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283287 Los(e)/Seite
Los 248
Major Ivor Buchanan Scott OBE, RFC, RA, Portrait of Jean Friend aged 14 years 1909 - Married 1945, miniature watercolour, approximately 5cm diameter, in gilt frame, enclosed in later display case, with accompanying school medals, engraved to reverse, 'J Friend' Juvenile Ten Step Championship Sydney 17.8.23', 'J. Friend Juvenile Waltzing Championship Sydney 17.8.23', 'Third Test J A Friend 31st Aug 1925', enclosed in later display case.
Los 290
19th century salt glazed portrait jug by Doulton & Watts Lambeth Pottery, modelled as Admiral Lord Nelson, half length, in bicorn hat, one medal inscribed 'Nile 1798', to the base 'Trafalgar 1805, England expects every man to do his duty', impressed Doulton & Watts Lambeth Pottery, London to underside, 41.5cm high. Minor small chips to the galze. Age related stress cracks to areas. Age related staining and colour fading throughout glaze. Further chips and crazing to underside. Inscriptions and stamps clear and visible.
Los 1067
No Reserve - a collection of intaglio jewels, comprising: an onyx intaglio ring, set with a cut-cornered rectangular onyx intaglio depicting a foot in a stirrup, mounted in gold, size L, intaglio 1 x 0.8cm; a carnelian intaglio fob seal, 19th century, set with a carnelian intaglio carved with a portrait, possibly Arthur Wellesley, 2nd Duke of Wellington, within a laurel border, mounted in gold, intaglio 1.4 x 1.6cm, fob seal height 2.3cm; and a carnelian intaglio fob seal, 19th century, set with a navette-shaped carnelian intaglio engraved with a leaf surrounded by the inscription 'Je ne change qu'en mourant' (I only change in death), mounted as a gold fob seal, intaglio 1.8 x 1.3cm, fob seal height 2.6cmCf.: James Tassie, impression nos. 14909-14915 and 15067, engraved by Barnett
Los 2517
A good Victorian double-portrait daguerreotype, mounted within a thermoplastic Union case, each side moulded in relief with a figural scene with horse and dog, length 12.8cm, together with another tinted daguerreotype portrait within a similar Union case.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 85
Lithographic poster in three visually catching colors of yellow, orange and black on an off-white paper with a portrait of playwright and actor William Shakespeare. On the upper part: "Summer Theater Festival Presents a Revue, The Best of Summer Theater and Then Some." On lower part: Clarkstown Lower High School, South West Nyack, August 15, 16, 17, $ 2.00, 623-4912." Sight size: 16.80â€L x 23.0â€H. Frame size: 17.50â€L x 24.10â€H x 0.75â€W. Issued: c. 1980Country of Origin: United StatesCondition: Age related wear.
Los 31
HISTORICAL IMPORTANCE: a Cromwellian silver portrait plaquette of William Lenthall'CT' unknown maker, probably Dutch circa 1653 Shaped-oval in form, intricately embossed in high and low relief, featuring a side view of the male bust with head turned facing right, staring outwards, the hair long and wavy, a plain Puritan shirt collar at the neck, the official robes of the 'Speaker of the Long Parliament' beneath, either a lion or devil's mask to his shoulder, 'CT' stamped under the truncated body, and in the background a chased foliate landscape within an elaborate cartouche border, ornamented with a skull, masks and two outstretched naked figures to the upper rim, width 7.6cm, height 8.9cm, weight 1oz.Footnotes:ProvenancePreviously held in several famous numismatic collections, including:The Montagu Collection of Coins, 'Catalogue of the Collection of Medals', sold Sotheby, Wilkinson & Hodge, London, Tuesday 25th May, 1897, Lot 233.The John G Murdoch Collection, 'Catalogue of the Valuable Collection of Coins and Medals - The Series of Scottish and Anglo-Gallic Coins', sold Sotheby, Wilkinson & Hodge, London, Monday 11th May, 1903, Lot 175.The Arthur Loebbecke Collection, 'Kunstmedaillen und Plaketten des XV bis XVII Jahrhunderts', sold Munich, 26th November, 1908, Lot 255.Spink & Son, sold London, 20th January, 1910, purchased by Vernon James Watney (24 October 1860 - 27 August 1928) of Watney Brewery fame, and owner of Cornbury Park, Oxfordshire. The plaquette comes with a letter of provenance from Spink to Vernon J. Watney, dated 1910.Thence by descent to the present owner.Biography of William Lenthall (1591-1662)William Lenthall, (born June 1591, Henley-on-Thames, Oxfordshire — died September 3rd, 1662, Burford, Oxfordshire), was an English Parliamentarian who, as Speaker of the House of Commons, was at the centre of repeated struggles between the Parliamentarians and Royalists during the English Civil Wars.Trained as a lawyer and called to the bar in 1616, Lenthall was chosen as Speaker of the House at the beginning of the Long Parliament, in November 1640. On 4 January 1642, King Charles I entered the House of Commons to arrest five Members of Parliament for high treason. Speaker Lenthall bravely defied the King to uphold the privileges of Parliament, refusing to reveal their whereabouts and uttering the infamous words 'May it please your Majesty, I have neither eyes to see nor tongue to speak in this place but as the House is pleased to direct me, whose servant I am here.' Lenthall believed in upholding the supremacy of the House of Commons and freedom of speech; as Speaker, he was a servant beholden to the House and not the King while within its walls. As such, Charles I had to leave without arresting the five Members, and no monarch has entered the House of Commons since then.During the Civil Wars Lenthall sided with Parliament, and upon the outbreak (1647) of the power struggle between the Presbyterians and Independents, he supported the Independents. At the same time he was probably secretly in sympathy with the Royalist cause. Lenthall continued as Speaker in the first Parliament (1654) held under Oliver Cromwell's Protectorate, and after the collapse of the Protectorate in 1659 he was speaker of the restored Long Parliament. Although he supported the Restoration of King Charles II in 1660, he was thereafter barred from public office. However, he soon regained royal favour by testifying against a man accused of participating in the trial and execution (1649) of Charles I.William Lenthall was therefore a remarkable man, not only intellectually astute but fearless. He survived twenty uninterrupted years as Speaker of the House, at a turbulent and violent time in British history. A period which bore witness to the execution of Charles I, the Civil War, the Interregnum years of Oliver Cromwell (1599-1658), and then the Restoration of Charles II as Monarch. This rare, silver uniface plaquette was commissioned around 1653 to possibly commemorate Lenthall's endeavours. However, it can be read in two different ways, either viewed as a celebration of his achievements and character, a lion's mask (how it had been traditionally described in past auction catalogues) on his shoulder symbolising his valour in defying the King; the border embossed with a skull, masks and naked figures, metaphorically illustrating that he had fearlessly risen above the temptations of evil, his moral integrity intact. Or alternatively, this plaquette can be viewed as an overt criticism of Lenthall, for on closer examination the lion's mask on his arm actually resembles 17th century imagery of the Devil.It is pertinent to note that Lenthall was viewed as a somewhat controversial figure, his political allegiance openly switching sides dependent on who was in power. An alternative reading therefore could be that this plaquette was created as an open condemnation of Lenthall, and that the mask on his shoulder was in fact a representation of Oliver Cromwell, who Royalists quite literally saw as the Devil incarnate. Lenthall was viewed by his enemies as politically 'in bed' with Cromwell, dancing to his tune, symbolised by the devil's mask on his shoulder and the dark imagery embossed around him. The common myth perpetuated, was that Oliver Cromwell had used satanic forces to win the Battle of Worcester in the English Civil War. In 1651, on the eve of the Battle of Worcester, Oliver Cromwell allegedly met Satan in Perry Wood. According to legend, he was granted seven years' prosperity in return for his soul, starting with his Civil War victory in 1653. At this point Oliver Cromwell was declared Lord Protector of the Commonwealth, which is interestingly around the time this silver plaquette was created. Nevertheless, with remarkable precision, the leader of England's only experiment in republican government died exactly seven years later, amid terrible storms, in September 1658.Simultaneously loved and loathed, Cromwell was seen by some as a revolutionary figure, freeing England from the absolutist Charles; others saw him as a regicidal, religious maniac who was one of the signatories of Charles I's death warrant. Cromwell was demonised in satirical illustrations by Royalist propagandists throughout the civil war period, their authors making fun of both Cromwell's appearance as well as his politics. After the restoration of the monarchy in 1660, Cromwell's body was exhumed and publicly hung. However, what cannot be denied is that Lenthall's survival strategy had worked. Despite walking a precarious ministerial tightrope, negotiating unimaginable parliamentary and civil unrest, he had prevailed over adversity and emerged triumphant; the consummate political player.Portraits of Lenthall as Speaker by Cornelius Johnson, Henry Paert and Van Weesop are to be found in the Palace of Westminster. The National Portrait Gallery also holds an anonymous portrait and a miniature likeness by Samuel Cooper.We would like to acknowledge Christopher Eimer for his assistance and expertise.LiteratureBritannica, 'William Lenthall, English politician', accessed 26/05/2023 via www.britannica.com/biography/William-LenthallBritish Library, 'Oliver Cromwell as the Devil', image 1660, accessed 12/06/23 via www.bl.uk/learning/timeline/item104116.htmlAndrew Thrush and John P. Ferris,'The History of Parliament: the House of Commons 1604-1629 - Willam Lenthall (1591-1662)', (published Cambridge University Press, 2010), accessed 26/05/2023 via www.historyofparliamentonline.orgPalace of Westminster, 'Speaker Lenthall defends Parliament', accessed 26/05/2023 via UK Parliament www.parliament.ukFor further information on this lot please visit Bonhams.com
Los 84
Hiram Powers (American, 1805-1872): A very rare and early carved white marble ideal portrait bust of Ginevra, (first version)The serene maiden clad in classical drapery to her shoulders, her loosely dressed coiffure with trailing chignon adorned with a pearl diadem, the rear signed H POWERS Sculpt, raised on a swept circular socle, supported on rouge marble plinth, 70.3cm high overallFootnotes:ProvenancePrivate UK family collection, Clevedon, Somerset, England. Acquired sometime in the late 1960s and by repute purchased at a Bristol (England) house sale, thence by descent. Arguably the greatest and most influential American Neoclassical sculptor of the nineteenth century, Hiram Powers achieved international recognition for his near life-size marble figure of The Greek Slave, which at the time became one of the most famous Orientalist works of art in the world. The figure was subsequently taken on a tour of America in the late 1840's, as well as holding pride of place in the United States contribution to the Great Exhibition of 1851 in London.With humble beginnings in the state of Vermont, Powers moved with his family to Cincinnati in Ohio when he began to assist the Russian émigré sculptor Frederick Eckstein, training in the rudiments of sculpture. Whilst a pupil at Eckstein's Academy in the late 1820s, he began to produce portrait busts whilst also taking up commissions on the East coast of the country. By 1837 he had secured funding from a Colonel John S. Preston allowing him to relocate to Florence, Italy. Although originally intended as a temporary move, his love of the city with its rich artistic tradition, its proximity to the marble quarries of Carrara and Seravezza, and the influence and the encouragement of an Anglo-American expatriate community of sculptors led to him making Florence his permanent home. Initially trained in the skill of marble carving by a fellow Florentine expatriate sculptor, Horatio Greenough, Powers subsequently expanded his workshop, employing a variety of skilled craftsmen to assist in moulding, casting and carving. With a significant and successful high-profile business, wealthy American and European clients flocked to his studio, commissioning both portrait and 'ideal' bust subjects. In addition, Powers also went on to influence further generations of artists and sculptors living in Florence. As a Swedenborgian or 'New Churchman', Powers believed that 'the legitimate aim of art should be spiritual and not animal' and that the natural body was merely a veil over the soul and spiritual body. This belief inspired him to create 'ideal' sculpture based on subjects from history, religion, philosophy and mythology. Representing an archetypal beauty, these 'ideal' subjects were at the time highly regarded and considered to be the pinnacle of the artist and sculptors most worthwhile and creative endeavour. Powers first serious venture into 'ideal' sculpture was his bust of Ginevra dating from this earliest time in Florence in 1837-8. It was inspired by the poem 'Italy' by the English poet Samuel Rogers (1763-1855), which told the story of a young bride who vanishes on her wedding night and is then found dead in a chest more than fifty years later still wearing her wedding ring bearing her name. The bust, finely carved in a high Neoclassical style, depicts the doomed bride as a goddess clad in drapery with a pearl adorned diadem. It was later paired with a pendant work by Powers depicting perhaps his most famous 'ideal' female bust, that of Proserpine, the Roman goddess which was begun in 1839 but not completed until 1843. Proving to be immensely popular, Powers produced Proserpine in different versions, some with more simplified bases and in reduced edition sizes up until 1873. However, although Ginevra was a more short-lived and hence rarer composition, a second perhaps less severe version which was modelled some twenty years later by the sculptor whilst visiting his daughter in England which was possibly more suited to the tastes of the time and appears to have been more widely reproduced with a number of replica copies apparently ordered by English clients.Of the very limited number of known commissioned marble replica's of the first edition of the bust (the original plaster being presumed destroyed), these are listed in Richard P. Wunder's, Hiram Powers, Vermont Sculptor, 1805-1873, volume II, Catalogue of Works but include no documented English commissions. Only two are apparently of a comparable but slightly larger size including their circular socles, measuring 30 inches (76cm) high. One, which is signed 'HIRAM POWERS Sculpt' includes a dedication to 'N Longworth Esq' and is now in the Cincinnati Art Museum (acc. No. 1893.63) whilst the other, also signed 'HIRAM POWERS Sculpt' is now in the Clermont Museum, Clermont State Park, New York State (acc. No. X154a). Of the other listed replicas, all are apparently smaller in size at 24 inches (61cms) high, although it seems likely that the heights of these busts are recorded without the addition of socle bases. Of this group, four are listed as 'not located', whilst the final one, an unfinished bust found in Powers studio at the time of his death is now in the collection of Washington, DC NMAA SI (acc. No. 1968.155.23). Of the busts which are 'not located', these are as follows:1.) Ordered by George Tiffany, Baltimore, Md. 2.) Ordered by Stephen Clarendon Philips, Salem. Mass. 3.) Ordered by Dr Alban Goldsmith, New York. 4.) No details given.Given that the offered bust is also approximately 24 in. (61cm high) without its socle, it seems possible that it could be one of these unlocated busts, the most likely candidate being the fourth example where no details of the commission are provided. However, although it could be that the bust made its way to England directly from Power's studio in Florence given that the majority of Powers early commissions came from his fellow country men, it is also possible the bust may have come to Bristol in England by way of an Anglo-American family connection given Bristol's strong shipping links to the US, perhaps via the flourishing tobacco trade in the 19th century. Related LiteratureR. P. Wunder, Hiram Powers Vermont Sculptor, 1805 -1873, Newark, Delaware, 1990, p. 153-157.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 97
A pair of George II silver-gilt candlesticksElizabeth Godfrey, London 1752 Traditional rococo form, the whole gilded, with ornate gadroon and scroll decoration, with unmarked shaped-circular removable drip pans, engraved armorial and crest to the drip-pans and sconces, part gadrooned and vertical beaded sconces, atop a double knopped tapering square stem with cast shell motif, the base stepped and shaped-circular with scroll and gadrooned rims, height 23cm, weight 50oz. (2)Footnotes:These heraldic elements mark the complete armorial of James BRYDGES (1731-1789) and his first wife Margaret NICOL (1736-1768), daughter and heir of John NICOL of Colney Hatch and Minchenden House, by his wife Winifred KECK. They were married 22 March 1753. Notably at the time of the engraving James BRYDGES was the Marquis of Carnarvon and the assay date of 1752 suggests that the item was most likely to be a marriage piece.They set up a London home at 39 Upper Grosvenor Street and later at Chandos House, 2 Queen Anne Street Marylebone. James BRYDGES was the only son of Henry BRYDGES (1708-1771), 2nd Duke of Chandos, and Lady Mary BRUCE (1710-1738), daughter of Charles BRUCE (1682-1747), 3rd Earl of Ailesbury. From 1744 James BRYDGES assumed the courtesy title Marquess of Carnarvon and on the death of his father in 1771 he succeeded him as 3rd Duke of Chandos. He was MP for Winchester (1754-1761) and Radnorshire (1761-1768) as well as Gentleman of the Bedchamber to George, Prince of Wales from (1760-1764). Notably his wife Margaret NICOL inherited a large fortune on the death of her grandfather Sir Anthony KECK and her future spending included the purchase of the portrait of Shakespeare, since known as the Chandos Portrait. In 1777 James BRYDGES, then 3rd Duke of Chandos, married secondly Anne Eliza GAMMON (1737-1813) daughter of Sir Richard GAMMON (1714-1787) 1st Baronet of Datchworth Bury. Aged 57 The 3rd Duke died without issue, his titles becoming extinct. He was buried in St Lawrence Whitchurch in Canons Park, London.His widow The Dowager Duchess was declared a lunatic and was made a ward of court during her widowhood and confined at Chandos House. The lengthy legal proceedings in Ireland regarding the Duke's estate were the cause of a scandal.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
Los 152
Carel Weight R.A. (British, 1908-1997)Portrait of Lord Lambton and Family signed 'Carel Weight' (lower left)oil on canvas101.5 x 127cm (39 15/16 x 50in).Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present owner, and thence by descentPrivate Collection, U.K.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 154
Jean Cooke R.A. (British, 1927-2008)Portrait of John Bratby signed and dated 'JEAN BRATBY 1956' (upper left)oil on canvas61 x 50.5cm (24 x 19 7/8in).Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present owner, circa the 1960s, and thence by descentPrivate Collection, U.K.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 162
Peter Samuelson (British, 1912-1996)Portrait of a Young Man signed and dated 'PIERRE 58.' (upper left)oil on thick card35.5 x 26.5cm (14 x 10 7/16in).(unframed)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 172
Grayson Perry (British, born 1960)Portrait of the Artist as Claire signed 'G Perry' and stamped with Artist's monogram (on card verso)pen and ink, felt-tip pen and watercolour on card15 x 10.5cm (5 7/8 x 4 1/8in).Painted circa 2010Footnotes:ProvenanceThe ArtistWith Royal College of Art, London, Secret Postcard Sale, where acquired by the present owner, circa 2011Private Collection, U.K.We are grateful to the Artist's Studio for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 21
John Minton (British, 1917-1957)Portrait of a Man signed and dated 'John Minton 1952' (upper right)pen and ink and ink on paper38 x 22cm (14 15/16 x 8 11/16in).Footnotes:ProvenanceRobert Melville, and thence by family descent to the present ownerPrivate Collection, U.K.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 29
Austin Osman Spare (British, 1886-1956)Gaminerie signed with initials and dated 'AOS 53' (lower left); further signed, titled, numbered and dated 'No 88 Gaminerie by Austin Osman Spare 53.' (on tape attached to panel verso) chalk and pencil on panel22 x 32cm (8 11/16 x 12 5/8in).Footnotes:ProvenanceWith Henry Boxer Gallery, London, where acquired by the present owner, 2020 Private Collection, South KoreaExhibited London, The White Bear, 19 November–19 December 1953, no.107London, Archer Gallery, Paintings and Drawings by Austin Osman Spare, 25 October–26 November 1955, no.88During his period of tavern exhibitions, circa 1949–1953, Austin Spare often produced work that spoke to the customers of his chosen establishment, often with humorous intent. This mask-like study from 1953 refers to the quality of 'gaminerie', or childishness, and is likely to be a portrait of a known regular in The White Bear tavern.We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 31
Austin Osman Spare (British, 1886-1956)The Torment of Futurity; Illustration for The Starlit Mire signed with monogram and dated '09' (lower left)pen and ink on paper18 x 12.5cm (7 1/16 x 4 15/16in).Footnotes:ProvenanceWith Victor Arwas Gallery, London, where acquired by the present owner, 17 December 2014 Private Collection, South KoreaLiteratureJ. Bertram & F. Russell, The Starlit Mire, The Bodley Head, London, 1911, illustrated to face p. 4In 1908, Austin Spare began a professional involvement with John Lane (1854–1925), the publisher most firmly associated with Aubrey Beardsley, and English fin-de-siècle culture. Lane agreed to reprint Spare's political, privately published folio, A Book of Satyrs (London: John Lane, 1909), but he also pursued collaborative projects, such as The Starlit Mire. A series of philosophical aphorisms by J. Collingwood (1872–1934), a Professor of Physiology at the University of Dublin, and Russell Facey Wilkinson (1888–1968), later a respected Royal Physician, The Starlit Mire provided a rich source for Spare's decadent pen and ink work. Original drawings from the book rarely appear on the market, and the present lot is one of the few to include a self-portrait. Here a young Spare regards his own image in the form of Pan, whose goat horns were a favoured reference to the artist's Capricorn birthdate. Lower left, Spare's monogram echoes that of Albrecht Dürer, a mark of his increasing confidence and the comparison made by contemporary critics.We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 49
Glyn Warren Philpot R.A. (British, 1884-1937)Le Trayas signed with initials 'G.P.' (lower left)watercolour, pencil and gouache on paper37 x 30cm (14 9/16 x 11 13/16in).Footnotes:ProvenanceWith Redfern Gallery, London, where acquired by Lady Ridley, November 1937With The Fine Art Society, London, January 1979Gabrielle CrossMr Peter FarleyExhibitedLondon, Redfern Gallery, Figure-Pieces, Portraits, Landscapes and Flower-Pieces by Glyn Philpot, 4-27 November 1937, no. 44London, National Portrait Gallery, Glyn Philpot 1884-1937, 9 November 1984-10 February 1985, no. 105, illustrated on p. 111London, The Fine Art Society, Glyn Philpot RA: Paintings, Drawings and Sculpture from the Estate of Gabrielle Cross, 17 November 1997-16 January 1998, p. 51, no. 40, illustrated on p. 41The building depicted in the present lot is also the inspiration behind another work by the Artist, Two Muses at the Tomb of a Poet.Peter Farley was a theatre designer, curator, writer and teacher, celebrated for his innovative approach to the stage. After studying Theatre Design at Wimbledon School of Art, he became a part of the thriving arts scene of 1970s London, running a gallery called the Artists' Market in Covent Garden alongside artist Vera Russell, and working for many years with stage designer Yolanda Sonnabend on a variety of design projects for theatre, opera and ballet.For further information on this lot please visit Bonhams.com
Los 54
Gilbert Spencer R.A. (British, 1892-1979)Conversation Piece signed with initials and dated 'GS 1963' (lower right)oil on canvas45.5 x 61cm (17 15/16 x 24in).Footnotes:ProvenanceThe Artist, from whom acquired byMrs Norman-Butler, 1963Private Collection, SpainExhibitedReading, Reading Museum & Art Gallery, The Retrospective Exhibition of the Work of Gilbert Spencer R.A., R.W.S., 10 June-15 July 1964, no. 93Please note that the present lot is offered together with a copy of correspondence from the Artist to Mrs Norman-Butler, dated 12 November 1963.The present lot depicts the Norman-Butler family, including Christopher, Belinda, Edward and Catherine, at Apple Pie Cottage in Compton. Whilst Spencer is best known as a landscape painter, the present lot is a testament to the artist's skill in capturing human relationships. In a letter to Belinda Norman-Butler, dated 12 November 1963, Spencer describes how the painting 'is not a portrait but a feeling of you both together at Compton'. Set against one of Spencer's characteristically verdant depictions of the British countryside, Conversation Piece is an intimate portrayal of a family at leisure. When introducing the work to Mrs Norman-Butler, Spencer declares that he hopes that 'she will see the power of it', a statement that provides an insight into the artist's fondness for the work. The layered composition, drawing the viewer's eye to the landscape beyond, showcases Spencer's skill as a draughtsman, which became noticeable early in the artist's career, and led to him being awarded the respected life drawing prize in 1914 during his studies at the Slade School of Art. Philip Morrell describes Spencer's work as having 'an intense sincerity' and 'passion for accurate expression', a description that perfectly fits the present lot. The gently humorous tone that sets Gilbert Spencer's works apart from his brother Stanley Spencer's, is evident in the depiction of the different individuals and their pastimes in Conversation Piece. Paintings of rural life, of which this work is one, recur throughout the latter part of the artist's career, after his marriage to Ursula Bradshaw in 1930 and his subsequent move to Berkshire. It was in this period that Gilbert Spencer's reputation as a portrait painter was cemented. A known patroness of the arts, Belinda Norman-Butler was the mentor of several young musicians, in addition to acting as a fundraiser for, and sitting on the board of, the English-Speaking Union. It is therefore unsurprising that she would choose to have Gilbert Spencer, whose illustrious career included teaching at the Royal College of Art, Glasgow School of Art and Camberwell School of Art, paint her family. The present lot is a unique opportunity to acquire a piece which is so emblematic of the different strands of Spencer's work.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 8
Edward Wolfe (South African/British, 1897-1982)Portrait of Eva Leech signed and dated 'Wolfe/1918' (upper right)oil on canvas76.5 x 50.5cm (30 1/8 x 19 7/8in).Footnotes:ProvenanceWith Odette Gilbert Gallery, LondonSale; Christie's, South Kensington, 12 December 2013, lot 85, (as Mrs Hutchinson (Omega Workshop Housekeeper)), where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Parkin Gallery, Aspects of Jewish Art in England 1900-1950, 21 May-21 June 1975, no. 60London, Belgrave Gallery, Jewish Artists of Great Britain 1845-1945, 15 March-16 April 1978; this exhibition travelled to Bradford, Cartwright Hall, no. 51, illustratedLondon, Patrick Seale Gallery, Edward Wolfe, April (undated), no. 42We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 9
Edward Wolfe (South African/British, 1897-1982)Portrait of a Young Man signed 'Wolfe' (upper left)oil on board70.5 x 55.5cm (27 3/4 x 21 7/8in).Footnotes:ProvenanceMr Peter FarleyPeter Farley was a theatre designer, curator, writer and teacher, celebrated for his innovative approach to the stage. After studying Theatre Design at Wimbledon School of Art, he became a part of the thriving arts scene of 1970s London, running a gallery called the Artists' Market in Covent Garden alongside artist Vera Russell, and working for many years with stage designer Yolanda Sonnabend on a variety of design projects for theatre, opera and ballet.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 114
WHAT EVER HAPPENED TO BABY JANE?: Bette Davis (1908-1989) American actress, Academy Award winner. Davis portrayed Jane Hudson in the psychological horror thriller film What Ever Happened to Baby Jane? (1962). Signed and inscribed 8 x 10 photograph of Davis in a head and shoulders pose. Signed in bold black ink to the base of the image; Joan Crawford (1905-1977) American actress, Academy Award winner. Crawford portrayed Blanche Hudson opposite Davis What Ever Happened to Baby Jane? Vintage signed and inscribed 8 x 10 photograph, the image depicting Crawford in a close-up portrait pose resting the side of her face on one gloved hand. Signed by the actress in blue ink, largely to a darker area of the image. Some very light, extremely minor surface and corner creasing, about VG, 2
Los 1142
ALBERT I & ELISABETH: ALBERT I (1875-1934) King of the Belgians 1909-34 & ELISABETH OF BAVARIA (1876-1965) Duchess of Bavaria who served as Queen of the Belgians 1909-34 as the wife of King Albert I. An unusual pair of signed presentation montages by King Albert I and Queen Elisabeth individually, the King's 4to card featuring an affixed 3.5 x 5 photograph to the centre, the image depicting him in a head and shoulders pose wearing his uniform, with a circular gold coloured coat of arms affixed to the upper left corner and a gold and red coloured metallic monogram A with a crown atop fixed to the lower left corner, and with black, gold and red ribbons mounted to the right edge. Signed ('Albert') in dark fountain pen ink with his name alone beneath his portrait. The Queen's 4to card features a good vintage sepia 6.5 x 9 photograph, the image depicting Elisabeth standing in a three-quarter length pose and wearing a tiara. Photograph by Alban of Brussels and bearing their pencil signature to the lower left corner. To the right edge of the image are two black, gold and red striped ribbons affixed with two red wax seals of differing sizes, each featuring different impressions of coats of arms (the larger with a small piece detached from the border). Signed ('Elisabeth') by the Queen in dark fountain pen ink with her name alone to the lower mount of the photograph. Some light foxing and minor age wear to both, G to about VG, 2
![[GEORGE VI]: (1895-1952) King of the United Kingdom 1936-52. An unusual, small group of four vintage 6 x 8.5” (approximately](https://cdn.globalauctionplatform.com/d9f4f5d5-e853-4d8c-9ccb-b02300a8b7ae/f417f08f-8d01-4dda-9c33-b02300bc4654/468x382.jpg)
Los 1192
[GEORGE VI]: (1895-1952) King of the United Kingdom 1936-52. An unusual, small group of four vintage 6 x 8.5” (approximately 16 x 21 cm) cellulose acetate studio photographer's negatives, each depicting the King in slightly different poses, wearing his ceremonial uniform. All are contained in the original photographer's wax envelopes with ink annotations and reference numbers, as well as the date 28th April 1937. Together with a similar vintage cellulose acetate negative of the King's mother, Queen Mary, standing in a formal three-quarter length pose, also contained in the original wax envelope and dated 17th December 1937. VG, 5The present images, by an unidentified portrait photographer, of King George VI were captured in the month prior to his Coronation at Westminster Abbey on 12th May 1937 (the date previously intended for his brother, Edward's, Coronation before he abdicated).
Los 1230
MASARYK TOMAS: (1850-1937) Czechoslovak statesman, President of Czechoslovakia 1918-35. A good vintage signed 9 x 12 photograph, the image depicting Masaryk standing in a formal three-quarter length pose. Photograph by Frantisek Dritkol of Prague and bearing his credit stamp to the lower right corner of the image. Signed ('T. G. Masaryk') by Masaryk in dark fountain pen ink to the lower photographer's mount and dated 29th April 1925 in his hand. Some light age wear and a few minor stains to the mount and with a neat split of approximately six inches to the lower left border of the mount, GFrantisek Dritkol (1883-1961) Czech photographer, noted for his portraits and nudes, and arguably the most famous and important Czech portrait photographer of his time.
Los 1269
DIAZ ORDAZ GUSTAVO: (1911-1979) Mexican politician who served as President of Mexico 1964-70. T.L.S., Gustavo Diaz Ordaz, one page, 4to, National Palace, Mexico City, 19th June 1967, to Sandro Rubboli, in Spanish. Diaz Ordaz states that he was pleased to receive the book on Arturo Toscanini 'edited at your initiative to pay homage to the illustrious maestro and to publicise the work of the young portrait painter Silvano Caselli'. Accompanied by the original envelope. One paperclip rust stain to the upper left corner, otherwise VGSilvano Caselli (1921-1995) Italian painter whose work Toscanini nella pittura di Caselli was published in 1953.
Los 1275
VARGAS GETULIO: (1882-1954) Brazilian politician who served as President of Brazil 1930-45, 1951-54. Signed First Day of Issue envelope by Vargas, featuring a postage stamp commemorating the United Nations and post marked at the United Nations, New York, 10th December 1952. A newspaper portrait of Vargas is affixed to the left side of the envelope and has a brief typed caption beneath. Signed ('Getulio Vargas') by the President in dark fountain pen ink with his name alone, the conclusion of the signature slightly obscured by the postal cancellation. Some glue staining to the portrait and light age wear, G
Los 1282
ERDOGAN RECEP TAYYIP: (1954- ) Turkish politician who served as Prime Minister of Turkey 2003-14 and as President of Turkey since 2014. Signed colour 11 x 8 photograph of Erdogan seated in a head and shoulders pose with the Turkish flag at his side and an official portrait hanging in the background. Signed by the President in bold blue ink with his name alone to a light area of the image. EX
Los 1299
NEHRU JAWAHARLAL: (1889-1964) Indian anti-colonial nationalist and statesman who served as the first Prime Minister of India 1950-64. A very fine vintage signed 8 x 11 photograph of Nehru seated in a three-quarter length pose. Photograph by A. J. Patel of Bombay and dated 26th April 1948 by the photographer to the border. Signed ('Jawaharlal Nehru') by Nehru to the lower photographer's mount and dated April 1950 in his hand. Some very light, minor uniform age toning to the photographer's mount, otherwise VGThe present portrait of Nehru was taken whilst he was in office as Prime Minister of the Dominion of India (1947-50) and just a matter of months after the assassination of Mahatma Gandhi on 30th January 1948 (on which day Nehru delivered 'The light has gone out of our lives' speech; often cited as one of the greatest speeches in history). Nehru signed the portrait a few months after having become the first Prime Minister of the Republic of India once the Constitution of India came into effect on 26th January 1950.
Los 159
MARCH FREDRIC: (1897-1975) American actor, Academy Award winner. A good vintage signed and inscribed 8 x 10 photograph, the original RKO Radio Pictures publicity portrait depicting March in a head and shoulders pose in costume from his Oscar winning role as Al Stephenson from the epic drama film The Best Years of Our Lives (1946). Signed by March in dark fountain pen ink to a largely clear area of the background. A few light, minor surface and corner creases, otherwise VG
Los 201
LEIGH VIVIEN: (1913-1967) English actress, Academy Award winner. An exceptional vintage signed 7.75 x 9.75 photograph of Leigh in an engaging close-up head and shoulders pose in costume from her Oscar winning performance as Scarlett O'Hara from the epic historical romance film Gone with the Wind (1939). Signed by Leigh in dark fountain pen ink with her name alone to the base of the image. With the original printed caption lightly affixed to the verso and stating, in part, 'Scarlett O'Hara - - Most discussed film role in years is that of Scarlett O'Hara in “Gone with the Wind”, and here is the unusual girl who is playing it. She is Vivien Leigh, who, while comparatively unknown to American audiences, has an exceptional background of training and education to fit the exacting requirements for the part'. A breath-taking and highly desirable signed portrait. A few very light, minor corner creases, VG
Los 205
YOUNG LORETTA: (1913-2000) American actress, Academy Award winner. Vintage signed and inscribed 8 x 10 photograph, the original 1952 Universal Pictures publicity portrait depicting the actress in a half-length pose with her arms folded before her. Signed by Young in dark fountain pen ink to a light area of the background. Some pinholes to the corners of the white borders, otherwise about VG
Los 207
HEPBURN AUDREY: (1929-1993) Belgian-born British actress, Academy Award winner. A good vintage signed and inscribed 8 x 10 photograph, the original Paramount Pictures publicity portrait depicting the glamourous actress in a head and shoulders pose in costume from one of her most famous roles as Holly Golightly from the romantic comedy film Breakfast at Tiffany's (1961). Signed by Hepburn in fountain pen ink to the image, her surname running across a darker area. Some light surface and corner creasing, otherwise about VG
Los 214
TAYLOR ELIZABETH: (1932-2011) British actress, Academy Award winner. A good vintage signed and inscribed 8 x 10 photograph of Taylor, the original Metro-Goldwyn-Mayer publicity portrait depicting the actress seated in a classic three-quarter length pose, in costume from her Best Actress Oscar nominated performance as Margaret 'Maggie the Cat' Pollitt, seated on a bed in a scene from the drama film Cat on a Hot Tin Roof (1958). Signed by Taylor in blue fountain pen ink, with a slightly hurried signature, to a largely light area of the image. Some slight corner and surface creasing to the white borders, otherwise VG
Los 222
MACLAINE SHIRLEY: (1934- ) American actress, Academy Award winner. Signed 8 x 10 photograph, an appealing original publicity portrait of the young actress in a smiling head and shoulders pose, with one hand gently raised to the side of her face, in costume as Fran Kubelik from the romantic comedy drama film The Apartment (1960). Signed in bold blue ink with her name alone to a clear area of the background. A few very light, extremely minor corner creases, VG
Los 223
PAGE GERALDINE: (1924-1987) American actress, Academy Award winner. Signed 8 x 10 photograph of Page in a smiling head and shoulders pose. The original Hal Wallis Productions publicity portrait dates from 1961, the year in which the actress portrayed Alma Winemiller in the drama film Summer and Smoke. Signed by Page in black ink with her name alone to a light area at the base of the image. A few very small, extremely minor corner creases, VG
Los 241
JAGGER DEAN: (1903-1991) American actor, Academy Award winner. Signed and inscribed 8 x 10 photograph, the vintage publicity portrait depicting Jagger in a half-length pose in costume as Jesse Q. Grimm from the drama film Executive Suite (1954). Signed by the actor in blue ink to a light area of the background at the head of the image and dated 8th July 1980 in his hand. VG
Los 269
REED DONNA: (1921-1986) American actress, Academy Award winner. Vintage signed and inscribed 8 x 10 photograph, a charming original Columbia Pictures Corp. publicity portrait dating from 1950 depicting the actress in a head and shoulders pose and issued to promote her appearance in the film noir drama sports film Saturday's Hero (1951; billed as The Hero on the printed caption neatly affixed to the verso). Signed by Reed in green fountain pen ink to the image, 'Good wishes to Nick - and thanks from all the Owens - Sincerely, Donna Reed Owen'. A few minor surface and corner creases, about VGDonna Reed was married to the American agent and producer Tony Owen (1907-1984) from 1945 to 1971 and together they raised four children, two of whom were adopted.
Los 321
GARLAND JUDY: (1922-1969) American actress and singer, famous for her portrayal of Dorothy Gale in The Wizard of Oz (1939). Academy Award winner. Vintage signed and inscribed 8 x 10 photograph, an appealing close-up portrait of Garland. Signed ('To Roy - love, Judy Garland') in fountain pen ink to a light area of the background in the upper right corner of the image. The signature is somewhat faded although reasonably legible. A few very light, minor corner creases and a few surface creases to the lower edge of the image, otherwise about VGProvenance: The present photograph was inscribed to Roy Moseley, author of several film star biographies.
Los 329
WELLES ORSON: (1915-1985) American actor and film director, Academy Award winner. A good illustrated A.L.S., Orson, one page, 8vo, n.p., n.d., to 'Dear Partner'. Welles writes, in full, 'You're finally getting rid of me - Miami on the noon plane. Could you come to breakfast?'. To the upper right corner of the page Welles has drawn a head and shoulders self-portrait depicting himself with a somewhat stern expression on his face as he smokes a large cigar. VG
Los 360
SCORSESE MARTIN: (1942- ) American film director, Academy Award winner. A good signed 8 x 10 photograph, the Warner Bros. publicity portrait issued for the biographical mafia drama film Goodfellas (1990) depicting the director standing in a three-quarter length pose with his arms folded. Signed in black ink with his name alone to the left white border. EX
Los 368
SCHUMACHER JOEL: (1939-2020) American film director. Signed and inscribed 10 x 8 photograph of Schumacher in a profile head and shoulders pose looking through the viewfinder of a Panavision camera on the set of the action film Falling Down (1993). Signed by Schumacher in blue ink to a clear area of the image. Together with Michael Douglas (1944- ) American actor, Academy Award winner. Signed 10 x 8 photograph of Douglas in a close-up portrait pose, wearing a pair of broken spectacles, in costume as William Foster from Falling Down. Signed by the actor in black ink to the image, 'To another great interview, thank you for your insight! Michael Douglas'. VG to EX, 2
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