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Lot 52
A 9ct gold charm bracelet, with thirteen various charms, to include a 9ct gold teapot, a 9ct gold St Christopher medallion, a 9ct gold spiders web, a yellow metal unmarked wishing well, a George V full gold sovereign in pendant frame dated 1911, a yellow metal hedgehog, unmarked, a 9ct gold crucifix, a 9ct gold teddy bear and heart charm, a 9ct locket, a 9ct horse shoe charm, a 9ct gold and enamel decorated ice cream cone, a Victoria full gold sovereign, dated 1893 and a 9ct gold book on curb link chain with small heart shaped padlock, 43.1g all in.
Lot 24
SELECTION OF INUIT CARVINGS CANADA REPULSE BAY carved soapstone and marine ivory, including: one sea otter with marine ivory fish in its mouth (signed in Inuktitut syllabics), three seals, one polar bear, one fish, one goose, one owl (signed "Kango" - possibly Salome Kango), one narwhal with inset tusk (with label reading "Terese Paolak 3/54"), one caribou with inset antlers and one hunting scene with a single figure, one seal and one walrus carved in marine ivory and mounted on soapstone (likely also Terese Paolak) (11) Provenance: Collected between mid 1960s - 1975 in Nunavit, Canada, by a community nurse serving the local communities
Lot 1
ATTIC BLACK-FIGURE MINIATURE AMPHORA ATTICA, 525 - 500 B.C. the obverse with an arming scene, with a bearded warrior at the centre, fastening his greave onto his raised shin, a high crested Corinthian helmet below, flanked by three attendants, vines in the field; the reverse with two armoured warriors standing between a third figure holding a staff; palmettes on the neck and rays around the foot (Dimensions: 19cm tall)(19cm tall) Provenance: From a prominent British collection, acquired prior to 1990. Note: For an example with a similar arming scene please see: The Metropolitan Museum, New York, accession number 06.1021.69. The dolphins painted on the shield of one of the warriors in the obverse are an interesting feature. Dolphins were associated with Odysseus; Plutarch relates that he bore a dolphin as his device (engraved on his signet ring and shield) because a dolphin had once saved Telemachus from drowning. Attic hoplites in particular would often bear the animal on their shields; they were a reminder of Athens' naval might, even when fighting on land, as well as a symbol in honour of Athena in her role as the patron goddess of the city.
Lot 22
INUIT SCRIMSHAW TUSK REPULSE BAY, CANADA carved walrus tusk, the obverse with a seal hunting scene and Inuit man in a kayak bearing a spear towards a polar bear, the reverse with an ingloo building scene and dog sled team being driven towards an arctic fox, with an eagle head terminal, signed B. Kattork (Dimensions: 47cm long)(47cm long) Provenance: Collected between mid 1960s - 1975 in Nunavit, Canada, by a community nurse serving the local communities
Lot 94
SCHOOL OF ANTHONY VAN DYCK (17TH CENTURY)The Penitent MagdaleneOil on canvas, 125 x 101cmSeveral versions of a now lost original of this composition by Van Dyck have been published, including one in Susan Barnes 'Van Dyck: A Complete catalogue of the Paintings', III.A9, page 403.Anthony van Dyck (1599-1641) was born in Antwerp and grew to become a prolific painter, revered both in his own country and abroad. A precocious talent, van Dyck was employed as a studio assistant for Peter Paul Rubens and it was here that he truly mastered his ability. Whilst aiding with Rubens’ work, van Dyck also took on his own commissions. At the time, much of the wealth was held by the church and, as such, many of his works were of religious subjects. Circa 1620, just as van Dyck was finishing in Rubens’ studio, the artist undertook to paint ‘The Penitent Mary Magdalene’ which is now held in the Rijksmuseum. The subject of Mary Magdalene was popularised in the 16th century as part of the Counter Reformation. During a period when many were questioning Catholic power, religious bodies adopted the image of the Magdalene in a hope of inspiring religious devotion amongst their congregations. Coming to Christ as a prostitute, Magdalene was the ultimate depiction of salvation through adoration. Portrayed as a wretched figure, the image of the saint worked to remind people that forgiveness and eternal life would reward spiritual dedication.Van Dyck approached this commission with Northerly flare, half draping his masculine figure with a crisply sculptured cloth. As with Flemish art of the period, his scene is picked out with hard, clear lines and his figures bear the characteristic pointy features that are so often seen in works by Rubens. Though by the same artist, this work seems far removed from the soft portrayal of the repentant saint depicted in the current lot.In 1621, van Dyck chose to expand his artistic training and travelled to Italy where he was to spend the next six years. Arriving in Venice, his art fell under the influence of the Venetian School and its great master, Tiziano Vecelli. Numerous copies of Titian’s works were made by van Dyck, with a sketchbook of his (now housed in the British Museum) containing just under sixty imitations of his works, with careful annotations made as to composition and colour used. Van Dyck took his admiration further and undertook full oil paintings after the master, as can be seen in his rendition of Titian’s Magdalene in the York Museum, England. In this image, van Dyck’s Magdalene is transformed into a humble portrayal of female deference. Gone are the harsh lines of his Northern roots and, instead, his painting is filled with the sumptuous flowing lines of womanly flesh.It is, thus, without surprise that we find Titian’s influence in the current lot. As an artist who constantly revisited this subject matter throughout his career, a second work by Titian depicting the Penitent Magdalene (Hermitage Museum, St. Petersburg) is seen as bearing significant resemblance to this portrayal by van Dyck. Unlike the work previously mentioned, this rendition is not a slavish copy but, rather, a homage to a respected artist. Certain compositional aspects seem to have been borrowed directly from Titian, such as the looming rock to the left and the clear delicate tree to the right, each working to frame their subject in the centre. As with Titian’s piece, the Magdalene is accompanied by a skull and an open bible, her anguished face lifted and gazing to the right in adoration and imploration of the Heavens.Despite being the work of a Flemish painter, we can see van Dyck’s total embrace of the Italian painting style in this work. The careful use of sfumato blends his figure with her background and the Italianate landscape evokes a romanticism formerly unseen. Though van Dyck did not adhere to his change in style and future works lapse back into his Northern training, there is no doubt that Italy held immense influence over his work, with pieces such as this bearing testament to the respect that he nurtured.
Lot 206
A rare pair of Napoleonic Bear jugs and covers c.1815-20, probably Scottish, one modelled as a Russian bear holding Napoleon Bonaparte tight between its paws, his mouth open to form a spout, the other unusually decorated in sponged umber and Portobello red, gripping a figure possibly depicting Marshal Ney, the bears with open mouths and protruding tongues, some damages and repairs, 27cm. (4) Jugs of this type were in production prior to Napoleon's defeat at the hands of the Russians and his subsequent exile, but the replacement of a bear cub with Napoleon and his staff would have caused much merriment in British taverns of the time.
Lot 166
Two Spode transferware plates and a sauce tureen 1st half 19th century, from the Indian Sporting Series, one printed with 'Death of a Bear', another with 'The Hog Deer at Bay', the sauce tureen with an oval base, and a Mason's Ironstone sauce tureen printed with a Nankin willow landscape, damages, 25cm max. (5)
Lot 844
ELEVEN BOXED LILLIPUT LANE SCULPTURES, British black backstamp, 'Country Living in Winter' L2438, 'Christmas Lights At The Bell Inn' L2485, 'Wassail Lodge' L2887 (no deeds), 'Santa's Little Helper' L2352, 'Make a Wish' L2342, 'Baker's Dozen' L2451, 'Thanks a Bunch' L2514, 'The Cat and Fiddle' L2494 (signed), 'Hickery Dickery Dock' L2525 (signed), 'Sail Away' L2404 and 'Bear Necessities' L2452 (all with deeds except where mentioned) (11)
Lot 168
An 18ct yellow gold oval link charm bracelet, with 9ct. gold heart padlock clasp, suspending numerous charms, to include; 18ct. kaola bear, bell, Egyptian head, 14ct. statue of liberty, oil can, 9ct. teapot, crown, television, central American deity, anchor and rope, green enamelled Ireland, small key, large key, yellow metal; llama, seated rabbit,, Pegasus, sombrero, (three charms detached). (total gross weight 63.6g)
Lot 744
Box 144 - Mixed SpiritsGlen Fohdry Single Malt Scotch Whisky Bourbon FinishOtso Black Oak Hoppy Dry GinArmorik Double Maturation Elijah Craig Small BatchRon Santísima Trinidad de Cuba 15 añosOuse PêchePeppered Pear EditionVecchia Romagna ClassicaWillem's Wermoed The House of Botanicals Old Tom GinOstoya VodkaHell Bear American Whiskey
Lot 2120
•EDWARD SEAGO, RWS (1910-1974) SUMMER EVENING, PIN MILL Signed, inscribed with title on the stretcher, oil on canvas 44 x 60cm. Provenance: London, Bonhams, January 21st 2015, lot 126; Aldeburgh, Thompson's Gallery, from whom bought by the late owner, April 2016 * Seago was enchanted by Pin Mill and it became one of his favourite subjects. James W. Reid, writing in Edward Seago: The Landscape Art (1991) commented that "Pin Mill became, from the 1950s on, what Argenteuil had been for Claude Monet in the early 1870s, although the few houses grouped around the Butt and Oyster Inn in the small waterside community some five miles east of Ipswich bear no relation to the many buildings, which were, even in the days of the impressionists, burgeoning into an industrial suburb of Paris. The parallel lies rather in the sailing activity around Pin Mill,which probably originated as a station for pilot boats, close to the dangerous mudbanks, above Downham Reach. There are all types of sailing craft here, but the most striking are the Thames barges, some of which can be seen along Pin Mill Hard, from the splayed bay windows of the Butt and Oyster, or in full sail during the annual summer race,which begins in Butterman's Bay, just east of Pin Mill on the Orwell." ++ Good condition
Lot 1870
H** M** P** (19th Century) AN INTERESTING FOLIO OF TOPOGRAPHICAL SUBJECTS, INCLUDING VIEWS IN/OF ALGIERS, BARBADOS, DOMINICA, GIBRALTAR, GRENADA (see illus.), MOROCCO (Tangier), PORTUGAL (Lisbon), SPAIN & THE CANARIES (Off Malaga, Cadiz see illus., Rocks and Shore near Las Palmas), MEDITERRANEAN AND BAY OF BISCAY, TENERIFE and TRINIDAD (Landing for Pilch Lake) Twenty four, eleven bear initials verso, many bear inscriptions verso identifying the subject (some of which are modern additions), various sizes, the largest 23 x 35.5cm, the smallest 17.5 x 14cm.; with two watercolours by a different, earlier hand (folio) ++ Generally good; some tipped onto card, one with a torn corner
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93468 item(s)/page