Arno Breker (1900 Elberfeld - 1991 Düsseldorf) (F)'Die Erwartung', Entwurf 1978, Bronze, braun patiniert, Höhe 30 cm, signiert, 117/150 nummeriert, Plinthe absentLiteratur: Wvz. Egret 411/412Der deutsche Bildhauer und Architekt Arno Breker wurde 19. Juli 1900 in Wuppertal geboren. 1920 begann Breker sein Studium an der Düsseldorfer Kunstakademie. Sein großes Idol war der französische Bildhauer Auguste Rodin. Das Jahr 1936 bezeichnete der Künstler als "Wendepunkt" in seinem Leben. Die deutliche Anlehnung seiner Plastiken an die Antike erregte den Gefallen der Nationalsozialisten. Auf einmal erhielt Breker Aufträge und Auszeichnungen, trat 1937 in die NSDAP ein und wurde schnell als "Michelangelo des Dritten Reichs" gefeiert. So erhielt er 1938 den Auftrag die Büste Adolfs Hitlers zu fertigen. Nicht nur von den Nationalsozialisten, auch von dem französischen Vichy-Regime wurde der Künstler hoch angesehen. Nach Ende des Zweiten Weltkrieges floh Breker nach Bayern, wo er im Rahmen der Entnazifizierung freigesprochen wurde. Er erhielt zahlreiche private Aufträge, porträtierte viele namhafte Industrielle wie Hugo Henkel, Herbert Quandt und Rudolf-August Oetker, sowie die Politiker Konrad Adenauer und Ludwig Erhard. Ebenfalls wurde er mit Architekturprojekten wie dem Bau der Büro- und Wohngebäude für den Gerling-Konzern in Hagen 1955 beauftragt. Trotz zahlreicher Aufträge erhob sich in der Nachkriegszeit auch Kritik gegen den Künstler und seine idealisierende Ästhetik. Dennoch war Breker in der internationalen Künstlerwelt der Nachkriegszeit bekannt und pflegte besondere Freundschaft mit Salvador Dalí und Ernst Fuchs. Dalí sagte einst über die drei Künstler, die zusammen als "Goldenes Dreieck" bezeichnet wurden: "Breker-Dalí-Fuchs. Man kann uns wenden wie man will, wir sind immer oben." In seinen Arbeiten beschäftigte sich Breker zeitlebens mit dem menschlichen Körper in seiner vollen Schönheit. Ernst Fuchs beschrieb ihn sogar als "der wahre Prophet des Schönen". Der sinnlich-sinnende Mädchenakt "Die Erwartung" aus den 1970er Jahren ist ein besonders harmonisches Beispiel seines den Realismus mit dem Idealismus verbindenden Stils. Arno Breker (1900 Elberfeld - 1991 Düsseldorf) (F)'Die Erwartung', modelled in 1978, bronze, dark brown patina, height 30 cm, signed, numbered 117/150, plinth lackingGerman sculptor and architect Arno Breker was born 19th July 1900 in Wuppertal. In 1920 Breker began his studies at the Düsseldorf Art Academy. His great idol was the French sculptor Auguste Rodin. The artist described the year 1936 as a ''turning point'' in his life. The clear reference of his sculptures to antiquity attracted the favour of the National Socialists. Suddenly, Breker was receiving commissions and awards, joined the NSDAP in 1937, and was quickly hailed as the ''Michelangelo of the Third Reich.'' In 1938, for example, he was commissioned to make the bust of Adolf Hitler. The artist was highly respected not only by the National Socialists, but also by the French Vichy regime. After the end of World War II, Breker fled to Bavaria, where he was acquitted in the denazification process. He received numerous private commissions, portrayed many well-known industrialists such as Hugo Henkel, Herbert Quandt and Rudolf-August Oetker, as well as the politicians Konrad Adenauer and Ludwig Erhard. He was also commissioned with architectural projects such as the construction of the office and residential buildings for the Gerling Group in Hagen in 1955. Despite numerous commissions, criticism also arose against the artist and his idealised aesthetic in the post-war period. Nevertheless, Breker was well-known in the international art world of the post-war period and cultivated friendships with Salvador Dalí and Ernst Fuchs. Dalí once said of the three artists, who together were known as the ''Golden Triangle'': ''Breker-Dalí-Fuchs. You can turn us any way you want, we're always on top.'' Throughout his life, Breker dedicated himself in his work to the human body in all its beauty. Ernst Fuchs even described him as ''the true prophet of the beautiful.'' This sensuous, pensive female nude ''The Expectation'' from the 1970s is a particularly harmonious example of the way in which realism and idealism were combined in his works.
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A late 19th century French mantle clock in an architectural Belgium slate case with contrasting variegated marble panels to the front, eight-day timepiece movement with a recoil anchor escapement, two-part dial with a gilded centre and enamel chapter ring, with steel fleur di Lis hands, upright Arabic numerals and minute markers within a brass bezel and bevelled flat glass. With pendulum.W23 H30 D13Dimensions: Height: 30cm Length/Width: 23cm Depth/Diameter: 13cm
A good brass single fusee Skeleton Clock, the 3¼in (8.2cm) silvered chapter ring signed John Warren, Canterbury, with black Roman numerals, the single train fusee movement between Gothic style pierced architectural supports, locking pendulum, under a glass dome on rounded ebonised base and mahogany stand, clock 21cm high, overall 26cm high.
A Quantity of Decorative and Furnishing Pictures and Prints, to include:"North African Street Scene" Indistinctly signed, watercolour, 33.5cm by 23.5cm, a further 20th century watercolour of a mock Tudor house, three indistinctly signed monochromatic works of trees, four prints of caricature studies, architectural prints after Lavrof, a coloured engraving after Bazopionp in a verre eglomise frame, and various others (quantity)
Victorian oak cased Westminster chime bracket clock, with triple fusee movement chiming on eight bells and striking gongs with five rods, movement marked 'AI 80', arched brass dial with silvered chapter ring having Roman and Arabic numerals, chime/silent and chime on bells, subsidiary dials to arch, the architectural case with acanthus and floral carving and having telemone pilasters flanking the arched dial, h67cm w38cm d25cm
Dominicus Custos (Flemish, c1560-1612). After Giovanni Battista Fontana. 'Armamentarium Heroicum'. A set of eight hand coloured portrait engravings each depicting a knight within an ornate architectural alcove with a blank title cartouche below. Published c1603. The portraits include Frederick II, King of Denmark and Norway; Louis II, King of Hungary and Bohemia; Giovanni Maria Fregosa and Ferdinandus Consaluus of Cordoba. Each sheet 48.5 x 33.5cm. Framed and glazed (8)
A GEORGE III MAHOGANY CONSOLE OR SERVING TABLECIRCA 1760-80With architectural moulded legs92cm high, 133cm wide, 51cm deepCondition Report: Table with marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. Top is later associated. Later supporting blocks to the underside. Later screws securing the top to the frieze. The table as whole has been cleaned, re-coloured and varnished. There are old screw holes to the upper 'collars' of the legs from where spandrels of brackets previously sat. Some old small nails securing mouldings in various places. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
TASSO (TORQUATO)Il Goffredo, large woodcut device on title, large woodcut historiated initials, woodcut ornaments, nineteenth century red morocco gilt, sides with elaborate decorative borders enclosing a central oval panel blind-stamped with the image of a charioteer, gilt gauffered edges, joints rubbed [not in Adams], Venice, Gratiosos Perchacino, 1581; Di Gerusalemme conquista libri XXIIII, engraved portrait vignette on title, some browning and spotting throughout, old ink name on title, nineteenth century decorative morocco gilt, sides with gilt lettering labels, gilt gauffered edges, joints rubbed [Adams T231], Rome, Guglielmo Facciotti, 1593; Gierusalemme liberata, title within woodcut architectural border, lacks final leaf (?blank), title and dedication leaf cropped touching borders of woodcut on title and woodcut decoration on dedication, upper fore-corner of some leaves towards end repaired just touching numerals on a couple, occasional small stains, modern boards, spine detached [Adams T235], Ferrara, [gli heredi di Francesco de'Rossi], 1581; Il Rinaldo, large woodcut device on title, a few leaves misbound, small losses to lower fore-corner of opening leaves (affecting one letter of imprint on title, and a few letters on a few leaves), some light stains, modern calf gilt, g.e., some loss to spine [Adams T266], Venice, Francesco [de Francesci] Senese, 1562, small 4to (4)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![BIBLE, IN HEBREW[BIBLIA HEBRAICA] 7 vol. only, comprising: Ruth, Lamentations, Song of Songs, Ecclesiastes, & Esther (si](https://cdn.globalauctionplatform.com/dfdfad13-355c-412b-b214-ade100e20161/dca664e5-40a4-40ea-aef0-ade500f5ed16/468x382.jpg)
BIBLE, IN HEBREW[BIBLIA HEBRAICA] 7 vol. only, comprising: Ruth, Lamentations, Song of Songs, Ecclesiastes, & Esther (sig. 1-8); Joshua & Judges (sig. 1:2-17:5 only, loss to 17:5); Job (sig. 24:7-31:4 only); Psalms (sig. 1-18, lacking 1:1); Proverbia Psalmonis (sig. 19-26:6 only); Ezekiel (sig. 32:6-47 only); Hosea (sig. 48-60), eighteenth century vellum, bowed [Adams B1229], [Antwerp, Christopher Plantin, 1566]--Sepher Thehilim... Psalterium, contemporary calf, upper cover near detached [Adams B1366], Leiden, Plantin, 1595--Ḥamiššā Ḥûmmešê Tôrā: ʻîm Targûm Ōnqelōs We-Ḥāmēš Megîllôt We-Hafṭārôt [The Five Megillot and Haftarot for the Entire Year], title within woodcut architectural border, cropped at fore-edge and foot with loss to imprint, nineteenth century marbled boards, Hamburg, George Rebenlin, 1663; and 7 others, including parts of a late eighteenth century Amsterdam-printed Hebrew Bible, 16mo (16), sold not subject to returnThis lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
COSTA LUCIO: (1902-1998) Brazilian Architect. A renowned urban Planner, best known for his plan of Brasilia. An exceptional A.L.S., `Lucio Costa´, four pages, folio, Rio de Janeiro, 23rd May 1966, on the “Ministerio da Educaçao e Cultura” printed heading, to Anthony Krafft, in French. A very interesting letter, fully related to architecture, with Costa´s thoughts, and with multiple references to history, works and architects. Costa states in part `Indépendamment de la fonction, il y a “in abstrato” et sous-jacente, une intention que commande la création architecturale - soit-elle un objet, un batiment, une ville -, de sorte que l´adaptation de la forme a la fonction peut conduire a des résultats singulierement différenciés. Je vous donne un exemple historique Brésilien. Au XVIII siecle…´ (“Independently of the function, there is “in abstrato” and underlying, an intention that the architectural creation commands - be it an object, a building, a city - so that the adaptation of form to function can lead to singularly differentiated results. I will give you a Brazilian historical example. In the 18th century…”) Costa continues with historical references and examples, saying `Dans la premiere moitié du siècle dominait encore l´esprit d´ostentation et d´opulence a la Louis XIV, - courbes et contre-courbes lourdes, de l´or, du bleu foncé, du rouge et du noir; dans la seconde période c´était déja l´élégance et la grace de l´esprit Louis XV qui prévalait: courbes et contre-courbes acquirent de la souplesse, l´emploi de l´or se fit moins ostensif, le bleu devint clair, le rouge rose, le blanc et le gris remplacerent le noir. Cela montre que la relation forme-fonction doit etre envisagée en tenant compte de l´intention qui commande le processus d´intégration formelle´ (“In the first half of the century, the spirit of ostentation and opulence in the Louis XIV style still dominated - heavy curves and counter-curves, gold, dark blue, red and black; in the second period it was already the elegance and the grace of the Louis XV spirit which prevailed: curves and counter-curves acquired suppleness, the use of gold became less ostensive, the blue became clear, pink instead of red, white and grey replaced black. This shows that the form-function relationship must be considered taking into account the intention that drives the process of formal integration”) Lucio Costa further refers to today´s date concepts and to Le Corbusier, stating in part `L´idéal de clareté et de pureté formelle géométrique de la Renaissance a refoulé en Europe la conception formelle dynamique (gothique). Aujourd´hui, grace a la technologie moderne qui permet des structures où la tension prédomine, on observe, un peu partout, le retour au dynamisme formel. Il y a meme les prétentieux de l´art dit prospectif qui prétendent ensevelir, des maintenant, avec son corps, l´oeuvre de Le Corbusier. Ils oublient sa belle structure (gothique) du toit suspendu de la grande salle du Palais des Soviets, le Pavillon improvisé de “L´Esprit Nouveau” (1937) et le Pavillon Philips de Bruxelles. Le Corbusier avait l´esprit ouvert a tous les vents. Dans sa premiere phase de conception statique prévalait, avec le contrepoint dynamique de sa peinture; apres Ronchamp l´intégration des deux concepts s´établit. L´intégration qui est le fondement meme de l´art des temps nouveaux´ (“The Renaissance ideal of clarity and geometric formal purity drove dynamic formal design (Gothic) back to Europe. Today, thanks to modern technology which allows structures where tension predominates, we can observe, almost everywhere, a return to formal dynamism. There are even the pretentious of the so-called prospective art who claim to bury, from now on, with his body, the work of Le Corbusier. They forget his beautiful structure (Gothic) of the suspended roof of the great hall of the Palace of the Soviets, the improvised Pavilion of “L´Esprit Nouveau” (1937) and the Philips Pavilion in Brussels. Le Corbusier was open to all new visions. In his first phase of static design prevailed, the dynamic counterpoint of his painting; after Ronchamp the integration of the two concepts was established. Integration which is the foundation itself of the art of the new times”) Further again Costa adds his conclusions on his function and form theory. VG Anthony Kraft (1928-1991) Swiss journalist and editor of architecture works.
![DEMACHY ROBERT: (1859-1936) French Photographer. A.L.S., Robert Demachy, three pages, 8vo, Paris, n.d., to [Frederick H.] Eva](https://cdn.globalauctionplatform.com/e436c509-4a40-43ec-a5ed-add500ceb156/785516e1-0b7e-495b-ab7a-add700e079d0/468x382.jpg)
DEMACHY ROBERT: (1859-1936) French Photographer. A.L.S., Robert Demachy, three pages, 8vo, Paris, n.d., to [Frederick H.] Evans, on the printed stationery of the Photo Club de Paris. Demachy announces 'I was extremely disappointed at our Jury's decision in regard to your works which I admire greatly', explaining 'They systematically refused all architectural work this year - because it was architecture. Save one where there was a very peculiar effect of light on the foreground - the back of the church being kept in dark shadow. They said that in this case the architecture was quite subservient to the effect of light and shade' and continuing to comment 'These gentlemen - nearly all members of the two salons of painting - represent personalities such as prevent us from trying to influence their decisions, Unhappily three of our Jury were ill, and absent, which explains perhaps the preponderance of this new doctrine'. Demachy concludes by writing 'I quite understand that you should be annoyed at this misunderstanding but the great success that your works have everywhere and will continue to have should amply compensate any resentment you might feel against Gerome & Co.'. A letter of interesting content and good association. Some foxing, only very slightly affecting the text and signature, G Frederick H. Evans (1853-1943) British Photographer known for his images of architectural subjects including English and French cathedrals.
LUDWIG II OF BAVARIA: (1845-1886) King of Bavaria 1864-86. Called the Fairy Tale King for his extravagant artistic and architectural projects, he is also remembered as the devoted patron of the composer Richard Wagner. Attractive D.S., Ludwig, a bold and large signature, one page, folio, Schloss Berg, Berg Castle in Bavaria, 18th June 1879, in German. The partially printed document shows a very attractive heading ''Ludwig II by Grace of God, King of Bavaria'', being a decree appointing Secretary Minister Max von Gietl who is promoted to the post of Legation Council in the Ministry of Foreign Affairs. The document bears beneath the Emperor´s signature a large and very attractive Imperial paper seal affixed, with embossed coat of arms and entitled ''Ludovicus II - Dei Gratia Rex''. Countersigned by the Secretary General of His Majesty. With blank integral leaf. Very small overall minor creasing, otherwise VG
Aleksandr Aleksandrovich Deineka (Russian, 1899-1969)Sketch for mosaic plafond 'Donbass' for 'Paveletskaya' metro station (1941) gouache on paper laid on canvas61.5 x 67cm (24 3/16 x 26 3/8in).Footnotes:ProvenancePrivate collection, MoscowPLEASE NOTE THAT PERMIT FOR EXPORT FROM RUSSIA HAS NOT BEEN OBTAINED FOR THIS LOT. IT WILL BE AVAILABLE FOR PRIVATE VIEWINGS IN MOSCOW BY APPOINTMENT ONLY.The Moscow station with the working name of 'Pavelentskiy Vokzal' or 'Donbasskaya' began to be designed in 1938 by the architects V. A. and A. A. Vesnins. Both architects were staunch adherents of constructivism, which was clearly reflected in their project. The architect brothers invited Deineka to create a series of mosaics for the main platform. Deineka was attracted by the simplicity, dynamism, and expediency of the architecture of the future station. The artist, by that time was at the peak of his popularity, working so successfully as he did within the Soviet sphere of art. Arguably the 1930s was the most prolific and important period in Alexander Deineka's oeuvre; in this decade he created several significant works such as Mother, 1932, Behind the curtain, 1933, Future pilots, 1937 and the ceiling design for the Red Army Theatre. He had already created panels for Mayakovksya station, and building on this experience, he developed a series of 14 octagonal mosaic panels, united by a common theme - 'the Moscow-Donbass railway line'. Deineka aimed to create the effect of a 'breakthrough into the sky', so that the metro passengers could raise their heads and see an opening into the world above. Some of the panels included industrial scenes because Donbass at the time was a centre of mining and heavy industry. Deineka himself wrote of these mosaics: ... here the colour repetition was considered, and hence the rhythm with an increase in the strength of colour in the middle panels ...But these mosaics you will not find now at the station. The war made its own adjustments to the compositional structure of my works, as well as to the work of all and any of us. (A. A. Deineka, From my work practice, M., 1961, pp. 56).After Deineka had produced the panels, only eight were sent to the station site. Due to the war, the rest were left at the workshop. As a result of regular bombings at the site of the station, the administration ordered the mosaics to be removed urgently from the yard as 'they can attract attention with their golden reflection.' The mosaics were lowered by crane into pits and cement poured over them, for temporary storage. At this point, Deineka was not involved in the tracing of the whereabouts of his creations and they were covered until 1942/3. The artistic and architectural vision of the Vesnins' structure was no longer possible as comprehensive changes were made to the project. The metal structure that was intended for the station remained in the occupied territory of Dnepropetrovsk and the station was built according to temporary plans. During that time the architects I. G. Taranova and N. A. Bykova were creating Novokuznetskaya station and Bykova recalled that she was not eager to add the 'busy' mosaics to the light vaults as the ceilings were already so ornate. However, her husband had them installed before she got back to the site. (I. Ostarkova and I. Lebedeva, Deineka. Monumental art. Sculpture, Moscow, 2011, pp. 156) The six mosaics were recovered and installed without unity or order and not according to Deineka's vision. The other panels were lost forever. The present sketch was never realised as a mosaic in the final instance and is a notable example of a panel with unfulfilled potential. The sketch beautifully displays the magnificent sky ceiling design at the same time as incorporating the theme of the Donbass railway line.For further information on this lot please visit Bonhams.com
A SILVER-GILT AND PLIQUE-À-JOUR ENAMEL IMPERIAL PRESENTATION TANKARDPavel Ovchinnikov with Imperial Warrant, Moscow, circa 1889the body enriched with scrolling floral cloisonné enamel motifs within twisted wirework panels, flaring to octagonal arched segments delineated by beadwork and spiral columns, raised upon conforming base with interlacing strapwork, the underside inscribed 'Souvenir DE S.A.I. Le Grand Duc Georges Alexandrovitch de Russie to Col. W.F.Cody, Paris 1889', the base revealing plique-à-jour Imperial Eagle within foliate ground, bracket handle with scaling joined to trefoil thumbpiece at hinge, the lid with smaller plique-à-jour panel within border of butterflies and birds within floral ground, 88 standard height: 16cm (6in).Footnotes:ProvenancePresented by Grand Duke Georgii Aleksandrovich (1871-99) to William Cody ['Buffalo Bill'] (1846-1917), according to inscription on base.Architectural in form and featuring brightly coloured filigree enamel panels, granulation and interlacing strapwork, the current tankard is an adaptation of the Turkish seventeenth century prototype featured in the Drevnosti Gosudarstva Rossiiskogo (Antiquities of the Russian State), compiled by Fedor Solntsev in 1850s and instantly adopted by Russian silversmiths as their favourite source of the artistic inspiration. The firm of Pavel Ovchinnikov made several identical tankards, a few of which were acquired by the Imperial Cabinet and members of the Romanov family to be used as diplomatic gifts and presentation pieces. In 1897, during the official visit of the French President Félix Faure to Saint Petersburg, one of the officers of the French squadron received a very similar tankard as an official gift. (Fig 1). In 1889 an identical tankard was presented to an anonymous official by G. Netchaev-Maltsov (Sotheby's, Geneva, 13-15 November 1995, lot 446).The Hillwood Museum and Gardens in Washington, DC has in its collection another example identical to the current tankard but without an inscription identifying the occasion for which the gift may have been presented. In addition to their traditional shape and décor, each tankard was decorated with plique-à-jour panels depicting the Russian Imperial Eagles amidst floral fields. The presence of the Imperial symbols further underscored the importance of such gifts as an official expression of friendship and appreciation. Among this group of presentation tankards, the current example stands out as the most historically significant. According to the inscription, Grand Duke Georgii Aleksandrovich presented it to William Cody, one of the most famous and popular Americans of the late 19th century.William Cody (1846-1917), who earned his nickname 'Buffalo Bill' by hunting 4,280 buffalo in eighteen months, was a soldier during the Civil War, a scout, a Pony Express rider, an invaluable tracker and experienced gunman, who at the end of his life had come to symbolize the American frontier and the nation's spirit of adventure. Cody's frontier experience and positive public image was particularly helpful during official visits of foreign dignitaries to the Western territories. During the highly publicised visit of Grand Duke Aleksei Aleksandrovich to the USA in 1871-1872, Cody was instrumental in organising a hunting adventure on a scale that surpassed anything that the Russian Grand Duke, an experienced hunter and sportsman himself, had experienced before. When the Grand Duke Aleksei, the third son of Tsar Alexander II, arrived at the hunting camp in Nevada, 'Buffalo Bill' was waiting mounted on a splendid horse. Over six feet tall, Cody cut an impressive figure in his spangled buckskin suit, a coat trimmed with fur, and a black slouch hat. Cody's leadership and assistance during the hunt was later kindly acknowledged by the Grand Duke who presented Buffalo Bill with gifts that are now part of the collection at the Buffalo Bill Historical Center in Cody, Wyoming, USA. It was probably with the encouragement and at the recommendation of his royal uncle that twenty years later, while vacationing in Paris, Grand Duke Georgii met William Cody.In the summer of 1889, William Cody was on his second tour of Europe with Buffalo Bill's Wild West show, a highly successful circus-like attraction that included horseback parades, re-enactments of famous Civil War battles, Indian attacks on wagon trains, and stage coach races. The show was enormously popular and propelled Cody to worldwide fame. Queen Victoria and Prince Albert, Crown Prince Rudolf of Austria, Russian Grand Duke Michael, and the King of Denmark were among the guests who attended the show during the tour of England two year earlier. In 1889 the Wild West show became the main attraction of the Paris Exposition Universelle and a 'must see' venue for many foreign visitors flocking to the French capitol that summer. Grand Duke Georgii Aleksandrovich (1871-99), the son of Emperor Alexander III and the brother of the Russian Emperor Nicholas II, arrived in Paris on August 26 for a few days of sightseeing. Very bright and capable, he was seen by many of his contemporaries as 'intellectual and magnanimous, with an engaging personality', and 'the one who could have become a strong and popular tsar' (1). Sadly, in the early 1890s Grand Duke Georgii was diagnosed with tuberculosis and spent most of his time travelling in pursuit of the proper medical treatments, eventually settling in the small town of Abas-Tuman in the Caucasus. Two days after his arrival in Paris the Grand Duke noted in his dairy: 'We had visited the Exposition today. Afterwards we went to see Buffalo Bill [show]. It was most interesting' (2). The scale of the performance and larger than life personality of its founder must have left an unforgettable impression on the eighteen year old Grand Duke, who arranged to have this very special gift delivered to William Cody on his behalf.1. Suzanne Massie, 'A Royal Visit: The Grand Duke Alexis in the United States,' in The Tsar and the President, Alexander II and Abraham Lincoln Liberator and Emancipator, the American–Russian Cultural Cooperation Foundation, 2008, p. 62.2. The Diaries of Grand Duke Georgii Aleksandrovich, State Archive of the Russian Federation, fund 675, unit 1, file 6, 16/28 of August 1889.We would like to thank Larisa Kriachkova, Chief Curator of Archival Depository of the State Archive of the Russian Federation and the staff of the Buffalo Bill Historical Center for their research assistance.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
A GEORGE II WALNUT AND INLAID ARCHITECTURAL CASKET IN THE MANNER OF WILLIAM HALLETT, CIRCA 1740-50The hinged top with a Greek key parquetry border, enclosing three compartments and two wood sliding locks for the drawer, with Palladian pediment, column and capital mouldings to the front and back, the sides with architectural stringing24cm high, 23cm wide, 19cm deepThis casket demonstrates the popularity in George II's reign for Palladian architectural objects and furniture, made fashionable in part by Isaac Ware's 1756 publication 'Complete Body of Architecture'. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe lock is not operating at time of report, there is a key that appears to fit but does not turn and engage the lock - it may be an incorrect key or the lock may need some attention, the lock is open at time of report The locking action to the 'secret' drawer is operating at time of report, The lid is slightly warped The handle appears original to the lid, Areas of dirt and discolouration with colour variationOld splits and cracks, some chips and losses to the moulded architectural elements especially on the extremitiesPlease refer to additional images for visual reference to condition Condition Report Disclaimer
A GEORGE II MAHOGANY ESTATE CABINET CIRCA 1750 The upper doors opening to various shelves and pigeon holes, the lower doors opening to a shelved interior214cm high, 94cm wide Provenance: Christie's, Hopetoun House, South Queensferry, Edinburgh Scotland, 20th July 1993, Lot 107 (£6,050). The original lot sticker from this sale is present with the lot. Hopetoun House, one of Scotland's finest stately homes, is an important part of European architectural heritage situated in South Queensferry, outside Edinburgh. Home of the Marquess of Linlithgow, Hopetoun is one of the most splendid examples of the work of Scottish architects Sir William Bruce and William Adam. The house was built 1699-1701 and designed by Sir William Bruce. The house was then hugely extended from 1721 by William Adam until his death in 1748, being one of his most notable projects. The interior was completed by his sons John Adam and Robert Adam. The magnificent entrance hall dates from 1752.The Hope family acquired the land in the 17th century and operated lead mines. Charles Hope, the first occupant, was only 16 years old when his mother, Lady Margaret Hope, signed the contract for building with William Bruce, on 28 September 1698.Condition Report: This estate cabinet has marks, scratches, knocks and abrasions consistent with age and use.There are knocks along the edges of the cornice and variable cracks to the sides.There are concealed spherical wood 'casters' behind the bracket feet.The oak shelves have mahogany sections to the front; the brass and steel locks are of unusual form; the interior sliding door locks of decorative form. The pierced brass escutcheons with some wear to the lacquering.The interior with two sliding shelves, one applied with the Christie's label from 1993.Splits to backboards.One shelf recess to the lower section is void.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
A SET OF THREE LION HANDLED POLISHED STEEL FIRE TOOLS EARLY 19TH CENTURY Each with a heraldic lion handle, the shovel stamped 'S' to the reareach approximately 85cm long For a similar set of fire tools see, Christie's, Country House Elegance: An Architectural Vision, 21st November 2011, Lot 2641 (£3,000).
Taylor, J., The Architectural Medal: England in the Nineteenth Century, London, 1978, xii + 244pp, illustrations in text (Manville 1400) Fearon, D. Spink’s Catalogue of British Commemorative Medals, Exeter, 1984, 192pp including 92 plates (Manville 1521); Fearon, D., Victorian Souvenir Medals, Aylesbury, 1986, 32pp, illustrations in text (Manville 1573); Eimer, A.C., British Commemorative Medals and Their Values, 1st edition, London, 1987, 265pp, 53 plates (Manville 1606); Eimer, A.C., An Introduction to Commemorative Medals, London, 1989, 147pp, 36 plates (Manville 1650); Eimer, A.C., The Pingo Family & Medal Making in 18th-Century Britain, London, 1998, 96pp, illustrations in text (Manville 1847) [6]. Very fine £50-£70 --- END OF SESSION 3 TEN-MINUTE INTERVAL
A 19thC black slate mantel clock, the brass circular brass dial with white enamel chapter ring bearing Arabic numerals, Hamburg American Clock company eight day movement with coil strike, the case of architectural form with a domed pediment, raised on fluted columns, on a stepped, rectangular base, no key, 34cm high, 29cm wide, 13cm deep
A late 19thC Junghans walnut cased mantel clock, the arched brass dial with scroll spandrels, silvered chapter ring bearing Arabic numerals, subsidiary chime/silent and slow/fast dials, eight day movement with Westminster chimes,the case of domed, architectural form, raised on a plinth base with bracket feet, no key, 45cm high, 31cm wide, 22cm deep.
A MAHOGANY LONGCASE signed Harrison, Liverpool, (probably Thomas Harrison act. 1777-1805), the eight day movement striking on a bell, 13" arched brass dial with Roman and Arabic numerals, hatched centre with name plate and secondary dial, moonphase in the arch with inscription "On Time Uncertain Date Eternal Hours Defend", the flame mahogany architectural case with scrolled pediment inset with black glass panels to the spandrels, on fluted columns and pilasters, inlaid patera to impost, arched door flanked by fluted quarter columns, the base with cut corner panel, 90" high (Est. plus 21% premium inc. VAT)Marriage of case and movement. Movement appears to be all intact but needs a clean. Face good but lacking minute hand, also missing seconds hand. Handsome architectural case in generally good condition and with good colour, small chip to one verre eglomise panel. Very minor wood chips to right hood column, loss of moulded top and front of vase to left pilaster. Reglued chip to top right corner of back door. Left side moulding of base missing and lacking feet, dial good, large hand and calendar hand loose, weights and pendulum exist but feather damaged, handsome case in good condition but lacking feet, small loss to moulding left side top of base and both right and left sides at floor level
An Aesthetic Movement French oak mantel clock, the ceramic dial set with Arabic numerals in cartouches, on blue ground with printed white and grey blossom and peaches, movement stamped 3709, striking on coil, case with architectural-style pediment with inset matching ceramic panel, dial surrounded by matching panels to the corners and three beneath, on square feet, height 46.5cm. CONDITION REPORT Diameter of dial 14.5cmPlease note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/
Three Victorian slate mantel clocks in architectural-style cases, one with ivorine Arabic chapter ring with pink marble detail to case, one with ivorine Arabic chapter ring within a case flanked by reeded columns, and one with ivorine dial set with Roman numerals within a temple-style case with Romanesque-style frieze, the dial flanked by three reeded column to each side, height of largest 35cm (3). CONDITION REPORT Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/
Two Victorian slate mantel clocks in architectural-style cases, one with a gilt and ivorine dial set with Roman numerals and green marble detail, one with ivorine Arabic chapter ring flanked by reeded columns, together with a pair of garniture urns with white and grey marble inlay, height of largest 31cm (4). CONDITION REPORT Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/
BIBLE, In English. The Holy Bible Containing the Old Testament and the New, Newly Translated out of the Original Tongues, and with the Former Translations diligently Compared and Revised. London: Charles Bill and Thomas Newcomb, 1691. 12mo (121 x 55mm.) Engraved architectural general title and letterpress title for NT dated 1690. (General title loosening, A1 torn, lacking Rr2-Rr3 and the last leaf Ddd12, Bbb12 and Ccc1 with tears, toning.) Early 19th century black morocco with inlaid oval red morocco centre-piece to the covers with gilt fire-streaks and with elaborate surround of volute tooling (lower cover fragile, rubbing). Provenance: Silvestra Blackwell (ink name inscribed to initial blank); Thomas Moneypenny (ink name inscribed to initial blank); Catherine Silvestra Moneypenny (ink name inscribed verso the initial blank). [Herbert 816].Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
4th-6th century AD. A gold ring with rectangular-section hoop, rectangular bezel with openwork sides, u-section at the shorter ends, zigzags to the longer edges with engraved pellet in each and swag between, a bevelled rectangular plate with raised ellipsoidal cell set with a nicolo gemstone. Cf. Content, D.J., Ruby, Sapphire & Spinel: An Archaeological, Textual and Cultural Study, Part II, Belgium, 2016, pp.82-85, for a broadly comparable architectural form. 9.54 grams, 29.44mm overall, 18.40mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14) (1"). Property of a London gentleman; acquired on the UK art market in 2012; previously in a 1970s collection; accompanied by a positive scientific statement from Striptwist Limited, a London-based company run by historical precious metal specialist Dr Jack Ogden, reference number 210714; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11011-180889. [A video of this lot is available to view on Timeline Auctions Website] Very fine condition.
India, 14th-15th century AD. A rectangular architectural stone frieze element carved in relief with two lines of Qur'anic text reserved against a plain field framed by vertical scrolled vines and lozenges, facetted baluster-style columns at the sides. See Blair, S.S., Islamic Inscriptions, Edinburgh, 1998, for discussion. 95.9 kg total, 84.5 cm including stand (34 1/4"). Ex Bonhams, 13 April 2000, lot 419; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10975-180975. [No Reserve] Fine condition.
Song Dynasty, 960-1127 AD. A matched pair of triangular architectural tiles, each with a fenghuang modelled in the half-round with head reversed and wings spread; remains of white and black pigment detailing. 10.5 kg total, 51.5-52cm (20 1/4 - 2- 1/2"). Ex West Country collection, Bath, Somerset, UK, 1970-2000s. [2] Fair condition.
France, Picardy, c.1420-1430 AD. A rectangular glass panel with lead-alloy frame; image of Christ crucified below a plaque bearing the legend 'INRI', flanked by Virgin Mary and St John; spires and architectural detailing in the background above. 2.4 kg, 58.5 x 32.5cm (23 x 12 3/4"). Ex central London gallery; acquired from Monastery Stained Glass, Northamptonshire, UK, in 2007; accompanied by a detailed previously researched cataloguing sheet; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10909-180990. The piece is the product of Picardy / Pas de Calais and shows the influence of contemporary Flemish art. [No Reserve] Fine condition.
An 18th century oak 8 day longcase clock, by Robert Thwaites of Barnard Castle, having a broken dentil moulded architectural surmount with ball and eagle finial over the ached glazed door with turned columns and enclosing a brass dial with silvered chapter ring with Roman hours and Arabic minutes all within applied ornate brass spandrels and surmounted by a circular disc with makers details, the shaped trunk door between fluted quarter columns and raised on a plain base, 223 cm (see illustration). CONDITION REPORT: The movement has a replacement seat board and the movement is a replacement also with original fixing holes visible to dial, the case generally okay with some visible wear, marks and scratches etc, splitting to the base right-hand side panel and edge knock to the architectural surmount. Wear to dial.
Pamela Chandler (1928-1993) Interesting archive of photographic material relating to industry, including photographs showing construction of Festival Hall, Shell Mex & B.P., Camden School for Girls, some industry figures and architectural subjects, including period prints and some negatives. The copyright for the images in the negatives in this lot passes with the negatives.
Pamela Chandler (1928-1993) collection of photographs, predominantly mid 1950s -1960s and other materials on an architectural theme, including photos, contact sheets and negatives relating to F A Farr - civil engineer responsible for the Severn Bridge, images of the construction of the bridge undertaken as a commission for Shell Chemicals, also related paperwork. Other architectural subjects include images of the Royal Albert Docks, St George's Cathedral, Southwark, Grays Inn Library, St John's Red Lion Square, Camden school for Girls, also private residences, St Columba's Pont St. Church of Scotland, other churches etc, The copyright for the images in the negatives in this lot passes with the negatives. (2 boxes)
Pamela Chandler (1928-1993) collection of period photographs and materials, various subjects including Theatre including Royal Covent Garden interior shots, Midsummer Nights Dream, 1955 black and white contact sheets, Richmond Theatre productions, other vintage proofs, portraits and architectural particularly contact sheets relating to Camden Welfare, Culwicks, St Ives, Christian Science Monitor materials including period prints, negatives and some original photographs, the copyright for the images in the negatives in this lot passes with the lot. (3 boxes)
An 18th century bell metal pillar candlestick of architectural design, with stepped square base, 23 cm high, and a 19th century Toleware oval two handled tray printed and painted with continental views and flowers. 40 cm x 29 cm. CONDITION REPORT: The candlestick is a good example and generally in good overall condition although there is significant wear and rubbing to the column. The Toleware tray is scuffed and worn and has some slight rusting.
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