Ron Fuller, 1936-2017, Laying Puffin, 1991, wood, spring, inscribed beneath wings Ron Fuller Autoymation and Made in England, approx. 22.3cm high, 14cm wide, 19.5cm deep; together with six other pieces by the same artist, comprising: Dancing Sailor (London), card, wood, tape, glass, sand, inscribed Ron Fuller Automation, Laxfield, England, approx. 17.5cm high, 14.8cm wide, 8.9cm deep; High Kicker, wood, cord, inscribed ARFT Laxfield England and Can Can, approx. 24cm long; Lazy Tong, painted wood, card, approx. 30cm high extended; Bavarian Ducks, painted wood, approx. 23.5cm long; Bavarian Shelducks, painted softwood, approx. 23.5cm long; and Ship and submarine, painted wood, wood, springs, submarine approx. 20cm wide, ship approx. 27cm wide (7)Sir Nicholas Goodison noted:Laying Puffing: Pressing down on the puffin's back causes her to raise her wings, open her beak and lay an egg, which is improbably spherical and is apt to roll away as you press down four more times for further eggs.Dancing Sailor: This glass fronted box is a gravity toy. Inverting the box causes the sand to fall to the top. Making the box upright again causes the sand to fall and to turn the pivot on which the sailor is mounted, and the sailor dances a jig.High Kicker: Ron Fullers adaptation of the swinging weight operating a circle of feeding chickens has become a trio of high-kicking Can-can dancers, complete with saucy garters.Ship and Submarine: This is Ron Fullers version of a pre-WW2 toy. The ship painted 482, the submarine SUB-1. The submarine fires its red torpedoes one at a time aiming at the peg in the side of the ships hull. The torpedo is loaded from the bows of the submarine, pushing out the firing lever at the stern. If the torpedo hits the peg, it pushes a retaining pin inward and releases a lever powered by another powerful spring inside the ship, which explodes, sending the deck, the superstructure, the gun turrets and the funnels all over the place, a very satisfactory outcome for children who enjoy a good destruction. The torpedo spring is powerful, and the range given in Fullers description is about 13 or 4m on a smooth floor, but who can hit the yellow button in the ships hull at that range? It has to be said that the ship could have been designed with a better standard of safety. The best that its crew can hope for is bad aiming.Provenance:Laying Puffin: Purchased, Ron Fuller, May 1991.Dancing Sailor: Purchased, Ron Fuller, December 1991.High Kicker, Purchased, Kristin Baybars, London, January 1993. Exhibited, A Collectors Collection, Strawberry Hill, June-November 2014.Ship and Submarine: Purchased, Ron Fuller December 1987.Note: Ron Fuller, 1936-2017, studied at art schools in Plymouth and Falmouth before studying Art & Theatre Design at the Royal College of Art.After a career in teaching, he began to make wood toys for a living in 1972. His highly sought-after work has been exhibited around the world.Roseberys do not guarantee the working order of any automata or toy.
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Brian Buckley, God moves in mysterious ways, a hand-operated automaton, wood, painted wood, wire, elastic, inscribed God moving in a mysterious way and signed Brian Buckley, approx. 20.6cm high, 11.8cm wide, 12cm deep; together with three pieces by the same artist, all signed Brian Buckley and stamped to underside BRIAN BUCKLEY CASHELOGARY, INVER, CO. DONEGAL, comprising: How to Breath, a hand-operated automaton, wood, painted wood, wire, elastic band (renewed), paper, signed Brian Buckley, with label printed HOW TO BREATH, approx. 29.5cm high, 13.5cm wide, 9.4cm deep; Sleeping Man, a hand-operated automaton, wood, painted wood, approx. 20cm high, 15cm wide, 9.5cm deep; Corncrake, a hand-operated automaton, wood, painted wood, wire, approx. 19.8cm high, 13cm wide, 6.8cm deep, and Dancers, a hand-operated automaton, wood, painted wood, plywood, approx. 20.5cm high, 12.8cm wide, 7.2cm deep (5) Sir Nicholas Goodison noted:God moves in mysterious ways: God, in the form of a benign bearded old man seated on the floor, moves in a circle against a glorious yellow sky. His outstretched arms and hands seem to say, ‘Look at Me!’. The mystery may be that He levitates or that He moves in a circle, or both. Neither seems unlikely for God, who can presumably do anything.How to Breath: The man is dressed in sports kit with white gym shoes, stands very upright and has his arms firmly at his side. He might have been in the army, even with the rank of staff sergeant. He breathes through a wide-open mouth, red on the inside with lots of teeth, as his chest rises with the intake of breath. The elastic-band driven mechanism is simple, an eccentric cam raising the dowel on which the upper body is fixed, and a wire behind which pulls the head back and opens the mouth. Sleeping Man: The sleeping man’s chest heaves as he breathes, and his head rises up the back of the chair. The movement is so realistic that one wonders why there is no sound of snoring. He wears a think woolly jersey. The movement is causes by an eccentric cam bearing on a single dowel.Corncrake: The corncrake rises from the corn, driven by an eccentric cam directly beneath and opens his beak. His croak is caused by a flange of plywood passing simultaneously over a serrated wheel. Dancers: The dancing couple are not ambitious and stay rotating on the same spot. But their footwork is fancy, and they can rotate for a long time, fast or slow (fast is better), or turn back and forward. The friction drive relies on a hexagonal wheel to impart the jerkiness. He looks a bit like Jacques Chirac. Brian Buckley was born in Belfast and studied fine art at Reading. From 1990 he built stage sets and made automata, working in 1991 with Paul Spooner on Spooner’s ‘Museum of the Mind’. He moved back to Ireland in the same year and has worked on several TV and museum projects.Provenance: God moves in mysterious ways: Purchased/Commissioned, Brian Buckley, December 1998. How to Breathe: Purchased, Hitchcocks, Bath, ‘Something Nasty in the Woodshed: An exhibition of Mechanical Toys and Automata’, May-July 1995, May 1995.Sleeping Man: Purchased, Hitchcocks, Bath, ‘Something Nasty in the Woodshed: An exhibition of Mechanical Toys and Automata’, May-July 1995, May 1995.Corncrake: Purchased, Hitchcocks, Bath, ‘Something Nasty in the Woodshed: An exhibition of Mechanical Toys and Automata’, May-July 1995, May 1995.Roseberys do not guarantee the working order of any automata or toy.
Edessia Aghajanian, Rocking Wedding Couple, 1988, carved and painted limewood, signed and dated Edessia 1988, approx. 14cm high, 18cm wide, 9cm deep; together with two other pieces, comprising: Tony Mann, 1927-2013, Dancing Couples, lever toy, wood, painted wood, woollen thread, metal screws, wire, feathers, signed and dated Tony Mann ’90, approx. 10cm high, 18cm wide; and David Plagerson, Shaky Relationship, lever toy, wood, wooden canteen cutlery, string, feather, inscribed SHAKY RELATIONSHIP No 7, bearing tag stamped DAVID PLAGERSON, 28 BRIDEGETOWN, TOTNES, DEVON, ENGLAND, approx. 27.5cm high, 49.8cm wide (3)Sir Nicholas Goodison noted: Rocking Wedding Couple: The couple rock to and from, their heads responding to the movement. Indeed, their heads shake so much that they can’t be enjoying this wedding ritual all that much, which may account for their expressions. Their mouths open and he raises the bunch of tulips for her to take, except that he seldom succeeds. Edessia Aghajanian is of Armenian descent and was born in Haifa in Palestine. She moved to London from Cyprus and studied at the Central School in the 1960s. She worked as a theatrical prop maker for fifteen years (ENO, Sadlers Wells, Covent Garden etc.) before taking up wood carving in 1982.Dancing couples: Gripping (between thumbs and fingers) and moving the levers to left and right rotates and moves the two couples who are mounted on loose wire spindles between the levers. The feathers have not weathered the frenzied pirouettes at all well.Shaky Relationship: These two figures, who sway at the waist in harmony and shake their arms as the two levers are moved to right and left, owe their being to knives, forks and a spoon from the café at the Eden Project, near St Austell, Cornwall.Provenance: Rocking Wedding Couple: Purchased, Edessia Aghajanian, British Toymakers’ Guild Fair, Kensington, Jan 1989.Dancing Couples: Purchased, Tony Mann, June 1993.Shaky Relationship: Gift from David Cohen, August 2003.Roseberys do not guarantee the working order of any automata or toy.
A quantity of cone puppets, late 20th century, to include: Harlequin Cone Puppet by Trullala Spielwaren, Lübeck, Germany, wood, card, cotton textile, wool, felt, ribbon. approx. 53cm high extended; other cone puppets of varying size and design; a reversible puppet, Udaipur, India, carved and painted wood, textiles, 39.5cm high; and a tiger stick puppet, China, approx. 16.5cm high, 15cm wide (lot)Sir Nicholas Goodison noted: Harlequin cone puppet: The cone puppet is another traditional toy made in many countries. The clown can be made to emerge by pushing the rod on which she is mounted upwards. The skilled operator can make him seem eager or reluctant about his appearance by varying the speed and angle of the rod. This harlequin wears blue trousers which dangle down the cone when he is in a sitting position. Reversible puppet: There is a strong historical tradition of puppet-making in Udaipur, where puppet-makers frequently stage ‘Rajastani’ puppet shows and dances, some of which can be found in video films on the world-wide web. Performances most frequently use string puppets and are often based on myths and folk tales. They are accompanied by music and singing. Reversible puppets have the advantage of providing two characters in one puppet. In this case the bearded prince turns into the Maharanee when the cotton loop attached to each side of the Maharanee’s head is pulled upwards and the prince’s loop relaxed, and vice versa. Both puppets are marked with the bindi, the red spot between the eyebrows that has religious (particularly Hindu) and cultural significance across much of South Asia, It is possible that this reversible puppet was made by Mukesh Bhat, 967 Aakash Deep, Udaipur 313001, who advertises puppets with very similar heads and textiles. Provenance: Reversible puppet: Purchased, Udaipur, Rajastan, India, January 1989.Roseberys do not guarantee the working order of any automata or toy. Condition Report: Please refer to department for con
A Strasbourg or Frankenthal porcelain model of a pug-dog, c.1755, incised P·H mark and foliate flourish mark, probably modelled by Johann Wilhelm Lanz, in a recumbent pose, with a black face and brown markings to its back, on a shaped oval grassy mound base, 9.8cm wideProvenance: The Robert G. Vater Collection of European Ceramics.Note: The PH mark incised on the underside of this model refers to Paul-Antoine Hannong, who in 1755 was forced to close his porcelain manufactory at Strasbourg because of the monopolies granted by the French King. Hannong moved the manufactory and set up a new one at Frankenthal under the protection of the Elector Palatine, Karl Theodor. Unfinished pieces were brought to Frankenthal, and the modeller Lanz also moved to Frankenthal from Strasbourg. For a very similar model of a recumbent pug (facing in the opposite direction from the present lot) in the Museen der Stadt Bamberg, see C. Dumortier and P. Habets (Eds.), The T&T Collection, Porcelain Pugs, A Passion, 2019, p. 65, fig. 24, where it is attributed to Frankenthal.Photographs: © Christie's ImagesCondition Report: Overall in good order. 1cm. wide flat chip to the side of the mound base, behind the pugs front right paw (so not visible when model viewed from the front). Short firing cracks to front of base and pugs belly. Small flat chip to underside edge of base, and a few further tiny chips scattered around the edge of the base. Some very, very slight wear to enamels on pugs head.
JOHN GREENWOOD (AMERICAN 1727 - 1792), PORTRAIT OF MRS RIDDOCH OF LETTERFOURIE oil on canvas, signed and dated 1783 image size 75cm x 59cm, overall size 94cm x 77cm Framed. Note: Greenwood was born in Boston and settled in London in 1762. The sitter is likely Isabella Riddoch (1741 - 1792), who was visited by Dr Johnson on his tour of the Hebrides in 1773. Greenwood's work is represented in the Yale Center for British Art.
Håkan Carlqvist replica YZ490.Launched by Yamaha in 1982 and powered by a 490cc air-cooled, two-stroke1985 saw Yamaha drop the familiar yellow paintwork and introduce the more European white and red coloursThis example is an 'homage' to works rider, Håkan Carlqvist, who won the World Motocross Championship for Yamaha in 1983Recently restored to its current condition including a full engine rebuildOld parts included in salePart of a private motocross collectionBeing offered at No ReserveSpecificationMake: YAMAHAModel: YZ490Year: 1985Registration Number: UNREGISTEREDEngine Number: 57H-000388Click here for more details and images
Correctly restored and superbly presented, this early-1950s award-winning 500 has great provenance.The ‘ES2’ designation was always applied to Norton’s top-of-the-range overhead-valve singles This award-winning example was originally registered in 1951 and retains its original registration, LAD 920It features plunger rear suspension and 'Roadholder' telescopic front forksIn 1948 the engine received a major redesign, including an oil feed to the rocker box, stronger timing side crankcases and largely improved valve train1950 saw the introduction of the Laydown gearbox reducing travel on the gear leverFeatured in articles in Motor Cycle Sport in 1983 and 1986, and pictured being admired by the late Geoff Duke and Prince Michael of Kent, who actually rode this bike at a classic event and was apparently 'very complimentary'Acquired by its previous owner in 1982 and has been museum-stored since 2002Has formed part of a private collection in recent years and may not have been run during that time, therefore an element of recommissioning is to be expectedSpecificationMake: NORTONModel: ES2 500Year: 1951Registration Number: LAD 920Click here for more details and images
HELL DRIVERS (1957) - A UK lift bill for the crime melodrama about an ex-convict who gets a job working for a trucking company, who then seeks to expose the owners for cheating - starring Stanley Baker, Herbert Lom and Peggy Cummins - Sean Connery also features in his second credited film role - folded / flat
THE CURE 1979 - A gig poster measuring 15" x 23" together with an unused ticket for the gig, a black/white still of the band and a black/white promotional leaflet with information about their London dates. The Central School of Art student gig for which this poster was created took place in March 1979 at the Conway Hall. PROVENANCE: The poster was designed by our vendor who was a graphic design student at the Central School, as well as being social secretary for the student union, and responsible for booking The Cure for the gig which was held at the hall as there wasn't enough room at the college. The poster design used an image from a 1930s book called 'Marvels of the Modern World', silk screen printed at Central by print technician Rod Parsons who had the idea of adding the orange background. From a run of circa 100 posters, we suspect that there are only a few left - this is one of 3 still owned by the vendor - rolled / flat (4)
THE SEX PISTOLS - HOLIDAYS IN THE SUN - An original promotional poster for the single, which was released on 14th October 1977 as the band's fourth single and features as the first track on the band's only studio album 'Never Mind the Bollocks, Here's the Sex Pistols' - 71cm x 70cm - artwork by Jamie Reid who based this design (one of two produced for the record) on a Belgian tourist brochure - editing the speech bubbles to include lyrics from the song - the tourist company eventually sued the band and the poster had to be withdrawn - rolled
QUADROPHENIA (1972) A 22 page booklet included in the first release album for the iconic The Who rock opera - although this book pre-dates the film by a number of years, some of the photographs in it can be recognised from the film and were obviously used as concept shots and inspiration, but with different actors, for the subsequent film - flat
A framed oil painting, a skilled and appealing early Portrait of a Lady, entitled "Elizabeth Daughter of Sapcote to Viscount Beaumont of Swords", on stretchered canvas (lined), 30'' x 25'' approx. Initial research reveals that the subject, the daughter of Henry and Eleanor Sapcote was born around 1580, was married before 1614 to Thomas Beaumont First Viscount of Swords, co. Dublin who was the son of Henry Beaumont and Elizabeth. He was appointed Knight on 23 April 1603 at Belvoir Castle, Leicestershire and was later High Sheriff and M.P. for Leicestershire. Research is ongoing.
A finely detailed Fijnschilders of Leiden 17th Century Oil Painting on Oak panel - A young girl drawing water from a well with vessels, fruit and vegetables in the foreground, a colourful bird perched close by on a wall, a riverside castle and a mountainous landscape visible through the arch of a ruin. 31.9 cms x 25.2 cms. Work by the Fijnschilders of Leiden refers to a specific manner of oil painting being highly precise, extremely detailed and of small scale format. Members of this 17th Century school of many noted artists were known to make their own incredibly fine brushes as well as to prepare their own paints, the pigments generally being ground on glass. Paintings such as this were known to take months to complete and the principal enemy to the fine work was dust, the irregularity to the surface which it caused adversely affecting the incredibly fine detail. The work that we have here is certainly of relatively small format, is incredibly detailed as witnessed by the snail on the corner of the stool being only some 2.5 mm in size, the perspective is excellent and the pigments appear to have suffered very little over the last 350 or so years. The specific artist is not known in spite of close scrutiny of the painting in the search for initials or a monogram, which are known to be found on some similar works. The young girl or a close relative appears to have been a favoured subject of many of the Fijnschilder artists appearing in a considerable number of similar works in the 1650s and 1660s including those of Gerrit Dou, Frans Van Meiris, Pieter Cornelis Van Slingelandt, Gabriel Metsu, Domenicus Van Tol and Godfried Schalken to name but a few. This precise composition, with minor variations, was painted by several of the Leiden Group, although the original is as yet undiscovered, lost or unknown. Some art historians favour Frans Van Meiris as the original artist, however Gerrit Dou with his absolutely astonishing microscopic attention to detail, as well as his frequent depiction of the same young lady, would appear to be the more likely originator. Dou's pupils and followers copied his style so closely that variants were sold as by Dou, early accounts from the 17th Century state that few could differentiate between the variants and it was not possible to determine who were pupils or followers. A wax seal verso appears to have links with some Prussian seals and suggests an important collector. A relatively recent hand written label "Pieter van Slingeland" is attached to the rear of the panel as is a Sothebys label dated "5-7-81" and numbered "210". The panel is sold with a later gilt gesso frame.
Nintendo Entertainment System - NES - Mario 3 console - Boxed with Game. This lot contains Nintendo's iconic 8-Bit system boxed with a copy of Super Mario bros 3. Super Mario 3 comes complete in its original box. The item comes in the original box which has the artwork for Super Mario Bros 3 on the side, has the original manual, leads and official controller. The console has been tested and comes from an avid videogames collector who kept his items in immaculate condition.
Sega Mega Drive Console - Sonic 1 Boxed Edition. The item comes in the original box and includes two official controllers alongside all the necessary leads. This is a PAL Mega Drive 1 model. This item also comes with a boxed copy of Sonic 1. The console has been tested and comes from an avid videogames collector who took great care of all of his items.
Panasonic Q - GameCube - Boxed. This lot contains the coveted Panasonic Q, a collaboration between Panasonic and Nintendo that was exclusively released in Japan. The console plays GameCube and DVD disks. The item comes in the original box, has the original manual, remote control, leads and official controller. The console has been tested and comes from an avid videogame collector who kept his items in very good condition. This item needs to be tested with a converter as it has a Japanese region outlet.
Amiga 600 Commodore console Boxed.This lot features a boxed Amiga 600, the item is in great condition with all the keys fully intact. The item comes with all the necessary wires, the power supply and original manuals. Condition Report: The items is boxed. The machine has not been tested by the Ewbank's team but it was working the last time the owner tried it. the item comes from the vault of an avid videogamer who kept this items in the best condition possible
Military related ephemera including copies of research material relating to various KIA and other servicemen; collection of WW2 manuscript letters from a soldier to his wife; coloured humorous print of bayonet training entitled 'The Recruit Who Took To It Kindly' in mount bearing multiple signatures and clip frame; Franklin Mint die-cast model of a Spitfire etcCondition Report:Condition varies but most in reasonably good condition.
Trading Cards Collection 19 Packs unopened (sealed in cellophane wrappers) Includes Babylon 5 1996, Dr Who 1995, Star Wars Finest 1996, Star Wars Galaxy 1993, The X Files 1998, Babylon 5 Special Edition 1996, plus many others good conditionWe combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Blackman (Malorie) Double Cross, Doubleday, Signed, 2008, hardback with dust jacket, Ridpath (Michael) The Marketmaker, Michael Joseph, Signed 1st Edition 1998, hardback with dust jacket, Phinn (Gervase) Up and Down in the Dales, Michael Joseph, Signed, 2004, hardback with dust jacket, Rhea (Nicholas) Constable Through the Meadow, Robert Hale Limited, Signed 1st Edition 1988, hardback with dust jacket, Smith (Wilbur) The Tiger's Prey, Harper Collins, Signed, 2017, hardback with dust jacket, Lagercrantz (David) The Girl Who Lived Twice, MacLehose, Signed 1st British Edition 2019, hardback with dust jacket, Phinn (Gervase) Over Hill and Dale, Michael Joseph, Signed, 1st Edition 2000, hardback with dust jacket & Richards Anna) Little Gods, Picador, 1st Edition 2009, Signed, hardback with dust jacket(8)
A collection of Doctor Who Dalek Marks Toys to include a Marx Toys The Mysterious Dalek's Doctor Who battery operated 1964 dalek figure, together with a later 1974 Marx Toys robot action dalek, together with two boxed Doctor Who Marx Rolykins boxed daleks, all in original packagingNo cracks, damage to the model with the cracked top. Would benefit from a clean, no missing parts.
A collection of six various boxed TV related plastic kits to include a Polar Lights The Green Hornet Black Beauty all-plastic assembly kit, a Comet Miniatures 1/8 scale Mk 3 Movie Dalek from Doctor Who, a Halcyon Movie Classics Cyberdyne Systems Model 101 T800 Terminator, together with an AMT/ERTL Ghostbusters 2 Ecto 1A car and others
Pere Mates (documented 1512-1558)Predella of an altarpiece. Oil painting on wood. Girona, circa 1525. 43 x 144 cmThis is a previously unattributed predella of an altarpiece, which clearly must be attributed to Pere Mates, one of the best-known painters among those documented in Girona during the first half of the 16th century. It is divided into five compartments. The main one is wider than the rest and shows a depiction of Christ, Man of Sorrows flanked by the Virgin and Saint John the Evangelist, with the Arma Christi as a backdrop. The rest of the compartments show Saint Peter, Saint Sebastian, Saint Margaret and Saint Christopher.The style of the painting leaves no room for doubt as to the attribution to Mates, since the characters have close parallels to those in other works by the painter. This is the case of Saint Peter, who has exactly the same bodily form as the same character depicted on one of the panels of the Segueró altarpiece, now in the Museu d'Art de Girona, and on a predella from the old Anton Casamor collection. The Saint Christopher is very similar to the Saint Andrew in another of the compartments of the aforementioned Segueró altarpiece. Saint Sebastian, here, is reminiscent of the Saint Andrew from the main compartment of the missing altarpiece of the church of Sant Andreu de Llorona. Another feature to point out is the treatment of the nimbus, which is completely smooth and outlined in black, as in many of Mates' paintings.Pere Mates was the most preeminent painter of an important family of artists from Sant Feliu de Guíxols (Catalonia, Spain). He is documented for the first time in 1512 and he developed a long and fruitful career until 1558, the year in which he died. His workshop carried out important pictorial activity in Renaissance times in the lands of the bishopric of Girona, with works carried out for the cathedral and the church of Sant Nicolau in Girona, for the monasteries of Sant Pere de Rodes, Sant Llorenç del Mont and Sant Pere de Cercada, and for parishes such as Roses, Vilablareix, Millars, Vilamarí, Verges, Segueró and Montagut, among others. His works are kept in Girona Cathedral, in different churches in the province of Girona, in the Museu d'Art de Girona and in private collections. We would like to thank Dr. Alberto Velasco González for identifying and cataloguing this work. Provenance: France, private collection. Bibliography on the panels: The predella was previously unattributed. Bibliography on the painter (selected):- MIQUEL ÀNGEL ALARCIA, Pedro Matas, unpublished degree thesis, Barcelona, Universitat de Barcelona, 1973.- JOAQUIM GARRIGA, “La geometria espacial de Pere Mates”, Annals de l’Institut d’Estudis Gironins, XXXIII, 1984, pp. 527-562.- JOAQUIM GARRIGA, “Pere Mates. C. 1490/1495-1558 (†)”, en De Flandes a Itàlia. El canvi de model en la pintura catalana del segle XVI: el bisbat de Girona, Girona, Museu d’Art de Girona, 1998, pp. 205-206.- JOAN BOSCH Y FRANCESC MIRALPEIX (EDS.), Falsos verdaders. L’art de l’engany, Girona, Museu d’Art de Girona, 2019.
Colonial School. Mexico. 17th century."The Immaculate Virgin with St. Barbara and St. Anthony of Padua"Oil on copper. Nun’s breast shield. Diameter: 13 cm. As Professor Ilona Katzew, Curator and Head of the Latin American Art Department at the LACMA in Los Angeles, notes with respect to these nun’s shields:"This small-scale painting is a badge worn by nuns of the Order of the Immaculate Conception (also known as Conceptionists) in Mexico as part of their dress. Painted badges originated in Mexico in response to religious reforms introduced by the archbishop Francisco Manso y Zúñiga (ruled 1629-1635), who attempted to curtail the luxury and privilege of the convent lifestyle. He forbade nuns to wear shields made of gold, precious stones, and enamel. The nuns circumvented this rule by commissioning shields painted on copper or parchment, and set into frames made of tortoiseshell. Many of the badges were painted by the best artists of the day."This genre of devotional art was widespread during the 17th and 18th centuries in Spain and the New Hispanic world.They tended to be small pictures painted or embroidered with religious scenes, which nuns wore on their chests as they took their vows.It is in the classic portraits of crowned nuns, also with flowers, veils and other ornaments, where we can see the relevance these badges had.On occasions, artists of the calibre of José de Páez, Miguel Cabrera and Luis Juárez made some of these shields. This lot has been imported, therefore its exportation permit from the Ministry of Culture is guaranteed.
Colonial School. Colombia. 18th century. "Martyrdom of Saint Serapius Scott" Oil on panel. 33.5 x 26cm. The painting depicts the terrible martyrdom suffered by Saint Serapio Scott, a Mercedarian priest, who was persecuted by the King of Algeria, who ordered him to be crucified, and to have his entrails ripped out while he was still alive, in order for him to renounce his his Christian faith. The Mercedarian order considers him to be the patron saint of the sick. The detail of the shield of his habit can be observed at the left of the scene, as it rests against some branches. The painting is inspired by previous engravings of the same scene. There are two different examples from the same period, the early 18th century: a Catalan one, which is currently in the Reserve Library of the University of Barcelona; and another dedicated "To M. Ill.ª Sª. D. María Rosa Simon, y Carruchio Marq.ª de Samassi, y Sorrenti", which is kept in the Archivio Storico Comunale di Cagliari. In a period, carved and gilded wooden cornucopia frame. Cornucopia measurements: 68 x 52 cm. Bibliographic references:- Caredda, Sara. (1 de octubre de 2021). "El proceso de canonización de san Serapio: imagen, santidad y pintores peritos en la Barcelona de 1716". Atlante [En línea], 15 | 2021 https://doi.org/10.4000/atlante.6680- "El Martirio de san Serapio", inicio s. XVIII, xilografía, 11,7 x 14,5 cm, CRAI Biblioteca de Reserva de la Universitat de Barcelona. https://journals.openedition.org/atlante/docannexe/image/6680/img-2.jpg- "El Martirio de san Serapio", inicio s. XVIII, calcografía, 13,2 x 17,4 cm, Archivio Storico Comunale di Cagliari. https://journals.openedition.org/atlante/docannexe/image/6680/img-3.jpg
Virgin with Child. Sculpture in carved, polychromed and gilded wood. Anonymous Hispano-Flemish. End of the fifteenth century.Height: 112 cm.This is an exquisite late Gothic carving, a lovely depiction of the Madonna and Child that was probably executed in a Flemish or Germanic workshop for an altarpiece since it is not carved or polychromed on the back. Furthermore, it has been hollowed out on the back, perhaps to lessen its weight. The Virgin is standing up, rather stiff and with a inscrutable and linear character. She looks straight ahead, instead of at her Son, with whom she does not maintain visual contact, but shows emotional and physical contact as she holds out her right hand for him to caress. With her left hand she holds the cloak as the Child himself sits on it. The Virgin wears a wide tunic, tight at the top and with a semicircular golden neckline, with heavy folds that fall straight, creating deep concavities. It is polychromed in a pink base tone decorated with stylized reddish plant designs and a gold stripe that runs along the edges. Above, and covering her shoulders, back and a large part of her body, is a dark blue cloak edged in a golden stripe decorated with very delicate vegetation and geometric elements. Unlike the tunic, the cloak has bulkier and puffier folds that tend to have the trough shape that was common at the end of the 15th century. The clothes that the Maddonas of those times usually wear, including this one, usually imitate those worn by the noble ladies of the time. The hands have stylized fingers carved with remarkable dexterity. The head takes the shape of a perfect oval, in which the clear forehead stands out. She has half-open almond-shaped eyes, bulging cheeks, swollen cheekbones highlighted by reddish polychrome, a sharp nose with a rounded tip, a marked nasolabial fold, a closed mouth with thin, tight lips, a powerful chin and a slight double chin. She has ample blonde hair, topped by a fleur-de-lis crown, which falls symmetrically on both sides of the face in long, meandering locks. Contrasting with the mother's self-absorption and rigidity is the carefree attitude of the Christ Child, who appears naked, showing a clearly infantile and tender character, in an affectionate and playful attitude, trying to grab his mother with his right hand, the other hand rests on the Madonna's cloak. The Child has an unstable posture since it seems its back is not supported and at the same time the legs are bent. The face shows the same characteristics as the mother's, although the type of hair differs, having spiral curls.Despite what has been said previously, it cannot be ruled out that this exquisite carving could have been created in a Castilian workshop at the end of the 15th century by a master of Nordic origin, as could be indicated by stylistic features such as the oval conception of the head, the arrangement of the hair in large symmetrical wavy and intertwined loops, the sharp nose or the straight mouth with thin lips. There are also certain signs of this in the way of treating the folds of the clothing.We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
Antoni García Lamolla (Tarragona, 1910 - Dreux, France, 1981)"Surrealist Composition"Oil on canvas. Signed and dated 1943. 42 x 48 cm.Antoni García Lamolla was a 20th century painter and sculptor who was a member of the ADLAN (Amics de l'Art Nou) group. Important events from his biography, described in Juan Manuel Bonet's Diccionario de las Vanguardias en España, include his first solo exhibition in 1935 at the Centro de Exposición e Información Permanente de la Construcción (Centre for Exhibition and Permanent Information on Construction) in Madrid, which was considered by the writer and art critic Manuel Abril to be "one of the most important surrealist exhibitions that Madrid has seen".It is also worth noting his second solo show, a year later, at the Círcol Mercantil in Lleida and his participation in the Logicofobista Exhibition in Barcelona with six paintings, among which "L'espectre de les tres gràcies dins l'aura subtil" stands out. (1935), which is currently part of the collection at the Museu d'Art Jaume Morera in the city of Lleida, together with, among others, "Diari d'un psicoanalista", two of his most successful works.As Bonet reports, the artist went into exile in Dreux, France after the civil war and it was not until 1963 that he began to return periodically to Lleida, the city where he had moved with his family in 1924.The Museu Nacional d'Art de Catalunya has had three of his paintings since 2008. Reference bibliography: - Bonet, Juan Manuel. (1995). "Diccionario de las Vanguardias en España (1907-1936)". Pages 272-273. Alianza Editorial.- Antoni Garcia i Lamolla. (8th January 2023). In "Wikipedia" in Catalan. https://ca.wikipedia.org/wiki/Antoni_Garcia_i_Lamolla
"Portable Altar of the Epiphany". Carved, polychromed and gilded wood and alabaster. Castile. Second quarter of the 16th century.Measurements: Closed: 32 x 28 x 7.5 cm.; open: 32 x 38.5 x 7.5 cm.; alabaster: 15.5 x 10.5 cm.; doors: 24 x 9.5 cm each.This small portable altar is an exquisite Renaissance piece from the mid-16th century in which polychromed wood and alabaster, sculpture and painting blend harmoniously. The little altar is actually a triptych: when it is closed, it shows two delicate grisaille paintings on its doors, as is usual in this type of piece; When opened, those same sections display two reliefs of saints while the central piece is made up of a very interesting alabaster sculpture of the Epiphany or Adoration of the Magi, which could be the work of a Mechelen workshop. The framework that contains all these artistic elements is very simple, without any ornament or decoration apart from the two elegant balustraded columns that flank the altar and frame the double painting that is shown when it is closed. This type of small or larger altars corresponds to a clear devotional typology which was made to satisfy the need of certain people with sufficient purchasing power to own a piece of this kind. It would have been placed in a small chapel or oratory in their home. Beginning with the paintings on the exterior, which, as we have already pointed out, are grisaille, we can see that a beardless saint has been portrayed on each of the doors within a micro-architecture consisting of a niche with a semicircular finish that serves to give the sensation of depth to the scene and corporeality to the saints. Between both niches, in the upper part, there seems to be a kind of oculus or clypeus. On the left door there is a bishop saint dressed in the pontifical robes associated to his status, mitre and crosier, while under his left armpit he holds a closed book. With his right hand he seems to be holding a ribbon. On the right door is a saint who is the complete opposite of his companion, since if he seems to have decided to renounce the role of bishop, denoted by the staff and mitre which appear lying on the ground. He wears a tunic and a kind of cap that hides his ears. Both saints have been painted in detail, showing small, angular facial features and pensive countenances. The hands, which are very delicate, are expressive and the fingers appear clenched. When the doors are opened we find the central motif of the triptych altar, a delicate alabaster relief of the Epiphany that is carved in different gradations to try to give depth to the scene. This is also helped by the bas-relief architecture in the background that consists of pillars that support semicircular arches, partly covered by a canopy tied with a bow. This type of alabaster sculpture enjoyed great popularity during the 16th century. As was customary even in the 16th century, Saint Joseph has been portrayed as an old man slightly removed from the main scene, so much so that a very undefined bas-relief has also been used for him. The central group is carved in high relief with some parts completely free-standing. It is made up of the Virgin Mary seated with the Child, with a classicist appearance reminiscent of Roman matrons, and before them are the three Wise Men: Melchior, with a bearded appearance, bending down to offer Jesus the gold while standing behind him, young and beardless Caspar and Balthasar wait to offer the incense and myrrh. The garments are luxurious and feature shallow but gentle, curved folds. Balthasar's attire is especially noteworthy since the author has endowed him with a turban, instead of a crown, as well as some kind of animal heads on his shoulders and knees. Finally, the inner part of the doors shows two saints who held the status of queens, as indicated by the fact that their heads are crowned. As was the case with the saints on the outside, the saints are also found inside micro-architecture, although on this occasion the niches are topped by shells, a typically Renaissance detail. Both wear luxurious dresses that are very tight on the torso, giving them a remarkable elegance, to which the postures in which they have been conceived also contribute. The saint on the left door, who carries an open book in her left hand, is Saint Catherine of Alexandria, as indicated by the presence of her most characteristic attributes: the sword and the spiked wheel, instruments of her successive martyrdom, and the body of a defeated man at her feet who must be the Emperor Maxentius, her persecutor. On the other door on the right we find another saint with the same formal characteristics, although her clothing has changed somewhat. In her left hand she carries a closed book while in her left she holds an a bow and arrow. We do not know who it may be, perhaps due to the rarity of these attributes it may be a saint of local or regional devotion which, in turn, would indicate the place for which this precious portable altar was carved. As a curiosity, on the back of the altarpiece there are a series of inscriptions, some illegible and others legible, such as the one that says ““S.DonGregorio” and “Lopez”, which perhaps alludes to the owner for whom this exquisite piece was made.We would like to thank Mr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this piece.
G. PETOCHI: PAIRE DE BOUCLES D'OREILLES RUBIS ET DIAMANTS, MILIEU DU XXe SIECLEChacune ornée d'un motif de fleur stylisé, sertie de rubis de taille ronde et ovale et de diamants taille brillant et ancienne sur une monture ajourée en platine (950°/00) et en or blanc 18K (750°/00), signée G. PETOCHI, ROMA, poinçon français d'occasion pour l'or 18K (750°/00), longueur 4.5 cm, poids brut 51.41 g.Footnotes:Accompagnée de son certificat du Laboratoire Français de Gemmologie (LFG) indiquant l'origine de Birmanie et l'absence de traitement pour le rubis central calibrant environ 1.4 carat. Certificat no. 397571 en date du 20 janvier 2023.En 1884, les cousins Alessandro et Giuseppe Petochi créent un atelier d'orfèvrerie à Rome. Vingt ans plus tard, sous le patronage du prince Alessandro Torlonia, ils déménagent dans un salon prestigieux au cœur de la ville et la fortune de l'entreprise grandit. Ils sont devenus très prisés des familles royales européennes, qui convoitaient les perles d'exception et le savoir-faire en micro-mosaïque des joailliers. Le talent artistique de Petochi a continué d'attirer des clients fortunés au fil des décennies, y compris des célébrités internationales telles qu'Audrey Hepburn. La Maison a porté son héritage de savoir-faire au 21e siècle, sous la direction du joaillier Alberto Petochi.G.PETOCHI: A PAIR OF RUBY AND DIAMOND EARRINGS, MID-20TH CENTURYEach of stylised foliate design, set with circular- and oval-cut rubies, highlighted by pierced 18 carat gold and platinum work and brilliant and old-cut diamonds, French assay mark for 18 carat gold, signed G. PETOCHI, ROMA, length 4.5 cm, gross weight 51.41 grams.Accompanied by a certificate from the Laboratoire Français de Gemmologie (LFG) stating that the central ruby weighing approximately 1.4 carat is of Burmese origin with no indication of treatment. Report number no. 397571 dated 20th January 2023.In 1884, cousins Alessandro and Giuseppe Petochi set up a goldsmith atelier in Rome. Twenty years later, under the patronage of Prince Alessandro Torlonia, they moved to a prestigious salon space in the heart of the city and the firm's fortunes grew. They became immensely popular among European royal families, who coveted the jewellers' exceptional pearls and micro-mosaic expertise. Petochi's artistry continued to attract wealthy clients through the decades, including international celebrities such as Audrey Hepburn. The house has carried its legacy of exquisite craftmanship into the 21st century, under the direction of fifth-generation jeweller Alberto Petochi.For further information on this lot please visit Bonhams.com
Ksenia (Xenia) Alexandrovna, Grand Duchess of Russia (6 April 1875 – 20 April 1960)PERSONAL ILLUSTRATED ALBUMS OF JEWELLERY AND BIBELOTS FROM 24TH JUNE 1880 TO 1905, AND OF JEWELLERY FROM 12 JANUARY 1894 TO 25 MARCH 1912, IN TWO VOLUMES the first, smaller, volume from 1880-1905.4to (22cm. x 17.5cm.), on 91 ruled leaves of text with drawings in watercolour and bodycolour, some heightened, of which the first 20 leaves are written on rectos and versos (i.e. 39 pages of entries, the first page with list of the twelve months with their birthstones), containing 74 entries (no.4 omitted and crossed through) with Russian text on versos and French translation on rectos, with no. 75 in Russian only; the following 43 leaves written on versos only containing entries 76 to 265 (no.147 and 241 with brief annotation on recto, no.194 with annotation on pinned slip of paper), with 4 additional drawings dated 1892 between nos.177 and 178; the final 27 leaves on rectos and versos containing entries 269 to 499 with briefer descriptions, the front free endpaper inscribed 'S.A.I. la Grande Duchesse Xenie Alexandrovna' with her signature in Cyrillic 'Ksenia' below, the back endpaper with pencil inscription '305 eggs', in original half roan and cloth boards, the upper cover stamped in gilt with crowned cypher 'KA', rather worn, stitching weak, spine partly loose and lacking central section, marbled endpapers with Russian printed label 'I. Baliasov's Shop, Nevskii prospekt'.the second, larger, volume from 1894 to 1912.Folio (34.5cm x 21.5cm.), on 99 ruled leaves of text with drawings in watercolour and bodycolour, some heightened, of which the first 18 leaves are written on rectos and versos (no.17 on verso only), followed by 26 leaves on rectos only, 8 on versos, and a further 47 on rectos only, with 426 numbered entries, of which all but no.62-64, 219, 221 and 422-426 are illustrated), 11 illustrations on card pasted on leaves, 9 with annotations on stitched slips of paper, followed by blank leaves, in original diced maroon leather, the upper cover stamped in gilt with crowned cypher 'KA', marbled endpapers.Footnotes:ProvenanceGrand Duchess Ksenia AlexandrovnaThence by descent, EnglandBonhams London, The Russian Sale, 30 November 2011, lot 155 Private European collectionNous remercions l'experte Svetlana Chestnyh et le Dr Karen Kettering pour leur aide dans la recherche et le catalogage de ce lot.We are grateful to Art Expert Svetlana Chestnyh and Dr Karen Kettering for their assistance in researching and cataloguing this lot.The Jewel Albums of Grand Duchess Ksenia Alexandrovna In April 1919, Grand Duchess Ksenia, sister of the last tsar, was among the surviving Romanovs to escape from Russia on board the British battleship, HMS Marlborough. According to her mother, the dowager empress, Grand Duchess Ksenia had stood with her dog, Toby, weeping openly as the family gathered around a makeshift quay, ready to depart from Yalta. They were preparing to board the Marlborough and leave their homeland for ever. The Grand Duchess had with her two precious jewel albums which she kept until her death in 1960 when they passed to her family. The two lavishly illustrated documents constitute a highly sentimental record of jewellery received between 1880 and 1912. Presented together, the 925 entries provide a fascinating insight into the private wealth of the Romanovs, their personal taste and family relationships. The albums illustrate the manner in which important occasions were marked and offer a crucial link to proving attribution and provenance for so many pieces later gifted, sold on by the Grand Duchess or seized by the Soviet authorities.The smaller of the two leather-bound albums contains entries ranging from 1880 to 1905, mostly comprising smaller jewels and pendant Easter eggs. The second, larger album contains entries beginning with the Grand Duchess's engagement in January 1894 and continues until March 25, 1911, her thirty-sixth birthday, by which time her marriage was becoming noticeably strained, relations between various member of the Imperial family were deteriorating, and the vast Russian Empire entered into its difficult, final years. Grand Duchess Ksenia (1875-1960) was born in St. Petersburg at the Anichkov Palace when her grandfather, Tsar Alexander II, ruled the Russian Empire. Her father became Alexander III when she was six years old and, together with her mother Empress Maria Feodorovna (née Princess Dagmar of Denmark) and five siblings, she was raised at Gatchina Palace, well away from the political fermentation of St. Petersburg. There she received a private education alongside her brother, the future Nicholas II, which included the study of foreign languages as well as drawing, a skill in which she was accomplished and surpassed her brother. As well as travelling between Imperial residences, Ksenia's upbringing included regular visits abroad to the Danish home of her maternal grandfather (and Godfather), King Christian IX, whose name regularly appears in her entries.Ksenia's privileged background limited her social contact mainly to royal relations and the aristocratic children of court officials. By the time she was eleven, Ksenia was smitten with her first cousin once removed, Grand Duke Alexander Mikhailovich ('Sandro') of Russia. Given their ages, it took another several years for the relationship to mature and for Ksenia's parents to finally approve their 1894 wedding. A daughter Princess Irina was born in 1895, then Prince Andrei in 1897, Prince Feodor in 1898, Prince Nikita in 1900, Prince Dmitri in 1901, Prince Rostislav in 1902 and Prince Vasili in 1907.Of immense interest to historians, only a small number of select pages of the albums had been published in specialist books, and the albums remained largely private until they were offered at auction by Bonhams New Bond Street in 2011 (Bonham's London, The Russian Sale, 30 November 2011, lot 155). The published pages, however, offer but a glimpse of the albums' full historic and artistic significance and show watercolour sketches not by the Grand Duchess herself, but by artists of the firm of Bolin and Nichols-Ewing, original drawings presented by jewellers for the extraordinary parures in diamonds, sapphires, rubies, emeralds, and pearls to be prepared for the Grand Duchess in anticipation of her marriage.The albums themselves have prompted much debate among scholars who have sought to determine the overarching purpose of the tomes. It is notable that pieces the Grand Duchess purchased for herself are not itemised and while the pages are filled with her careful and exact notations, the texts do not emphasize the value of the stones or the name of the fashionable jeweller who had made or sold the piece. Rather, each carefully rendered drawing is usually accompanied by the briefest – and most heartfelt – of statements: 'From Mama,' 'From Papa,' or 'From Sandro' (her husband, Grand Duke Alexander Mikhailovich). The art historian, Dr Karen L. Kettering, who has studied the albums since their sale in 2011, has noted that they are not inventories of the jewellery of the Grand Duchess because she herself was able to view a third volume (in private hands) which can be classified as an inventory.
Fleming (Ian) For Your Eyes Only, first edition, jacket rather creased, heavier to spine ends, light soiling to lower panel, 1960; Dr. No, Bookclub Edition, light browning to endpapers, jacket spine faded, a little creased and frayed to extremities, 1958; The Diamond Smugglers, 1957; The Spy Who Loved Me, 1962, all but the second first editions, original boards, first two with dust-jackets; and 2 others by Fleming, 8vo (7)
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