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283284 Los(e)/Seite
Los 59
David Diaz (b. 1965) Portrait, Charcoal on paper. Signed and dated 2001 lower left. Dimensions: h: 30 x w: 22 in. Other Notes: *** Please inquire for shipping estimate prior to bidding. Shipping costs may exceed item values. *** Any condition statement is given as a courtesy to a client, is only an opinion, and should not be treated as a statement of fact. Gray`s Auctioneers LLC shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Starting Price: $60
Los 784
Arthur Royce Bradbury (British, 1892-1977) `Lilian` - a portrait of a young lady seated in a wheelbarrow in a garden, holding a Guernsey can and with three white ducks at her feet oil on board, signed and dated 1927 lower right, inscribed `Exhibited R.B.A.` to board and `Exhibited Royal Society of British Artists1929 by Arthur Royce Bradbury` to label verso, artist`s title label verso inscribed `Lilian` 18 x 13in. (45.5 x 33.5cm.) See Illustration.
Los 785
English School (19th century) Naive School portrait of a Guernsey lady, three quarter length, seated in a black, lace trimmed dress with large red neck bow, holding a letter oil on canvas 14½ x 11¼in. (37 x 28.5cm.) * The address on the letter reads `Mrs. J. Le R..?.., Bigard, Forest, Guernsey` See Illustration.
Los 23
x Kingdom of Bactria, Diodotos II (c.250-230 BC), AV Stater, 8.34g, diademed head right, rev. baie iootoy, Zeus striding left, aegis over extended left arm, hurling thunderbolt with right hand, eagle and wreath on left (SNG ANS 82; Bopearachchi 5A), a few surface marks from the soil, superb portrait on a large flan, extremely fine VAT Status: Import 5% View Terms & Conditions
Los 53
Macrinus (217-18), Denarius, Rome, 217, laureate, cuirassed bust right, rev. pontif max tr p cos p p, Fides Militum standing facing, head right, holding standard in each hand (RIC 22A; BMC 38; C. 60), cabinet tone with some iridescence, a superb portrait, extremely fine VAT Status: Margin Scheme View Terms & Conditions
Los 173
India, Princely States, Hyderabad, dump Rupee, milled Rupees (3), 8-Annas (2), 4-Annas, 2-Annas (2), Annas (4), AE ½-Annas (2), AE 2-Pais (5), Pai (2) (KM.6, 34, 35, 40.1, 45, 47, 48, 49, 53a, 58, 59, 60, 64, 65, 66); Travancore, Chukrams (4), AE Chuckram (3), Portrait Chuckram (2), 8-Cash (2), 4-Cash (4), Dump AE Cash (5), milled Cash (3) (KM.1, 21, 34, 42, 46, 47, 49, 57, 58, 59, 60), fine to very fine, some AE coins lacquered (45) VAT Status: Margin Scheme View Terms & Conditions
Los 346
Poland, Kings and Queens, series of 22 bronze medals by J P Holzhaeusser and Johann Jacob Reichel, all with portrait, rev. legend, 44mm. (Forrer BDM.V, 72; H.Cz.3420ff.), some with verdigris, average good very fine (22) The series of silver medals depicting the Kings and Queens of Poland was originally struck c.1790 to the order of King Stanislaw August Poniatowski after portraits painted by Marcello Bacciarelli which now hang in the rebuilt Royal Castle in Warsaw. VAT Status: Margin Scheme View Terms & Conditions
Los 473
Henry VIII, third coinage, 1544-47, Testoon, 7.77g, Southwark, m.m. s, bearded, crowned facing bust, rev. civitas london crowned rose dividing crowned h and r (N.1842; S.2367), flan crack at twelve o`clock, good detail of portrait, usual weakness in legends, nearly very fine VAT Status: Margin Scheme View Terms & Conditions
Los 475
Henry VIII, third coinage, 1544-47, Groat, 2.40g, Southwark, m.m. none, bearded, crowned facing bust half right, bust B1, rev. shield over long cross fourchée, s in forks (N.1845; S.2371), reverse off-centre, edge chip, bold well-centred portrait, almost very fine VAT Status: Margin Scheme View Terms & Conditions
Los 697
Edward VI (1547-53), coinage in the name of Henry VIII, Threehalfpence, 0.54g, crowned, bearded facing bust, rev. civitas dvblini, shield over long cross fourchée (D.F. -; S.6492), scratch on obverse, full coin, weak portrait, clear legends, fair / about fine, extremely rare VAT Status: Margin Scheme View Terms & Conditions
Los 2
Baudelaire (Ch.) Le spleen de Paris.. Paris, Le Livre Du Bibliophile, G.&R; Briffaut, 1921., Relié, demi – maroquin à coins (René Kieffer) frontispice ( portrait de l’auteur), (2) couverture orginale, 164pp (3) couverture originale (2), illustré par Almery Lobel - Riche. Bon état! Edition illustrée de trente eaux - fortes ( incl. le frontspice) hors texte de Lobel - Riche. Ornements typographiques dessinés et gravures sur bois par Louis Jou. Tiré à 362 exemplaires numérotés.
Los 13
Jean BOCCACE. Décameron. Londres (Paris), 1757-1761. 5 volumes in-8, maroquin vert, triple filet doré, dos lisses ornés aux petits fers, roulette intérieure, tranches dorées (Reliure de l’époque). Très belle édition contenant en tout 5 frontispices, un portrait, 110 figures hors-texte et 97 culs-de-lampe de Gravelot, Boucher, Cochin et Eisen, gravés par Aliamet, Baquoy, Flipart, Le Mire, Tardieu … C’est l’un des livres illustrés les plus réussis du XVIIIe siècle. Cette édition, publiée à Paris sous la fausse adresse de Londres, reprend les mêmes figures que l’édition italienne publiée en 1757. Ex-libris Comte de Malherbe.
Los 130
Attribué à Louis-Simon BOIZOT (Paris, 1743 – Paris, 1809) Portrait de Madame Royale (1778-1851) Groupe en marbre Haut. : 50 cm ; Larg. base : 24 cm ; Prof. : 27 cm Fin du XVIIIème siècle. Oeuvre en rapport : -L`enfant aux coussins. Groupe en biscuit de Sèvres ---- Versailles, musée national du château, inv. : MV 9149 De 1715 à 1789, Les portraits d`enfants dérivent pour une part de la tradition du grand siècle, à laquelle s`ajoute le réalisme pénétrant d`une époque raffinée puis une sensibilité attachée à rendre ces portraits sans atours et sans prétexte de genre, faits pour un cercle intime et familial, avec parfois un sentimentalisme à la Jean-Jacques Rousseau. C`est le cas de ce groupe représentant Marie-Thérèse de France née le 9 décembre 1778, appelée Madame royale, ou encore « Mousseline » par sa mère la reine Marie-Antoinette. Contrairement aux principaux membres de sa famille qui disparaissent de façon funeste sous la guillotine, la jeune princesse est sauvée grâce à l`armée autrichienne qui obtient sa libération et l`envoie à Vienne à la cour de l`empereur François II. Elle se marie quelques années plus tard avec son cousin Louis-Antoine d`Artois et devient alors la duchesse d`Angoulême. Le retour de la monarchie en 1814 lui permet de revenir en France et d`oublier ces longues années d`exil. Elle devient Dauphine de France, à la mort de son beau-frère, en 1824. La révolution de 1830 inaugurant le règne de Louis-Philippe l`oblige à quitter à nouveau les ors du palais des Tuileries et à se réfugier à l`étranger. Nommée reine de France et de Navarre par les légitimistes à la mort de Charles X en 1836, la première fille de Louis XVI s`éteint en 1851, deux mois avant le coup d`Etat du président de la Seconde République Louis-Napoléon Bonaparte. Directeur des ateliers de sculpture à la manufacture royale de Sèvres en 1773, Boizot donne les modèles de plus de 150 bustes, statuettes et groupes en biscuit qui expriment de manière significative les goûts et les modes sous le règne de Louis XVI. Parmi eux figure un groupe représentant Madame Royale et le Dauphin jouant sur un carreau en 1782-1783 ainsi que celui représentant Madame Royale intitulé plus tard « L`enfant aux coussins », dont une version a récemment été acquise par le château de Versailles. Ce dernier biscuit renvoie à ce beau marbre inédit qui, tout en gardant la même composition, présente quelques différences. Alors que sur le biscuit, la jeune enfant repose sur deux coussins, ici, elle est assise sur une base rocaille couverte d`un voile qu`elle agrippe à la main. Familier de la famille royale, Boizot a déjà fait le portrait de Marie-Antoinette à deux reprises, en 1774 et 1775. Ils durent satisfaire la reine puisqu`elle lui commande en 1777 deux autres bustes en marbre conservés à Versailles, celui de son frère Joseph II et celui de Louis XVI, auxquels s`ajoute un autre portrait de la reine pour le ministère des Affaires étrangères en 1781 (Paris, musée du Louvre, Inv. : R.F. 4515). Bien que non signé comme le buste de la reine du musée du Louvre, c`est probablement à lui que revient l`exécution de ce groupe réunissant virtuosité technique, maîtrise de la gestuelle et justesse de l`expression.
Los 104
**A PAIR OF 20 BORE OTTOMAN BALKAN SILVER-GILT MOUNTED FLINTLOCK HOLSTER (KUBUR) PISTOLS, LATE 18TH/EARLY 19TH CENTURY, PROBABLY GREEK each with tapering barrel formed in three stages, chiselled with foliage over the breech, retained by a large silver gilt muzzle band repoussé with scrolls, bevelled lock chiselled with scrolling foliage, full stocks entirely encased in repoussé panels of silver gilt decorated with patterns of tight scrollwork, the grips bound with plaited silver wire, silver pommels engraved with foliage and with further repoussé, one trigger-guard decorated en suite (the other replaced), and simulated ramrods 27.5cm; 10 7/8in barrels (2) A related pair of pistols are illustrated in the portrait of Ali Pashar of Jannina, North West Greece after a sketch by L. Dupré dated 1819. See R. Elgood 1995 pp. 98-99.
Los 152
ASSORTED ITEMS OF INDIAN ARMY INTEREST an Indian colonial silver hip-flask engraved with a bugle-horn, initials `SPMR` and inscription `Arthur with best wishes from the Old and Bold, Madras 1940 - 45`; a small white metal statuette of an Indian Army soldier, on a wooden plinth mounted with metal badge of Queen Victoria`s Own Madras Sappers & Miners; a silver-plated domed cover for an entrée dish (lacking its handle); a wooden cigarette-box with carved dragons on lid, the interior carved with the badge of the 27th Lancers; and an inlaid wood folding frame, opening to display on one side 22 small portrait photographs of British Commanding Officers of the Madras Sappers & Miners and on the other side a key to the portraits and a photograph of the first Indian CO (5)
Los 265
**A 15 BORE SPANISH FLINTLOCK FOWLING-PIECE, CIRCA 1790, PROBABLY BARCELONA with two-stage barrel retained by two engraved brass bands, fitted with silver `spider` fore-sight and moulded bridle back-sight, stamped with the barrelsmith`s marks over the breech (indistinct, light pitting) and a series of silver-lined decorative marks, engraved tang, stepped miquelet-lock a la moda, stamped with the maker`s mark (indistinct, probably that of Joseph Deop), figured walnut full stock (restorations and repairs), carved with rococo ornament about the barrel tang, fluted butt hollowed for a bayonet, applied with a pierced engraved brass plaque beneath, brass mounts cast and chased in low relief, including side-plate, trigger-guard and butt-plate all chased en rocaille and applied with chased silver portrait profiles (rubbed, the butt-plate repaired and missing the bayonet cover), and associated wooden ramrod 107.2cm; 42 1/4in barrel
Los 1366A
§ Francis Bacon, 1909-1992, oil on canvas, part of a painting circa 1953/4, painted as a study for a Francis Bacon Pope portrait. The canvas shows the a typical yellow and white edge of a chair from a Bacon Pope portrait, on a striped purple, black, and blue ground. Bearing similarities to and thought to be part of a study for the Bacon painting "Study after Velázquez`s Portrait of Pope Innocent X (1953)" On stretchers, the reverse painted with an untitled self-portrait by Lewis Todd (1925-2006). Height 26", width 22" (additional 3" height and 2.5" width obscured as canvas nailed to stretchers). PROVENANCE: Part of a Francis Bacon work gifted by John Kesterton of the Heffer Gallery in Cambridge to the local artist Lewis Todd to allow him to use the reverse for his own paintings. This was done on the understanding that the canvases were to be cut up before use for his own work. Bacon always painted on the reverse of his canvases, the gift was made so that the impoverished young artist could made good use of them. Bequeathed direct to the present vendor. This work was inspected and authenticated by the Authentication Committee of the Francis Bacon Catalogue Raisonné in November 2012 A copy of the letter signed by Martin Harrison and confirming this attribution is sold with this work "..no doubt as to their authenticity." This and other authenticated pieces were included in The Bacon Estate sponsored PhD course at Northumbria University in which samples have been analysed. Preliminary results confirm that all pigments and binding medium used are typical of Francis Bacon works of the 1950s and 1960s.
Los 1366B
§ Francis Bacon, 1909-1992, oil on canvas, part of a painting circa 1953/4, painted as a study for a Francis Bacon Pope portrait. The canvas shows a set of curtain rings on a black ground with three lines of a cube. The use of black as a background and apparent cube structures around figures was frequently employed by Bacon. The piece is thought to be part of a study for a Pope Portrait, there are similar rings in "Untitled (Pope)" ill. in "Francis Bacon The violence of the real" by Armin Zweite plate 10 page 116. On stretchers, the reverse showing a young boy sitting in a chair reading a book by Lewis Todd (1925-2006). Height 30", width 25" (additional 4.5" height and 5" width obscured as canvas nailed to stretchers). PROVENANCE: Part of a Francis Bacon work gifted by John Kesterton of the Heffer Gallery in Cambridge to the local artist Lewis Todd to allow him to use the reverse for his own paintings. This was done on the understanding that the canvases were to be cut up before use for his own work. Bacon always painted on the reverse of his canvases, the gift was made so that the impoverished young artist could made good use of them. Bequeathed direct to the present vendor. This work was inspected and authenticated by the Authentication Committee of the Francis Bacon Catalogue Raisonné in November 2012 A copy of the letter signed by Martin Harrison and confirming this attribution is sold with this work "..no doubt as to their authenticity." This and other authenticated pieces were included in The Bacon Estate sponsored PhD course at Northumbria University in which samples have been analysed. Preliminary results confirm that all pigments and binding medium used are typical of Francis Bacon works of the 1950s and 1960s. h:30 w:25 in.
Los 1366C
§ Francis Bacon, 1909-1992, oil on canvas, part of a painting circa 1953/4, painted as a study for a Francis Bacon Pope portrait. The canvas shows what appears to be the fleshy hand and arm of a Bacon Pope. Also visible is the white and green arm of the chair. On a black and blue ground. The piece is a part of a study for a Francis Bacon Pope Portrait, an example of which "Untitled (Pope)" was sold by Sothebys in New York in November 2012 for £18.7 million. Painting has been removed from stretchers. The reverse showing a painting of a book shop by Lewis Todd (1925-2006). 21" x 26" PROVENANCE: Part of a Francis Bacon work gifted by John Kesterton of the Heffer Gallery in Cambridge to the local artist Lewis Todd to allow him to use the reverse for his own paintings. This was done on the understanding that the canvases were to be cut up before use for his own work. Bacon always painted on the reverse of his canvases, the gift was made so that the impoverished young artist could made good use of them. Bequeathed direct to the present vendor. This work was inspected and authenticated by the Authentication Committee of the Francis Bacon Catalogue Raisonné in November 2012 A copy of the letter signed by Martin Harrison and confirming this attribution is sold with this work "..no doubt as to their authenticity." This and other authenticated pieces were included in The Bacon Estate sponsored PhD course at Northumbria University in which samples have been analysed. Preliminary results confirm that all pigments and binding medium used are typical of Francis Bacon works of the 1950s and 1960s.
Los 2201
John Lennon, The Beatles, A Basildon Bond Handy Jotter circa 1960`s, 15 pages, with cover containing sketches, drawings, and a portrait of John`s first wife Cynthia all in typical John Lennon sketch type work, In pen and felt tip, The front cover inscribed `To Peter Ta!! John` Provenance: Given to Liverpool comedian Peter Robinson apparently by John Lennon during their friendship in the 1960`s. This item came from Peter Robinson`s house after his death. Christies have a lot in their forthcoming Popular Culture auction on the 26th June 2013 (Lot 93), titled `A Group of Animals and Figures, circa 1965`. This lot has similar drawings to what is contained in the book.
Los 1115
19th century Bronze plaque of Wellington diameter 3" and a portrait miniature of Napoleon signed Hil 3" by 2" Formerly the property of David Atkinson MP (1940-2012) who was for 28 years (1977-2005) the Conservative MP for Bournemouth East. He was known for his involvement with Christian dissidents in the Soviet Union. A loyal conservative MP when Euro-sceptics tried to defeat John Major in 1993 over the Maastricht treaty, Atkinson came from his hospital bed to vote, still in his dressing gown. Sent in for sale by the family.
Los 1116
19th century Parian bust Benjamin Disraeli 11" and a 19th century plate decorated with a portrait of Benjamin Disraeli 10" Formerly the property of David Atkinson MP (1940-2012) who was for 28 years (1977-2005) the Conservative MP for Bournemouth East. He was known for his involvement with Christian dissidents in the Soviet Union. A loyal conservative MP when Euro-sceptics tried to defeat John Major in 1993 over the Maastricht treaty, Atkinson came from his hospital bed to vote, still in his dressing gown. Sent in for sale by the family.
Los 1237
In the manner of Isidor Kaufmann. Portrait of a young Jewish boy, unsigned oil on panel. Framed. PROVENANCE: From the Fenyvesi estate. Eugen Fenyvesi and his wife Hermione established Eugen Fenyvesi Weinkellerein Gmbh in 1922 as a wine merchants based in Vienna; the company grew to be one of Austria`s largest exporters and importers of wine and spirits in the 1920s and 30s and was purchased by Martini Ltd in 1969. The family were avid art collectors and active on Vienna`s social and cultural scene before being forced to flee Nazi prosecution to London in the late 1930`s. The present vendor is a descendant. 13 x 12in. (33 x 30cm)
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283284 Los(e)/Seite