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283284 Los(e)/Seite
Los 64
λ A George III portrait miniature-mounted gold brooch, the oval brooch containing a portrait miniature of a gentleman in profile and wearing full military uniform with Garter star, 2.9cm high, and an oval double loet pendant, set to one side with a silhouette miniature with gold work, depicting a European soldier in profile and ornate gold frogging, signed 'Miers by Field', 4.3cm high
Los 504
λ An early 19th century portrait miniature-mounted gold bracelet, the portrait depicting a lady with curling hair and wearing a pink dress and gold necklace (by the circle of William Egley), the frame with gold cannetille and granulation decoration on a fancy-link textured gold bracelet, miniature frame 4.5cm high, bracelet 17.5cm long, fitted case
Los 560
An early 19th century gold necklace mounted with twenty-one classical and neo-classical cameos and intaglios, each carved stone mounted in gold and separated with a circular split ring, 55cm long, fitted case by S. J. Phillips, 139 New Bond Street. 1. Sardonyx cameo, profile portrait of a man in classical dress (possibly Aristotle), 17th century, 1.8cm high 2. Sardonyx cameo, Gryllus with four heads (three of gods and one of a Ram), 17th - 18th century, 1.3cm high 3. Sardonyx cameo, Full-faced youth's head in three colours, late 17th - early 18th century, 1.2cm high4. Carnelian cameo, Talismanic gem with emblems of fertility, 2nd - 3rd century AD, 1.5cm high 5. Onyx cameo, God Cupid making an offering on an alter and observed by Psyche, 17th century, 1.4cm wide 6. Hessonite garnet cameo, Full-head portrait of Pan, possibly late Roman or Renaissance, 1.3cm 7. Dark sard intaglio, Female profile, 17th century or possibly late Classical period, 1.3cm high8. Sardonyx cameo, Young male portrait (possibly Britannicus, late 17th century, 1.3cm high9. Onyx cameo, head of the Virgin Mary, late 18th century, 1.3cm high10. Three-colour onyx cameo, portrait of the goddess Psyche, 17th century, 1.2cm high11. Sardonyx cameo, profile of an athlete wearing a taenia, 17th century, 1.2cm high12. Onyx cameo, profile of a philosopher (possibly Aristotle), late 17th - early 18th century, 1cm high13. Hessonite garnet cameo, profile of a male bust (possibly Francis Bacon), 17th century, 1.3cm high14. Sardonyx cameo, profile of a female Goddess, 18th - 19th century, 1.3cm high15. Onyx cameo, figure with sacrifice to the gods (possibly Hercules with a serpent), 17th century, 1.2cm wide 16. Onyx cameo, Standing lion, late Roman or possibly Renaissance, 1.5cm wide17. Onyx cameo, head of Athena in profile, 16th - 17th century, 1.3cm high18. Sardonyx cameo, profile of a satyr, late 17th - early 18th century, 1cm high19. Sardonyx cameo, double portrait of a beaded man and woman (possibly Antony & Cleopatra, popularised by William Shakespeare), 1.3cm high20. Onyx cameo, profile of Michaelangelo, possibly 17th century, 1.1cm high21. Sardonyx intaglio, full female mask and follower of god Bacchus, a rare female Bacchanalian memorial death mask, 1.2cm highPROVENANCE: The well detailed carved gems were all from the collection of Arthur Richard Wellesley, 2nd Duke of Wellington. The relatively small gems were considered discreet, sophisticated and highly desirable when the collection was formed.The necklace was exhibited as part of 'The Wellington Gems' by S.J. Phillips in 1977 and was listed as item 433.
Los 288
A 19th century Almanac, with vari-coloured dendritic agate leaves with gold mounts and hinged clasp, dated 1837 in Roman numerals, 6cm long; a late 18th century octagonal banded agate snuff box with gold mounts and hinged cover, and an early 19th century French false open-faced pocket watch with concealed locket compartment with miniature portrait of a young lady, the reverse with glazed locket compartment containing a miniature portrait of an older lady, the front designed as a two-dial watch face spuriously signed Breguet … Paris, 6cm wide
Los 504
‘CARVE HER NAME WITH PRIDE’, 1958 – DIRECTOR’S SHOOTING SCRIPTS AND RELATED MATERIAL (7)Twofilm scripts, one a ‘Shooting Script’, 117 pp. of mimeograph typescript in redcard covers, the front cover printed in black italic script Carve Her NameWith Pride, unannotated; a ‘Final Shooting Script’, 125 pp. of mimeographtypescript bound in red hard covers, the front cover gilt-stamped TOP FLOOR/ DIRECTOR / SCRIPTS LTD; a mimeograph typescript Call Sheet, 15 October57; an illustrated souvenir booklet; a World Premiere programme, LeicesterSquare Theatre, Thursday 20 February, 1958; three tickets to the Press Show, 19February, 1958; a black and white portrait photograph of the Second World Warspy Violette Szabo, signed and inscribed in black ink Violette Szabo. G.C. –21 x 16 cm.; and a scrapbook of press clippings.In his autobiography, All My Flashbacks, Gilbert states that Carve Her Name With Pride “turned out to be one of my favourite films”. The film tells the true story of Violette Szabo, a spy in the Second World War. An Englishwoman who married a French man, Violette also had a French mother and spoke the language fluently. When her husband was killed at El Alamein in 1942, only months after their wedding, Violette channelled the grief at her loss into a determination to help the war effort and was eventually sent to occupied France as a spy. After numerous heroic endeavours, she was captured and interred in Ravensbruck concentration camp where she was tortured and, tragically, died. In 1946 she was posthumously awarded the George Cross. Violette was played by Virginia McKenna, who received a BAFTA nomination for ‘Best Actress’ for her portrayal of the spy. After the film came out, Gilbert recalls Alfred Hitchcock telephoning him to see if he could persuade McKenna to consider changing her mind about becoming the next ‘Hitchcock blonde’ (she had already turned him down); Grace Kelly had retired to marry Prince Rainier of Monaco and Hitchcock needed a new leading lady, but McKenna wasn’t interested in stepping into the role as she wanted to devote time to her own young family.Photograph Sold Without CopyrightLiterature: GILBERT, Lewis All My Flashbacks, The Autobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds & Hearn, London, 2010Bellmans isgrateful to Wallace & Hodgson for their assistance with cataloguing theLewis Gilbert Film Script and Production Archive.
Los 512
JAMES BOND, ‘THE SPY WHO LOVED ME’, 1977 – PHOTOGRAPHAlarge black and white portrait photograph of Lewis Gilbert on the set of TheSpy Who Loved Me, the verso with handwritten label attached inscribed in anunknown hand Martin Godwin / Guardian Picture Desk…[see also Lot 520] -29.2 x 36.8 cm. The famous set Gilbert is pictured on was known as the “Jonah Set” built specifically for The Spy Who Loved Me to house Ken Adam’s astonishing design for the interior of the villain, Karl Stromberg’s, super tanker the Liparus. It was the largest soundstage and studio water tank in the world. Adam’s shimmering set contained three five-eighths-scale nuclear attack submarines, seen behind Gilbert in the photograph; also an armoured control room, catwalks, a monorail, assembly and weapons rooms. $1 million dollars of the film’s $13.5 million budget was spent on building this set which became one of the most celebrated motion picture interiors of all time.Sold Without CopyrightConditionReport: Some light rubbing to edges and corners,some light surface wear; overall very goodBellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.
Los 520
JAMES BOND, ‘THE SPY WHO LOVED ME’, 1977 – PHOTOGRAPHAlarge black and white portrait photograph of Lewis Gilbert on the set of TheSpy Who Loved Me, uncredited but taken by Martin Godwin from the GuardianPicture Desk [see Lot 512] - 29.2 x 36.8 cm. The famous set Gilbert is pictured on was known as the “Jonah Set” built specifically for The Spy Who Loved Me to house Ken Adam’s astonishing design for the interior of the villain, Karl Stromberg’s, super tanker the Liparus. It was the largest soundstage and studio water tank in the world. Adam’s shimmering set contained three five-eighths-scale nuclear attack submarines, seen behind Gilbert in the photograph; also, an armoured control room, catwalks, a monorail, assembly and weapons rooms. $1 million dollars of the film’s $13.5 million budget was spent on building this set which became one of the most celebrated motion picture interiors of all time.Sold Without CopyrightConditionReport: Some light rubbing to edges and corners,crease to lower left corner appox. 14 cm. long; two smaller creases to topedge; small tear to lower edge approx.. 1 cm. long; overall good. Footnote: The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007series, initiated a number of records for the James Bond franchise. It wasCubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, andhe was determined that it should become the biggest and best Bond yet. From the outset, the film’s path to successwas beset with numerous difficulties and the screenplay itself went throughmore adaptations and revisions than any production during the 40-year historyof 007 on screen. Problems began with Ian Fleming’s source material for thefilm’s title. Like the movie, it was Fleming’s tenth Bond novel in order,however it represented a departure from Fleming’s usual 007 format in that itis told from the viewpoint of a young Englishwoman who only meets the famousspy in the last few chapters of the book. For this reason, Fleming never wantedthis book to be sold as a film project. His estate, however, gave Broccolipermission to use the novel’s title only. The book and film do also share onesignificant common element – Jaws, whois loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth.Nevertheless, the screenplay for The Spy Who Loved Me is considered tobe the first Bond film whose story is completely original. After a visit toRussia, Broccoli devised a plot for a new story which suited the film’s title and focused on a beautifulRussian agent who falls in love with James Bond. It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film script archive, it appears that just over half of the fifteen screenplay versions are represented between lots 13-18.Looking through the different variations of treatments and screenplays for The Spy Who Loved Me, a large proportion of which are represented in this collection, in the words of film historian Steven Jay Rubin they : “…offer a textbook look at script development…the material is priceless, since it allows the reader to see how typical Bondian situations are workshopped…” Literature:RUBIN, Steven Jay Spy Who Loved Me Script Wars in The James Bond Movie Encyclopaedia, Chicago Review Press Incorp. Chicago, 2021GILBERT, Lewis All My Flashbacks The Autobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds & Hearn, London, 2010FIELD, Matthew & CHOWDHURY, Ajay Some Kind Of Hero, The Remarkable Story of The James Bond Films, Cheltenham Glouc., 2015The Spy Who Loved Me Script History www.M16-HQ.comwww.IMDB.com Bellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.
Los 60
Seif Wanly (Egypt, 1906-1979)Blue Self-Portrait gouache on paper framed signed 'Seif Wanly' (lower right), inscribed 'dedicated to my student with many thanks' and dated '21/10/61' on the verso in Arabic, executed in 196119.2 x 13cm (7 9/16 x 5 1/8in).Footnotes:Provenance:Property from the collection of Dr Angelo Gioe, cultural attaché at the Italian Cultural Institute, Cairo 2003-2007This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 47
Effat Naghi (Egypt, 1905-1994)Saad and Effat in their Garden oil on panel, framedsigned 'EF' (lower right), further inscribed 'Effat Naghi, Saad and Effat in their garden, 121 x 95cm, oil on panel' on verso in English and Arabic, executed circa 1970s121.1 x 95.5cm (47 11/16 x 37 5/8in).Footnotes:A LARGE AND MAGNIFICENT SELF PORTRAIT OF EFFAT NAGHI AND HER HUSBAND SAAD EL KHADEM Provenance:Property from the collection of Dr Angelo Gioe, cultural attaché at the Italian Cultural Institute, Cairo 2003-2007Acquired from Safar Kahn, circa 2004Exhibited: Safar Khan Gallery, Effat Naghi and Saad El Khadem, 2004, Cairo'During the 1960s and 1970s, Effat freed herself from the conventional mediums of most of her contemporaries and produced her most creative and celebrated works' The present work is a large, majestic, and exquisitely rendered self portrait of the Egyptian artist Effat Naghi and her husband Saad El Khadem and one of the most expressive works by the artist to come to auctionHaving begun art lessons as a teenager, Effat found personal and professional success later in life, marrying at the age of 40 and beginning her formal art education two years afterward. In 1945, she married the researcher, writer, and painter Saad Al-Khadem, and from 1947 to 1949, she studied sculpture, fresco painting, and decorative arts at Rome's Accademia Di Belle Arti. Effat outlived both her husband and her brother, carrying on their artistic legacy and promoting the exhibition of their work.Effat Naghi's art shares a conceptual current with the work of the two most important male artists in her life. The first generation of fine artists in modern Egypt, to which Mohamed Naghi belonged, agitated for the revival of Egyptian folkloric heritage in the 1920s, responding largely to nationalistic sentiment surrounding Egyptian independence (1922). In the 1950s, as Egyptians grew increasingly fed up with Britain's continued involvement in their country's governance, Saad El Khadem undertook extensive studies of the same subject and wrote about it at length. While Effat Naghi's work also deals with Egyptian visual heritage, it differs from the oeuvres of Mohamed Naghi and Al-Khadem insofar as it defies the limited modes of academic painting privileged in Egypt during the first half of the 20th century.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
![Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. escallop [14 February 1585 to 30 May 1587] ELIZABETH · D’· G’·](https://cdn.globalauctionplatform.com/db4950eb-e8e0-4cc3-a71f-adc801148e06/a0a1caee-eafa-497f-8657-adc900d0e60e/468x382.jpg)
Los 18
Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. escallop [14 February 1585 to 30 May 1587] ELIZABETH · D’· G’· ANG’· FRA’· ET · HIB’· REGINA ·, pellet to right of mint-mark Queen seated on ornamented throne, holding orb and sceptre; back of throne adorned with fine lattice work enclosing pellets, pillars decorated with annulets and double pellets, chained portcullis below breaking ornate tressure A · DNO’· FACTV’· EST · ISTVD · ET · EST · MIRAB’· IN . OCVLIS · NRS’· Royal arms in centre of Tudor rose 15.08g/232.7gr/3h Holloway 11-12-002 [of 3 coins with this die combination recorded by the late owner]; Brown/Comber A12; SCBI Schneider 780-1; N 2003; S 2529 Crease mark, otherwise good very fine, excellent detail to Queen’s portrait and back of throne £20,000-£30,000 --- Provenance: Abner Kreisberg/Hans Schulman Auction (New York), 3-4 April 1959, lot 2059 UBS Auktion 67 (Zurich), 6-8 September 2006, lot 2958
Los 28
Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. crescent (over escallop both sides) [1 June 1587 to 31 January 1590] ELIZABETH · D’· G’· ANG’· FRA’· ET · HIB’· REGINA · Queen seated on ornamented throne, holding orb and sceptre; back of throne adorned with fine lattice work enclosing annulets, pillars decorated with annulets and double pellets, chained portcullis below breaking ornate tressure · A · DNO’ FACTV’· EST’· ISTVD · ET · EST · MIRAB’· IN OCVLIS · NRS’· Royal arms in centre of Tudor rose 15.11g/233.2gr/6h Holloway 10A-17A-001 [the only coin with this die combination recorded by the late owner]; Brown/Comber A19, this coin; SCBI Schneider –; RCL 1952, this coin; N 2003; S 2529 Slightly buckled, portrait weak and some double-striking in legend, otherwise about very fine £10,000-£15,000 --- Provenance: R.C. Lockett Collection, Part II, Glendining Auction, 11-17 October 1956, lot 1952 T.W.J.D. Dupree Collection bt Spink August 1989
![Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. tun [1 February 1592 to 10 June 1593] ELIZABETH · D’· G’· ANG’](https://cdn.globalauctionplatform.com/db4950eb-e8e0-4cc3-a71f-adc801148e06/0a269371-cdd3-4f77-9880-adc900d0ce49/468x382.jpg)
Los 32
Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. tun [1 February 1592 to 10 June 1593] ELIZABETH · D’· G’· ANG’· FRA’· ET · HIB’· REGINA . Queen seated on ornamented throne, holding orb and sceptre; back of throne adorned with fine lattice work enclosing pellets, pillars decorated with pellets, chained portcullis below breaking ornate tressure A’· DNO’· FACTV’· EST · ISTVD ET · EST · MIRAB’· IN . OCVL’· NRS’. Royal arms in centre of Tudor rose 15.14g/233.7gr/8h Holloway 18-24-034 [of 50 coins with this die combination recorded by the late owner]; Brown/Comber A26; SCBI Schneider 783 and Comber 24, same dies; N 2003; S 2529 Creased and with resulting surface crack, otherwise good very fine, excellent and well-struck portrait £14,000-£18,000 --- Provenance: SNC March 1976 (1834)
![Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. escallop [14 February 1585 to 30 May 1587] ELIZABETH’· D’· G’·](https://cdn.globalauctionplatform.com/db4950eb-e8e0-4cc3-a71f-adc801148e06/6832dac6-0b9d-435e-aa89-adc900d0d8ad/468x382.jpg)
Los 26
Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. escallop [14 February 1585 to 30 May 1587] ELIZABETH’· D’· G’· ANG’· FRA’· ET · HIB’· REGINA · Queen seated on ornamented throne, holding orb and sceptre; back of throne adorned with fine lattice work enclosing annulets, pillars decorated with lis and double pellets, chained portcullis below breaking ornate tressure · A · DNO’ FACTV’· EST · ISTVD · ET · EST · MIRAB’· IN OCVLIS · NRS’· Royal arms in centre of Tudor rose 15.34g/236.8gr/6h Holloway 16-17-001 [of 5 coins with this die combination recorded by the late owner]; Brown/Comber A15; SCBI Schneider 780-1; N 2003; S 2529 Small edge crack at 12 o’clock, crease mark through centre and portrait flat, otherwise about very fine, well-centred and round £8,000-£10,000 --- Provenance: A Series of English Hammered Gold Coins, Glendining Auction, 13 March 1975, lot 64 Glendining Auction, 28 June 1978, lot 6
![Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. escallop [14 February 1585 to 30 May 1587] ELIZABETH · D’· G’·](https://cdn.globalauctionplatform.com/db4950eb-e8e0-4cc3-a71f-adc801148e06/8531f4e9-9152-4b7c-b3ee-adc900d0de17/468x382.jpg)
Los 23
Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. escallop [14 February 1585 to 30 May 1587] ELIZABETH · D’· G’· ANG’· FRA’· ET · HIB’· REGINA ·, pellet to right of mint-mark Queen seated on ornamented throne, holding orb and sceptre; back of throne adorned with fine lattice work enclosing pellets in annulets, pillars decorated with pellets, chained portcullis below breaking ornate tressure A · DNO’· FACTV’· EST · ISTVD · ET · EST · MIRAB’· IN . OCVLIS · NRS’· Royal arms in centre of Tudor rose 15.23g/235.1gr/10h Holloway 14-16-003 [of 3 coins with this die combination recorded by the late owner]; Brown/Comber A18 var.; SCBI Schneider 781, same dies; N 2003; S 2529 Edge crack between 4 and 5 o’clock and an edge nick at 8 o’clock, some minor discolouration and the letter ‘A’ scratched on Queen’s lower drapery, otherwise very fine with a good well-defined portrait, the balance of the drapery unusually clear £12,000-£15,000 --- Provenance: C.E. Gilhousen Collection, Part II, Superior Auction 9 (Los Angeles), 11-14 June 1973, lot 904 SNC November 1974 (7076) UBS Auktion 14 (Basel), 29-30 January 1985, lot 1393 UBS Auktion 34 (Basel), 25-7 January 1994, lot 1886 bt Knightsbridge Coins November 1994
![Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. escallop [14 February 1585 to 30 May 1587] ELIZABETH · D’· G’·](https://cdn.globalauctionplatform.com/db4950eb-e8e0-4cc3-a71f-adc801148e06/3fbe639d-4b9e-48d2-9bb3-adc900d0e446/468x382.jpg)
Los 19
Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. escallop [14 February 1585 to 30 May 1587] ELIZABETH · D’· G’· ANG’· FRA’· ET · HIB’· REGINA ·, pellet to right of mint-mark Queen seated on ornamented throne, holding orb and sceptre; back of throne adorned with fine lattice work enclosing pellets, pillars decorated with annulets and double pellets, chained portcullis below breaking ornate tressure, from the same die as previous A · DNO’· FACTV’· EST · ISTVD · ET · EST · MIRAB’· IN · OCVLIS · NRIS’· Royal arms in centre of Tudor rose 15.51g/239.3gr/4h Holloway 11-13-008 [of 18 coins with this die combination recorded by the late owner]; Brown/Comber A12; SCBI Schneider 780-1; N 2003; S 2529 Portrait somewhat weak and a nick in obverse edge at 6 o’clock, otherwise very fine, reverse better and with good detail £15,000-£20,000 --- Provenance: W.E. Grundy Collection, Glendining Auction, 30 April 1931, lot 30 Norweb Collection, Part II, Spink Auction 48, 13 November 1985, lot 363 [from Baldwin February 1956]
Los 13
Attributed to Baccio (Bartolommeo) Bandinelli (Italian, 1493-1560): A good mid-16th century Florentine carved white marble oval profile portrait relief of a gentlemanpossibly depicting the Duke Cosimo I de'Medici the sitter with curling hair and beard and elaborate scroll embroidered collar, 34cm high x 26cm wide overallFootnotes:Baccio or Bartolommeo Bandinelli, actually Bartolommeo Brandini (1493-1560) was a Renaissance Italian sculptor, draughtsman, and painter.Comparative literatureVolker Krahn in, Baccio Bandinelli, Scultore e Maestro (1493-1560), exh. cat, ed. Detlef Heikamp and Beatrice Paolozzi Strozzi, Museo Nazionale del Bargello, Florence, 2014, pp. 352-55, nos. 26-27 (the small bronze busts); compare for the large busts of Cosimo in marble and bronze, pp. 304, no 17 and p. 310, no.20); for a 'young' marble bust in New York, p, 582, no. XI; and for a chalk portrait of Cosimo in three-quarters view, pp.42-21, no 53.The imageThis intimately conceived portrait oval is of good quality and is possibly from the world of the great Medicean sculptor and bitter rival of Cellini, Baccio Bandinelli. The chips at the edge of the oval edge suggest it might have been roughly prised out of a tight frame or setting into a wall, perhaps on a Mannerist tomb or mantelpiece.The subject, wearing a contemporary lace-trimmed collar, resembles Cosimo I de' Medici, who was Bandinelli's employer as a court sculptor, though the profile of the nose varies slightly from other marble portraits and small bronze medals commemorating the Duke's reign and principal successes in public architectural and sculptural projects. Bandinelli's career and aspirationsBorn eighteen years after Michelangelo (1475-1564) who was his hero and the target of his emulation and seven years before Cellini (1500-1571) who conversely was his arch-rival, enemy and nemesis in terms of reputation, Bandinelli was a major sculptor of the High Renaissance in Florence and later in Rome. It was however his fate to be overshadowed by the 'divine' and 'terrifying' Michelangelo however hard he tried to match his achievements and to be blackguarded by the jealous Cellini in his autobiography. Bandinelli's and Cellini's professional rivalry and personal animosity famously deteriorated into schoolboy behaviour with the two making rude gestures and shouting insults at one another in the street much to the disapproval of the strait-laced Spanish grandee and Duchess, Eleonora da Toledo. To add to Bandinelli's misfortunes on the public relations front, Giorgio Vasari, painter, impresario of Medici commissions and latterly biographer of Florentine artists, also took against him, on account of his social pretensions and obsession with outdoing their joint hero, Michelangelo. In artistic terms this led him obsessively to produce self-portraits, emphasising his status as a Florentine aristocrat and a Knight of the Order of Santiago.The Identity of the sitterBandinelli's oeuvre in marble is to be found mainly in Florence and Rome, runing to some twenty commissions comprising many individual statues and reliefs (e.g. the 88 panels of the choir enclosure in Florence Cathedral, some of which are signed and dated 1555) as well as several portrait-busts or reliefs of Duke Cosimo made in rivalry with Cellini, and of the Duke and his wife on their tomb in SS, Annunziata, as well as other distinguished, affluent or noted Florentines.The depiction of the gentleman on the present oval for which no very distinguished provenance can be claimed at present closely resembles a similarly small portrait relief of Cosimo that seems to have been cut down into a neat rectangle of even smaller size - 22 x 17.5cm (Fig. 1). The two portraits share the same intense stare which seems to have been a specific feature of the sitters face with the eyes sometimes shown as exophthalmic, perhaps owing to an over-active thyroid. This comparable turned up in the posthumous sale of the distinguished collection of Giorgio Uzielli (1903-1984) after the death of his widow at Sotheby's New York on the 26 January 2012, lot 303. A decade or so later the same relief was subsequently re-offered at Christie's New York, on 22 April 2021 catalogued more positively by Eike Schmidt (Director of the Uffizi Gallery in Florence) and Janet Sisk as 'attributed' to Bandinelli, rather than to 'his workshop'. The unusually bulbous line of the upper forehead (with a shock of hair combed forward over it) rising above a distinct indentation is very close to the Uzielli image. As such if this is also a portrait of the Duke, it could be that the slightly aquiline ridge of the nose here is truer to the sitter in real life with the straighter and thus more flatteringly Grecian and 'ideal' line shown on most of his portrait depictions. Here the chin is strong and firm although perhaps a little less projecting than in the other portraits and the hair of the beard is less closely cropped and more curling.For further information on this lot please visit Bonhams.com
Los 31
A large Italian third quarter 18th century giltwood armchair or throne chairof Venetian originThe frames carved with acanthus, rocaille, flowers, shells, foliate wrapped C- and S-scrolls and a cabochon, surmounted by a Corno Ducale (Doge hat) and flanked to each end by an 'Atlas' putto, above volute scrolled arms, over a shaped seat frame centred by a lambrequin canopy, on 'Atlas' putto figural and C-scroll front legs, with cabriole rear legs terminating in scroll feet, the reverse applied with a small oval metal plate engraved: '7486', re-gilt, significant wear to the leather seat, 105cm wide x 96cm deep x 169cm high, (41in wide x 37 1/2in deep x 66 1/2in high)Footnotes:A related pair of Venetian 18th century giltwood side chairs, made for Paolo Renier (1710-1789), who served as the last Doge of Venice until his death in 1789, sold Christie's, London, 10 June 2004, Important European Furniture, lot 21. Also, a pair of side chairs evidently forming part of the same commission had previously sold Christie's London, 15 December 1994, lot 559.These comparables formed part of a suite of furniture which was originally supplied to Paolo Renier before 1779. This is known because a portrait of Renier dressed in his official robes as the newly appointed Doge, by Ludovico Gallina (now in the Museo Civico, Padua), depicts Renier with a console table and armchairs from this suite, while the painting itself dates to 1779. Both this oil on canvas, as well as two side chairs and one of the armchairs from the Renier suite, are illustrated in A. Gonzalez-Palacios, Il Tempio del Gusto, Le Art Decorative in Italia fra Classicismi e Barocco, Vol. II, fig.s 770-772 & 776, pp.'s 365-368. Of additional interest is another very similar Gallina portrait of Renier, depicted in 'full garb' as Doge, which is set within an elaborate contemporary carved giltwood frame crowned by a 'Corno Ducale' (or Doge's hat), that is very close in terms of its execution and relative size to the one surmounting the offered lot, Ibid, Vol. II fig. 778, p. 369. The Ca'Rezzonico and Cini Collection, both in Venice, house other chairs from this historic suite, whilst additional examples from the set can be seen at the Wallace Collection (illustrated in F.J.B. Watson, Wallace Collection Catalogues: Furniture, 1956, fig. 491-2, pl. 36) and other private collections. A further group of associated armchairs were sold as part of the Donna delle Rose Collection, Venice, 1934, lots 364-371. In this sale catalogue, G. Lorenzetti and L. Planiscig dated the suite to the first quarter of the 18th century and attributed its execution to the sculptor Antonio Corradini (1688-1752) due to the stylistic similarities between this furniture and fragments of the last state barge (Bucintorr), which was also claimed to be by Corradini. However, Alvar González-Palacios suggests that the suite is unlikely to be by Corradini but instead it could be the output of a single anonymous workshop, also dating the work to the third quarter of the 18th Century, by which time Corradini had died, Ibid, Vol. I, fig. LIV, pp.'s 333-341.LiteratureA. Gonzalez-Palacios, Il Tempio del Gusto, Le Art Decorative in Italia fra Classicismi e Barocco, Vol.'s I & II, 1986, Milan.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 47
A 19th century enamel and diamond set memorial miniature pendant/brooch, the oval miniature painted with the portrait of a lady wearing a turban, pearl necklace and earrings, possibly on ivory, to an openwork foliate scroll frame with graduated old and rose-cut diamonds in foiled closed-back settings, heightened with blue enamel and old-cut diamond set bosses to the cardinal points, the reverse with glazed hairwork compartment to an opalescent enamel ground, brooch fitting possibly later, length 6.45cmCondition report: Dust/dirt residue and occasional light scuffs to miniature panel, scuffs and nicks to glazing, length of panel 3.8cm. Diamonds have a typically greyish appearance with variable colour and clarity, some stones with chips/fractures, but give an overall lively appearance. Some of the foil backing has patchy discolouration and occasional stones may be later replaced. Largest old-cut diamond weight approx. 0.04ct. Scuffs and nicks to blue enamel bosses. The opalescent enamel to the reverse is fractured and crazed and the hairwork compartment has dust/dirt residue. General wear, scratches, scuffs, nicks and chips to mount, commensurate for age and use, with patchy tarnishing and rubbing to engraved decoration on reverse. The mount is untested but appears to be a silver and gold combination. The brooch catch requires repair/adjustment. Gross weight approx. 30gm.
Los 50
A collection of jewellery, comprising a 19th century hardstone cameo brooch, carved to depict a classical portrait profile, with half pearl border, verso inscribed, later fittings, a pair of Austro-Hungarian ear pendants, each pierced hoop decorated with flowerheads and scrolls in shades of blue, white and black enamel, suspending a fringe of seed pearl drops, on hinged wire fittings, indistinctly marked, and two further cameos, (all pearls untested for origin), first brooch length 2.5cm (4)
Los 504
A 19th Century tortoiseshell necessaire, the rectangular case with engraved silver inset plaque to the lid, the interior fitted with a range of mother o'pearl handled and steel accessories, 15cm wide, a Continental silver and mother o'pearl oval patch box, centred with an oval enamel portrait plaque, 7cm long, and a pair of folding spectacles with gilt metal mounts. (3)
Los 204
Fleetwood Mac & John Mayall: A group of Photographs And Autographs,1967/1969,comprising: Fleetwood Mac - a small German magazine page signed in black ink and blue ballpoint by Peter Green, Mick Fleetwood, John McVie, Jeremy Spencer and Danny Kirwan; together with 10 modern black and white prints and 36 negatives, taken at the concert, rehearsal and wardrobe at the ABC theatre in Copenhagen, 1967, sold with copyright via deed of assignment;John Mayall - a portrait poster painted in pointillism style, signed in black marker by John Mayall, together with black and white photographs of him in concert, in Munich, 1969, 69 modern prints and 83 negatives, sold with copyright via deed of assignment, artwork 17 1/2in x 24in (44.5cm x 61cm)Footnotes:Provenance:Offered by the artist/photographer.For further information on this lot please visit Bonhams.com
Los 257
The Rolling Stones: An autographed copy of the book therollingstonesabiggerbang,Uptownedition, 2005, hardcover, signed in black marker on their individual portrait pages by Mick Jagger, Keith Richards, Ronnie Wood and Charlie Watts, Keith and Charlie adding date of '06This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 342
Mick Rock (British, born 1944): David Bowie, Beverly Hills,1972, printed later,a full-length black and white portrait, signed in pencil by the photographer and inscribed 2/30/100, framed and glazed, image size 16in x 23in (40.5cm x 58.5cm)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 554
Roman AE coins (20): Diocletian AE Follis, rev Genio Populi Romani, ANT in ex, the remainder Antoninianii or AE 3/4 types, AD 244-378, but including including Postumus Antoninianus, rev Moneta Avg, VF (good portrait, slight crack in flan); Licinius AE3, reverse Iovi Conservatori Avgg, ALE in ex, EF; another AE3, reverse Soli Invicto Comiti, ST in ex. NVF, small patch of verdigris to obv.) £40-60
Los 553
A small packet of 34 coins, medallions etc including: Henry III hammered AR penny, Canterbury Mint, about Fine, weak portrait; Coventry AE ½ penny token 1792, NVF cleaned; USA large cent 1847 VF; Nova Scotia ½ penny token 1832, fair/fine; a French agricultural medal of merit in gilt and enamels 1883, some enamel loss otherwise VF; WWII Freemasons Hospital medal VF and 28 sundry other pieces. Average Fair to VF. £30-40
Los 193
oval, watercolour on ivory within later oval frames, inscribed verso WM. SMITH/ ABBEY HOUSE/ KELSO and JOHN SMITH/ ABBEY HOUSE/ KELSO, each 6.5cm x 5cm; together with FOUR PORTRAIT MINIATURES, of the Boog/ Kynnier family to include the portrait of Robert Boog (1757-1812), watercolour on ivory, framed, 8cm x 6cm; Lieutenant Kynnier R.N., watercolour on ivory, framed, 6cm x 4.3cm; Mr William Kynnier, oval, watercolour on ivory, framed, 6.5cm x 5cm; and Captain William Kynnier R.N., oval, watercolour on paper, framed, 7cm x 5.5cm6.5cm x 5cmFootnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside Great Britain, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
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