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Lot 332
Collection of 5 Staffordshire Figures, to include 'EQUESTRIAN' Figure of a Gentleman on Horseback 18cm, Gin/Water & Rum/Water 23cm, 'Billy Waters' 18 cm and Man with a Lion and a Bear 21 x 18cmHeight 18cm x Length 16 cmQty: 1Surface wear commensurate with age, the rum/water figure has a repaired hand, otherwise no damages
Lot 740
Antoine-Louis Barye, 1796 – 1875Vor Hunden flüchtender Bär, nach 1870Bronzeguss, braun patiniert.30,8 x 43,6 x 20,8 cm.Signiert „Barye“.Auf einem felsigen Bodenstück drei Jagdhunde einen sich aufbäumenden Bären mit aufgerissenem Maul reißend. Interessante variantenreiche grünbraune Patina. Dieses Meisterwerk Baryes besticht durch seine Kraft und das Feuer, mit dem der Bär und die Hunde in einem wilden Rennen nach vorne stürmen. Die alten Güsse dieses Modells scheinen nicht mehr als 20 Exemplare zu umfassen.Literatur:Vgl. A.-L. Barye. Rétrospective de l‘oeuvre, Paris, Galerie Univers du Bronze, 28. November - 30. Dezember 2000, Paris, 2002.Vgl. Stuart Pivar, The Barye Bronzes, Woodbridge 1974, Referenzmodell: A 8.Vgl. Michel Poletti, Alain Richarme, Barye. Catalogue Raisonné des sculptures, Paris 2000, S. 133, Referenzmodell: A 11. (1330111) (13)Antoine-Louis Barye,1796 – 1875BEAR FLEEING FROM DOGS, AFTER 187030.8 x 43.6 x 20.8 cm.Signed “Barye”.Bronze casting, brown patina.Literature: cf. A.-L. Barye. Rétrospective de l’oeuvre, Paris, Galerie Univers du Bronze, 28 November - 30 December 2000, Paris, 2002. cf. Stuart Pivar, The Barye Bronzes, Woodbridge, 1974, reference model: A 8. cf. Michel Poletti and Alain Richarme, Barye, Catalogue Raisonné des sculptures, Paris, 2000, p. 133, reference model: A 11.
Lot 108
A pre WWII Second World War Third Reich Nazi German 13 R.F.S.I ' Reich Ride ' badge. Hollow backed metal badge in a silver finish. The badge is shaped as a stylised eagle with a raised steel helmet emblem on it's breast. The helmet bears the inscription 13 R.F.S.I. The wings of the eagle bear the inscription BERLIN. Measures approx 8x7cm.
Lot 47
Arthur Hughes (British, 1832-1915)Study for Sir Galahad, the Quest for the Holy Grail signed 'AHughes' (lower left)oil on panel27.5 x 39.8cm (10 13/16 x 15 11/16in).Footnotes:Painted circa 1865.The subject of this work is taken from Alfred Tennyson's poem Sir Galahad and specifically relates to the following lines from the fourth verse:A gentle sound an awful sight!Three angels bear the holy grail:With folded feet, in stoles of white,On sleeping wings they sail.ProvenanceGeorge Rae, by circa 1900.Thence to his widow, 1902.Rae sale, E. Owen, Birkenhead, 28 June 1917, lot 1695.By descent through the Rae family.LiteratureCatalogue of Mr. George Rae's pictures, Birkenhead, circa 1900, no. 50.M. Bennet, Artists of the Pre-Raphaelite Circle: The First Generation, London, 1988, pp. 61-63.L. Roberts, Arthur Hughes, His life and works, Woodbridge, 1997, cat. no. 75.2, p. 167.The present lot is a study for a larger work, exhibited at the Royal Academy in 1870 (no. 324), now in the collection of Walker Art Gallery, Liverpool (no. 2936). Both the larger version and the present lot were owned by the Birkenhead merchant George Rae. In correspondence between Rae and Ford Maddox Brown, Brown notes (in reference to the prime version which Hughes was still working on): 'Hughes is well and getting his Galahad... ready for next year.' (30 November 1868); nearly a year later, Brown informs Rae that 'Sir Galahad... still remain[s] at the same point (5 October 1869).1 In later correspondence, Hughes, writing to Agnes Hale-White, notes 'Last Sunday had to go to lunch with the Raes- Mr Geo. Rae, who bought the 'Music Party' in old PRB days and has a lot of Rossetti's best oil pictures is now about 80 and invalidish, keeps [to] his room, but I had a pleasant time with him- all very kind.'2A similar version of the present lot was sold at Sotheby's, London, 10 December 2014, lot 9. Although catalogued as Probably cat no. 75.2, that work is most likely cat. no. 75.3, as the present lot comes by descent through the Rae family.1L. Roberts, Arthur Hughes, His life and works, Woodbridge, 1997, p. 284.2Ibid, p. 287.For further information on this lot please visit Bonhams.com
Lot 50
Marie Spartali Stillman (British, 1844-1927)The last sight of Fiammetta 'Above her garland and her golden hair I saw a flame about Fiammetta's head' (Boccaccio)signed with monogram (lower right), inscribed on an exhibition label (attached to the reverse)watercolour, bodycolour and gum arabic82 x 62cm (32 5/16 x 24 7/16in).Footnotes:ProvenanceAnon. sale, Christie's, London, 11 April 1967.With Abbott and Holder Ltd., London.Eric Smith (purchased from the above circa 1968).By family descent.Private collection, UK (gifted to the present owner, 2004).ExhibitedLondon, Royal Academy, 1876, no. 757.Manchester, Royal Manchester Institution, Exhibition of the Works of Modern Artists, 1876.Paris, Universal Exhibition, 1878, British Fine Art Section.The present lot has not been seen in public for decades, so it represents a welcome addition to the Stillman's oeuvre, at a moment when her reputation is rising. The finely painted fanciful half-length figure depicts a girl no older than early teens, wearing a rose-garland on her loose hair, who dreamily fingers a rose-entwined mandolin. The feeling is of harmony and repose. Art historian Pamela Gerrish Nunn declared of the work that it 'is surely destined to be regarded as her masterpiece [sic]'.Moreover, it belongs in a sequence of events consolidating the mutual regard between Spartali Stillman and Dante Gabriel Rossetti, as it prompted the last major canvas from the latter before his death in 1882. As observed in the 1989 publication Women Artists and the Pre-Raphaelite Movement, the existence of the present work was then known only from old exhibition catalogue listings. The exhibiting history of the work began at the Royal Academy in 1876. At the time, the significance of this work to Rossetti is indicated by the fact that, eighteen months after the exhibition, he asked Spartali to sit for him for his own version of Fiammetta. Since her reputation as a model has tended to obscure her career as an artist and since she is typically said to owe her pictorial inspiration entirely to Rossetti, it is worth noting that in this case her choice of subject evidently stimulated his own, and that by 'casting' Marie as Fiammetta, so to speak, Rossetti implicitly recognised her choice of the theme. ***Stillman and Rossetti met in the early 1860s, when she decided to pursue art practice, and through her father sought tuition from Rossetti. Given his lack of aptitude, Rossetti sensibly passed the request to Ford Madox Brown, who from 1864 welcomed her for twice-weekly sessions alongside his own children. Brown then encouraged her exhibition debut at the Dudley Gallery in 1867, and became a lifelong artistic mentor. She continued to exhibit after her marriage in 1871 to the American journalist, William Stillman, whose career as a foreign correspondent took the family to postings in Greece (Corfu) and Italy. In winter 1874-5 they visited the US, where her exhibited works were commended by Henry James in Atlantic Monthly and Galaxy. Back in Britain, when not overseas she divided her time between her parents' homes in Clapham and the Isle of Wight. Following his paranoid collapse in 1872, Rossetti stayed mainly at Kelmscott Manor, the secluded country home he leased jointly with William Morris, until in summer 1874 he returned to his London home in Cheyne Walk, and to his art practice. His translations from early Italian poetry, first published in 1861, were re-arranged and re-issued this year. The volume includes examples of Boccaccio's poetry, 'chosen for their beauty alone. Two of these relate to Maria d'Aquino, if she indeed be the lady whom, in his writings, he calls Fiammetta.' More probably, this was a fictive inamorata, the same name – 'little flame' – being given to the protagonist in Boccaccio's Elegy of Madonna Fiammetta, lamenting a faithless lover. Rossetti also used the title for a 'pot-boiler' executed around the same time as Monna Vanna and offered to George Boyce in December 1866.The present work is the first of Stillman's based on Rossetti's translations from Boccaccio, where a sonnet entitled 'The Last Sight of Fiammetta' describes what seems to be the death of the beloved:Round her red garland and her golden hairI saw a fire about Fiammetta's head;Thence to a little cloud I watch'd it fade,Than silver or than gold more brightly fair;And like a pearl that a gold ring doth bear,Even so an angel sat therein, who spedAlone and glorious throughout heaven, array'dIn sapphires and in gold that lit the air.Then I rejoiced as hoping happy things,Who rather should have then discern'd how GodHad haste to make my lady all his own,Even as it came to pass. And with these stingsOf sorrow, and with life's most weary loadI dwell, who fain would be where she is gone.In 1875 the artist sold a Renaissance-style image of her stepdaughter Lisa Stillman under the title Mona Lisa (Royal Academy, 1875, no. 719; Manchester, 1875, 40gns; untraced). So, looking forward to the 1876 exhibition season, a comparable theme was chosen for the present work, borrowing again from Boccaccio/Rossetti and in all likelihood using eleven-year-old Lisa as model. The chosen genre was that described by William Rossetti – pejoratively but accurate - as 'lovely ladies with floral accessories'; derived from Lely's Hampton Court beauties, this format became newly popular and saleable in the late nineteenth century. On 7 January 1876, Stillman ordered from the art suppliers, Robersons, a support of similar dimensions – 31 by 21 ins – prepared to her specifications with board covered in three sheets of paper – two cartridge and one seamless Whatman. This was likely for Fiammetta, because although Stillman was a painstaking artist who typically took a year or more to complete an exhibition piece, the present work has been enlarged with additional strips along the left side and lower edge. While not exact, this surely relates to her Robersons' order on 11 March, for '2 slips of wood fitted with [indecipherable] to fix on edges of drawing board covering with two surfaces of paper', at a cost of four shillings.The brushwork is notably delicate on the figure and mandolin, looser on the upper foliage and very much looser on the added strips. An undated letter from Rossetti to Brown mentions that the frame, with its reeded edge and 'Pre-Raphaelite' roundels, cost £3.10s. So, the enlargement probably relates to the availability of this frame. The picture was submitted to the RA in April. Accepted and hung, it was catalogued as 'no. 757 / The last sight of Fiammetta / Above her garland and her golden hair / I saw a flame about Fiammetta's head. – Boccaccio.' It was listed under the name 'Miss M.S.Stillman'. Amidst the scores of landscapes and still lifes in this section, it was favourably commended by W.M. Rossetti in his role as art critic, as 'one of the genuinely fine works of colour in the exhibition – warm, soft, pure flesh tints, admirably supported by the general colour scheme, the copper-yellow hair garlanded with red and pink roses, the charmingly-painted mandoline, the embowering foliage.' The overall standard at the RA that year was however not the most commendable. In 1877 Sir Coutts Lindsay launched his rival fine art show at the Grosvenor Gallery, and maybe on the strength of Fiammetta, Marie Stillman was one of two women invited to exhibit at the inaugural exhibition. Subsequently it was selected for the British Fine Art section of the Paris Universal Exhibition in 1878. Around this time, it was photographed and reproduced as a large-size sepia print, one copy being in the Bancroft Collection at Delaware Art Museum.The work also prompted Rossetti to renewed effort, despite poor health and very low spirits... For further information on this lot please visit Bonhams.com
Lot 66
Très grand crâne d'ours des cavernes Large Cave Bear SkullUrsus spelaeus ingressus PleistoceneDragoncave, Mixnitz, Steirmark, AustriaThis uncommonly large skull is from the extinct species of the true cave bear of Europe, Ursus spelaeus ingressus. One of the finer skulls seen on the market in many years, the present specimen displays beautifully preserved teeth, (with incisors measuring up to 8.4 cm in height) exhibiting natural wear, which is expected from a full grown adult skull. The skull measures 20 ½ x 11 ¼ inches (52 x 29 cm) and comes mounted complete with its lower jaws.The Ice Age cave bear was the largest of all bears related to, but outsizing, today's modern black, brown and polar bears. They inhabited Europe, Eastern Europe and parts of Asia until their extinction at the end of the last Ice Age. As shown by the archaeological record, they were contemporaries of modern humans: many cave sites show signs of competition between cave bears and humans as the two species battled for shelter for thousands of years. Evidence shows that both Neanderthals and Cro-Magnons hunted cave bears; scientists theorize that the demise of the cave bear may have been, in part, due to human hunting. Measuring 52 x 29 cm overall. Upper jaw length 50 cm, lower jaw length 35 cm (2) Footnotes:Offered with a custom-fitted wooden base.For further information on this lot please visit Bonhams.com
Lot 305
Selection of seventy-seven costume watch pendant necklaces, some in animal designs, including ladybirds, tortoises, owls, an elephant, teddy bear and swans, also round, oval, heart shaped and other styles, all in four display boxesCondition Report: Minimal wearEwbanks do not guarantee the working order or good timekeeping of any watch
Lot 2460
An Early 19th Century Percussion Travelling Pistol by Nicholson, Clones, 15 bore, the 14.5cm octagonal steel barrel with single gold line and maker's poincon, London proof marks, plug and nipple conversion from a flintlock, the lock plate signed and engraved with a border of feathering, the trigger guard engraved with a bird and with pineapple finial, walnut full stock with crisply chequered grip and bag butt with blued steel pommel cap, the wood ramrod with screw-off brass cap enclosing a wormAction works, holds at full and half cock. Small repair to right fore-end tip, minor bruising to the left side. Mounts bear traces of bluing.
Lot 84
Assorted silver and white metal jewellery comprising a Charles Horner silver bangle, an articulated teddy bear pendant marked '925', a photo locket on chain both marked '925', a pair of cufflinks by Paula Bolton unmarked, an eastern bangle, two brooches, a pair of earrings and a pendant on chain marked '925'.
Lot 415
A collection of Royal Crown Derby porcelain paperweights,comprising a signature edition Octopus, gold stamp, no. 395/2,500, with a certificate of authenticity, 11.5cm wide, a signature edition Hippopotamus, gold stamp, no. 144/2,500, with a certificate of authenticity, 20cm wide, limited editions 'Thomas' and 'Tabitha' kittens, gold stamp, no. 1,481/1,500, with certificates of authenticity, each 7.5cm high, a limited edition 'Garden Snail', gold stamp, no. 3,391/4,500, with a certificate of authenticity, 13cm wide, a puffin, gold stamp, 13cm high, 'Snowy Rabbit', gold stamp, 10cm high, a robin, gold stamp, 7.5cm high, 'Silver Tabby Cat', gold stamp, 12.5cm high, a duck, gold stamp, 12cm wide, a pair of ducklings, gold stamp, each 7.5cm high, 'Blue Tie Bear', gold stamp, 12cm high, a frog, gold stamp, 9cm high, a ladybird, gold stamp, 5.5cm wide, 'Rockhopper Penguin', gold stamp, 11cm high, 'Brown Pelican', gold stamp, 13cm high, 'Bunny', gold stamp, 7cm high, a cockerel, silver stamp, 10cm high, a squirrel, silver stamp, 9cm high, and 'Spotty Clown', 'Stripy Clown' and 'Rag Doll', all lacking stamps, each 6cm high, together with a Royal Crown Derby Paperweights Collectors Guide (23)Provenance: The selected contents of the Waltons Estate, Much Hadham.Condition ReportAll in a good condition, with no visible chips or losses. The Silver Tabby Cat has a restored crack running through its body from its neck.
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