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283284 Los(e)/Seite
Los 369
A Chinese grisaille saucer with the portrait of Petrus Boudaan, Qianlong -- Dia.: 11,8 cmÊ Literature:Ê J. Kroes, Chinese armorial porcelain for the Dutch market, Zwolle, 2007, p. 299-300, fig. 215.Ê References:- Rijksmuseum, Object number RP-P-OB-24.351, for the original engraving by Frederik Ottens which was used as a source for this saucer. (link)- Sotheby's, New York, 25 April, 2008, The collection of Khalil Rizk, lot 185, for two related bowls. (link) -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
Los 1059
A Clark Gable oversized lobby portrait for Gone with the WindMGM, 1939. Oversized lobby portrait on board, framed. Because of the fanfare surrounding the release of David O' Selznick's epic film, a special group of promotional oversized lobby portraits were commissioned which featured art quality prints of Gable, Vivien Leigh, Olivia de Havilland, and Leslie Howard. This stunning portrait of Gable as Rhett Butler is in the original wooden frame distributed by the studio. Overall: 30.5 x 41 in.; within frame: 27.75 x 38.25 in.
Los 1128
A pair of original Harold Lloyd color studies and family portraitsOil on canvas board, one featuring two labels on the reverse indicating display at the 'Art of Celebrities' Festival of Arts exhibition in 1954. Though best known for his spectacular body of work in silent films on a par with peers such as Charlie Chaplin and Buster Keaton, Lloyd was a prolific painter and photographer whose color studies and 3-D photography became all-consuming. Harold began doing color combinations in the late 1940s and early '50s, the secondary colors of which he sold to the Shiva Oil Paints Company. Lloyd's paintings have never been out of the family and this is the first time they have been offered at auction. Accompanied by three photos of Lloyd with his paintings. Together with a silver gelatin portrait of Harold Lloyd, with 'Lewis F. Nathan' written into the negative at lower right, matted and framed with the inscription, 'Merry Christmas / [missing] / With lots of love and good wishes' (likely to daughter Gloria) on the paper backing of the frame. Accompanied by a photograph of Lloyd with wife Mildred Davis and newborn son, Harold Lloyd, Jr. and a portrait of Mildred alone during her days as Harold's leading lady.Provenance: the estate of Harold Lloyd. Both overall: 18.5 x 22.5 in.; within frame: 12 x 16 in.; Framed portrait: 15.5 x 18.5 in.
Los 1212
A Gary Cooper group of signed photographsSix silver gelatin photographs comprising a candid photograph of Cooper with three young fans on the set of The Virginian (1929) inscribed, 'To Peggy / Thanks for your pleasant visit. / Sincerely, / Gary Cooper'; an early portrait of Cooper inscribed, 'To Georgia French / with sincere regards / Gary Cooper,' in which Cooper has made a mistake and crossed it out on the photo; a publicity portrait of Cooper from The Real Glory (1939) with Andrea Leeds and David Niven, with 'Coburn' photographer stamp on reverse, inscribed, 'To Lena– / Gary Cooper / 1939'; a portrait of Cooper in costume for Along Came Jones (1945), signed and inscribed, 'To Virginia Griffith / from / Melody Jones [the character Cooper played in the film] Cooper / 1945'; and 2 unsigned photographs, one of Cooper playing the guitar c.1929 and one of Cooper in closeup from Pride of the Yankees (1942) with photographer 'Hal McAlpin' stamp on reverse. 11 x 14 in.
Los 1218
A Marlene Dietrich and daughter Maria portrait taken by Horst P. HorstSilver gelatin photograph of Marlene Dietrich and her daughter Maria, signed ('Horst') in brown colored pencil to lower right of mat, with 'CNP [Conde Nast Publications]' blind stamped to lower right of photograph, with '15178H-16' handwritten and 'Date of Sitting / Dec 1, 1947' and 'Horst Vogue Studio' stamped to reverse of mat, with photo affixed to mat. Maria Riva holds her own with her famous mother in this stunning portrait by famed photographer, Horst. Riva, the daughter of Dietrich and her husband, Rudolf Sieber, was 23 years old at the time of this photograph and would later write a revealing book about her adventurous childhood as the daughter of world-class diva Dietrich. Overall: 15 x 20 in.; photograph: 10.5 x 13.25 in.
Los 1233
A Tyrone Power pair of trousers from Marie AntoinetteMGM, 1938. Gray stirrup trousers with hook-and-eye closures on the left hip and tapering at the bottom legs, bearing an interior green-lettered 'Metro-Goldwyn-Mayer' label inscribed, 'Tyrone Power / 1-1030-9869' in black ink and an 'MGM Wardrobe' stamp to the interior waistband, accompanied by 15 photographs from the film, 8 of which are original, some with photographer Willinger stamps on the reverse. Power plays the gallant Count Axel Fersen in this sumptuous epic starring Norma Shearer and John Barrymore and directed by W.S. 'Woody' Van Dyke. Power was Twentieth Century-Fox's box office darling when his services were loaned to the more esteemed MGM for this highly anticipated costume picture. Accompanied by a publicity portrait of Power wearing the pants.
Los 1238
A Rita Hayworth group of portrait and pinup photographsComprising 43 silver gelatin photographs beginning with her years as starlet Rita Cansino and featuring portraits from her signature role in Gilda (1946), as well as swimsuit pinups and portraits from Blood and Sand (1941), The Strawberry Blonde (1941), The Lady From Shanghai (1947), Salome (1953), and many others taken during her reign as Hollywood's Love Goddess of the 1940s. Photographers represented include Hayworth's favorite, Robert Coburn, as well as Scotty Welbourne, Gene Kornman, Whitey Schafer, and Ned Scott. Provenance: the Everett Collection. 8 x 10 in.
Los 1247
A Judy Garland signed and inscribed photographSilver gelatin matte finish photograph with a 'John Engstead' blind stamp to lower right, signed and inscribed, 'To Al– / with my love and / best wishes– / Judy / P.S. sorry I'm not wearing / my 'oscar' cuff links / in this picture,' taken during the period she was making a comeback with A Star is Born (1954). According to a typed caption taped to the back of the photo, the recipient of the signed photo was Al Williams, the owner and operator of the Papagayo Restaurant at the Fairmont Hotel in San Francisco during the 1950s and '60s; accompanied by a second silver gelatin matte finish photograph with 'Portrait by Eric Carpenter' and original MGM stamped informational caption on reverse, also signed and inscribed, 'Joe Alfonso [?] / Sincere best wishes, / Judy Garland,' c.1945, possibly a secretarial signature. Each: 11 x 14 in.
Los 1258
An Elizabeth Taylor group of portrait and candid photographsComprising 59 silver gelatin photographs featuring Taylor in lovely portraits as MGM's rising young star in films such as Father of the Bride (1950) and A Place in the Sun (1951) to her passage as one of Hollywood's most forthright and talented actresses in Suddenly, Last Summer (1959) and Cleopatra (1963). Many of the photos are from the late 1940s, early '50s and highlight Taylor's otherworldly beauty. Provenance: the Everett Collection. 8 x 10 in.
Los 11
NO RESERVE Dutch & Flemish Art.- Benesch (Otto) The Drawings of Rembrandt, enlarged and edited by Eva Benesch, vol.1-5 only (of 6), number 59 of 100 deluxe sets, original red morocco, g.e., one or two scuffs, 1973 § Boon (K.G.) Rembrandt: The Complete Etchings, reprint, 1977 § Schneider (C.P.) Rembrandt's Landscapes: Drawings and Prints, Washington D.C., 1990 § Williams (J.L.) Rembrandt's Women, Munich..., 2001 § Bonafoux (P.) Rembrandt: Self Portrait, 1985 § Schama (Simon) Rembrandt's Eyes, 1999, illustrations, some colour, all but the first original cloth or boards with dust-jackets; and c.35 others on Rembrandt, some catalogues, v.s. (c.35)
Los 175
England.- Habington (William) The Historie of Edward the Fourth, King of England, first edition, woodcut device to title, lacking portrait, previous owner's ink signature to title, lacking front endpapers, occasional dampstaining and finger-soiling, additional engraved portrait loosely inserted, chipped edges, later calf, rubbed and worn, [STC 12586], Thos. Cotes, for William Cooke, 1640 § Henderson (Andrew) The History of the Rebellion, spotting, later calf, broken spine, for A. Miller, 1753; and another, folio & 8vo (3)
Los 197
Judaica.- Zangwill (Israel) The Works, 14 vol., number 106 of 1000 edition de luxe sets signed by the author, portrait and colour frontispieces by Alfred A. Wolmark, original red half morocco, spines gilt, t.e.g., a few vol. with slight staining to edge of boards, otherwise a good set, 8vo, 1925.
Los 201
NO RESERVE Africa.- Thesiger (Wilfred) The Life of My Choice, first edition, signed by author to title, previous owner's ink inscription to front free endpaper, plates, original boards, slight bumping to spine extremities, dust-jacket, 1987; My Kenya Days, first edition, illustrations, original cloth, slight bumping to spine extremities, dust-jacket, a little rubbed, 1994 § Lawrence (T. E.) Seven Pillars of Wisdom, first trade edition, portrait frontispiece, plates, maps, occasional spotting, original cloth, a little rubbed, slight bumping to corners and extremities, 1935; and another on Wilfred Thesiger in Africa, 4to & 8vo (4)
Los 231
Darwin (Charles) The Origin of Species..., sixth edition, with additions and corrections (forty-third thousand), half-title, folding diagram, contempory half calf, rebacked preserving old gilt spine, new endpapers, 1892; Journal of Researches into the Natural History and Geology of the Countries visited during the Voyage of H.M.S. "Beagle" round the World, eleventh edition, half-title, portrait, illustrations, contemporary calf, gilt, spine a little faded, 1892, occasional spotting, both cropped, rubbed, 8vo (2)
Los 60
Pritchett (V. S.) Mr. Beluncle, first edition, initialed presentation inscription from the author to Frances and Ralph Partridge to endpaper, original cloth, dust-jacket, spine ends and corners a little chipped, chip to head of upper panel, 1951 § Connolly (Cyril) Previous Convictions, first edition, signed presentation inscription to Frances Partridge from the author "whom to she encouraged at a difficult moment" to endpaper, original cloth, spine faded, New York, 1963 § Strachey (Julia) and Frances Partridge. Julia, A Portrait of Julia Strachey, Frances Partridge's copy with her ink ownership inscription, original boards, dust-jacket, creased, 1983; and c.55 others, similar, 8vo (c.60)
Los 97
Gregynog Press.- Shaw (George Bernard) Shaw Gives Himself Away: An Autobiographical Miscellany, one of 300 copies on pale green paper, wood-engraved frontispiece portrait by John Farleigh, with annotated pencil caricature of Shaw by Paul Nash, 3.PC.s.s & T.L.s. from Shaw loosely inserted (see below), also prospectus. original dark green morocco onlaid with semi-abstract design of author's initials in orange morocco on upper cover and monogram on lower, by the Gregynog Bindery, designed by Paul Nash, spine titled in orange, uncut, spine very slightly rubbed and faded, [Harrop 40], 8vo, Newtown, Gregynog Press, 1939.⁂ The loosely-inserted items comprise: 1. Pencil caricature of Shaw by Paul Nash with small sample of the dark green binding leather affixed as Shaw's beard and annotated "You see how fantastically wrong this is [with arrow to leather beard] it looks like a bit of the old devil's beard itself. This is my choice [with arrow to sample of grey-green watercolour]".2. 3 A.PCs.s. dated 1929 from Shaw to a William Brown giving permission for using a quotation, "By all means send a copy of the chapter. Never let an original go out of your hands unless you can replace it" and "You are legally entitled to reasonable quotation. It is courteous of you to ask my leave to take what is yours; but really I had rather you went ahead without bothering about it...". 3. T.L.s. dated 1934 from Thomas C. Godfrey to Shaw requesting if he would be prepared to sell his copy of a history of the Shaw family, annotated in ink at foot by Shaw "My copy is the only one I ever saw. I won't sell it, as it is my only authority for the statements in the Immaturity preface. G.Bernard Shaw 26th Jan. 1934".
![In Fine Mullen Binding Theatre: [Power (John & Harriet)] The Private Theatre of Kilkenny, with Introductory Observations](https://cdn.globalauctionplatform.com/abbd3060-317d-4691-bb31-ab0900d4900c/f1a1d57c-459e-4877-a60a-ab1000af6901/468x382.jpg)
Los 108
In Fine Mullen Binding Theatre: [Power (John & Harriet)] The Private Theatre of Kilkenny, with Introductory Observations on Other Theatres in Ireland, before it was Opened, 4to n.p. [Kilkenny?] n.p. 1825. Sole Edn. Engd. portrait frontis (the author) & other ports. Henry Grattan, Thomas Moore, James Corry, Miss Waldstein, Lady Becher and others, a.e.g., some loose cuttings, full decor. gilt tooled & blind tooled mor. by George Mullen. V. good coy. V. Rare. (1)
Los 228
Republican interest: Le Roux (L.) Tom Clarke and the Irish Freedom Movement, D. 1936, d.w.; Connolly O'Brien (Nora) Portrait of a Rebel Father, D. 1935, d.w.; Ryan (Desmond) James Connolly, His Life Work & Writings, D. 1924; Clarke (Tom J.) Glimpses of an Irish Felon's Prison Life, D. 1922; Norstedt (Johann A.) Thomas Mac Donagh, A Critical Biography, tall 8vo 1980., d.w. All First Edns., & 1 other item. (6)
![Introduction by Seamus Heaney[Ciaran Carson] Irvine (W.R.)ed. From the Small Back Room, A Festschrift for Ciaran Carson, 8vo](https://cdn.globalauctionplatform.com/abbd3060-317d-4691-bb31-ab0900d4900c/bea1ff95-8dee-4a5f-9c95-ab1000ae0e12/468x382.jpg)
Los 415
Introduction by Seamus Heaney[Ciaran Carson] Irvine (W.R.)ed. From the Small Back Room, A Festschrift for Ciaran Carson, 8vo Belfast 2008. cold. portrait of Ciaran Carson by N. Showcross. Signed Lim. Edn., No. 84 of 150 Copies Signed by Ciaran Carson, S. Heaney and N. Shawcross, special suede binding, and decor. slipcase. (1)
Los 511
Heraldic Grants to the Delaval Family of NorthumberlandManuscripts:9 May 1761. Patent of Stephen Martin Leake, Garter Principal King of Arms, granting supporters to the arms of Sir Francis Blake Delaval of Seaton Delaval, Northumberland, on his elevation to be a Knight Commander of the Order of the Bath. Three superbly illuminated coats of arms (Delaval at top left, with supporters) and other decoration. Seal cut off. 45.5 x 51 cm, box, externally lined with tooled leather (damaged) measuring 55.5 x 6 cm, with appendage for seal (diameter 9 cm).·1 July 1761. Royal patent of George III granting the title of baronet to John Hussey Delaval of Ford, Northumberland. Two membranes. Printed border. Seal (diameter 21 cm). In wooden box externally lined with tooled leather (damaged) measuring 92.5 x 9 cm.·17 October 1783. Royal patent of George III granting to Sir John Hussey Delaval, Bart, of Seaton Delaval and Ford Castle (Northumberland) and Doddington (Lincolnshire) the title Baron Delaval of Redford, Co. Wicklow. Very fine illuminations - royal portrait and emblems, coats of arms etc., decorated borders. Seal perfect. 76 x 68 cm (diameter of seal 16 cm). In wooden box externally lined with tooled leather (damaged) measuring 74 x 9 cm.The Delavals were wealthy landowners, industrialists and politicians in 18th-century Northumberland, with seats at Seaton Delaval and Ford Castle. Francis Blake Delaval (1727-1771) and John Hussey Delaval (1728-1808) were brothers, but had very different characters: Francis was a notorious but colourful and popular rake who specialised in holding amateur dramatics at Seaton - he received a knighthood in 1761; John developed the industrial potential of Hartley and Seaton Sluice - he was created a baronet in 1761, and was granted an Irish peerage in 1783 and a British one in 1786. See F. Askham, The Gay Delavals (1955) and R. Burgess, Those Delavals! (1972). (1)
Los 512
Original Illuminated Charter of Charles IIWith Details of Property Grants in Cork CityCo. Cork: A magnificent original Charter of Charles II dated 19 August in the 19th year of his reign (1667), listing many properties in the City of Cork with the names of forfeiting proprietors and new tenants.The purpose of the charter was to satisfy the demands for compensation of the "Forty-Nine Officers" - those officers who had served in the royalist army during the wars in Ireland prior to 5 June 1649, remaining loyal to the King thereafter and who had not therefore been granted lands by the Cromwellian government. It lists property in Cork City which had been held by Irish Catholics in 1641 and consequently forfeited under Cromwell, and which is now granted to the officers who had petitioned. They are represented by their trustees Captain Hercules Langford and Robert Fitzgerald Esq., and there is also a separate grant of land in counties Antrim and Armagh to Captain Langford.The charter consists of three membranes of vellum, measuring respectively approx 78 x 77, 78 x 59 and 75 x 34 cm (30 ¾ x 30 ½, 30 ¾ x 23 ¼ and 29 ¾ x 13 ½ inches). It is in fine condition but lacks its seal. The text (approx 6500 words) is in English. The head of the first sheet is exuberantly illuminated, the first six words being gilded with a silver background. The initial letter "C" of Charles is contained within a separate scrollwork panel in the left hand corner and surrounds a portrait of the King. To the right are the royal arms, with the lion and unicorn supporters also shown separately, together with national emblems such as the rose, thistle and fleur-de-lis (for England, Scotland and France), and a butterfly and dragonfly.The survival of the charter is miraculous: it was discovered by chance during a waste-paper campaign in the city, and rescued. The lengthy text (misdated to 1666) was transcribed and published in 1964 in the Journal of the Cork Historical and Archaeological Society, together with a brief introduction, tabular summary, and map. This document is of major importance in tracing the development of Cork in the early modern period, especially as the Civil Survey for Cork city and county (apart from the barony of Muskerry) has not survived. It compares interestingly with a valuation of Cork City carried out in 1663-64 and published in vol. VI of the Civil Survey, edited by R.C. Simington.As a m/ss, w.a.f. *A highly important survival. (1)
Los 515
The Fair Days at KinvaraCharter of George III to Robert Gregory of Coole Lodge, Co. Galway Royal Letters patent dated 12 January, 15th of George III (1775), granting to Robert Gregory of Coole Lodge, Co. Galway, Esq., the right to hold two fairs annually and a weekly market on Wednesdays, with court of pye powder, at Kinvara. Handwritten on vellum in English, with an elaborate printed border depicting the King's portrait and the arms and emblems of Great Britain, Ireland and France. Large seal, mostly intact.Robert Gregory of Co. Galway (1727-1810) made his fortune in India and on his return home purchased several landed estates, including Coole (1768) where he built "a large house with numerous offices", Ballylee, and Kinvarra. He was assiduous in developing his estate - hence this grant of two annual fairs and a weekly market in Kinvarra. He was also an MP at Westminster, a director of the East India Company, and a friend of Charles James Fox and Edmund Burke. He supported liberal issues such as concessions to Catholics, refused to accept bribes, and denounced political corruption - all of which greatly reduced his fortune. A contemporary described him as "a very honourable, incorrupt, independent man … laborious, attentive to business" (Bridget Hourican in Dictionary of Irish Biography).His great-grandson Sir William Henry Gregory was the husband of Yeats's associate Lady Gregory, as a m/ss., w.a.f. (1)
Los 617
White Family. A collection of items relating to the family of Cottie (White) Yeats, including:-A gold locket enclosing a portrait of a moustachioed gentleman, Victorian, middle-aged, evidently John Philip White, Cottie's father (see envelope);-Four various rings, hallmarked;-An envelope inscribed in Cottie's hand, 'Mamma & Father / John Philip White / Georgina White', containing an oval miniature portrait of a Victorian lady, presumably Georgina; also death notice of Georgina White wrapped in mourning paper;-An envelope inscribed in Cottie's hand, 'Georgina White / Mamma's wedding ring etc., old letters of mine to her as a child - announcement of death - 1934', containing three childish letters from Cottie to Mama, circa 1874-5. As a collection, w.a.f. (1)Provenance: Yeats family, from Jack Yeats' Bank Deposit Trunk.
Los 618
Yeats Family. A gold Locket mounted with seed pearls, containing a portrait of a young woman, engraved rear 'G.G. & S.C. / united 28 July 1789'; and a second gold locket containing braided hair, indistinctly inscribed rear, probably 'Broughton ob. .. 1778 & Broughton ob. May 25 1781, aet. 18' [slight damage rear]. Possibly from the Pollexfen side of the family. ( 2) Provenance: Yeats family, by descent, from Jack Yeats' Bank Deposit Trunk.
Los 621
The Yeats GirlsYeats (John Butler) RHA (1839-1922) An attractive small pencil portrait of his daughter, Lilly, signed and dated March 10th '89; and a slightly larger drawing, probably of his other daughter Lolly (Elizabeth). (2)Provenance: The Yeats family collection from the portfolios at our Auction Rooms, November 2017.
Los 622
The Yeats Brothers"Jack & William"Yeats (John Butler) RHA (1839-1922) An attractive small pencil portrait of his son Jack Yeats, aged perhaps 10-12, drawing of a bearded man on rear: and a second drawing of W.B. Yeats as a young man, female portrait to rear. (2)Provenance: The Yeats Family collection from the portfolios at our Auction Rooms, November 2017.
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283284 Los(e)/Seite