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Lot 1519
Late 19th century work bench tool cabinet, hinged lid enclosing tool rack, single vice, six graduating drawers, storage cupboards at both ends, inlaid Melhusih plaques, shaped plinth base by Richard Melhuish & Sons, London(W107cm, H88cm, D50cm) and a quantity of hand tools - Condition Report
Lot 62
A selection of Capodimonte figures, comprising a large figure group modelled as a tramp on a bench with dog, a smaller group of a girl and dog, marked Gianni, another group of an elderly couple, two figures of sleeping children marked Maria Augela, and an Italian figure of three blue tits perched upon a tree branch. - Condition Report
Lot 12
Banksy (British, b. 1975)Weston Super Mare 1999 taggedacrylic on canvas76.5 by 76.5 cm.30 1/8 by 30 1/8 in.This work was executed in 1999.Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.ProvenancePrivate Collection, UKSale: Sotheby's, Olympia, Contemporary Art, 19 June 2006, Lot 560Acquired directly from the above by the present ownerLiteratureRobin Banksy, Banging your head against a brick wall, London 2001, n.p., illustratedBanksy's best works always have at their heart his distinctive, often brutal sense of humour. So much of his early work focuses on that peculiarly British characteristic that celebrates the mundane and the ordinary, in the tradition of the kitchen sink painters such as Stanley Spencer of the mid-Twentieth Century. Banksy often plays with this national personality trait, repurposing twee landscapes and inserting shocking images in the Crude Oil series, or, as in the case with the present lot, memorialising a town synonymous with drabness and faded glamour and building the composition on the image of a lonely figure sitting on a bench. The sheer unsuitability of this as a subject for a major work of art is where the humour lies and yet it also gives a glimpse into the personality of this mercurial artist. Weston-Super-Mare is a seaside town near Banksy's native Bristol and the location of his 2015 theme park Dismaland. Best known as the site of the once celebrated Tropicana Lido, closed since 2000, Weston-Super-Mare is not the obvious choice for a new amusement park and so it would have immediately appealed to Banksy's post-modern sense of irony. This is also a political choice; by celebrating the hinterland and indeed the degraded, disenfranchised figure at the heart of the composition of the present lot, Banksy is using his platform to drag focus away from traditional art world contexts. Always a self-confessed outsider, so much of Banksy's art exists to poke fun at traditional hierarchies and, in light of his astonishing success, also at himself. If everyone is fair game for mockery in Banksy's world then no one is more so than he himself and in that sense the figure on the bench can be seen as a self-portrait, revealing his own sense of ordinariness and feeding into the theme of being an imposter that features so often in his work. Weston Super Mare can therefore be seen as a work of searing honesty and self-revelation; a very personal painting that gives a clear, if very rare, insight into the artist's background and personality. Executed in 1999, this work is one of the earliest and most significant canvases by the artist to come to auction.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 52
Matthew Ridley Corbet (British, 1850-1902)Love's messenger signed with initials and dated '1888' (lower left)oil on canvas54 x 71cm (21 x 28in).Footnotes:Educated at Cheltenham College and originally destined for a military career, Matthew Ridley Corbet was instead apprentice to the painter Alexander Davis Cooper, before studying at the Slade and the Royal Academy schools. He went on to work for George Frederick Watts as a studio assistant, and it is recorded that on 'the largest of the canvases upon which the Court of Death... was painted, Mr. Matthew Corbett [sic] laid in the design in Terra verte and white some time early in the seventies'.1 This bears testament to the high regard in which Watts held the artist.Corbet's first calling was towards portraiture, and he exhibited four portraits at the Royal Academy between 1875-79. However, an encounter with Giovanni Costa and Frederic Lord Leighton in Perugia in 1878 was to have a significant effect on the artist's work. Costa, who had similarly enlightened Leighton's attitude towards landscape painting, was father of the Etruscan school, which was founded in 1878. The group, which included William Blake Richmond and George Howard, sought inspiration from the beauty of the Tuscan landscape. According to Christopher Newall 'the essential principle of Etruscan painting is concerned with the careful distillation of sentiment, that quality which moves a painter to the emotional rendition of a subject or association in a painting with which a viewer may identify or sympathise'.2 Corbet, who worked with the group from 1880 to 1884, was to become Costa's 'closest artistic confederate'.3 The school found a forum for exhibiting their work at the Grosvenor and the New Galleries in London, as well as in Italy. In 1891 Corbet married the American painter Edith Murch, who was already working with Costa in Italy. The present lot can be compared to Corbet's painting Classical maidens sold at Bonhams, 19 November 2003, lot 61. Both show the influence of artists such as Leighton, Albert Joseph Moore and Sir Lawrence Alma-Tadema in the choice of subject and technique. In this work a classical beauty, diaphanously robed, reclines on a marble bench covered with a leopard skin, with the dazzling Mediterranean sea behind. Corbet continued to exhibit at the Royal Academy throughout his career, and late in his life two of his works were purchased by the Chantrey Bequest, one of which, Val d'Arno: Evening, is a typically evocative representation of the Tuscan landscape. Both works are in the collection of the Tate Gallery.1 Mary Seton Watts, Catalogue of G. F. Watt's works, Watts Gallery Archive, p. 30.2 Christopher Newell, The Etruscans: Painters of the Italian Landscape 1850-1900, Exhibition Catalogue, 1989, p. 16.3 Newell, 1989, p. 38.For further information on this lot please visit Bonhams.com
Lot 188
D'Éon de Beaumont (Charles, Chevalier D'Éon in the French nobility, diplomatist and transvestite, 1728-1810).- Peter Henry Treyssac de Vergy ... true copy of the last will and testament..., printed broadside with mezzotint portrait, 2 small tears at tail (small loss of margin), slightly browned and creased, [ESTC records 1 copy only (Guildhall)], 420 x 270mm., [London], [1775.].⁂ "Following the publication of the Lettres, mémoires et négociations Guerchy sued D'Éon for libel, and the case was heard in the court of the king's bench on 3 July 1764. D'Éon did not present himself and was found guilty by default. Sentence was postponed until he could be brought to court. He was subsequently outlawed. He had disappeared, adopting female attire as a disguise. He hid himself at Byfleet, Surrey, in the house of an opposition MP, Humphrey Cotes, a friend of John Wilkes. On 12 February 1765, on the evidence of an adventurer called Treyssac de Vergy, originally an acolyte of Guerchy but now an ally of D'Éon, the French ambassador was indicted in the court of common pleas of having incited Treyssac to kill D'Éon. The case went through several stages. Guerchy's residence was stoned by a Wilkite mob. The ambassador was recalled, and the chief cause of D'Éon's agitation was removed." - Oxford DNB.
Lot 15
An 18th century ash long bench, EnglishHaving an impressive thick single board top, with chamfered under edge, on rectangular-shaped splayed legs morticed through the well-figured top, hand-shaped end-stretchers, 295cm wide x 23.5cm deep x 50cm high, (116in wide x 9in deep x 19 1/2in high)Footnotes:Provenance:Doughton Manor, Tetbury, Gloucestershire.For further information on this lot please visit Bonhams.com
Lot 255
An Elizabeth I oak pew, or bench, circa 1560Each thick slab-end surmounted by a well-carved downswept leafy-scroll, the open back with a deep run-moulded horizontal rail, single seat board, 144cm wide x 30cm deep x 84.5cm high, (56 1/2in wide x 11 1/2in deep x 33in high)Footnotes:Provenance:Collection of William Randolph Hearst (1863-1951)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
Lot 367
A rare and good Charles I joined oak form or bench, West Country, circa 1630Having a fine one-piece ovolo-moulded top, the front rail with a simple pattern carved and punch-decorated crescents between narrow run-mouldings, all remaining rails with narrow moulded lower edge, on elegant parallel-baluster over ball-turned legs, joined by a rare H-form stretcher, on squat-ball feet, 220cm wide x 26.5cm deep x 60.5cm high, (86 1/2in wide x 10in deep x 23 1/2in high)Footnotes:Provenance:An accompanying handwritten note, dated 1902, states this bench 'came from Alcester Presbyterian Church', Bull's Head Yard, Warwickshire.For further information on this lot please visit Bonhams.com
Lot 81
A joined oak long bench or form, EnglishCirca 1640 and laterHaving an ovolo-moulded single-piece top, and deep lower edge moulded rails, on columnar-turned legs, joined by an H-form stretcher, 135cm wide x 23.6cm deep x 52.5cm high, (53in wide x 9in deep x 20 1/2in high)For further information on this lot please visit Bonhams.com
Lot 1105
An Arts & Crafts carved oak bench with applied copper plated panel featuring embossed floral motifs and Voysey-esque pierced hearts to each side, height 73cm, length 91.5cm, depth 42cm.Additional InformationHeavy wear, stains/water damage, the copper plated panel is heavily worn and dinted, scratched and scuffed, a large amount of the copper is worn.
Lot 1043
A WOOD CHEST OF DRAWERS WITH BRASS CUP HANDLES CONTAINING MISCELLANEOUS CLOCK AND WATCHMAKER'S TOOLS, ETC., 87CM LCondition report Ex-workshop condition, sold as is, unsorted. The bench top machine powered by an electric motor which must not be used before being tested for safety by a qualified electrician
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