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Click here to subscribeARTHUR A. FRIEDENSON (BRITISH 1872-1955) WINDSWEPT TREES BESIDE A LAKE, a sunset landscape, signed and dated 1914 bottom left, oil on wood panel, approximate size 33cm x 40cm, Condition Report: the painting is in good overall condition, original paint to the frame rubbed with overpainting in places, Friedenson was born in Leeds and was part of the Staithes Group (artist resale rights apply)
HAKUIN EKAKU (1685-1768)The Poet Hitomaro Edo period (1615-1868), mid-18th century Kakejiku (hanging scroll), ink on paper in silk mounts, depicting the poet Hitomaro, the image (except the detail of his face) made up of script elements from one of his poems, with another poem to the left (see below); with three seals: one Rinzai Shoshu, two unread; with a fitted wood tomobako storage box inscribed outside Hakuin Osho bokuseki Hitomaru zu (An Ink Painting of Hitomaru by Priest Hakuin) and inscribed inside Higashiyama Sahen daiga (Inscribed by Higashiyama Sahen). Overall: 109cm x 69.6cm (43in x 27 3/8in); image: 32.5cm x 54.5cm (12¾in x 21½in) (2).Footnotes:Kakinomoto no Hitomaro (also Hitomaru, circa 662-709), the most famous Japanese poet of the earliest period, has been depicted in art since the Heian period (794-1185) and his basic posture, seated in court robes and holding a brush, was established in 1118 by a portrait (no longer extant) that has served as the model for all subsequent depictions. Hakuin always painted the poet as amoji-e (picture made of writing) using both Chinese characters and the more flexible Japanese hiragana syllables from one of Hitomaro's most famous poems: Honobono to / Akashi no ura / no asagiri ni / shimagakureyuku / fune o shi zo omou that was memorably translated in 1919 by Arthur Waley whose English version exactly reverses the line-order of the original: My thoughts are with a boat / Which travels island-hid / In the morning-mist / Of the shore of Akashi— / Dim, dim!. The punning poem to the left, also seen in most if not all of Hakuin's Hitomaro paintings, reads: Shobo wa / kaki no moto made / kitaredomo / Akashi to ieba / koko ni hi tomaru, translated by Addiss and Seo (cited below): The destructive fire / reached / Kakinomoto— / but when we called out 'Akashi' / it stopped there. For a discussion of Hakuin's Hitomaro images, see Audrey Yoshiko Seo and Stephen Addiss, The Sound of One Hand: Paintings and Calligraphy by Zen Master Hakuin, Boston, Shambhala Publications, 2010, pp.193-197.Hakuin painted this image many times with only slight variations but there is an especially similar example in the collections of Hanazono University Historical Museum, Kyoto, see iriz.hanazono.ac.jp/k_room/k_room01e2.htmlThe storage box was inscribed by Higashiyama Sahen, better known as Takeda Mokurai (1854-1930), a highly influential Zen master who emphasized, like Hakuin, that Zen enlightenment cannot be rushed and requires years of diligent patience and discipline before the final breakthrough is achieved.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
MIXED VINTAGE TEAWARE, PAIR OF BLUE & WHITE VASES & A PAIR OF ARTHUR WOOD HANDPAINTED JUGS, the two part teasets with floral decorations, one set in purple tones, 20 pieces, the other in rust tones with gilt highlighting, 39 pieces, 19cms H the vases, 21cms H the jugsProvenance: private collection Gwynedd
A tile-top coffee table, 1950s, in the manner of Arthur Boyd for Murrumbeena Pottery, fitted with fifteen chequer-painted tiles in blue and yellow, with musical instruments, signed 'Boyd', raised on a metal stand with a wood base board, 77.5cm wide 47.5cm deep30cm highArthur Boyd was born at Murrumbeena, Victoria, Australia, on 24 July 1920, the son of the potter, sculptor, and painter, Merric Boyd, and a member of a family of successive artists. He left school at the age of 14 to begin a career in painting, but after his father's studio burnt down, Boyd took night classes at the National Gallery School, Melbourne, whilst also living and painting with his grandfather, the artist Arthur Merric Boyd.With the outbreak of the Second World War, Boyd was conscripted and served in the Army Survey Corps from 1941 to 1944. After the war, he established the Arthur Merric Boyd Pottery Workshop at Murrumbeena, with John Perceval and Peter Herbst. Deeply affected by his wartime experiences, he turned to the Bible for inspiration in his work, and as a means of expressing something of the horror of conflict. During the 1950s, he travelled to Central Australia and his work turned to landscapes; in particular he painted poetic views of the luminous Wimmera landscape. In 1957, he began his milestone Half-Caste Bride series of paintings, raising contentious issues on Australia's racial divide and the treatment of indigenous peoples.He gave a large collection of paintings, drawings, prints, as well as sculptures, ceramics, and tapestries, to the National Gallery of Australia in 1975.Condition ReportFour tiles cracked and with some scuffs and chips to the paint.The vendor bought this from a property in Hampshire.
An enamel panel by Charles E Thomas, depicting injured soldiers recuperating in a library room, in colours, framed, another similar enamel depicting a military woman before a steam train carrying field guns attributed to Charles Thomas, a collection of small enamels and enamelled buttons by Charles Thomas and an archive relating to the work of Charles Thomas including a National medal for success in Art given to Charles Thomas, a carved wood bookend, his painting box, original pencil drawings of his designs, medallions, Good King Wenceslas published by Cornish Brs, Birmingham illustrated by Arthur Gaskin, and a collection of ephemera, photographs and letters (a lot) Provenancefrom the collection of Phillip Allen (1938-2022). ExhibitedThe Birmingham Art Circle, 75th Exhibition,1947, catalogue number 220 (twelve buttons). Catalogue notesCharles Thomas was in the RAOC between 9th August 1916 and 5th March 1919.
A pair of Victorian silver café au lait potsThomas Alfred Slater, Walter Brindsley Slater & Henry Arthur Holland, London 1895Squat form, the lower bellied sides embossed with flutes of acanthus, on three scroll supports, ebonised wood side handles and right angles to the spout, hinged covers with wood finials, height 16.5cm, weight total 22.5oz. (2)For further information on this lot please visit Bonhams.com
A silver five-piece tea and coffee service including kettle on standR F Mosley & Co, Sheffield 1913, kettle 1914 Oval form with two horizontal husk bands, each piece with engraved crest and motto CŒLUM NON SOLUM for STEVENSON, the pots with ebonised wood handles and finials, kettle with a plated burner, weight total 100oz.Footnotes:This is the crest and motto of descendants of Reverend Henry Joseph STEVENSON (1806-1853), who was born in Blackburn, Lancashire. Arthur William STEVENSON (1884-1955) and Major Edward Peel STEVENSON (1889-1971) are likely owners of this item.For further information on this lot please visit Bonhams.com
Paul Nash (1889-1946)'Dyke by the Road' (Postan W25)wood engraving, special proof, signed and dated 'Paul Nash/1922' in ink l.r., inscribed with title l.l., inscribed 'Joanlet from Paul/Dymchurch 1922' u.l., and 'special proof' u.r.sheet 15.5 x 20.5cmA note from the vendor:My mother was the youngest daughter of Arthur and Harriet Miles of Sellindge near Romney Marsh in Kent. My grandfather, Arthur Miles, who farmed and bred horses, allowed my mother, then aged sixteen, to drive her pony and trap round the neighbouring countryside. One day in 1921, visiting friends in Dymchurch, my mother met Paul Nash and his wife Margaret (Bunty) who had rented a cottage there.Nash, while still recovering from a serious illness, was designing scenes for two plays by his friend Gordon Bottomley ('King Lear's Wife' and 'Gruach') and he asked my mother to help him build the models. A pin-hole camera was used to take photographs, and Nash gave my mother a small hand-made album decorated and inscribed 'Photographs of Two Scene Models designed and built by Paul Nash with the assistance of Joan Adeline Miles', which I still have.In 1922, Nash gave my mother his pen and wash drawing 'The Shore', 1922, inscribed to her on the mount, and two 'special proofs' of two of his wood engravings, 'Dyke by the Road', 1922' and 'The Bay', 1922, inscribed to her on the margins.Condition ReportFramed: 20 x 25.5cmThe paper is discoloured and is a mid to dark brown. There are holes in the sheet in the top left corner and around the edges. The sheet has been stuck down. Foxing to the margins with small nicks to the edges. There are light surface abrasions to the left of the bridge, please see images. Spots and speckles of surface dust and dirt with some tiny blue specks which appear to be on the reverse of the glazing and not the print itself. Not viewed out of glazed frame.
Paul Nash (1889-1946)'The Bay' (Postan W27)wood engraving, special proof, signed and dated 'Paul Nash 1922' in ink l.r., inscribed with title l.l., inscribed 'Joanlet from Paul/Dymchurch 1922' u.l., and 'special proof' u.r.sheet 14.5 x 20.5cmA note from the vendor:My mother was the youngest daughter of Arthur and Harriet Miles of Sellindge near Romney Marsh in Kent. My grandfather, Arthur Miles, who farmed and bred horses, allowed my mother, then aged sixteen, to drive her pony and trap round the neighbouring countryside. One day in 1921, visiting friends in Dymchurch, my mother met Paul Nash and his wife Margaret (Bunty) who had rented a cottage there.Nash, while still recovering from a serious illness, was designing scenes for two plays by his friend Gordon Bottomley ('King Lear's Wife' and 'Gruach') and he asked my mother to help him build the models. A pin-hole camera was used to take photographs, and Nash gave my mother a small hand-made album decorated and inscribed 'Photographs of Two Scene Models designed and built by Paul Nash with the assistance of Joan Adeline Miles', which I still have.In 1922, Nash gave my mother his pen and wash drawing 'The Shore', 1922, inscribed to her on the mount, and two 'special proofs' of two of his wood engravings, 'Dyke by the Road', 1922' and 'The Bay', 1922, inscribed to her on the margins.Condition ReportFramed: 19.5 x 25.5cmThe paper is discoloured and is a mid to dark brown. Staining to the upper left corner of the sheet. The sheet has been stuck down and there is a 3.5cm crease line to the centre of the top margin. The black printed areas appear slightly thin and uneven in places, please see additional condition images. There is light surface dust and dirt trapped behind the glazing and the work has not been viewed out of the glazed frame.
JAMES WHITELAW HAMILTON RSA RSW (SCOTTISH 1860 - 1932), WESTMORLAND oil on canvas, signed, titled label versoframedimage size 56cm x 69cm, overall size 78cm x 92cm Labels verso: T. &. R. Annan & Sons, Ltd., Glasgow.Note: James Whitelaw Hamilton was born on 26 November 1860, the eldest child to wood turner James Hamilton and his wife Mary Stevenson of 1 Morris Place Glasgow. His parents moved the family to Helensburgh and lived at Thornton Lodge, 107 Sinclair Street, Helensburgh. Whitelaw Hamilton displayed an aptitude for painting at an early age, and after studying in Glasgow, he moved to Paris and studied at the studios of Pascal-Adolphe-Jean Dagnan-Bouveret and Aimé Morot, both considered leading lights of the 19th Century French Movement - specialising in landscapes and portraiture. Whitelaw Hamilton's landscapes have a rugged and raw quality but he did not limit his work to one medium being equally successful using oils, pastels and watercolours. Not surprisingly, given Helensburgh's reputation as a centre for artists, Whitelaw Hamilton became friends with the Glasgow Boys. In 1884, he joined Guthrie, Henry, Crawhall and Melville at Cockburnspath. EA Walton, who spent his winters at Thornton Lodge, and James Guthrie were to remain friends with Whitelaw Hamilton throughout their lives. They shared similar ideals and spent many years in Helensburgh recording the urban lifestyle of the wealthy residents in the town. Whitelaw Hamilton married Lillian Millar Shaw of 12 Lynedoch Place, Glasgow at St Mary's Episcopal Church on 9 September 1891. He and Lillian took residence in the Grange, 23 Suffolk Street, Helensburgh, the home that he was to remain in for the rest of his life. Whitelaw Hamilton exhibited abroad as often as he did at home. He became a member of the Munich Secession and won a gold medal at the Munich International Exhibition in 1897. He became a member of the New English Art Club in 1887, a member of the Royal Scottish Academy in 1922 and a member of the Royal Scottish Society of Painters in Watercolours in 1895. He also held the position of Hon. Secretary, Royal Glasgow Institute of the Fine Arts. He suffered personal loss in 1918, when his son Lt. Arthur Leslie Hamilton was killed in action in Mesopotamia on 25 October, serving with the 1st Highland Light Infantry. A portrait of his son was completed by James Guthrie and is held within the collection of the Glasgow Art Gallery. James Whitelaw Hamilton died in Helensburgh on 16 September 1932 aged 71. His work is represented in Glasgow Art Gallery, Perth Art Gallery, City of Edinburgh Collection, Lillie Art Gallery, The Hunterian, Perth & Kinross Council, Kirkcaldy Museums & Galleries, Paisley Museum & Art Galleries, Dundee Art Gallery, Kelvingrove, The Royal Scottish Academy, Walker Art Gallery, Weimar Art Gallery in Germany and other public collections.
HUGH CRONYN (BRITISH 1905-1996) BLACK LION SKITTLE ALLEYsigned, titled, numbered and dated 5/10, Black Lion skittle alley, Hugh Cronyn / 36 lower marginwood engraving13.5 x 17.5cm; 5 1/4 x 6 3/4in (plate size)32.5 x 49cm; 12 3/4 x 19 1/4in (sheet)(unframed)Cronyn acquired his talent for wood engraving from his neighbour Gertrude Hermes when he first moved to 27A St Peter’s Square, Hammersmith in 1935. He subsequently moved to 9A Black Lion Lane, with the pub immediately opposite. In his unpublished memoirs he recalls the landlord and his wife Arthur and Florrie with affection, the fun of the skittle alley, and the life surrounding St Peter’s Square, Hammersmith up to King Street and Chiswick (pre-construction of the A4 dual carriageway) – as being ‘like a small village’. Critic, humourist and politician A P Herbert (‘APH’) would hold court at the Black Lion every Sunday. It was through such gatherings that Cronyn met so many artists, writers and thinkers of the day.ARR may apply
AN EXCEPTIONALLY LARGE AND MASSIVE BRONZE RITUAL TRIPOD WINE VESSEL, JIA, WITH A CLAN MARK, SHANG DYNASTYChina, 13th century BC. Raised on three blade-form supports, the sides flat-cast with two bands of taotie masks, each composed of three masks positioned between the supports and with rounded eyes and slender dividing flange, with a simple strap handle and a pair of rectangular posts with large conical caps cast with comma motifs. The interior with a clan sign in the form of a single pictogram.Provenance: A private collection in Kansai, Japan, acquired before 1960. A Japanese private collection, acquired 2005. Christie's New York, 19 March 2008, lot 487, sold for USD 97,000 or approx. EUR 127,000 (converted and adjusted for inflation at the time of writing). A prominent North American private collection, acquired from the above. Condition: Superb condition, commensurate with age. Old wear, signs of weathering and erosion, encrustations, few small nicks to edges. A clean, natural fatigue crack below one post, as shown in the X-ray images, with three small staples. No losses whatsoever. A rich, emerald-green patina, with distinct patches of azurite, malachite and pale sea-green. Displaying exceptionally well, and exceedingly rare in this magnificent size and condition.X-Ray Images: Available online at www.zacke.at.Weight: 5.9 kg Dimensions: Height 37 cm With an old Japanese wood storage box. (2)Expert's note: Jia of this type, with the decoration arranged in two registers, appeared shortly before the Anyang period (c. 1300-1030 BC). The main decoration was usually that of taotie masks, either cast in relief or flat cast as on the present jia, and on the very similar jia of slightly smaller size (35.2 cm), illustrated in Shang Ritual Bronzes in the National Palace Museum Collection, Taipei, 1998, pp. 152-7, no. 9, also illustrated on the National Palace Museum's website, image number C1A000405N000000000PAD.Literature comparison:Compare a related bronze jia, 45 cm high, dated 13th-12th century BC, illustrated by R.W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Cambridge, Massachusetts, 1987, pp. 164-5, no. 7. Compare two related jia vessels illustrated in Shang Ritual Bronzes in the National Palace Museum Collection Taipei, 1998, p. 156, excavated in 1968 at Xiao chuan, Anyang prefecture, Henan province, the first from Tomb M388 and the second from Tomb 331. Compare a related jia vessel illustrated by Bernhard Karlgren, Some Characteristics of the Yin Art, in the Roehss Museum, no. 34, 1962, pl. 31a. Also compare an example in the Lippens collection of ancient Chinese bronzes, published by Christian Deydier, Paris, France, lot 12.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 11 September 2012, lot 97 Price: USD 170,500 or approx. EUR 204,000 converted and adjusted for inflation at the time of writing Description: A rare archaic bronze ritual tripod vessel, jia, late Shang dynasty, 13th-11th century BC Expert remark: Compare the closely related form, two-register taotie decoration, and patina. Note the inscription 'Shang' on this jia. Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2014, lot 2034 Price: USD 149,000 or approx. EUR 175,000 converted and adjusted for inflation at the time of writing Description: A rare large bronze ritual tripod wine vessel, jia, late Shang dynasty, 13th-12th century BC Expert remark: Compare the closely related form, two-register taotie decoration, and patina. Note the much smaller size (29.8 cm) and absence of a clan mark.Auction result comparison: Type: Closely related Auction: Christie's New York, 25 September 2020, lot 1502 Price: USD 137,500 or approx. EUR 146,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual tripod wine vessel, jia, mid-Shang dynasty, 13th century BC Expert remark: Compare the closely related form, two-register taotie decoration, and patina. Note the much smaller size (30.5 cm) and absence of a clan mark. 商代青銅斝中國，公元前十三世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A LARGE INSCRIBED BRONZE RITUAL FOOD VESSEL AND COVER, DING, SPRING AND AUTUMN PERIODInscriptions: A twelve-character inscription in Jinwen is neatly incised into a circumferential band on the cover, divided in three groups of four characters each, separated by one of the three recumbent mythical beasts sitting on top of the cover. The second character is “ding", which means “to sacrifice". It was originally developed from oracle bones and normally depicts a bowl shaped vessel on legs with two upright handles. On the present lot, there is a sacrifice depicted inside the ding. For reference, see Childs-Johnson, Elizabeth, Big Ding and China Power: Divine Authority and Legitimacy, Asian Perspectives, vol. 51, no. 2, 2012, pages 164-220. The third and eleventh characters both contain the symbol for tree or wood. When combined with other symbols, such as in this case, they can have different meanings like “season" or “food". Wood can even be seen as “roots", as in ancestral heritage. The first character is referring to a village area, most likely the original location of this vessel.Scientific Analysis Report: A thermoluminescence analysis report issued by Artemis Testing Lab on 23 February 2018, based on sample number 131703, sets the firing date of two samples taken at about 3500 years ago. A copy of the report accompanies this lot.China, 6th century BC. Superbly cast, the tripod body supported on three tall cabriole legs, flanked by angular U-shaped, upright handles, below the domed cover surmounted by three horned mythical beasts. The sides of the deep vessel flat-cast with two wide bands of tightly interlaced dragons, repeated on the handles and on the cover, which is further decorated with zoomorphic bands and a central medallion enclosing a feline creature with a sinuous scaly body.Provenance: From an old private collection in Los Angeles, California, USA, and thence by descent within the same family. Condition: Remarkably well preserved, commensurate with age. Old wear, expected casting flaws, dents and nicks, signs of weathering and erosion, soil encrustations. Minor fatigue cracks and losses. The bronze with a spectacular, rich, and naturally grown patina with distinct malachite, cuprite, and azurite encrustations.Weight: 4,728 g Dimensions: Width 34.3 cm (across handles) Expert's note: Ding vessels were first cast by the Shang and were undoubtedly an important Chinese bronze vessel. Used originally as cauldrons to cook food, the tripod vessel could easily be set above an open fire. The earliest examples of Ding were found in Zhengzhou and date from the end of the 15th century BC. During the Spring and Autumn period, ding started being cast with a cover, often equipped with a set of rings for easier removal. The recumbent mythical beasts on the cover of the present lot have the same function, but are much rarer and hence also serve as evidence of the high status of the original owner of this particular ding.Literature comparison: Compare a related bronze ding and cover, also with a circular inscription and with similar animal-form finials on the cover, dated to the early Warring States period, 5th century BC, formerly in the collection of Robert Hatfield Ellsworth, no. B1300, sold by Sotheby's New York, 19 March 2002, lot 32. Compare a related bronze ding, with similar bands of flat-cast decoration and with a similar feline with granulated body occupying the central medallion on the cover, 24.3 cm high, dated to the mid-Spring and Autumn period, illustrated by Jenny So in Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, 1995, pp. 127, no. 12, where the author also illustrates a 6th century BC ding and cover from Shanxi Houma Shanguacun M13, p. 129, Fig. 12.1, which shares a similar shape, legs and decorative bands. Compare a related bronze ding, 17.8 cm high, dated to Eastern Zhou dynasty, 5th-4th century BC, in the Metropolitan Museum of Art, accession number 49.135.1a.b. Compare a related bronze ding, 38.5 cm high, dated ca. late 6th to early 5th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1947.20a-b. Compare two related bronze ding vessels dated to the Spring and Autumn period in the Palace Museum, Beijing, accession numbers Xin00086998 and Xin00074731.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 24 Novermber 2013, lot 468 Price: HKD 812,500 or approx. EUR 120,000 converted and adjusted for inflation at the time of writing Description: An inscribed archaic bronze tripod incense burner and cover, ding, Eastern Zhou dynasty Expert remark: Compare the related ding form and flat-cast decoration with similar interlaced dragons. Note mythical beasts and the slightly smaller size (height 26.7 cm).Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2013, lot 1232 Price: USD 109,350 or approx. EUR 128,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual tripod food vessel and cover, ding, Spring and Autumn period, 6th century BC Expert remark: Compare the related form, flat-cast decoration, and animal-form handles on the cover. Note the much smaller size (18 cm).Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2012, lot 1243 Price: USD 86,500 or approx. EUR 102,000 converted and adjusted for inflation at the time of writing Description: A large bronze ritual tripod food vessel and cover, ding, Spring and Autumn period, early to mid-6th century BC Expert remark: Compare the related ding form and flat-cast decoration. Note the slightly larger width (40.3 cm) and the lack of mythical beasts. 春秋時期大型青銅蓋鼎中國，西元前六世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
AN ARCHAISTIC JADEITE 'MYTHICAL BIRD' GROUP OF TWO VESSELS AND COVERS, LATE QING DYNASTY TO REPUBLIC PERIODChina, 1800-1949. Well carved in the form of an mythical bird standing next to a gui vessel, both on a flat naturalistic base. The bird's head forming the cover of the vessel, the feathers detailed with lappet-shaped incisions, coiled dragons and scrolls to the wings, ruyi-shaped ears, the back and chest with notched flanges. The face with scroll and ruyi designs, and the pierced beak slightly agape. The gui vessel with matching cover and small chilong handles incised with key fret, the rim encircled by a band of stylized dragons. The translucent stone of a pale apple-green tone with icy inclusions.Provenance: London trade. A noted French private collection, acquired from the above. Condition: Very good condition with minor old wear, small nicks and nibbles. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks. It is rare to find a complete ensemble of four pieces, such as in the present example, with nothing ever having been lost.Weight: 514.6 g (excl. stand), 591.3 g (incl. stand) Dimensions: 14.5 cm (excl. stand), 17 cm (incl. stand) With a fitted wood stand, finely carved in openwork with lingzhi and rockwork, showing a fine naturally grown patina overall. The stand and the jade most likely matching. (4)Expert's note: It is rare to find carvings of this zun form, which originated in Shang dynasty wine vessels, being replicated in jadeite. The shape itself appears to be faithfully copied in the raised flanges and the geometric carved design on the sides of the body. For two examples of this unusual model which appears to be a fusion between an owl and an eagle, both cast in bronze, see R. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, volume 1, Washington D.C., 1987, page 406, no. 72.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 November 2020, lot 3077 Price: HKD 500,000 or approx. EUR 61,500 converted and adjusted for inflation at the time of writing Description: A jadeite archaistic bird-form vase and cover Expert remark: Compare the related form and detachable head. Note the incised Qianlong seal mark to the feet. Note the larger size (28 cm) and the lack of a gui vessel and cover as well as a wooden base. 清末民初神鳥翡翠蓋器中國，1800 年至 1949 年。精雕細刻一隻神鳥站在一個簋旁。鳥頭為器蓋，臉上有如意紋與卷葉紋，喙微微張開。翅膀及羽毛細節精美，雙翼盤旋，雙耳如意形，背部和胸部線條剛硬。簋器配有配套的蓋子和小螭龍手柄，邊緣環繞著一條龍紋帶。淺綠色調的半透明翡翠，帶有絮狀物。 來源：倫敦古玩交易；知名法國私人收藏。 品相：狀況非常好，有輕微磨損、小刻痕和磕損。玉石上有天然内沁和裂隙，其中一些可能發展成細小裂紋。很少能找到一個完整的四件作品組合，而且沒有任何缺損。 重量：514.6 克 (不含底座), 591.3 克 (含底座) 尺寸：14.5 厘米(不含底座), 17 厘米(含底座) 木質底座，以靈芝和山石精雕細琢，整體呈現出細膩包漿。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2020年11月30日，lot 3077 價格：HKD 500,000（相當於今日EUR 61,500） 描述：翠玉仿古鳥形尊 專家評論：比較相近的外形和可拆卸的頭部。請注意足部有乾隆款。請注意尺寸較大 (28厘米) ，缺少蓋子和木製底座。
Robson (Thomas). Birds of the Derwent Valley, 1st edition, Consett: Printed by J. Dent, at the Derwent Press, 1896, 64 pp., wood-engraved illustrations to text, contemporary plane red cloth, lightly faded to edges, slim 8vo, together withCordeaux (John). Birds of the Humber District, 1st edition, London: John van Voorst, 1872, engraved frontispiece, errata leaf bound in before main text, single publisher's leaf at end, original green cloth gilt, lightly rubbed, 8vo, plusNoble (Sir George). Birds of Jesmond Dene, London: Eyre and Spottiswoode Ltd., [1931], nine monochrome plates, five plates after photographs, two single-page maps, top edge gilt, original green cloth gilt, a little rubbed, large 8vo, and Ralph (P. G.). The Birds of the Isle of Man, 1st edition, Edinburgh: David Douglas, 1905, pictorial title, monochrome plates after photographs, top edge gilt, original publishers dark blue cloth gilt, a few minor marks to extremities, 8vo, plus Lt.-Col. The Hon. Arthur Murray, St. Columba and The Holy Isle of the Garvellachs. The Whirlpool of Corrievreckan, 1st edition, Edinburgh: Oliver & Boyd, 1950, monochrome illustrations after photographs, author's presentation copy inscribed to front endpaper 'for Ainsley Thin with best wishes from Arthur Murray', bookplate of A & B Cox to front pastedown, original green cloth in dust wrapper, a little rubbed and some marks, 8voQTY: (5)
Bindings. The Poultry Book;..., by W. Wingfield & G. W. Johnson, 1st edition, London: Wm. S. Orr and Co., 1853, 22 chromolithograph prints, 29 wood engravings, some spotting & light toning, contemporary gilt decorated black full morocco bound by E. Baker, boards & spine slightly rubbed with some minor loss, 8voStudies of Chess: containing Caïssa, a poem, by Sir W. Jones..., 2 volumes, by A. D. Philidor, new edition, London: printed for S. Bagster, 1814, Estcourt bookplate to the front pastedown, some light toning & spotting, top edges gilt, contemporary uniform gilt decorated half calf bound by Goodwyn, Tetbury, boards & spine slightly rubbed 8voAccount of a Tour in Normandy;...Letters from Normandy addressed to the Rev. James Layton, 2 volumes bound in 1, by Dawson Turner, London: printed for John and Arthur Arch, 1820, period inscription 'To Henry Estcourt Sidmouth, May 30th 1826...' to the half-title, Estcourt bookplate to front pastedown, numerous engraved illustrations, some light spotting & toning, contemporary gilt decorated full calf, boards & spine slightly rubbed, 8vo, together with further 19th century literature & reference, including Charles Dickens, all contemporary gilt decorated leather bindings, overall condition is generally good, 8voApproximately 85 volumes QTY: (3 shelves )
Irby (L Howard L.). The Ornithology of the Straits of Gibraltar, 2nd edition, London: R.H. Porter, 1895, 8 chromolithographic plates after Thorburn (including frontispiece), 6 halftone plates after Smit, 2 folding maps (1 with later hand-colour), armorial bookplate of Arthur Henry Thistlethwayte to front pastedown, original red pictorial cloth gilt, large 8voQTY: (1)NOTE:Mullens & Swann p. 308; Sitwell p. 108; Wood p. 400; Zimmer pp. 318-19. An excellent, bright copy. The first edition, published in 1875, was in a smaller format and contained two maps and no other plates.
Gill (Eric) Sculpture: An Essay..., first edition in book form, [one of 400 copies], presentation copy from the author to his father inscribed on front free endpaper and with Gill's own bookplate to inside wrapper, 4pp. advertisements with wood-engraving by Gill at end, variant binding of original printed grey wrappers with "price one shilling", uncut, spine a little frayed with lower wrapper detached, [cf.Gill 5 &Taylor & Sewell A28], 8vo, Ditchling, St. Dominic's Press, 1918.⁂ The inscription reads, " To A.T.G. from E.G. in case he hasn't got it already. Sept. 30. 1921". Gill was the second child and eldest son of the thirteen children of Rev. Arthur Tidman Gill.Taylor states that the binding was in brown wrappers, with a few copies in linen boards. The essay first appeared in The Highway of June 1917 and was later rewritten and enlarged as Sculpture: An Essay on Stone-cutting of 1923/4.
ERIC RAVILIOUS (BRITISH 1903-1942) NEW YEAR SNOW Watercolour and pencil Signed (lower left) 46 x 56cm (18 x 22 in.)Painted in 1938. The present work was painted in Capel-y-Ffin, Breconshire. Provenance: Private Collection, Sir Duncan Oppenheim Sale, Christie's, London, The Collection of the Late Sir Duncan Oppenheim, 6 June 2003, lot 91, sold by order of the executors, where purchased by Robert Kime Exhibited: London, Arthur Tooth & Sons, Recent Watercolours by Eric Ravilious, 11 May-3 June 1939, no. 1 (18 guineas) Sheffield, Graves Art Gallery, Eric Ravilious, An Exhibition of Watercolours, Wood Engravings, Illustrations, Designs, 1958, no. 94, lent by Mr & Mrs D. Oppenheim London, Arts Council of Great Britain, Eric Ravilious Memorial Exhibition, 1948-9, no. 1 Colchester, The Minories, Eric Ravilious, 1972, no. 22; and touring London, Imperial War Museum, Eric Ravilious Centenary Exhibition, 2003, illus. in exhibition catalogue Literature: Freda Constable, The England of Eric Ravilious, Scolar Press, London, 1982, pl. 21 Helen Binyon, Eric Ravilious, Memoir of an Artist, Lutterworth Press, London, 1983, p.105, illus. Anne Ullmann et al, Eric Ravilious: Landscape, Letters and Design, Fleece Press, 2008, ill. p. 437 Alan Powers, Eric Ravilious, Imagined Realities, Imperial War Museum, Philip Wilson Publishers, 2012, pl. no. 46 illus James Russell, Ravilious in Pictures, A Travelling Artist, Mainstone Press, 2012, p.4, illus. Susie Hodge, Eric Ravilious, Masterpieces of Art, Flame Tree Illustrated, 2015, p. 54 illus This atmospheric watercolour depicts a picturesque valley in the Welsh borders and at the same time shows us a master at work.Early in 1938 Ravilious travelled to Capel-y-Ffin, a hamlet in the Honddu valley not far from the ruins of Llanthony Priory. Having concentrated on illustration and design for a couple of years he was at last free to paint watercolours, and to take his time doing so. He had booked a room in the hamlet's solitary farmhouse for two months, and looked forward to exploring a landscape that was wilder than his native Sussex.Steeped as he was in the English watercolour tradition, Ravilious was well aware that JMW Turner, John Sell Cotman and other luminaries had painted the valley before him, although those earlier Romantic artists had tended to focus on the ruined abbey. A more recent visitor was artist-poet David Jones, who stayed with Eric Gill and his entourage in Capel-y-Ffin in the 1920s. Ravilious admired the strong modern line and delicate palette of Jones's watercolours, which present subjects similar to this but in a very different style (see Lot 56 David Jones 'Spirit in an Orchard'In New Year Snow Ravilious presents a recognisable view south-east along the valley, towards the distinctive buttress of Loxidge Tump. He was no topographer, however, and here he has redirected the course of the river so that it bends across the composition, roughly mirroring the curve of hills against the sky. Water, land and clouds are painted with remarkable economy, with only the lightest of washes across the hilltops. Mostly the watercolour has been applied in single strokes, whether taut and wiry or roughly scuffed with a dry brush. White paper showing through suggests here the texture of grassland dusted with snow and there the shimmer of moving water, while simultaneously conveying a feeling of light-heartedness and freedom.In place of the ruins sought out by Turner's generation, we have the kind of man-made object that delighted Ravilious: a sheep feeder on wheels set centre stage and at a precarious angle. This positioning and the clarity of the draughtsmanship lend a slightly dreamlike quality to the scene. In May 1939 Ravilious held his third exhibition of watercolours at the prestigious London gallery of Arthur Tooth and Son, the show that cemented his reputation. In The Observer, Jan Gordon praised Ravilious's extraordinary technique, which made the most mundane object 'appear as something magic, almost mystic, distilled out of the ordinary everyday.' Ravilious chose twenty-seven watercolours for the exhibition; in the catalogue New Year Snow is No. 1.James Russell Art Historian, Author and Curator Condition Report: Examined out of glazed frame. The sheet is laid down to the backboard. There is a small loss to the sheet at the centre of the right edge, not visible when framed. There is a very small spot of what appears to be paper stuck to the lower left of the feeder, visible in the catalogue illustration. There is some discolouration and acid-staining to the extreme edges and a few spots of dirt along the upper edge. Staining to the back board verso. Otherwise, there are no obvious condition issues or any evidence of restoration or repair. Condition Report Disclaimer
A mixed lot to include an Arthur Wood imari teapot and stand, Shelley jelly mould, tea wares and other, also includes a small quantity of plated flatware. [2]. [W]NOTE: THIS LOT IS NOT AVAILABLE FOR IN HOUSE SHIPPING, PLEASE CONTACT CLIENT SERVICES FOR A LIST OF SUITABLE COURIERS AND A QUOTE.
Legrand, Louis - - Louis Legrand. Poéme à l'eau-forte. Mit 30 Originalradierungen von Louis Legrand, und 45 Holzstichen im Text. Paris, Gustave Pellet, 1914. 251 S. Kl.-4°. Illustrierte OBrosch. Monod 9190. - Eines von 80 Exemplaren auf Perrigaut-Mazure Vélin. - Prachtvolle gratige Abzüge der teils erotischen Radierungen von Louis Legrand die den poetischen Texten von Charles Baudelaire, Stéphane Mallarmé, Paul Verlaine, Arthur Rimbaud, Theophile Gautier u.a. gegenübergestellt wurden. Legrand war Schüler an der École des Beaux-Arts in Dijon, später bei Félicien Rops in Paris. Er wurde Mitarbeiter bedeutender illustrierter Zeitschriften und gestaltete nach Vorlage von Menschen auf dem Montmartre aller Schichten seine oft leicht erotisch anmutenden Pastelle und Radierungen. Legrand schuf unter anderem Illustrationen zu den Werken von Guy de Maupassant und Paul D'Argens. - Nur im Schnitt minimal braunfleckig. Wohlerhalten. Gutes Exemplar. With 30 original etchings by Louis Legrand, and 45 wood engravings in the text. Illustrated original softcover. One of 80 copies on Perrigaut-Mazure Vélin. - Splendid burr prints of the partly erotic etchings by Louis Legrand juxtaposed with poetic texts by Charles Baudelaire, Stéphane Mallarmé, Paul Verlaine, Arthur Rimbaud, Theophile Gautier and others. Legrand was a student at the École des Beaux-Arts in Dijon, later with Félicien Rops in Paris. He became a contributor to important illustrated magazines and created his often slightly erotic pastels and etchings based on people from all walks of life in Montmartre. Legrand created illustrations for the works of Guy de Maupassant and Paul D'Argens, among others. - Only minimally brownstained in the cut. - Well preserved. Good copy.
Kindersley (N. E.) Specimens of Hindoo Literature: Consisting of translations, from the Tamoui Language, of some Hindoo works of morality and imagination, with explanatory notes: to which are prefixed introductory remarks on the mythology, literature &c. of the Hindoos, 1st edition, London: printed by W. Bulmer, 1794, half-title, 3 folding engraved plates, some offsetting and light spotting, modern calf-backed marbled boards, 8vo, together with The Earliest English Version of the Fables of Bidpai, "The Morall Philosophie of Doni" by Sir Thomas North, whilom of Peterhouse, Cambridge, now again edited and induced by Joseph Jacobs, late of St. John's College, Cambridge, London: David Nutt, 1888, illustrations, double-page pedigree, slight marginal toning, burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey, top edge gilt, near-contemporary full crimson morocco by H. Wood, spine lettered in gilt with intertwining floral decoration in gilt, upper joint and spine ends a little rubbed, 8vo, limited edition of 550 copies, plus 3 others leatherbound: 2 titles from the Wisdom of the East series: Sayings of K'Ung the Master, by Allen Upward, Orient Press, 1904, and The Religion of the Koran, by Arthur N. Wollaston, 2nd impression, John Murray, 1908, plus The Kasidah of Haji Abdu el Yezdi, a Lay of the Higher Law, by Sir Richard F. Burton, 1914QTY: (5)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate for four titles).
Cunynghame (Arthur Thurlow). Travels in the Eastern Caucasus, on the Caspian and Black Seas, especially in Daghestan, and on the frontiers of Persia and Turkey, during the summer of 1871, 1st edition, London: John Murray, 1872, 2 folding maps, 8 wood-engraved plates (Sebastopol plate detached), illustrations, 12 pp. publisher's catalogue at rear, original green blindstamped cloth gilt in bright condition, 8vo, contained in later blue cloth slipcaseQTY: (1)NOTE:Provenance: The Library of Franklin Brooke-Hitching, Part 1, Sotheby's, 27 March 2014, lot 347 (his pencilled initials to front blank).Ghani p. 86.Presentation copy, inscribed to front endpaper verso 'From the author'. 'An account of travels in the summer of 1871 by the author, on leave from the army, and his son, whose drawings serve to illustrate the book. The author, a veteran of the Crimean War, comments on inter alia, fortifications and military installations in the region and the development of the railway system by the Russians.' (Ghani).
Three boxes of china to include: Staffordshire seated spaniel, jardiniere, various vases; Beswick ware, Crown Ducal ware, floral cylinder vase, Bourne Denby ware, Arthur Wood etc, Sylvac pitchers, Falcon ware small planter or pot, swan shape Sylvac planter, Torquay pottery small planter, Royal Winton Grimwades wall pocket, Dutch Gouda 'Tregina' small pot and jug, Italian lustre pot, centre bowl, metal topped biscuit barrel etc. (3)(B.P. 21% + VAT)
Two WWI trench maps consisting of Ploegsteert Edition 5D 18.07.18 and 1916 dated; France Sheet 36B N.E. Edition 7, pencil signed at head "XI Chester[?] A. Taylor", together with an earlier OS England and Wales map sheet 148, signed in pen & ink at head "A. Taylor "C" Coy". Arthur Taylor (1898-1914), Lieutenant 4th Bn. attd. 11th Bn. Cheshire Regiment, died on Wednesday 10th April 1918, and is commemorated at the Ploegsteert Memorial, Comines-Warneton, Hainaut, Belgium. (3)Arthur Taylor was born in Macclesfield and won a County Scholarship to the Modern School (Macclesfield Grammar School) in 1909. He was academically gifted, being School Captain in what should have been his last year, 1915-16, and had secured a Scholarship at Trinity Hall, Cambridge, but did not take his place at Cambridge, as he, and the other prefects, were conscripted in 1916. Commissioned into the 4th Cheshires, he was attached into the 13th Battalion following its heavy losses at Passchendaele. In February 1918 this battalion merged with the 11th and Arthur was transferred as Acting Lieutenant, just before the German spring offensive of March and April 1918. During this offensive the 11th were swept back by the Germans and suffered heavy losses. On the 8th of April they took up station in the line south of Ploegsteert wood, before a heavy German bombardment followed by an assault from the Germans on the 10th. Forced to shelter when virtually surrounded in the remains of the wood, after some resistance they were forced to withdraw on the 12th, when they did 662 men and 18 officers were casualties, 17 of them reported killed. Arthur's exact fate is not clear, he was reported as a P.O.W. in Germany, however, he was not seen again, it is possible he died or was killed after being taken prisoner on the battlefield by German stormtroopers
ASSORTED COLLECTIBLE CERAMICS, including Royal Doulton D6725 John Lennon character jug, Royal Doulton Jester character jug, 5 others, Doulton stoneware vase, pair Lladro porcelain figures of red capped Manchurian cranes (1598 & 1599), Lladro figure of girl in nightgown, Arthur Wood cottage teapot (12)
A silver presentation cigar box by A & J Zimmerman Ltd (Arthur & John Zimmerman), Birmingham 1898, rectangular form with rounded corners, engraved lid, cedar lined interior, 23cm.Condition report:The gross weight including the cedar lined base section is 48t.oz. The entire base is wood as is the lining. Otherwise the walls and cover are silver and the gauge is quite heavy.
Burkhardt Arithmometer, um 1902Erste serienmäßig hergestellte deutsche Rechenmaschine von Arthur Burkhardt & Cie, Glashütte. Serien-Nr. 4180, Vierspezies-Staffelwalzensystem nach Thomas de Colmar. Mit 8 Einstellschiebern, 8-stelligem Umdrehungswerk und 16-stelligem Resultatwerkschlitten. Original-Holzgehäuse, Deckel mit Schriftzug "Burkhardt Arithmometer", innen mit Original-Anleitung. - Literatur: Martin, S. 82. - Eines der ganz großen historischen Sammlungsstücke! Sehr guter und funktionierender Originalzustand! Start Price: EUR 800 Zustand: (2-3/2-3)Burkhardt Arithmometer, c. 1902Serial no. 4180, original wood case, lettering on lid "Burkhardt Arithmometer" (calculating machine), with 8, 8 and 16 digits, inner lid with original instructions on paper label, good original optical and technical condition. - Literature: Martin, p. 82. - Note: the first German Thomas-type calculating machine. Start Price: EUR 800 Condition: (2-3/2-3)
Rechenmaschine "Saxonia 3" (Rolljalousie), 1910Glashütter Rechenmaschinenfabrik Saxonia. Manuelle Vierspezies-Staffelwalzenmaschine gemäß DRGM 394014. Mit 8-, 7- bzw. 12-stelligen Rechenwerken. Serien-Nr. 12064. Pultförmig in verschließbarem Holz-Rouleau mit abklappbaren Seitenteilen. Das Gehäuse wurde von der Kunsttischlerei Arthur Guricke in Glashütte hergestellt, mit Prägung des Herstellers. - Literatur: E. Martin, S. 133. - Äußerst seltenes Modell! - Eines der meistgesuchten Sammlungsstücke zur deutschen Rechenmaschinen-Geschichte überhaupt in gut funktionierendem Zustand. Start Price: EUR 1800 Zustand: (3/2)Rare Saxonia 3 (Rolltop) Calculator, 1910Glashütter Rechenmaschinenfabrik Saxonia. No. 12064, German trademark DRGM no. 394014, stepped-drum calculating machine, with 8-, 7- and 12-digit calculating mechanism and attractive wood roller-shutter by the cabinetmaker Arthur Guricke of Glashütte, with maker’s stamp on the case, in good working condition. - Literature: E. Martin, p. 133. - One of the most desirable early calculators. Start Price: EUR 1800 Condition: (3/2)
A Victorian turret clock and bell by Gillett & Johnston, Croydon, dated 1895, the twin-barrel movement, signed to the frame 'Gillett & Co.', and to the silvered setting dial, 'Gillett & Johnston, Croydon',54.5cm wide 34cm deep45cm highsetting dial 8.5cm diameter,with a patinated copper dial,with Roman numerals, with raised shamrocks to the spandrels, 76.5cm square,with nine cast iron weights, 18 to 20cm diameter,an ash pendulum, with a weight,125.5cm long,a cast bell, numbered '1503' and 'Gillett & Johnston, Croydon, 1895',top bar 68cm wide 38.5cm diameter34cm high,a crank handle, four pulleys, a wood cradle and a cast iron wheel, cast '1ft 9in RG', anda collection of rods (qty.)Provenance: Elveden Hall Stables.The original inventory from Gillett & Johnston, dated 7 May 1898, shows that William Young - the architect Lord Iveagh had commissioned to make alterations at Elveden Hall and stables - placed the order which reads: 'Lord Iveagh Elveden Stables Elveden Hall Thetford '8637' / No 1 striking 3 Bell & Hangings / Two 3'6" sq copper black and gold with cast brass shamrock in each corner / Carriage / Fixing / Must go check with once winding / Not carpenters work or scaffold / Net 130 / July 19 / 4 1/4 Bell - Extra 7.10 / Extra Weight for larger bell 2.10'.The firm of Gillett & Johnston can trace its roots back to the clockmaker William Gillett who moved from Hadlow, Kent, to Clerkenwell in 1837. In 1844 he relocated again, this time to Union Road, Thornton Heath, Croydon. Charles Bland became a partner in 1854 and the company subsequently traded as Gillett & Bland. In 1877, Arthur A Johnston (c.1851-1916) bought a partnership, and shortly afterward, extended the company's output by establishing a bell foundry. The business became known as Gillett, Bland & Co. until Bland's death in c.1884 when the name was changed to Gillett & Co. The name Gillett & Johnston seems to have been used from around 1887. Arthur Johnston's son, Cyril Frederick Johnston (1884-1950), joined the company in 1902, became a partner in 1907, and took over the firm following his father's death in 1916. He developed an interest in the theory of bell tuning, and greatly expanded the bell founding side of the business. During the First World War, the factory suspended its regular business and became involved in the manufacture of munitions, employing over 1,250 men and women. The firm became a limited liability company in 1925, initially trading as the Croydon Bell Foundry Ltd. (although the name 'Gillett & Johnston' still appeared on bells). It reverted to the name Gillett & Johnston Ltd. in 1930. After going into receivership in 1957, the company was subsequently reborn and still trades today as clockmakers specialising in the maintenance and restoration of turret clocks.Condition ReportWorn, all pieces with wear and no hands for the clock. In need of restoration.
William Wood (British, 1769-1810)A portrait miniature of Lieutenant Colonel Henry Davis (born 1763), wearing the uniform of the Light Dragoons, his French Grey coatee with silver lace and buttons, his red collar outlined with silver, his white leather shoulder belt secured with a silver lace shoulder cord. Watercolour on ivory, signed on the reverse, By/ Will: Wood/ of Cork Strt,/ Lond. and inscribed beneath, now/ dead, backed with card signed, E W Thomson/ Miniature Painter/ New Bond Street/ Enquire at Mr Orme's Print Seller, gold frame, the reverse glazed to reveal a ground of plaited brown hair within a surround of plaited blond hair. Oval, 85mm (3 3/8in) highFootnotes:ProvenanceSold Bonhams, London, 23 November 2005, lot 94LiteratureWilliam Wood, Memorandum of Miniatures Painted and Finished by William Wood, 1790-1808, vol.III, folio 5824 or 5830William Wood produced two portrait miniatures of Davis in 1801. The first finished on 14 February and delivered on 22nd February (costing £5 and £5/10/- for the frame). The second began on 15 February, finished on 21 February and delivered on 28 February (costing £10/10/- presumably for both miniature and frame). Both miniatures were framed by Flower. The overlapping time frame of the two miniatures implies that Wood was commissioned right from the beginning to paint two versions. In his fee book, Wood describes the sitter as, 'about 38 years old, shows chiefly right side and looking on'.In this portrait miniature, Henry Davis is wearing his Lieutenant Colonel uniform - a rank he obtained in the 25th Light Dragoons in January 1800. In May of the same year he was promoted to Major. In June 1799 Colonel Arthur Wellesley, later the Duke of Wellington, raised a military force in the north of Mysore, comprising the 25th Light Dragoons and the 73rd and 77th Regiments of Foot. Details of Lieutenant Colonel Davis' military history are limited but it is fair to assume, he served as part of this operation. The regiment disbanded in 1819, when the 25th Light Dragoons returned to Portsmouth on HMS Mangles from Madras.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
LEWIN BASSINGTHWAIGHTE (1928-1983) "Child in bed", oil on canvas, unsigned, inscribed on typed "ARTHUR JEFFRESS (PICTURES) 28 DAVIES STREET LONDON W1" label verso "....ARTIST LEWIN BASSINGTHWAITE, TITLE Child in Bed, CATALOGUE No. 11, PURCHASER S.Z. de Ferranti Esq."., 50 cm x 40 cm (ARR) CONDITION REPORTS The work is on canvas. It is mounted on a wooden frame nailed to the wood through the canvas. It is not glued to a background. There is some slight rippling to the canvas suggesting restretching may be beneficial as there is a slight looseness to the canvas. There is a small mark top centre to the surface of the varnish on the canvas and a slight dent from the back poking out to the front lower left which appears to have created a small area of paint loss to the very surface - see image for further detail. Size of the work including the frame 53 cm x 42.5 cm. Frame has some extra securing of light tacks to the corners - see images
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