5 C. Zervos, article from Cahiers d'Art, December 1952.Dans l'un des essais les plus pénétrants jamais écrits sur Ghika, le poète Kimon Friar développe l'idée que l'artiste est un compositeur, et décrit ses peintures en termes de musique et de rythme : « Les Å“uvres de Ghika sont composées ; autrement dit, elles contiennent les éléments à la fois de la composition et de la maîtrise. Ce sont des compositions dans leur ligne, leurs couleurs et leur espace ; elles sont l'Å“uvre d'un compositeur de musique ; et leur réalisation finale témoigne de la maîtrise que l'artiste classique impose aux matériaux récalcitrants de la vie, afin de créer un cosmos dont nous rêvons tous depuis longtemps mais que seul l'artiste peut invoquer. Ces remarques très pertinentes, écrites en 1946, s'appliquent parfaitement à l'École de danse, qui est une exploration picturale complexe de l'énergie juvénile, peintes près de vingt ans plus tard. En effet, le rythme, l'effet musical, la composition, le sens de l'espace et de la proportion, le mouvement dionysiaque et l'ordre apollonien, tout concourt à une Å“uvre très bien pensée, dessinée d'un trait ferme et équilibrée sur le plan dynamique, où l'esprit est transformé en rythme et vice versa. Comme l'a noté D. Iliopoulou-Rogan, curateur de la grande rétrospective consacrée à l'artiste en 2006 au Musée Benaki à Athènes, cette dualité esprit-rythme n'est pas dissociée des plaisirs de la chair et du corps, étant donné que ses Å“uvres font appel à la fois aux sens et à l'intellect. Il suffit, pour s'en convaincre, de citer la présence de la sculpture de marbre qui évoque des aspirations humanistes élevées, ainsi que le choix du sujet sur le chevalet qui figure au centre, qui évoque des intérêts plus banals. Le tout est de trouver l'équilibre, comme Ghika l'a dit un jour à la critique d'art Dora Vallier. Pour lui, la proportion était la condition fondamentale de toute Å“uvre d'art. L'artiste a longtemps créé des décors et des costumes pour le groupe de danse légendaire de Rallou Manou 'Hellenic Choreodrama' ; cette expérience se retrouve dans l'École de danse, qui fait également écho à beaucoup d'Å“uvres de Degas, qui représentent des ballerines s'exerçant dans des studios de répétition. Les jeunes danseurs de Ghika habitent le vaste espace au hasard, créant des chorégraphies aléatoires et des gestes que l'on ne verrait jamais sur scène (comparer avec E. Degas, Danseuses de ballet, vers 1890-1900, National Gallery, Londres).En outre, cette toile exquise atteste de l'éventail extrêmement large et varié des préoccupations artistiques de Ghika, et fait de nombreuses références à l'histoire de l'art, depuis les conventions hellénistiques et byzantines jusqu'aux expérimentations cubistes, aux métaphores poétiques surréalistes et aux visions irrationnelles subversives. La figure sculpturale sur la droite fait écho à la célèbre Gradiva d'André Masson, tandis que le da... For further information on this lot please visit Bonhams.com
Los 8
Adam De FriedelLes Grecs. Vingt Quatre Portraits des principaux chefs & figures les plus distingués de la Révolution grecque, 2 couvertures typographiques (en anglais et en français) conservées, 24 planches lithographiées, coloriées à la main, par Jules Bouvier d' après Friedel, légendes en anglais et en français, quelques rousseurs aux couvertures, reliure de l'époque en demi-cuir [Blackmer 633], folio (480 x 330mm.), London and Paris, Adam de Friedel, 182749 x 34 cm.The Greeks. Twenty-four Portraits of the Principal Leaders and Personages who Have Made Themselves Most Conspicuous in the Greek Revolution, 2 letterpress upper wrappers in English and French, 24 hand-coloured lithographed plates by Jules Bouvier after Friedel, captions in Eng-lish and French, wrappers lightly foxed, contemporary panelled calf gilt, worn [Blackmer 633], folio (480 x 330mm.)Footnotes:Friedel's work – probably the most celebrated of those depicting the heroes of the Greek Revolution – first appeared in parts starting in 1824. According to Blackmer 'as edition followed edition the portraits became more refined... [There were] two editions published in 1827, one with no background or an extremely simple one, the other with a complex background to each portrait'. In the present copy, 13 plates have complex backgrounds, and 11 are simple. The work was issued without any letterpress except for the wrappers.Cet oeuvre de Friedel – probablement le plus celebre parmi des portraits des héros de la Revolution de la Grèce – apparut en 1824. Selon Blackmer, 'as edition followed edition the portraits became more refined... [There were] two editions published in 1827, one with no background or an extremely simple one, the other with a complex background to each por-trait'. Ici, on trouve 13 planches aux fonds detailés, et 11 aux fonds simples. L'oeuvre pa-rut sans texte typographique, sauf les couvertures qu'on manque souvent.For further information on this lot please visit Bonhams.com
Los 501
Y A FRENCH GOLD MOUNTED PAPIER MACHE BONBONNIÈRE WITH INSET PORTRAIT MINIATURES INDISTINCT POINCON, POSSIBLY PARIS 1809-1817 With watercolour on ivory portraits of a gentleman and of a boy, the amber lacquered body with tortoiseshell lining, the box 6.5cm (2 1/2in) diameter, the gentleman 3.5cm x 3cm, the boy 3.2cm x 2.5cm
Los 557
A LATE 19TH CENTURY ENAMELLED GOLD LOCKET CIRCA 1890the shield shaped gold locket with an enamelled portrait of a lady with flowers in her hair, rose cut diamond accents, black enamelled borders, the back engraved with scrolled decoration and the initial S, opening to reveal two glazed compartments, with scrolled pediment and triangular shaped bale SIZE/DIMENSIONS: 6cm longGROSS WEIGHT: 21.2 gramsCondition Report: Unmarked, a few very small scratches to the enamel, some light wear commensurate with age and useCondition Report Disclaimer
Los 450
A BRONZE PORTRAIT MEDALLION OF A WOMAN, FLEMISH OR ITALIAN, LATE 17TH CENTURY relief profile to sinister 9cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*
Los 170
A MEWAR PORTRAIT OF A HORSE WITH ITS GROOM, RAJASTHAN, INDIA, CIRCA 1800 gouache with gold on paper, the red margin with a single line of devanagari script, framed 23 x 25cm inside mount Provenance: Sotheby"s Colonnade Sale, London, lot 760 (part), 28 April 1994. The inscription has been translated: "horse [named] Sanjabraj".
Los 328
A DOUBLE-SIDED BRONZE PLAQUETTE, ATTRIBUTED TO GIOVANNI BERNARDI (1494-1553) oval, the front with a profile bust to dexter of Ludovico Ariosto flanked by raised initials LA, the reverse with the Fall of Phaeton who with his chariot tumbles from the sky 9 x 6.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* The portrait is apparently based on the frontispiece of the 1523 edition of Ariosto"s "Orlando Furioso". Bernardi 2011, p.67; for reverse, Fall of Phaeton: Bange 880; Kress 32
Los 647
ËœA PORTRAIT MINIATURE OF A LADY, ENGLISH SCHOOL, CIRCA 1790 wearing a white dress, on ivory, the glazed reverse with plaited hair border and hair-work wheat-sheaf on opalescent glass, gold frame, 6.8cm oval; together with a memorial miniature to Ann Mace, dated 1796, painted with a grieving maiden by a tomb, on ivory, blue glass reverse with central hair reserve, gilt-metal frame, 6.2cm oval (2)
Los 462
A BRONZE-GILT PORTRAIT MEDALLION OF HENRY VIII, MANNER OF HANS SCHWARZ (C.1492-AFTER 1532) in deep relief, bust almost full-face, wearing broad-rimmed hat, collar of office and St George medal on riband, laurel leaf border 10cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* See a similar medal from the Samuel H. Kress Collection, The National Gallery of Art, Washington DC, No. 1957.14.1279
Los 416
A GILT-METAL ROUNDEL OF THE VIRGIN ENTHRONED, PROBABLY 19TH CENTURY perhaps a gilt copper electrotype of a 17th century Dutch or German panel, beaded rim, double skinned, 9cm diameter; together with a cast bronze medallion of the Virgin and child inscribed, 6.5cm diameter; and a bronze deep relief portrait medallion of a Bishop Saint, possibly Carlo Borromeo, 6.5 x 5.5cm (3) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*
Los 325
A BRONZE PORTRAIT MEDAL OF CARDINAL ALFONSO LITTA OF MILAN, GIOACCHINO FRANCESCO TRAVANI (ACTIVE 1634-1675), CIRCA 1675 set in a shaped circular double sided bronze case with acanthus border, the ovolo rim interrupted by bunches of oak leaves, one bunch with branches forming a suspension loop, the reverse with a medal of a banner "SEMPER RECTUS" above a cube on a ledge, the case hinging open to reveal a dedicatory inscription on two scrolls, dated 1675, obverse signed on truncation 19 x 16.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Alfonso Michele Litta (1608-1679) was an Italian nobleman and Cardinal, Archbishop of Milan from 1652 to 1679, who raised a militia of 900 armed clerics against the 1655 invasion of the Duchy of Milan by Thomas Francis of Savoy and was known for his defence of the church"s rights against lay administrations. For another in the same elaborate case, see the collection of Applied Arts at the Musei civici del Castello Sforzesco, Milan, Inv. No.0173. For a comparable medal for Pope Alexander VII, see the Victoria and Albert Museum, No. A.28-1977.
Los 150
Ⓦ A PORTRAIT OF A MUGHAL NOBLEMAN, JAIPUR, INDIA, CIRCA 1850 gouache with gold on paper, inscription in devanagari at the top, old framer"s label and catalogue entry attached on the back of the frame 21 x 14.5cm (inside mount) Provenance: Christie"s London, 5 April 1967, lot 148. The inscriptions reads: "Maharaja Barmal Ji", probably referring to Barmal Singh of Amber (1548-1574), whose daughter married the emperor Akbar.
Los 532
• JOSE DE CREEFT (1884-1982): SELF PORTRAIT oil on canvas, signed lower right 111 x 74 excluding frame Provenance: Private European Collector, "The Seawolf Collection", Object No.186 LOTS 532 - 574: WORKS FROM THE SEAWOLF COLLECTION This private European collection was formed in the later years of the last century to exemplify the products, predominantly in silver, of the Arts & Crafts, Art Nouveau and Art Deco movements. The collector"s passion for the period 1880-1940 culminated in the showcasing of the collection at Rotterdam"s famous Museum Boijmans Van Beuningen in an exhibition titled "A Personal Touch". Held from February to April 2003 in Rotterdam, the exhibition then travelled to Ghent, Koldingshus and Munich. All the following lots feature in the exhibition"s catalogue under their "Object No." Exhibited: Museum Boijmans Van Beuningen, Rotterdam, 28 February - 20 April 2003; Design Museum, Ghent, 15 June - 5 September 2003; Museet PA Koldingshus, Denmark, 21 February - 30 May 2004; Pinakothek der Moderne, Munich, Autumn 2004. Literature: "A Personal Touch: The Seawolf Collection: late 19th- and 20th-century silver", Veena Duncker and others, Museum Boijmans Van Beuningen, Rotterdam, 2003.
Los 413
A SET OF SIX PORTRAIT MEDALLIONS OF THE WIVES OF ROMAN EMPERORS, PROBABLY ITALIAN 16TH CENTURY STYLE oval, each with a border inscribed: "Caesonia Caesar Caligulae Uxor", "Lepidaser GII Galbae Uxor", "Pompeia JULII CAES Uxor", Flavia Domicilla VespasianI Uxor", "Albia Terentia Othonis mater", "Agrippina TiberII Uxor" 11.5 x 9.5cm approximately Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* A series with the emperors is confirmed by a near complete set in the Musei Civici in Brescia (Francesco Rossi, "Musei Civici di Brescia. Placchette Sec. XV-XIX", Vicenza, 1974, Nos.166-85, and with a full discussion by Rossi). Planiscig 413-16
Los 650
ËœA PORTRAIT MINIATURE OF A GENTLEMAN, ENGLISH SCHOOL, CIRCA 1800 with short grey hair, on ivory, glazed reverse with opalescent glass reserve decorated with hair and wirework centred by a blue glass oval initialled JS, gold frame, 6.8cm oval; together with a portrait miniature of a young gentleman, English School, circa 1805, wearing spectacles, on ivory, glazed reverse with opalescent glass reserve decorated with hair and wirework with initials JC, 7.3cm oval (2)
Los 423
A BRONZE PORTRAIT MEDAL OF ANTOINE PERRENOT DE GRANVELLE (1517-1586), AFTER LEONE LEONI (C.1509-1590), PROBABLY SECOND HALF 16TH CENTURY bust to dexter, holding his crozier below the inscription ANTON PERRENOT EPI A TREBATEN, the reverse with The Earthly Paradise, a unicorn at a mountain spring surrounded by wild animals under the inscription CAETERIS·AEQVE·AC·SIBI· (For others as for him) 9.5cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Cardinal Antoine Perrenot de Granvelle, (1517-1586), according to Hugh Trevor Roper, was "the dominating Imperial statesman of the whole century… the greatest private collector of his time, the friend and patron of Titian and Leoni and many other artists" ("Princes and Artists, Patronage and Ideology at Four Habsburg Courts 1517-1633", London, 1976, p.112). The illustration on the reverse refers to Granvelle"s ambition to clean the Christian church from |Protestant contamination| (Attwood, p.103). Attwood 31; Toderi Vannel 61
![˜[GP] COLLECTION OF ANTIQUE PASTE comprising: pendant suspending a circular portrait of a baby on ivory within a foliate fram](https://cdn.globalauctionplatform.com/135c58ee-6ca3-4812-b0ca-adcc010525c3/2af06f30-321c-4136-aef6-addb0108c325/468x382.jpg)
Los 670
˜[GP] COLLECTION OF ANTIQUE PASTE comprising: pendant suspending a circular portrait of a baby on ivory within a foliate frame decorated with paste, 1900s, fitted case J A Haskell, Ipswich; paste floral and foliate stomacher, 1880s, with brooch fitting and hook fittings, diameter 65mm approximately (3 stones deficient); pair of paste foliate buttons, 1840s composite, mounted as brooches; pair of foiled paste oval buckles, 1850s; pair of rectangular foliate buckle slides with an associated slide, 1900s, makers mark VBc; pair of pendent earrings; three stone paste ring with millegrain settings, size L; and two stone paste ring with border, size Q 1/2 (13)
Los 65
Flight Barr & Barr vase by Thomas Baxter, finely painted with portrait medallions of Belisarius and Lady MacBeth verso, both medallions framed with multi-coloured jewelling, typical of the Baxter workshop, the blue ground also with neo-classical style gilding, flanked by two intertwined gilt handles and white jewelling to rim and above base, the cover with similar jewelling on blue ground and gilt knop, base with Flight Barr & Barr factory mark with titles 'Belisarius' and 'Lady MacBeth', 25cm high. Note: a similar piece by Thomas Baxter with multi-coloured jewelling sold at Bonhams in September 2021 Lot 22
Los 378
Royal ephemera related to Edward VIII, comprising a signed portrait print by Van Dyke, in a silver mounted easel back frame, together with a further silver topped walking stick with Royal cipher, and Christmas card tags to Kenneth Crisp, signed by Edward, and a press cutting relating to Horace Crisp. Provenance: Horace Crisp was a valet to Edward VIII and items passed to his son and on to the current owner. Length of walking stick 85cm long
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