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283322 Los(e)/Seite
Los 1161
GEORGE BEST A collection of related items including George Best's Soccer Annual No. 1 1968, a large sketch portrait by Rex Benlow issued by Football Supporter magazine, 6 X Famous Footballer magazines with Best on the cover of issue 1, Ty-Phoo card 1969, 1970 World Cup Preview and Purnell Star Team Series No. 1 Manchester Utd. with Best on the cover. Generally good
Los 1286
MAN CITY A collection of 185 Manchester City home (102) and away (83) programmes 1957-2003 the vast majority from the 1960's. Includes a couple of Home Reserves from the late 1950's, Charity Shield 1968 home to West Brom and 1969 at Leeds plus 32 Homes and Aways from the Championship winning side of 1967/68. Comes with a pennant from the 1969 FA Cup triumph along with a London Evening News colour supplement, a signed menu from the Manchester City Junior Blues dinner in 1986 and 14 Colour Portrait Press Photos of City players of the 1990's. Some duplication. Generally good
Los 372
MIDDLESBROUGH Six black & white Press photographs: 7" X 5" Wilf Mannion in action in the Reds v Whites match, 8" X 5" Mannion portrait slightly creased, 8" X 5" action shot from 1930's creased and slightly torn, 8" X 6" action at home v. Arsenal 1930's, 8.5" x 6.6" action at home v. Stoke 1950's creased and 9" X 7" team group from the 1950's creased, torn and tape on the back. Fair
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Queen Elizabeth II, Sovereign, 2002, Crowned head r. obverse portrait by Ian Rank-Broadley, R. The Shield of Arms of Our United Kingdom of Great Britain and Northern Ireland within an open wreath of laurel and ensigned by Our Royal Crown and beneath the date of the year, reverse by Timothy Noad, struck in 22 carat gold, weight 8g, BU.
Los 28
Hattons of London, The Double Portrait, Gold Sovereign Series, 2017, Tristan da Cunha, featuring a sovereign, half-sovereign and quarter sovereign, each with a Double Portrait of Queen Elizabeth II and Prince Philip on the obverse and the shields armorial of both on reverse, struck to commemorate the Platinum Wedding Anniversary of Queen Elizabeth II and Prince Philip in 2017, each 22 carat gold, in original presentation case with certificate.
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2016, Proof One Penny, Jersey, weight 4g, diameter 20.30mm, struck in 375/1000 gold, with obverse 90th Birthday Portrait by Luigi Badia, in original box of issue with certificate, numbered 79/495, together with 2015 Longest Reigning Monarch Datestamp, 1/10 oz Britannia, weight 3.13g, struck in .9999 gold, with obverse portrait by Ian Rank-Broadley, from an edition of 500, in original box of issue with certificate (2).
Los 38
David Wilkie Wynfield (British, 1837-1887)The New Curate signed and dated 'D. W. Wynfield/1876' (lower right)oil on canvas88.5 x 140cm (34 13/16 x 55 1/8in).Footnotes:ProvenancePrivate collection, Italy.ExhibitedLondon, Royal Academy, 1876, no. 101.Paris, Universal Exposition, 1878. LiteratureReports of the United States Commissioners to the Paris Universal Exposition, 1878, vol. 1, p. 62.The Art Journal, 1880, New York, D. Appleton & Co. Publishers, vol. 6, p. 121.David Wilkie Wynfield painted and exhibited historical and literary subjects at the Royal Academy from 1859. His great uncle and godfather was the Scottish painter Sir David Wilkie. Wynfield was born in India in 1837 and after his family moved back to London in 1856, he enrolled at the art school run by James Mathew Leigh. He became associated with the St John's Wood Clique, a group of artists who would meet regularly to discuss the ideas explored in their practice. Notably, Philip Hermogenes Calderon, George Dunlop Leslie and Henry Stacy Marks were members. Wynfield became interested in photography and developed a technique of shallow-focus portrait photography. Among those he captured were Frederic Leighton, George Frederic Watts, Simeon Solomon and Alphonse Legros. In the present lot, the artist depicts a welcome tea party for the new curate. The curate, positioned to the left of the composition, slightly back from the table, is politely engaged and inclined forward, as the mother surveys closely. Her two daughters, beautifully attired, admire from the other end of the table. The painting was well received and exhibited not only at the Royal Academy but then at the Paris Exposition two years later, the same year as William Powell Frith's renowned exhibit The Derby Day. A description of the present lot, by the United States Commissioners to the Paris Universal Exposition, reads as follows: 'Among the scenes of ordinary life and family interiors, may be mentioned The New Curate by Mr. D. W. Wynfield, which is an elaborate representation of a very commonplace subject, painted with extreme clearness and precision, but with a certain quiet sense of humor and character'. Another contemporary review of the work - in The Art Journal - confirms the significance of a new curate in an English country village and how in the present depiction, the curate under 'the very penetrating glances of this sweet-looking matron and her bright-eyed daughters...bears the ordeal unflinchingly'. The review continues: 'The chief characteristics of the picture are truthfulness and simplicity; nothing is either exaggerated or out of harmony. Mr. Wynfield has wisely adhered closely to his subject, and the interest is in no way divided, the accessories being as unobtrusive and free from extravagance as the whole subject. A more pleasant and homelike picture of English country life could not readily be seen. Mr. Wynfield's well-earned reputation as a healthy realist painter is thoroughly sustained'.The present lot was engraved by Herbert Bourne (1820-1907) and printed by D. Appleton & Co., New York. The engraving was illustrated in The Graphic, volume XIII, no. 346, 15 July 1876.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Los 62
Felice Schiavoni (Italian, 1803-1881)Portrait of Ropen Carabit signed and dated 'Schiavoni/Ft 1824' (centre right)oil on canvas76.2 x 55.9cm (30 x 22in).Footnotes:We are grateful to Professor Fernando Mazzocca for confirming the attribution to Felice Schiavoni on the basis of photographs.Felice Schiavoni was born in Trieste and was taught to paint by his father, the renowned artist Natale Schiavoni (1777-1858). He subsequently attended the Brera Academy in Milan, and was later awarded a prize and medal by Tsar Nicholas 1 of Russia. During his artistic career, he completed a large number of commissions for Russian patrons in Venice, and also painted altarpieces for churches in Trieste, Istria and Chioggia. Schiavoni painted the present lot, a majestic and ceremonial portrait, in 1824. The sitter is 24-year-old Ropen Carabit, a native of Arabkir, depicted in Ottoman-style dress. As Master of Stables, in February 1824, Carabit journeyed from Aleppo in Syria to the Port of Trieste; his task was to accompany eight Arabian horses, a gift from the Imperial Austrian Royal Consul in Aleppo to His Majesty the Emperor and King. Arab horses were a prized possession in Europe and coveted by Imperial stables for use as cavalry mounts and personal steeds for monarchs (memorably, Napoleon Bonaparte rode an Arab stallion called Marengo). Wealthy individuals stationed in Aleppo had access to Arab horses through the Bedouin Tribes. As John A Shoup III notes in his book The history of Syria, 'Aleppo was also an important market for Bedouin horses and quickly became a supplier for Europeans wanting to improve European breeds of horses, particularly for cavalry mounts. European consuls paid high prices for Arabian stallions brought in by Bedouins, often fresh from tribal raids'1.In 1784, Raffaele de Picciotto, a Jewish Merchant from Livorno, was appointed as Imperial Royal Honorary consul in Aleppo; the first of the longest serving family to act as consuls to the Emperor, a line only ending in 1894; he was appointed a Knight of the Austrian empire in 1806. Throughout the 19th century, the de Picciotto family also served as representatives in Aleppo of many other states and countries, including Tuscany, Russia, Prussia, Holland, Belgium and the United States. One member of the family, Moise de Picciotto, had a diplomatic uniform for five different countries, as he was consul in Aleppo for Austria, Prussia, Denmark, The Netherlands and Belgium. 2A Certificate of Donation dated 25 November 1805, recorded in the de Picciotto family archives, demonstrates that an entourage of eight Arabian horses had been gifted to the Emperor ('His Imperial and Royal Apostolic Majesty of Austria') from Raffaele de Picciotto, prior to the present lot being painted. Raffaele emigrated to Tiberias in 1818, and therefore the repeat of such a generous and impressive gift was most likely ordered by Raffaele's son, Elijah, who took over as Austrian consul from his brother Ezra, who had tragically died in the earthquake of Aleppo in 1822. As subjects of European monarchs, the consuls held unique positions in Aleppo. They were primarily used by Aleppo factions to communicate with the Ottoman authorities, other local factions as well as the foreign governments they represented.4 Notably, the consuls were exempted from Ottoman taxes and were charged with giving protection to Austrian citizens. In addition, they could also assist 'fellow Aleppans gain the rights of foreign nationals in the Ottoman Empire'. 3 The power and prosperity of the Austrian Consul (especially from the many debts they were owed) allowed them to obtain 'great consideration for the Jews of the city'5. Consuls in Aleppo were sources of information, innovations and useful for hospitality, and in addition there was an established history of providing exotic and rare gifts. Remarkably, in 1668 the French consul sent gazelles, canes and pistachios to Louis XIV's minister Colbert. 6 Aleppo was a highly influential trading hub at the time, between Iran, Iraq and Europe. Its central location served as the transit point for goods - especially prior to the opening of the Suez Canal. At a crossroads of trade routes, Aleppo was also a natural destination for travellers. A diary from 1863, written by Bayard Taylor, explores the unique society of Aleppo at the time. He suggests that the 'peculiarity in society is evidently a relic of the formal times, when Aleppo was a semi-Venetian city, and the opulent seat of Eastern commerce.' He describes the etiquette and procedure for foreign visitors arriving in Aleppo: 'formerly, when a traveller arrived here, he was expected to call upon the different Consuls, in the order of their established precedence: the Austrian first, English second, French third, &c. After this, he was obliged to stay at home several days, to give the Consuls an opportunity of returning the visits, which they made in the same order. There was a diplomatic importance about all his movements, and the least violation of etiquette, through ignorance or neglect, was the town talk for days.' From his account it would appear that the Aleppan consulates provided 'universal and cordial hospitality'7.Ropen Carabit could have taken a number of different routes from Aleppo to reach Trieste (across land or by using established sea trade routes): in 1846, a French Consul estimated the time required for moving textiles from Switzerland to Baghdad (before steamships and the Suez Canal). Within this trip, there was a calculation from Trieste to Aleppo - first, from Trieste to Beirut by sailboat the estimated time was 25 days and then Beirut to Aleppo, approximately 10 Days.8The completion of the portrait by Schiavoni, in Trieste, undoubtedly marked the successful arrival of the Master of Stables and his fine horses. In 1816, Natale Schiavoni accepted an invitation from Francis I, the first Emperor of Austria, to take up residency at court in Vienna. He stayed there until 1821, painting the Imperial family and the aristocracy. He may have been the link for Felice to receive this commission in Trieste, especially as father and son worked closely together. 1 John A Shoup III, The History of Syria, Santa Barbara, 2018, p. 78. 2 Philip Mansel, Aleppo, The Rise and Fall of Syria's Great Merchant City, London, 2016, p. 38. 3 Walter P. Zenner, A global community; The Jews from Aleppo, Syria, Wayne State University Press, 2000, p. 23. 4 Mansel, 2016, p. 38.5 Mansel, 2016, p. 38. 6 Mansel, 2016, p. 17. 7 Mansel, 2016, p. 171.8 Charles Issawi, The Fertile Crescent 1800-1914 A Documentary Economic History, Oxford University Press, 1988, p. 138.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Los 113
Fawcett (Dame Millicent Garrett, leader of the constitutional women's suffrage movement and author, 1847-1929) Autograph Letter signed to William Thomas Stead, 4pp., sm. 8vo, Alde House, Aldeburgh, 25th December 1890, thanking him for sending her a copy of his Portrait Album, "I am feeling very happy & thankful over the recent unmasking of the criminal conspirators. I fell that a great National danger has become much less threatening. Well done, good English wolves, go on hunting, first at the fire escapists & then at the gutter sparrows till the whole crew of them are destroyed", folds § Farrar (Frederic William, Dean of Canterbury, novelist, and philologist, 1831-1903) Autograph Postcard signed to Stead, 2 sides, 17 Dean's Yard, Westminster, 13th December [?1890], "I am doing all I can in various directions for the Darkest England Scheme" [Stead helped to ghost-write General William Booth's In Darkest England]; and 22 ALs.s to Stead, including: George Goschen, Lord Lansdowne, General Lord Wolseley, Edward Malet, J.A. Froude, T.H. Huxley, Frederic William Farrar, all loosely inserted in a copy of Stead's "Portraits and Autographs: An Album for the People", original cloth, paper label on upper cover "Review of Reviews" Office, v.s., v.d. (c. 22 pieces).⁂ Stead, William Thomas (1849-1912), newspaper editor and spiritualist,
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Religion.- Pamphlets.- Carpenter (Lant) The duty of the Christian preacher, in the investigation and declaration of the truth. A discourse, delivered to the United Congregations of Protestant Dissenters, in Exeter, cut presentation inscription from the author to head of B2, Exeter, Trewman and Son, 1805 bound with Carpenter (Lant) A Review of the Labours, Opinions, and Character of Rajah Rammohun Roy: in a Discourse, on occasion of the Death, 1833 and 7 others, by or about Carpenter, together 9 works in 1 vol., occasional spotting or mostly light foxing, contemporary diced calf, gilt, sympathetically rebacked § Robinson (Robert) The Great Sin and Danger of Oppression: Two Sermons, preached during the late high Prices of Corn, to a Society of Protestant Dissenters, at Dob-Lane End, near Manchester, marginal water-staining, some foxing, modern marbled wrappers, Manchester, R. Whitworth, [1757] § Booker (Henry) A Memoir of the Life of the late Henry Booker, Minister of the Gospel...in the Parish of Wivelsfield, first edition, half-title, engraved portrait frontispiece, offsetting, some staining, lightly browned, disbound, Lewes, 1814; and 21 others, 18th and 19th century Religion, 8vo et infra (24)⁂ Carpenter was a leading Unitarian, who ran schools in Exeter and Bristol, and included Harriet Martineau among his pupils. His Systematic Education of 1815 and his Principles of Education, 1820 were praised by the Edgeworths.
Los 192
NO RESERVE Wilde (Oscar) Impressions of America, one of 500 copies, spotting, later wrappers, original wrappers bound in (faded, upper cover detached, lower cover torn), Sunderland, Keystone Press, 1906 § Hertz (Emmanuel) Abraham Lincoln, a New Portrait, introduction by Nicholas Murray Butler, vol. 1 only (of 2), first edition, signed presentation inscriptions from the author and Nicholas Murray Butler tipped in at front, plates, original cloth, spine faded, rubbed, New York, 1931; and 8 others, modern literature, 8vo (10)
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South America.- Hadfield (William) Brazil, the River Plate, and the Falkland Islands, first edition, lithograph portrait frontispiece, 3 folding maps, one hand-coloured, wood-engraved plates and illustrations, original cloth, splitting to upper joint, spine ends a little chipped, [Sabin 29486], 8vo, 1854.
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NO RESERVE Italian Art.- Shearman (John) Andrea del Sarto, 2 vol., Oxford, 1965 § Rearick (Janet Cox) The Drawings of Pontormo, 2 vol., Cambridge, Mass., 1964 § Bambach (C.) & others. The Drawings of Bronzino, New York, 2010 § Strehlke (C.B.) & others. Pontormo, Bronzino, and the Medici: the Transformation of the Renaissance Portrait in Florence, Philadelphia, 2004 § Lingo (S.) Federico Barocci: Allure and Devotion in Late Renaissance Painting, New Haven & London, 2008 § Franklin (David) Rosso in Italy: the Italian Career of Rosso Fiorentino, New Haven & London, 1994, illustrations, some colour, original cloth or boards with dust-jackets; and c.10 others on High Renaissance & Mannerist painting, mostly Florentine, 4to & 8vo (c.15)
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NO RESERVE Antiquities.- Moses (Henry) A Collection of Antique Altars, Vases, Pateras, Candelabra, Sarcophagi, Tripods, &c., 12 plates, original orange paper wrappers, printed title to upper cover, wrappers torn and scuffed, soiled and worn, 4to, 1813; together with a group of 9 prints and drawings by various hands, including an engraved portrait by Claude Mellan, an engraved portrait of Henry Fuseli, and others, various sizes, all unframed, 17th to 19th century (10)
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Architecture.- Vicenza.- Scamozzi (Ottavio Bertotti) Il forestiere istruito delle cose più rare di architettura, e di alcune pitture della città di Vicenza dialogo, first edition, engraved portrait frontispiece of dedicatee Mario capra, title vignette and 36 folding plates, armorial ink stamp to title, marginal worming, occasionally touching the odd letter or within platemark, occasional spotting, modern calf, gilt spine in compartments and with black leather label, [Fowler 43; Millard, Italian, 19], 4to, Vicenza, Giovambattista Vendramini Mosca, 1761.⁂ First edition of this architectural guide to Vicenza, and in particular the buildings of Palladio. Provenance: J.B. and Michael Bury (bookplates).
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Cobweb painting.- Unterberger (Franz, Innsbruck-based artist who commissioned "cobweb" paintings from a staff of anonymous artisans, 1838-1902) "Gemälde auf spinnengewebe", portrait of a woman in traditional Tyrolean costume with mountain backdrop, opaque pigments on stretched "cobweb" or gossamer, 85 x 55 mm (3 1/4 x 2 1/4 in), a few small chips to image, window-mounted, housed in original pictorial card chemise, small 4to, Tyrol, [circa 1870]⁂ Scarce. Other examples of Unterberger's gossamer paintings are held in the Charles Deering McCormick Library of Special Collections at Northwestern University. Unterberger is said to have run a small shop in Innsbruck, where he commissioned the "cobweb" paintings from a staff of anonymous artisans, usually peasant craftsmen looking to develop unique items for the tourist trade. The cobwebs usually came from Agelenidae "Funnel-Web" spiders, whose webs were gathered, layered and wound to form a delicate fabric. The material was then stretched over cardboard, and to strengthen the canvas, artisans brushed milk diluted in water onto the fabric. [see Lauren Hock's article on McCormick Library website, July 22, 2008]
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Law.- Tiraqueau (André) Commentarii de nobilitate et jure primigeniorum, tertia hac, eademque postrema editione, ab autore ipso diligentissime recogniti, et tertia amplius parte locupletati, title within ornate architectural border with oval portrait of author verso, woodcut initials, title trimmed at fore-edge, just within printed area, some browning, staining and worming to upper margins, modern vellum, [not in Adams], folio, Lyon, Guillaume Rouillé, 1566.⁂ Andre Tiraqueau's legal works are of great importance in the development of the French judicial system. He was an active member of the Cenacle de Fontenay-le-Comte, a salon of fellow lawyers, writers, doctors, philosophers and historians, which included François Rabelais and Guillaume Budé amongst its members. Rabelais' Tiers Livre was greatly influenced by Tiraqueau's De Legibus.
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J B "Gentleman in White Stock and Blue Overcoat with Black Velvet Lapels", miniature portrait study, oil on ivory, monogrammed and dated 1820, approx 7 cm x 5.5 cm CONDITION REPORTS In answer to the question 'is this a pair to Lot 273?' - the two pieces are photographed here side by side hopefully showing that they are clearly a different size and different hand, the treatment of both portraits is definitely different
Los 274
A photo montage of the band Queen comprising four magazine type portrait studies and a reproduction photo image of Freddie Mercury and friends, the portraits individually signed by each respective member of the band CONDITION REPORTS This lot is entered from a deceased estate, the deceaseds sister belives the lot to have been aquired at a charity auction by the the deceased
Los 366
AFTER ANGELA DIGGLE "Where's mine? - Corky said!" study of a cat, colour print, signed limited edition 2/75 together with a photographic portrait study of Marilyn Monroe entitled "Happy Marilyn 17th July 1956" inscribed on Getty Images Gallery label verso and No'd 34/300 together with another similar depicting Gregory Peck titled verso "Gregory's rest 8th August 1953" after the original by Maurice Ambler. Study of a cat size approx. 39cm high x 36cm wide excluding frame
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283322 Los(e)/Seite