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Preisdatenbank abonnierenA seat cushion from the investiture of the Prince of Wales at Caernarvon Castle 1st July 1969, upholstered in red fabric with gold edging and tassels, and embossed roundel with Prince of Wales' feathers, 32 cm x 37 cm, together with a framed signed photograph of Lord Snowdon (who designed the furniture for the investiture), 19.5 cm x 14.5 cm.Qty: 2
The personal copy of 'The Story of Jack and the Beanstalk' formerly belonging to the young Princess Diana (when Lady Diana Spencer). The late 20th century 'Ladybird' children's book written by Muriel Levy with illustrations by Ruth Murrell, published in 1960 by Wills & Hepworth Ltd. Inscribed on the inside cover 'Diana' in blue ballpoint pen, with some of the characters penciled in and the title page inscribed 'Janes' in red pen over a rubbed out 'Sarah and Diana' pencil inscription beneath. Sold with a letter of provenance and a specially made air-tight custom box with a brass plaque inscribed, 'Formerly owned by Diana Spencer'. The book: 12xm x 17.5cm.Footnote: A very rare personal item, which reveals a charming sense of frugality and generosity between the Spencer children.According to the accompanying note, this book was given to one of the Queen's footmen (intended for his children) who was lodged in Park House, Princess Diana's former childhood home.
Jerry Lewis signed 10x8 black and white photo. Nicknamed "The King of Comedy" , was an American comedian , actor , singer , filmmaker and humanitarian , who appeared in over 60 films and other media , from the Martin & Lewis partnership with singer Dean Martin to his "one-man" solo act. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
007 James Bond collection of four 8x10 photos from the classic James Bond movie , Goldfinger. Each signed by Shirley Eaton who has added her character name as well as the movie title. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Quadrophenia CAST signed photo 14x11 inch photo signed by SEVEN actors who starred in the movie , including Phil Daniels , Mark Wingett , Garry Cooper , Leslie Ash , Toyah , Trevor Laird and Gary Shail. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
007 James Bond. VERY RARE 8x10 photo from Goldfinger , signed by golden girl Shirley Eaton who has added her line from the film "I'm beginning to like you Mr Bond" , very unusual and desirable. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Space Helen Sharman signed 12x8 colour photo. Helen Patricia Sharman , CMG , OBE , HonFRSC (born 30 May 1963) is a chemist who became the first British astronaut and first Western European woman in space (and in particular , the first British cosmonaut) as well as the first woman to visit the Mir space station in May 1991. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Star Wars Jake Lloyd signed 12x10 colour photo. Jake Matthew Lloyd (born March 5 , 1989) , also known as Jake Broadbent , is an American actor who portrayed the young Anakin Skywalker in the 1999 film Star Wars: Episode I - The Phantom Menace , the first in the Star Wars prequel trilogy. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Hugo Eckener signed 12x8 sepia vintage 1920s Graf Zeppelin photo fountain pen signature. Hugo Eckener (10 August 1868 - 14 August 1954) was the manager of the Luftschiffbau Zeppelin during the inter-war years , and also the commander of the famous Graf Zeppelin for most of its record-setting flights , including the first airship flight around the world , making him the most successful airship commander in history. He was also responsible for the construction of the most successful type of airships of all time. An anti-Nazi who was invited to campaign as a moderate in the German presidential elections , he was blacklisted by that regime and eventually side-lined. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Jacques Cousteau signed 5x4 black and white photo. Jacques-Yves Cousteau , AC ( 11 June 1910 - 25 June 1997) was a French naval officer , explorer , conservationist , filmmaker , innovator , scientist , photographer , author and researcher who studied the sea and all forms of life in water. He co-developed the Aqua-Lung , pioneered marine conservation and was a member of the Académie Francaise. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Arnold Schwarzenegger signed 16x12 Terminator colour photo. Arnold Alois Schwarzenegger ( born July 30 , 1947) is an Austrian-American actor , producer , businessman , retired bodybuilder , and former politician who served as the 38th governor of California from 2003 to 2011. As of 2021 , he is the most recent Republican governor of California. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Field Marshall Bernard Montgomery signed ALS on Headquarters South Eastern Command Home Forces headed paper dated 15. 7. 43. Field Marshal Bernard Law Montgomery , 1st Viscount Montgomery of Alamein , KG , GCB , DSO , PC , DL ( November 1887 - 24 March 1976) , nicknamed "Monty" and "The Spartan General" , was a senior British Army officer who served in the First World War , the Irish War of Independence and the Second World War. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Geoffrey Keen signed 12x8 colour photo. Geoffrey Keen (21 August 1916 - 3 November 2005) was an English actor who appeared in supporting roles in many films. He is well known for playing British Defence Minister Sir Frederick Gray in the James Bond films. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Ingrid Bergman signed 6x4 black and white postcard photo. Ingrid Bergman[a] (29 August 1915 - 29 August 1982) was a Swedish actress who starred in a variety of European and American films , television movies , and plays. With a career spanning five decades , she is often regarded as one of the most influential screen figures in cinematic history. She won numerous accolades , including three Academy Awards , two Primetime Emmy Awards , a Tony Award , four Golden Globe Awards , and a BAFTA Award. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Sir Henry Segrave signed Vintage Menu Welcoming Dinner Menu on his return to Great Britain with the Worlds LAND Speed Record and World Motor Boat Championship dated 12th April 1929 signature affixed inside 2 unknown signatures. Sir Henry O'Neal de Hane Segrave (22 September 1896 - 13 June 1930) was an early British pioneer in land speed and water speed records. Segrave , who set three land and one water record , was the first person to hold both titles simultaneously and the first person to travel at over 200 miles per hour (320 km/h) in a land vehicle. He died in an accident in 1930 shortly after setting a new world water speed record on Windermere in the Lake District , England. The Segrave Trophy was established to commemorate his life. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Sir J. M Barrie vintage rare ALS with original postage envelope. Sir James Matthew Barrie , 1st Baronet , ; 9 May 1860 - 19 June 1937) was a Scottish novelist and playwright , best remembered as the creator of Peter Pan. He was born and educated in Scotland and then moved to London , where he wrote a number of successful novels and plays. There he met the Llewelyn Davies boys , who inspired him to write about a baby boy who has magical adventures in Kensington Gardens (first included in Barrie's 1902 adult novel The Little White Bird) , then to write Peter Pan , or The Boy Who Wouldn't Grow Up , a 1904 "fairy play" about an ageless boy and an ordinary girl named Wendy who have adventures in the fantasy setting of Neverland. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Colin Baker signed 6x5 album page taken from broadcaster Jan Leeming own personal collection inscribed To the Prettiest fairy I ever seen or worked with much love Colin Baker (WHO). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Roger Hilton (British, 1911-1975)Reclining Nude pen and ink and wash on paper10 x 35.5cm (3 15/16 x 14in).Executed circa 1934Footnotes:ProvenancePeter Townsend, by whom gifted to the family of the present owner, and by descentPrivate Collection, U.S.A.Peter Townsend (1919-2006) was a writer and editor who, as the editor of Studio International from 1966-75, was at the centre of the British art world during this time. Representing a diverse artistic community, the magazine often brought reports of artists from abroad, especially New York, which were eagerly awaited by its readership. Colour printing - at a time when newspapers did not often feature illustrated exhibition reviews - added to the magazine's appeal, and artists were often invited to design the covers, meaning Townsend counted many artists among his friends.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
African art Ceremonial staff (kpoman), BauleIvory Coast. . Cm 150,00. important command stick with complex subject. Soft wood with a thick encrusted dark patina, finely carved with human figures. This type of artifact was intended for the exclusive use of the kpannyn, that is to say the chief or in general to the one who presides over the ceremonies. Objects of this type are very rare expecially of this high quality. For a similar example see: The Art Institute, Chicago, inv. N ° 1985.62.
African art Dagger with sheath and ivory handle, Kuba (?)Democratic Republic of the Congo. . Cm 9,00 x 13,00. Short weapon with copper blade characterized by a beautiful ivory handle with a glossy brown patina, carved in a crouched male figure.Provenance: This piece is part of Pietro Felter's private collection(Roè Volciano-bs 1856-Sabbio Chiese 1915), gold medal for military valor, explorer and diplomat, and who for a long time lived in Harar where he had numerous properties.
African art Dagger with sheath, Kuba (?)Democratic Republic of the Congo. . Cm 10,00 x 32,00. Short weapon with forged iron blade, bone handle ending with a male head and scabbard embellished with nine shells that frame a carved bone passport mask sewn in the center of the scabbard itself.Provenance: This piece is part of Pietro Felter's private collection(Roè Volciano-bs 1856-Sabbio Chiese 1915), gold medal for military valor, explorer and diplomat, and who for a long time lived in Harar where he had numerous properties.
Art of the Americas Model of kayac, InuitAlaska / Greenland. . Cm 42,00 x 3,00 x 5,00. A small scale faithful replica of an Eskimo boat made of wood, bone and parchment.Provenance: This piece is part of Pietro Felter's private collection(Roè Volciano-bs 1856-Sabbio Chiese 1915), gold medal for military valor, explorer and diplomat, and who for a long time lived in Harar where he had numerous properties.
The Connor Brothers (British)Those Who Say It Cannot Be Done Hand-painted vintage paperback with acrylic and screenprint in colours, 2020, signed in black ink on a label affixed verso, an unique impression from the edition of two, housed in the artist's designated frame, 270 x 205 x 30mm (10 5/8 x 8 1/3 x 1 1/4in)(overall)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
A MID 19TH CENTURY ONYX CAMEO, ENAMEL, PEARL AND DIAMOND BRACELETThe oval sardonyx cameo, an interpretation of an intaglio by Luigi Pichler (see Georg Lippold, 'Gemmen und Kameen des Altertums und der Neuzeit', Hoffman, Stuttgart, 1922, CXXV,/5), depicting a lion fawning over Eros, embodying the notion 'love conquers all', within a border of pearls, old brilliant-cut diamonds and black enamel fleur-de-lys motifs, on a black enamel articulated openwork strap with pearl, old brilliant-cut diamond and black enamel fleur-de-lys quatrefoils, mounted in yellow gold, diamonds approximately 10.10 carats total, pearls untested, cameo dimensions 2.8 x 1.9cm, two black enamel and diamond fleur-de-lys motifs deficient, length 16.9cm, fitted case by Hartley, 45 Albemarle St, London, W.Footnotes:ProvenanceAdrian John Hope (1811-1863), son of Thomas HopeLady Beatrice Lister Kaye (1862-1935), his great-niece and daughter of 6th Duke of NewcastleAdeline de la Feld, (1881-1975), her daughterMichael Parsons, 6th Earl of Rosse, (1906-1979), her nephew, on his marriage to Anne Messel in 1935Anne Parsons, Countess of Rosse, (1902-1992), his wife and mother of Antony Armstrong-Jones, Earl of SnowdonThe bracelet's first owner is said to have been Adrian John Hope, scion of the Anglo-Dutch dynasty of merchant-bankers and patrons of the arts. Adrian was the son of Thomas Hope, the noted scholar, prominent collector, writer, and proponent of Neo-Classicism who filled his London townhouse in Duchess Street, Mayfair and his country mansion, The Deepene in Dorking, Surrey, with his collections of art. Thomas's brother was the gem connoisseur Henry Philip Hope, whose legendary collection of gems, that included the blue Hope Diamond (now in the National Museum of Natural History, Washington DC) and the Hope Spinel (sold at Bonhams for a world record price in 2015), was one of the most important private collections of gems ever assembled. The two brothers would also purchase, share and exchange works of art and jewels with each other and after their deaths, their vast collections were inherited and dispersed by their many relatives and heirs. It is uncertain when or how Adrian acquired this bracelet; perhaps he inherited the cameo from his father or his uncle and had it mounted. It is also possible he purchased the bracelet as a complete piece. Adrian Hope's great-niece, Lady Beatrice Lister Kaye, wore it at her wedding in 1880. In 1935, it was again given at a wedding, this time to Michael Parsons, 6th Earl of Rosse, himself a descendent of the illustrious Hopes, for his bride, the beautiful Anne Armstrong-Jones (née Messel), whose love of jewels is described by Diana Scarisbrick on the previous pages. The bracelet is a fitting marriage token: not only is the lion proffering its paw to Eros an allegory of love but during the 19th century the bracelet was the premier jewel of sentiment.This bracelet and the emerald bangle, lot 103, were great favourites of the Countess of Rosse and she may be seen wearing them in many society photographs of her. She wore them at the marriage of her son Antony Armstrong-Jones, 1st Lord Snowdon, to HRH The Princess Margaret in 1960 and both are clearly visible, one on each wrist, in their wedding portrait by Cecil Beaton with HM The Queen and HRH The Duke of Edinburgh in attendance. For reasons of copyright we are unable to reproduce the image in the catalogue but it may be searched for and viewed online.LOTS 103 – 104 TWO JEWELS FROM THE COLLECTION OF THE COUNTESS OF ROSSEINTRODUCED BY DIANA SCARISBRICKWhen I asked the Countess of Rosse what she considered the purpose of jewellery, her answer came swift and sure: 'it is for the beautification of women'. She followed this precept, for the jewels in her collection certainly enhanced her own appearance which was that of a great beauty much photographed by the Royal and society favourite, Cecil Beaton. Leaving nothing to chance, she explained that before each of her many social engagements she would always take the time to plan for it well in advance. She would first choose the right outfit and then with her husband, decide whether her diamonds, her emeralds or her rubies would best suit the colour and design of the dress as well as the circumstances of the particular event. She wore her most important jewels with one of the architectonic satin and tulle ball gowns created for her by the New York dressmaker, Charles James, and the combination made her look as majestic as the Empress Eugénie portrayed in a Charles Worth crinoline by F.X. Winterhalter, circa 1860. Similarly, when her son, Antony Armstrong-Jones, later 1st Earl of Snowdon, married Princess Margaret in May 1960 and their wedding was preceded by a ball at Buckingham Palace, she rose splendidly to the occasion. The invitations read 'tiaras will be worn' and she dazzled in the Rosse family diamond and emerald parure - tiara, long earrings and necklace - with an exquisite black and white organza gown from Victor Stiebel, standing out in the brilliant crowd. Daytime, less formal but official, events connected with the National Trust, the Georgian Group and the world of art and museums brought out her pearls and the Victorian diamond stars which she arranged so often in so many different combinations that they seemed to be part of her personality. They, like these two bracelets, evoke the period after World War 2, chronicled in the inimitable diaries of Henry 'Chips' Channon, when, through her marriage to Lord Rosse in 1935, her connections with royalty and her friendships with the leading figures in the arts, she played the part of an important hostess in London and in Ireland to perfection.In Michael Rosse she had found the ideal partner and would therefore have been particularly attached to the cameo bracelet for it was one of their wedding presents, with an interesting provenance, having previously been given by Adrian Hope to the parents of her mother-in-law on their marriage in 1880. As the sister of Oliver Messel, the genius of British theatrical design, heiress to the estate and gardens of Nymans in Sussex, Anne Rosse had been brought up surrounded by beauty, and passed on her feeling for it to her children and grandchildren. Coming from such a cultivated milieu, she would have appreciated that, as the son of Thomas Hope of The Deepdene, famous for its Greek style interiors, Adrian shared the Hope family passion for classical art, which is reflected in his choice of a cameo inspired by an ancient Roman model. Moreover, to friends admiring the bracelet on her elegant wrist, she must have enjoyed explaining the significance of the happy scene of the mischievous little divinity playing with the lion tamed by the all-conquering power of love, so relevant to her own personal experience. © Diana Scarisbrick 2021For further information on this lot please visit Bonhams.com
A 19TH CENTURY SPINEL AND DIAMOND NECKLACE AND BRACELETThe necklace composed of three cushion-shaped spinel and diamond clusters, alternating with similarly-cut diamond scroll motifs, the bracelet of matching design, mounted in silver and gold, lengths: necklace 40.8cm, bracelet 19.5cm (2)Footnotes:The necklace accompanied by a report from SSEF stating that the three spinels are from Tajikistan, one with indications of heating, two with no indications of heating. Report number 115090, dated 13 November 2020.The bracelet accompanied by a report from SSEF stating that the five spinels are from Tajikistan, with no indications of treatment. Report number 115089, dated 12 November 2020.'There is also.. an other kynde of Rubies which wee caule Spinelle'Richard Eden, the 16th century alchemist, in 1555Until 1783, red and pink spinels were mistaken for rubies because they are chemically similar. Even after fine pink gems were known to be spinels they were still referred to as 'balas' or 'balais' rubies. The term 'balas' derives from an ancient word for Badakhshan, a province north of Afghanistan on the border with Tajikistan, where important spinel specimens were anciently mined. These Kuh-i-Lal ('red mountain') mines were the world's main source of large spinels from the 1st century AD. Marco Polo (c.1254–1324) described how 'fine and valuable balas rubies' were dug only for the King, who owned the entire supply, which he sent to other kings as tributes or as 'friendly presents'.Mughal emperors and their ancestors, the Timurids, valued large Kuh-i-Lal spinels for their beauty and as protective talismans. The gems were polished rather than cut and were often inscribed with the names of rulers and monarchs as a way of commemoration. The Carew Spinel, in the collection of the V&A in London, is inscribed with the names of Emperors Jahangir, Shah Jahan and Aurangzeb. Spectacular Mughal spinels which entered Persian, Russian and European royal treasuries include the 'Black Prince's Ruby': a large uncut red spinel, it was given to the Black Prince by Pedro the Cruel in 1367, worn by Henry V in his helmet at the Battle of Agincourt and is now set in the Imperial State Crown in the British crown jewels. The 361-carat 'Timur Ruby', also in the British crown jewels, was owned by Sultan Sahib Qiran and Ranjit Singh, the 'Lion of the Punjab'. A huge polished spinel decorates the Imperial Crown of Russia, made for the coronation of Catherine the Great in 1762.In the 19th century, spinels were cut according to European ideals to best exploit their fine pink colour and transparency. For other spinels of similar cut mounted in 19th century jewellery, see The Hope Spinel, sold at Bonhams in September 2015, the 'ruby' jewels of Queen Therese in the Munich Treasury, the 'Bagration' jewels, now in the collection of the Duke of Westminster.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
A PAIR OF GEM-SET 'SAPPHIRE FLOWER' EARRINGS, BY BULGARIEach flowerhead set with oval-cut vari-coloured sapphire petals, accented by brilliant-cut diamonds, with a central similarly-cut diamond accent, signed Bulgari, numbered 6363, length 2.2cmFootnotes:Property of a European Private Collector: A Collection of Jewels by BulgariLots 109 – 115Bulgari was founded in 1884 by Sotirio Bulgari, a Greek silversmith who had been displaced by war. Sotirio was robbed of everything in Naples and overcame great adversity to open his first store in Rome. He and his sons initially specialised in silver, largely catering to the tourist market before focusing exclusively on fine jewellery. By the 1930s, Bulgari's distinctive style had begun to emerge with the creation of the first 'Trombino' ('little trumpet') ring. The first 'Serpenti' jewel followed during the late 1940s. As an ancient symbol of rebirth and eternal love, Bulgari paid homage to Rome's ancient origins and the Eternal City's romantic association with Cleopatra. The complex techniques required to imitate the sinous form of a serpent coiling around a wrist were perfected during the 1960s and 1970s and today, the Serpenti collection of jewellery is regarded as one of Bulgari's most iconic lines. During the 1950s and 1960s, Rome become a popular location for shooting Hollywood's star-studded Roman epics and Bulgari's store on the Via Condotti attracted an impressive and international clientele of high-profile actors and socialites. It was through this highly publicised association that Bulgari came to epitomise La Dolce Vita, then very much in vogue in Europe and America. During this era, Bulgari began to break away from the trends previously set by other European jewellers and the distinctive feature that really came to set them apart was their bold and unrestrained use of colour. Bulgari had become very active in the Indian market during the 1950s, buying up coloured diamonds and gemstones of exceptional quality, some with ancestral provenance. Lots 113 - 115 exemplify this cultural journey and Bulgari's inspired use of colour, evoking the true spirit of Italian glamour.For further information on this lot please visit Bonhams.com
A MOTHER-OF-PEARL AND DIAMOND 'SERPENTI' RING, BY BULGARIThe sprung band designed as a coiling serpent, the head and scales set throughout with mother-of-pearl panels alternating with pavé-set brilliant-cut diamonds, signed Bulgari, numbered 7846, ring size approx. O (expandable)Footnotes:Please note, this lot will be subject to US Fish and Wildlife regulations if imported into the USA.Property of a European Private Collector: A Collection of Jewels by BulgariLots 109 – 115Bulgari was founded in 1884 by Sotirio Bulgari, a Greek silversmith who had been displaced by war. Sotirio was robbed of everything in Naples and overcame great adversity to open his first store in Rome. He and his sons initially specialised in silver, largely catering to the tourist market before focusing exclusively on fine jewellery. By the 1930s, Bulgari's distinctive style had begun to emerge with the creation of the first 'Trombino' ('little trumpet') ring. The first 'Serpenti' jewel followed during the late 1940s. As an ancient symbol of rebirth and eternal love, Bulgari paid homage to Rome's ancient origins and the Eternal City's romantic association with Cleopatra. The complex techniques required to imitate the sinous form of a serpent coiling around a wrist were perfected during the 1960s and 1970s and today, the Serpenti collection of jewellery is regarded as one of Bulgari's most iconic lines. During the 1950s and 1960s, Rome become a popular location for shooting Hollywood's star-studded Roman epics and Bulgari's store on the Via Condotti attracted an impressive and international clientele of high-profile actors and socialites. It was through this highly publicised association that Bulgari came to epitomise La Dolce Vita, then very much in vogue in Europe and America. During this era, Bulgari began to break away from the trends previously set by other European jewellers and the distinctive feature that really came to set them apart was their bold and unrestrained use of colour. Bulgari had become very active in the Indian market during the 1950s, buying up coloured diamonds and gemstones of exceptional quality, some with ancestral provenance. Lots 113 - 115 exemplify this cultural journey and Bulgari's inspired use of colour, evoking the true spirit of Italian glamour.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A MOTHER-OF-PEARL AND DIAMOND 'SERPENTI' BRACELET, BY BULGARIThe highly articulated bracelet designed as a coiling serpent, the scales, head and tail set throughout with mother-of-pearl panels alternating with pavé-set brilliant-cut diamonds, diamonds approximately 11.25 carats, signed Bulgari, numbered 7390, coiled inner diameter 4.5cm (expandable)Footnotes:Please note, this lot will be subject to US Fish and Wildlife regulations if imported into the USA.Property of a European Private Collector: A Collection of Jewels by BulgariLots 109 – 115Bulgari was founded in 1884 by Sotirio Bulgari, a Greek silversmith who had been displaced by war. Sotirio was robbed of everything in Naples and overcame great adversity to open his first store in Rome. He and his sons initially specialised in silver, largely catering to the tourist market before focusing exclusively on fine jewellery. By the 1930s, Bulgari's distinctive style had begun to emerge with the creation of the first 'Trombino' ('little trumpet') ring. The first 'Serpenti' jewel followed during the late 1940s. As an ancient symbol of rebirth and eternal love, Bulgari paid homage to Rome's ancient origins and the Eternal City's romantic association with Cleopatra. The complex techniques required to imitate the sinous form of a serpent coiling around a wrist were perfected during the 1960s and 1970s and today, the Serpenti collection of jewellery is regarded as one of Bulgari's most iconic lines. During the 1950s and 1960s, Rome become a popular location for shooting Hollywood's star-studded Roman epics and Bulgari's store on the Via Condotti attracted an impressive and international clientele of high-profile actors and socialites. It was through this highly publicised association that Bulgari came to epitomise La Dolce Vita, then very much in vogue in Europe and America. During this era, Bulgari began to break away from the trends previously set by other European jewellers and the distinctive feature that really came to set them apart was their bold and unrestrained use of colour. Bulgari had become very active in the Indian market during the 1950s, buying up coloured diamonds and gemstones of exceptional quality, some with ancestral provenance. Lots 113 - 115 exemplify this cultural journey and Bulgari's inspired use of colour, evoking the true spirit of Italian glamour.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A PAIR OF EMERALD AND DIAMOND PENDENT EARRINGS, BY BULGARIOf chandelier design, each brilliant-cut diamond surmount suspending step-cut and shield-shaped diamond pendants, issuing pear-shaped diamond drops, weighing 1.03 carats, 1.02 carats, 1.01 carats and 1.00 carat, terminating in pear-shaped emerald drops, weighing either 5.95 carats or 6.16 carats, signed Bulgari, numbered 5558, remaining diamonds approximately 3.23 carats total, the emerald weighing 5.95 carats is drilled, lengths 3.4cm and 3.6cmFootnotes:Accompanied by a report from Gübelin stating that the emerald weighing 6.16 carats is of Colombian origin with indications of minor clarity enhancement (oil). Report number 20120022, dated 15th December 2020.Accompanied by a report from Gübelin stating that the emerald weighing 5.95 carats is of Colombian origin with indications of minor clarity enhancement (oil). Report number 20120023, dated 15th December 2020.Property of a European Private Collector: A Collection of Jewels by BulgariLots 109 – 115Bulgari was founded in 1884 by Sotirio Bulgari, a Greek silversmith who had been displaced by war. Sotirio was robbed of everything in Naples and overcame great adversity to open his first store in Rome. He and his sons initially specialised in silver, largely catering to the tourist market before focusing exclusively on fine jewellery. By the 1930s, Bulgari's distinctive style had begun to emerge with the creation of the first 'Trombino' ('little trumpet') ring. The first 'Serpenti' jewel followed during the late 1940s. As an ancient symbol of rebirth and eternal love, Bulgari paid homage to Rome's ancient origins and the Eternal City's romantic association with Cleopatra. The complex techniques required to imitate the sinous form of a serpent coiling around a wrist were perfected during the 1960s and 1970s and today, the Serpenti collection of jewellery is regarded as one of Bulgari's most iconic lines. During the 1950s and 1960s, Rome become a popular location for shooting Hollywood's star-studded Roman epics and Bulgari's store on the Via Condotti attracted an impressive and international clientele of high-profile actors and socialites. It was through this highly publicised association that Bulgari came to epitomise La Dolce Vita, then very much in vogue in Europe and America. During this era, Bulgari began to break away from the trends previously set by other European jewellers and the distinctive feature that really came to set them apart was their bold and unrestrained use of colour. Bulgari had become very active in the Indian market during the 1950s, buying up coloured diamonds and gemstones of exceptional quality, some with ancestral provenance. Lots 113 - 115 exemplify this cultural journey and Bulgari's inspired use of colour, evoking the true spirit of Italian glamour.For further information on this lot please visit Bonhams.com
AN EMERALD AND DIAMOND BRACELET, BY BULGARISet with an alternating graduation of oval-cut emeralds and diamonds, signed Bulgari, diamonds approximately 8.35 carats total, length 17.6cmFootnotes:Accompanied by a report from Gübelin stating that the emerald weighing 2.72 carats has indications of insignificant clarity enhancement (oil). Report number 20120028, dated 17th December 2020.Accompanied by a report from Gübelin stating that the emerald weighing 2.27 carats has indications of moderate clarity enhancement (oil). Report number 20120026, dated 17th December 2020.Accompanied by a report from Gübelin stating that the emerald weighing 2.16 carats has indications of minor clarity enhancement (oil). Report number 20120024, dated 17th December 2020.Accompanied by a report from Gübelin stating that the emerald weighing 1.82 carats has indications of minor clarity enhancement (oil). Report number 20120027, dated 17th December 2020.Accompanied by a report from Gübelin stating that the emerald weighing 1.80 carats has indications of minor clarity enhancement (oil). Report number 20120025, dated 17th December 2020.Property of a European Private Collector: A Collection of Jewels by BulgariLots 109 – 115Bulgari was founded in 1884 by Sotirio Bulgari, a Greek silversmith who had been displaced by war. Sotirio was robbed of everything in Naples and overcame great adversity to open his first store in Rome. He and his sons initially specialised in silver, largely catering to the tourist market before focusing exclusively on fine jewellery. By the 1930s, Bulgari's distinctive style had begun to emerge with the creation of the first 'Trombino' ('little trumpet') ring. The first 'Serpenti' jewel followed during the late 1940s. As an ancient symbol of rebirth and eternal love, Bulgari paid homage to Rome's ancient origins and the Eternal City's romantic association with Cleopatra. The complex techniques required to imitate the sinous form of a serpent coiling around a wrist were perfected during the 1960s and 1970s and today, the Serpenti collection of jewellery is regarded as one of Bulgari's most iconic lines. During the 1950s and 1960s, Rome become a popular location for shooting Hollywood's star-studded Roman epics and Bulgari's store on the Via Condotti attracted an impressive and international clientele of high-profile actors and socialites. It was through this highly publicised association that Bulgari came to epitomise La Dolce Vita, then very much in vogue in Europe and America. During this era, Bulgari began to break away from the trends previously set by other European jewellers and the distinctive feature that really came to set them apart was their bold and unrestrained use of colour. Bulgari had become very active in the Indian market during the 1950s, buying up coloured diamonds and gemstones of exceptional quality, some with ancestral provenance. Lots 113 - 115 exemplify this cultural journey and Bulgari's inspired use of colour, evoking the true spirit of Italian glamour.For further information on this lot please visit Bonhams.com
A FINE EMERALD AND DIAMOND RING, BY BULGARIThe step-cut emerald weighing 10.04 carats between demi-lune-shaped diamond shoulders, diamonds approximately 1.25 carats total, signed Bulgari, maker's mark, ring size M½Footnotes:Accompanied by a report from Gübelin stating that the emerald is of Colombian origin with indications of minor clarity enhancement (oil). Report number 20120021, dated 15th December 2020.Property of a European Private Collector: A Collection of Jewels by BulgariLots 109 – 115Bulgari was founded in 1884 by Sotirio Bulgari, a Greek silversmith who had been displaced by war. Sotirio was robbed of everything in Naples and overcame great adversity to open his first store in Rome. He and his sons initially specialised in silver, largely catering to the tourist market before focusing exclusively on fine jewellery. By the 1930s, Bulgari's distinctive style had begun to emerge with the creation of the first 'Trombino' ('little trumpet') ring. The first 'Serpenti' jewel followed during the late 1940s. As an ancient symbol of rebirth and eternal love, Bulgari paid homage to Rome's ancient origins and the Eternal City's romantic association with Cleopatra. The complex techniques required to imitate the sinous form of a serpent coiling around a wrist were perfected during the 1960s and 1970s and today, the Serpenti collection of jewellery is regarded as one of Bulgari's most iconic lines. During the 1950s and 1960s, Rome become a popular location for shooting Hollywood's star-studded Roman epics and Bulgari's store on the Via Condotti attracted an impressive and international clientele of high-profile actors and socialites. It was through this highly publicised association that Bulgari came to epitomise La Dolce Vita, then very much in vogue in Europe and America. During this era, Bulgari began to break away from the trends previously set by other European jewellers and the distinctive feature that really came to set them apart was their bold and unrestrained use of colour. Bulgari had become very active in the Indian market during the 1950s, buying up coloured diamonds and gemstones of exceptional quality, some with ancestral provenance. Lots 113 - 115 exemplify this cultural journey and Bulgari's inspired use of colour, evoking the true spirit of Italian glamour.For further information on this lot please visit Bonhams.com
AN ARCHAEOLOGICAL REVIVAL GOLD AND LAPIS LAZULI BRACELET, FRENCH, CIRCA 1865Each lapis lazuli plaque within a ropetwist surround between baton links of fluted detail, with disc and bead finials, maker's mark PM, French assay marks, length 17.2cmFootnotes:The maker's mark on this bracelet is possibly that of Pierre-Auguste Moireau, a jeweller who also worked for Froment-Meurice.For further information on this lot please visit Bonhams.com
Camden Dining Bench Rustic The Camden Dining Bench Is Made Using Acacia Wood Solids And Veneers And Offers An Easy Loft Living Style It Has A Relaxed Feel With Undulating Sections Of Acacia Inlaid Into The Seat; The Variance Of Grain Gives Character And Charm The Wood Finish Is Mellow And Distressed With Cross Sawn Detail The Metal Legs Are Hand Brushed And Coloured To A Gun Metal Finish That Change Colour As The Light Hits Them The Camden Dining Bench Suits Young And Older Generations Who Want A Stylish Relaxed On-Trend Interior 150 X37 X45cm
Camden Rectangular Dining Table Rustic The Camden Rectangular Dining Table Is Made Using Acacia Wood Solids And Veneers And Offers An Easy Loft Living Style Look It Has A Relaxed Feel With Undulating Sections Of Acacia Inlaid Onto The Furniture Pieces; The Variance Of Grain And Cross Sawn Detail Give Character And Charm The Wood Finish Is Mellow And Distressed With Cross Sawn Detail The Metal Legs Are Hand Brushed And Coloured To A Gun Metal Finish That Change Colour As The Light Hits Them The Camden Dining Table Suits Young And Older Generations Who Want A Stylish Relaxed On-Trend Interior 150 X85 X75cm
{ Option of lots: 28 } Majestic King Size Sleigh Bed Naples Silver This a stunning addition to the bedroom, this eloquent wingback headboard is carefully upholstered in chesterfield style with diamante crystal buttons to give the ultimate effect handcrafted in our UK factory by expert craftsman who look for that extra attention to detail. Upholstered in Naples Silver velvet this bed has a commanding presence and will be the centrepiece of bedroom 218 x 211 x 159cm
Majestic King Size Sleigh Bed Naples Silver This a stunning addition to the bedroom, this eloquent wingback headboard is carefully upholstered in chesterfield style with diamante crystal buttons to give the ultimate effect handcrafted in our UK factory by expert craftsman who look for that extra attention to detail. Upholstered in Naples Silver velvet this bed has a commanding presence and will be the centrepiece of bedroom 218 x 211 x 159cm
{ Option of lots: 30 } Majestic King Size Sleigh Bed Steel This a stunning addition to the bedroom, this eloquent wingback headboard is carefully upholstered in chesterfield style with diamante crystal buttons to give the ultimate effect handcrafted in our UK factory by expert craftsman who look for that extra attention to detail. Upholstered in Steel velvet this bed has a commanding presence and will be the centrepiece of bedroom 218 x 211 x 159cm
Majestic King Size Sleigh Bed Steel This a stunning addition to the bedroom, this eloquent wingback headboard is carefully upholstered in chesterfield style with diamante crystal buttons to give the ultimate effect handcrafted in our UK factory by expert craftsman who look for that extra attention to detail. Upholstered in Steel velvet this bed has a commanding presence and will be the centrepiece of bedroom 218 x 211 x 159cm
Mustique Extending Dining Table Part of a brand new addition to the Mustique Collection cleverly designed this dining table can be extended to give you some extra dining space when you require it. Mustique Extending Dining Table is a must buy for anyone who is looking for some beautiful stylish furniture, it works great with the rest of the wooden furniture as well as the other beautiful pieces amongst the Mustique collection. Width: 200cm (250cm when extended) x Depth: 100cm x 75cm High
ROYAL INTEREST - HRH Diana, Princess of Wales, A Raleigh Traveller 1970s bicycle previously owned by Diana Princess of Wales when she lived and worked in Earls Court London before the Royal Wedding in 1981, together with a letter of authenticity from Gerald Stonehill who acquired this bicycle directly from Diana
A Victorian brass-bound mahogany writing slope, previously owned by Major General Bailey Ashmore, who served in the Boer War, The Flying Corps, London Air Defence etc (name plaque on the lid), the well-fitted interior having gilded leather slope, inkwells etc, 50cm x 28cm x 19cmThe lid has a minor split in the back right-hand corner, brass mounts are slightly tarnished but generally good condition
After Albert-Ernest Carrier-Belleuse (1824-1887) for Wedgwood 'Charity' parian ware figure group, marks to the base, 37cm high Condition: surface dust, dirt and scratches. Firing cracks, small chip to the book, possible signs of old restoration includin the rose the child is holding. Head of the child who is reading. Back of the head of the child in her arms. Lady’s left elbow. Odd surface in several places. We suspect this has been in a smokers house there is yellowing and discolouration throughout.
REBECCA HORN (B. 1944)Turm der Fliehenden Bücher 1994 metal rods, electric motors, books, ink, feather quills208 by 82 by 65.5 cm.81 7/8 by 32 5/16 by 25 13/16 in.This work was executed in 1994.Footnotes:ProvenanceGalerie Thomas Schulte, BerlinVanthournot Collection, Belgium (acquired from the above in 1994)Sale: Sotheby's, New York, Contemporary Art / Afternoon, 15 November 2006, Lot 412Acquired directly from the above by the present ownerRebecca Horn has left an indelible mark on the canon of art history as one of the most versatile and innovative artists emerging from Germany in the post-War era. Her practice is immensely diverse, employing a variety of media – from drawing to installation, writing to filmmaking – that has earned her enormous regard in academic and critical circles, culminating in her representing Germany at the 1997 Venice Biennale. Her kinetic sculptures remain some of the most organic and affective works the artist has produced, and the solemn beauty of Turm der Fliehenden Bücher from 1994, is no exception. Emerging in the late 1960s, Horn was part of a generation of artists whose work challenged the institutions and structures that had governed not only the art world, but society at large. Her work has prodded at notions of control, expression, and hierarchies of power, remaining one of the most visceral, captivating bodies of work produced by any artist in the postmodern period. Born in 1944, she grew up in the immediate aftermath of the Second World War. It influenced her greatly and would ultimately shape her mythologies and experimental practices in art. As a child, having been taught French and English rather than her native German, language was a fluid medium for Horn, who developed an acute feeling for drawing as her chosen artistic syntax; to her it was a medium that remained universal. In 1964, however, as a young art and philosophy student at Hamburg's Hochschule für bildende Künste, her working with toxic polyester and fibreglass dealt an early blow to her life and work, suffering serious lung poisoning. She spent a year in hospital recovering, emerging with a determination to put her body at the centre of her art. With a renewed focus on the phenomenological experience, Horn rebuffed the commodity fetish of the art object, and engaged with a notion of artmaking as an endeavour that harbours, not only unforeseen risks, but a series of psychological and physical obstacles. The subjective experience became her chosen instrument. She worked with soft materials, padded body extensions and prosthetic bandages, inspired by her convalescence in hospital. In 1968 Horn produced her first body sculptures, in which she attached objects, materials and instruments to the human body, taking as her theme the contact between a person, their environment and surrounding space. Einhorn is one of Horn's best known performance pieces comprising of a long horn worn on her head.While it was mainly through her early performances that she explored the relationship between body and space, in her later work, the human body was replaced by kinetic sculptures. In the early 1980s, Horn began making these kinetic sculptures that moved by the force of a motor, taking on their own life and eliminating the need for the body to animate the her materials and shapes. The present work, Turm der Fliehenden Bücher from 1994, comprises of metal rods stacked tall against one another which in turn support three motors each of which has an open book and feather attached. Animated by the motors, the feathers flutter and softly rustle the pages of the texts that are splatted with ink. 'For me, all of these machines have a soul because they act, shake, tremble, faint, almost fall apart, and then come back to life again. They are not perfect machines. ...I'm interested in the soul of a thing, not the machine itself. ...It's the story between the machine and its audience that interests me' (the artist in: Rebecca Horn, New York 1993, p. 18).Feathers first began appearing in Horn's work as components in elaborate props and costumes, even becoming the sculptures in their own right. Feathers and other materials that were used in her kinetic sculptures could be liberated from their ordinarily defined materiality and transposed into ever-changing metaphors that touched on mythical, historical, literary and spiritual imagery. Literature and poetry also held important prominence in Horn's work; her own written poetry often inspired her work and she encouraged the viewer to constantly consider the important relationship between art and literature. She felt that viewers would consider a painting as art and a book as literature, but by combining the two in a single work, Horn asks us to consider these definitions and how the two relate and interact. The author, Jeanette Winterson, has described Horn as performing a role akin to an artist-inventor or alchemist, and as possessing an ability to produce artworks that conjure powerful forces and emotions. Horn's work resides in many major public institutions worldwide including the Museum of Modern Art, New York, the Tate Collection, London, the Centre Pompidou, Paris and the Stedelijk Museum, Amsterdam, among many others. She is one of very few artists whom have been selected to participate in Documenta on four separate occasions. During the last six decades Rebecca Horn has become a key figure in a moment for art that challenged and changed formal ideas.This lot is subject to the following lot symbols: * AR TP* 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.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
CARMEN HERRERA (B. 1915)Untitled 2013 signed and dated 2013 on the overlap; signed and dated 2013 on the stretcheracrylic on canvas50.9 by 50.9 by 6.2 cm.20 1/16 by 20 1/16 by 2 7/16 in.Footnotes:ProvenanceLisson Gallery, London (HERR130014)Acquired from the above by the present owner in 2015Carmen Herrera is one of the most significant and celebrated minimalist painters of the last sixty years. An artist who has been at the very heart of late modernist practice, and has remained fastidiously committed to her singular style over the course of her life, the canon of twentieth century art has been incomplete without her inclusion until her late-life, institutional reappraisal. Presented here, Herrera's Untitled painting from 2013 is a canvas of searing simplicity; a superlative example of the Cuban-American artist's characteristic compositions that intersect space with razor sharp bars of colour. In the present work, Herrera's lifelong engagement with the formal qualities of the canvas – its objecthood, its surface, its composition – crystalises in a painting of lucid boldness. Elegant in its scale and ablaze with cobalt blue abutted by weightless solids of seething Indian yellow that fluoresce and glow over their respective corners, Untitled wonderfully demonstrates the visual poetics of Herrera's minimalist workings. Painted on the overlap and not hindered by any ornament framing, the present work gives an intensity and mass to the colours and lines that are essential to experiencing her work to its fullest.Born in Cuba in 1915, Herrera's astonishing life and career as an artist in Post-War Europe and America beckons from one of the most abundantly creative periods drifting out of living memory. Having left a politically turbulent Cuba for New York, cutting short her architectural studies to marry an American, Jesse Loewenthal, in 1939, Herrera had found her calling as an artist. They moved to Paris, residing in the city between 1948 and 1953 – a period that would be so influential and formative to her blossoming practice. In Herrera's early work, her astute sense of colour and form was evident and palpable. Akin to the blockish, tonal compositions of Paul Klee, taking cues from the work of Kazimir Malevich and Russian Suprematism, it was in Paris that Herrera would begin to refine her style and hone her rigorous relationship to colour and line. Working and exhibiting in company that included Piet Mondrian and Max Bill at the Salon des Réalités Nouvelles – where she would show five times during her stay in France – Herrera's practice was not only on the pulse of the painterly discourse of its day, but she superseded many of her male counterparts in their experimentations that deconstructed and fragmented the singular plane of the canvas; the arena of contestation that would become so significant for contemporary painting of the 1950s.Post-War Paris was a hotbed of artists and intellectuals. It was a place and time without equal, from which flourished much of the philosophy, art, and literature that would be exported to New York in the following decades. Herrera's circles testify to her place in history and the respect she earned from those at the centre of cultural discourse in period: she was close friends with Jean Genet, Yves Klein and his family, sat across from Jean Paul Sartre and Simone de Beauvoir at the Café de Flore, dined with Barnett Newman on regular weekends, and was an audience member in the first production of Samuel Beckett's Waiting For Godot. On her return to New York in the 1950s, Herrera pared back her work to the harsh minimalist guise she is so fondly revered for, one of the earliest adopters of this newfound style. Her paintings now featured typically only two colours; angular lines became singular arcs; the plane of the canvas delineated into expansive, independent forms. Her fascination with line and form became her signature, famously stating 'I never met a straight line I did not like' (the artist in an interview with Simon Hattenstone, 'Carmen Herrera: 'Men controlled everything, not just art'', Simon Hattenstone, The Guardian, 31 December 2016, online). Undoubtedly, much has been said of the dialogue between her paintings and those of Ellsworth Kelly, Frank Stella, and a generation of minimalist artists who formally emerged in the 1960s, years after Herrera had arrived on the New York scene with her vivid, breakthrough style. In spite of her being overlooked by galleries and museums alike, her place at the forefront of contemporary painting since the 1950s is now regarded as hugely significant and enduring. Her unrelenting commitment to her own practice continues to be deeply engaged with the surface and object-oriented experience of painting – resolving her canvases in the simplest, discrete, pictorial frames she can achieve.Major reassessments of artist's careers are rare, and still more during the artist's lifetime. But no one has drawn quite such praise or unanimous admiration for their late-life success as Herrera. As it was in the 2000s, institutional recognition for the artist began to gain traction, and her first retrospective exhibition in Europe took place at the IKON Gallery in Birmingham, U.K., in 2009. It was her large-scale retrospective Carmen Herrera: Lines of Sight at the Whitney Museum of American Art, however, that reestablished the history of Minimalism with Herrera in full view, exhibiting over fifty works from 1948-1978. As her career will continue to be evaluated and celebrated, Untitled stands as one of a limited number of paintings as yet to come to market. Now in global museum collections including the Museum of Modern Art, New York, the Tate Collection, U.K., and the Kunstsammlung Nordrhein-Westfalen (K20), Düsseldorf, her legacy as an artist in the realms of Kelly and Stella is assured. An exceptional late painting by one of the most underappreciated artists of the modern era, Untitled is an exquisite example of Carmen Herrera's characteristic style. In spite of her setbacks and discounts, her fortitude in the face of adversity is testament to her rightful place in the canon, and the present work boldly displays the prowess and mastery of craft of a truly historical talent.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
KAWS (B. 1974)UNTITLED (US) 1997 signed and dated 97; signed on the backing paperacrylic on existing advertising poster127 by 66.3 cm.50 by 26 1/8 in.Footnotes:ProvenanceAcquired directly from the artist by the present owner in 1998ExhibitedNew York, bOb Bar, KAWS: Me vs Them, 1998Witty, provocative, and sophisticatedly playful, the bold and brash imagery of international contemporary artist KAWS (the nom de guerre of Brian Donnelly) is undeniably iconic and instantly recognisable. From the cartoon-like figures with X-ed out eyes through to the appropriation of such recognisable cultural icons including the Simpsons, the Michelin Man and Elmo, to name but a few, KAWS has created a body of work that is comparable to the likes of Jeff Koons, Takeshi Murakami, or Damien Hirst – period-defining superstars whose work has spanned an enormous breadth of media and captivated audiences around the world. A street artist who has risen to become one of the most celebrated contemporary artists of his day, KAWS' indoctrination into the fold of blue-chip artists has reached a new high, currently honoured with a mid-career retrospective at the Brooklyn Museum, New York. Beginning his career as an illustrator and street artist in the early 1990s, roving the busy streets of New Jersey and Manhattan in his youth, Donnelly graffiti-bombed buildings and trains with his notorious KAWS tag. Like many street artists who have graduated to the realm of contemporary art, including Banksy, STIK, and Blek Le Rat, his pseudonym has become inseparably tethered to the aesthetic and motifs of his practice – becoming a fully-formed identity that is impactful and unique. Tagging the urban landscape, however, was not enough for the young artist who soon began to apply his iconography to street-furniture and bus-shelter advertisements. This diversion from the street-art norm was a catalyst for the artist, engaging in a dialogue with the brand names and faces of fashion and photography that plastered the trendy streets of Manhattan. Working quickly and effectively, the artist removed the original posters and replaced them with the versions that featured his now iconic cartoon-like figures, drastically altering the message and aesthetic of the existing adverts. Archival footage exists of KAWS appending his banners to shopfront displays in mere seconds, before disappearing into the crowd. In the teeming streets of a bustling metropolis like New York City, his imagery reached an enormous audience; and yet the vast majority of the public were unaware of any difference to these mass-produced adverts that lined the streets. KAWS' pictures infiltrated and fed stealthily into the landscape of the city, becoming part of the genetic code of the urban sprawl. The artist's quiet rebellion has exploded to become a global phenomenon in little more than a decade, from these pivotal beginnings, rearranging the characters of adverts, to floating a monumental, inflatable 'companion' in Hong Kong's Victoria Harbour in 2019. Untitled from 1997 is a superb example of one of KAWS' early 'subvertising' works. In the present painting, American actor Ellen Barkin is featured on the cover of US Weekly magazine, a source of celebrity gossip and entertainment. Scantily clad with her arms crossed over her chest, Barkin is a symbol of popular culture – the glamourised queen of public interest. Here, KAWS obscures the figure's face in his trademark skull and bones, the serpentine body wrapping around Barkin's torso in a seemingly loving embrace. Somewhat uniquely in such a work, we see the fastidious sculpting of paint here, building a gorgeously three-dimensional sense of one of his 'companion' creatures that are so often rendered in a flat cartoonish style. Rather than viewing it as a defacement of these advertisements, KAWS' imposed collaborations with the original photographers – many of whom he admired – should be viewed as a type of cumulative cultural interface; what is the product of high fashion and low tabloid fodder alike, becomes the artistic underpinnings for the street artist. In this vein, the artist elaborates: 'When I started painting on advertisements, it occurred to me that the ad really set the work in a specific time. You could look at a dozen walls and an untrained eye might not be able to distinguish the difference between the 80s and 90s. When you paint over ads, it clicks especially with the phone booths I was doing. There was these Calvin Klein ads of Kate Moss or Christy Turlington. I think that is when I realized it was more about communication. There was a dialogue to it' (the artist in: Tobey Maguire, 'KAWS', Interview Magazine, 27 April 2010, online).One of the most significant artists to inherit the mantle of Pop Art, the artist's use of pop culture icons, the slick surfaces of advertising and editorial material, as well as his own collaborative work with fashion houses, has constructed a bold but subtle critique of consumerism. KAWS collaborative work began with the Japanese company Bounty Hunger, creating his first toy, a vinyl figure of Mickey Mouse with his famed X-ed out eyes. KAWS has since produced a large variation of toys and figurines with his graphic motifs. Immensely popular, transcending the world of traditional fine arts, these mass-produced pieces have a flavour of Andy Warhol's factory to them, producing works on the scale of a commercial enterprise of mass production. A superlative, unique work, originally exhibited in one of KAWS' earliest exhibitions at bOb Bar on the Lower East Side in 1998, this Untitled painting comes to market as one of the artist's early and important 'subvertising' works; such examples are incredibly rare and highly sought-after by collectors. Acquired directly from the artist at this underground exhibition, it has remained in the same private collection ever since and is a supremely significant work by one of the most influential and recognisable contemporary artists of his generation.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
PARKETT MAGAZINEVolumes 1-92 (in 91 parts) 1984-2013 Each: 25.4 by 21.3 cm.10 by 8 3/8 in.Footnotes:ProvenancePrivate Collection, LondonFounded in the early 1980s, Parkett magazine has been the leading contemporary arts journal since its first edition – included in this collection – hit shelves in 1984. 'Parkett will be partial and bold in discussing notable, yet unnoted undercurrents, and quick to recognize new developments in the bud. We are aiming to produce a vehicle of direct confrontation with art, providing not only coverage about artists, but original contributions by them', writes Bice Curiger, who is the current Director of the Fondation Vincent van Gogh in Arles, as well as the lifelong Editor-in-Chief of Parkett until its ceasing publication in 2017 (cited in: Parkett, no. 1, 1984, p. 1). Defining a new standard for arts publications, featuring some of the finest academics and young talents of their day who have risen to the heights of global superstardom, this exceptional collection of 92 editions – each with a unique, artist-designed cover and editorial feature – represents a must-have for any discerning collector.For further information on this lot please visit Bonhams.com
ALBERT OEHLEN (B. 1954)Untitled (Baum 18) 2014 signed, titled and dated 2014 on the reverseoil on Dibond375 by 250 cm.147 5/8 by 98 7/16 in.Footnotes:ProvenanceGagosian Gallery, New YorkPrivate Collection, TurkeyAcquired directly from the above by the present ownerExhibitedZürich, Kunsthalle Zürich, Albert Oehlen: An Old Painting In Spirit, 2015Cleveland, Cleveland Museum of Art, Albert Oehlen: Woods near Oehle, 2016, no. 22, p. 57, illustrated in colourAn artist of uncompromising versatility whose punkish resolve has consistently challenged the prevailing painterly mores of his day, one cannot consider the arc of contemporary painting without placing Albert Oehlen at the apex of its developments since the 1980s. Presented here, from one of his most accomplished and novel series, the Baumbilder (tree paintings), Untitled (Baum 18) is a monumental example of Oehlen's bombastic style at its most distilled, harmonious, and complete. A painting included in prestigious institutional solo exhibitions at the Kunsthalle Zürich (An Old Painting In Spirit, 2015) and the Cleveland Museum of Art (Woods near Oehle, 2016), such museum-quality, exhibited examples from this series are rare to market. Capturing the mature style of an artist whose legacy is cemented in the academic and commercial annals of the art world, the short yet illustrious history of Untitled (Baum 18) is testament to its importance as one of the most prodigious works by Oehlen in recent decades. Oehlen's career has been defined by his brazen and anarchic attitude towards painting. Establishing himself in earnest in the early 1980s, Oehlen emerged as a young maverick associated with the European arm of Neo-Expressionism; a group dominated by his compatriots Gerhard Richter, Sigmar Polke, and Georg Baselitz. Despite owing much to this generation of painters who had synthesised a renewed form of gestural, figurative painting, and sought to revive the medium from its critical diminution in Minimalism, Nouveau réalisme and Conceptualism, it was with his close friends Martin Kippenberger and Werner Büttner that Oehlen rejected the old hat 'expressionism' of the prevailing ideology. Oehlen's resistance was pointed, witty, and unpredictable, resolving to upend the solemn ground of the artist's canvas by employing humour and parody as equally as criticism. A central protagonist of the Junge Wilde – the 'young wild ones': a group of German, predominantly Berlin-based, artists in the 1980s – Oehlen produced work that at once cited and sabotaged artistic traditions; calling painting into question to create new perspectives.He collided styles, colours, surfaces, and subjects, producing what he termed 'bad paintings' towards the end of the 1980s; disorganised, layered canvases that sought to subvert the academic narrative that upheld the sincerity of figurative, expressive painting. Oehlen engaged the medium itself, using the plastic syntax of the surface to create arrangements that were intensely abstract and kaleidoscopic, yet operatic, sonorous, and grand in their ambition. This musicality prevails across Oehlen's oeuvre. His intense working relationship with free-form jazz and electronica has informed the artist's technique from the earliest days of his career, working through organisation and improvisation to address the constraints of his chosen medium with absolute freedom. In this vein, 'Oehlen tries to do with painting what others (Coltrane, Zappa) have attempted in jazz or rock: to immerse the listener in a burst of overlapping, saturated and expansive strata, getting rid of any story-line. [...] Oehlen's painting-machine is a mixer that flings objects, images and traces into outer space' (Pierre Sterckx, 'Albert Oehlen: Junk Screens', Albert Oehlen, France 2005, n.p.).The oscillation between spontaneity and composition, abstraction and figuration, culture and counter-culture, underpins Oehlen's practice. 'I am convinced that I cannot achieve beauty via a direct route,' the artist declares: 'that means working with something where your predecessors would have said, 'You can't do that'. First you take a step toward ugliness and then, somehow or other, you wind up where it's beautiful' (the artist in: Stephan Berg Ed., Albert Oehlen, Bonn 2012, p. 71). Consistently pushing the boundaries of painterly practice, using the latest technologies, supports and mediums to assemble his pictures, Untitled (Baum 18) – itself one of the most commanding paintings by the artist on aluminium Dibond – translates as a guitar solo in paint; combining passages of sharps and flats, tempo and fermata, Oehlen achieves a contained symphony that is perfectly pitched and magnificent to behold. Approaching his practice with such a variety of impulses, constraints, and source material, Oehlen's intuitive and restless spirit shares much with the Post-Conceptualism of American painters Christopher Wool, Steven Parrino, Richard Prince, and Barbara Kruger. Whilst the strictly American branch of contemporary painting has its genealogy in Pop Art, unpacking and deconstructing the aspirational, glamourised image of late capitalism to reveal the Nietzschean tragedy at its core, the intensity with which these artists have rebuked the status quo, reclaimed cultural archetypes and inverted their creative medium is absolutely in step with Oehlen and the contrarianism of the Junge Wilde that broke with the stalwart expressionism of the 1970s and 80s. Oehlen, alongside Kippenberger, Büttner, Jörg Immendorff, and A.R. Penck, remains the principal catalyst and origin of a new wave of painting that continues today in the work of Adam Pendleton, Joe Bradley, and Josh Smith. In Untitled (Baum 18), the virtuoso hand and command of his medium is patently clear; no one element is overweight, misplaced, or imbalanced. It is a work of astonishing clarity. Imposing in scale, yet contemplative and austere, Oehlen's compositional mastery plays out across the present work in discrete passages of variegated paint folded over one another, teetering between figuration, landscape, and abstraction. Capsizing the figure-ground relationship, Oehlen achieves an almost ethereal quality here. Rendering the painting a stark white, with glimmers of an underpainting reaching through, the crisp arpeggio of blue translates as a window onto a paling horizon, over which the systematic arms of the artist's tree is suspended.For Oehlen, the tree is as much an abstraction of its constituent parts as his given subject matter, once referring to the tree as a 'program' for his paintings, not just a motif: 'In the beginning, when I first had the tree in the painting, I needed some motif. I thought, the tree, ah! [...] Then I started thinking, what makes it a tree? I can go here, I can go there, and whatever I do, it is still a tree as long as there's something in the middle rather thicker to the outside' (the artist in: Nate Freeman, ''I Just Enjoy Making a Big Mess,': Albert Oehlen on His Deconstructed Tree Paintings at Gagosian', ARTnews, 14 April 2017, online). The tree as both an image and as a formulaic approach to picture-makin... This lot is subject to the following lot symbols: * AR TP* 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.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Italian Single-manual Harpsichord ascribed to Niccolo Campi.Inner-outer case construction; the inner panelled case possibly of cypress wood, length 172cm without mouldings, width 79.5cm without mouldings; the outer case possibly of poplar wood. The present compass of 50 notes C/E to f3 enlarged from the original. The keyboard with boxwood naturals with arcaded fronts, the accidentals with stained cappings. The present disposition of two 8ft stops, the registers operated through the spine;The soundboard showing indications of a previous 4ft stop. The outer case painted with armorial and gilt foliate decoration on a dark green ground, the interior painted with classical figures and cherubs. Raised on shaped fretted supports, the front support with a drawer containing components preserved from a restoration. The interior of the lid bearing the inscription: Niccolo Campi - Fece- Ano - 1632 in Fiorenza Literature:The Instrument catalogues of Leopoldo Franciolini, Florence:Instrument number 38 in catalogue 5, series A circa 1900.Instrument number 38 in catalogue 6, series A circa 1908.Donald Boalch; Makers of the Harpsichord and Clavichord 1440 - 1840. Pub. 1995. Page 264.Jan H Albarada; Wood, Wire, and Quill, an introduction to the harpsichord. Pub. 1968.Illustrated on page 23.Provenace:This instrument is being sold by Lady Alexandra Scholey née Drew. Edward Johnson (Grandfather to Lady Alexandra Scholey) purchased this instrument in Florence in 1904. Following a very successful operatic career as a lyric and heldentenor in Italy, he moved to New York as a permanent member of the Metropolitan Opera where he eventually was appointed General Manager.The instrument was inherited by his daughter Fiorenza Drew, the wife of the hon. George Drew who was Premier of Ontario, the Leader of the Canadian national Progressive Conservative party and finally Canada’s High Commissioner to the UK. The instrument was inherited by Lady Alexandra Scholey née Drew on her parents’ deaths. It has remained in her possession to this this current day.
Two copies of Extracts of the Diaries of Arthur Edward Harbord who served as First Officer alongside Shackleton on the whaler 'Nimrod' on The British Antarctic Expedition 1907, also Mr Harbord's Continuous Certificate of Discharge no.200089, Certificate of Competency, photographs and copies of photographs, newspaper cuttings, etc.
Charming letter signed Catherine R. (Catherine of Braganza) to the Marquis De Sande (the Spanish envoy) who had arranged her marriage with Charles II expressing the wish that he could stay some time in England and give her the opportunity to prove her friendship for him, London 1st March, 1666, 8ins x 11.5ins approximately, folded and stuck down
American interest - two volumes (three volumes in two) ' Catching a Tartar ' by G. Webb Appleton, published by Samuel Tinsley and Co., London 1879, Appletons second book - he was an American journalist who worked at one time for the ' New York Times ', scarce title, together with also an American author, two volumes ' Romantic Love and Personal Beauty ' - their development, casual relations, historic and National peculiarities, by Henry Fink, published by Macmillian and Co, London, 1887, Fink was a musical editor for the ' New York Evening Post '
One volume ' Leaves from the Journal of Our Life in the Highlands ' from 1848 to 1861, edited by Arthur Helps, Second Edition, London, Smith, Elder and Co. 1868, with a presentation inscription and signature of Queen Victoria, green tooled leather binding (scuffs to spine and corners, slight foxing)We believe it to be genuine.The actual volume came from a very good source who bought from various auctions over the years
A small Victorian alphabet sampler, Cheltenham Female Orphan Asylum, 9 x 9cm, mahogany frame 14.5cm x 14.5cm.Footnote: Founded in 1806 as Cheltenham's School of Industry for "female orphans descended from respectable parents." The school moved to purpose built premises in 1823 offering accommodation for 24 girls and took the name Cheltenham Female Orphan Asylum. In 1842 specimens of the orphans' needlework were presented to Queen Victoria, who subsequently became a patron. See J S Duckworth, 'The Cheltenham Female Orphan Asylum', Transactions of the Bristol & Gloucester Archaeological Society, Vol. 117 (1999), pp. 146-47.
Important Announcement - four of the images associated with the leopard of Rudraprayag are contemporary copy-prints. Photographs and typescripts relating to the celebrated hunter of man-eating wild cats Major Jim Corbett CIE (1875-1955), Corbett was active in stalking and killing notorious man-eating tigers and leopards from 1906 to 1938 in Northern India, later moving to Kenya, and becoming a pioneer conservationist with parks named after him both in India and Kenya; three typescripts in this lot appear to be roughly contemporary transcripts of letters sent by Corbett, with the fourth a copy-letter sent by his great friend Sir William Ibbotson, Deputy Commissioner of Garwhal and Kumaon, who accompanied him on some of his expeditions, who probably formed this collection of memorabilia - typescripts - Corbett to Ibbotson, 17/10/25, about first attempt to kill man-eating leopard of Rudraprayag, sent from there, pp5, Ibbotson to Mr Stiffe, Deputy Commissioner of Almora, 8/5/26, giving detailed account of Corbett's dispatch of the man-eating leopard, accompanied by Ibbotson himself, with aim of awarding him a CIE (Companion of the Order of the Indian Empire) to Corbett (which he was granted eventually as one of the last recipients in King George VI's Birthday Honours in 1946), pp9, Corbett to unknown addressee, 19/5/28, sent from Khansun, about killing of two tigers, pp3, Corbett to 'Ibby', 2/12/38, on train to Haldwani, travelling from home at Kaladhungi, transcript of pencil original, about tense hunt and killing of his last tiger, pp3, on 'flimsy' laid paper, F, some damp staining; silver prints - Corbett posing with body of 1926 leopard (1), Ibbotson (?) with body (1), Indian attendants with body (3), dead tiger, possibly 1938 (3), two dead tigers, possibly 1928 (1), others (5), most apx. 210mm x 160mm, P, with bundle of unmounted quarter-plate contact silver prints of trip to Tibet, including people, topography and monasteries, some with pencil inscriptions, probably 1920 and relating to trip by Ibbotson, with three other images and 1950s UK theatre programmes (a lot)
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