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Lot 195
James I, 1603-25,second coinage (1604-19), Unite, 10.02g, half-length bust in ornate armour right, holding orb and sceptre, R.crowned square garnished shield with I R at sides FACIAM EOS IN GENTEM VNAM, m.m. lis (N.2083; S.2618). Some wear to highpoints of lettering, otherwise good fine to very fine. (1)For further information on this lot please visit Bonhams.com
Lot 213
Victoria, 1837-1901,Five Pounds, 1887, Jubilee bust left, R.St.George and the dragon, date in exergue (S.3864). Some light contact marks and light edge marks overall, otherwise very fine. (1)This lot is subject to the following lot symbols: GG Gold bullion exempt from VAT on the Hammer Price and subject to VAT at the prevailing rate on the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 274
Australia,$3000, 2013, bust of Queen Elizabeth II right, ELIZABETH II AUSTRALIA 1KG 9999 GOLD 2013 3000 DOLLARS, IRB below neck, R.A snake curled amongst grass and bamboo shoots. The Chinese character for 'Snake' and the inscription 'Year of the Snake' below. With P mintmark at 9 o'clock. KM#175). Extremely fine, no case or paperwork. (1)Footnotes:1 of 100 produced by the Perth Mint.This lot is subject to the following lot symbols: GG Gold bullion exempt from VAT on the Hammer Price and subject to VAT at the prevailing rate on the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 275
Cayman Islands,The Kings of England Collection 1980, comprising ten $50 gold coins, bust of Elizabeth II right, R.Busts of Kings to include Tudor, Plantagenet etc. In two binders with outer slip. Uncirculated. (Lot)This lot is subject to the following lot symbols: GG Gold bullion exempt from VAT on the Hammer Price and subject to VAT at the prevailing rate on the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 277
France,2 Louis D'Or, 1786A, bust of Louis XVI left, LUD.XVI.D.G.FR ET NAV. REX, R.Crowned arms of France and Navarre in shields, CHRS.REGN.VINC.IMP (KM#592.1). A few scratches to neck otherwise good very fine, possibly better. (1)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 292
U.S.A.,Twenty Dollars, 1877S, bust of Liberty left, R.Eagle with shield (KM#74.3). With contact marks throughout, generally fine to very fine. (1)This lot is subject to the following lot symbols: GG Gold bullion exempt from VAT on the Hammer Price and subject to VAT at the prevailing rate on the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 294
Z.A.R.,Pond, 1898, bust left, Zuid Afrikaansche Republiek, R.Single shaft wagon tongue (KM#10.2). Some contact marks and a couple of small edge nicks otherwise very fine or better. (1)This lot is subject to the following lot symbols: GG Gold bullion exempt from VAT on the Hammer Price and subject to VAT at the prevailing rate on the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 3234
A Small Collection of Ethnographica, including a Yaure mask with painted features, a game board, an ebonised figure group of three elders, a Ghana small carved wood head match striker, a small Benin carved wood bust, two small carved wood water buffalo heads, a carved wood cylindrical container with globular stopper, a woven wicker covered bamboo vessel, four Scandinavian carved wood vessels (13)
Lot 100
Follower of Guillim Scrots Portrait of King Edward VI (1537-1553) bust-length, in a black doublet encrusted with gold braid, wearing the chain of the Order of the Garter and bejewelled black hatoil on panel55.5 x 43cmFootnote: The present painting is based upon an official portrait of Edward VI (1537-1553) painted by the Flemish artist, Guillim Scrots (sometimes William; active 1537–1553). It is highly likely that the original version was produced in 1550 during the marriage negotiations between Edward VI and the daughter of Henri II of France, Elisabeth of Valois. This composition became a popular image and many contemporary and later versions were made, all with subtle differences. Perhaps the most notable of these is the full-length version in the Royal Collection that was acquired by Queen Victoria in 1882.Condition report: Framed 68 x 56cmThe painting is executed in oil on a wooden panel support with the wood grain running vertically. The panel has a slight convex warp. There are vertical splits running down the panel from the upper edge. The split at the centre of the painting has been reinforced from the reverse with a trip of canvas. The paint along this split is slightly raised. The rest of the paint layer is in a good, stable condition overall. Areas of overpaint are mainly located in the sitter’s face and along the splits. The overpaint is finely applied and reasonably well matched to the original. The varnish is even and semi-matte with a layer of surface dust present.Technical Notes*Panel The panel comprises three radially cut oak boards. Visible working marks on the reverse indicate that the panel has not been thinned. Dendrochronological examination was carried out by Ian Tyers on the two wider boards. One board was too narrow with insufficient rings to be of use. Both boards are oak which originated in the eastern Baltic, although from different trees. They had a last heartwood ring dating to 1569. There was no sapwood. A probable first usage date could be given after 1577. It is possible that the painting might date up to the last use of Baltic oak in c.1650, however, the earlier date seems consistent with our observations of the painting technique and materials, and it is likely that the painting dates from the late 16th or possibly early 17th century. Paint and ground layers A pale coloured ground lies over the panel, over which a thin streaky grey imprimatura has been applied. This can be seen through the paint in normal light, and also in digital infrared photography indicating the presence of carbon containing pigments.Underdrawing in a dry medium is visible in the face and neck in normal light, and appears much more intense with digital infrared photography. The drawing delineates the features and indicates modelling for example in the cheek where there are hatched lines. It is likely that the drawing has been transferred from a pattern, as was typical practice for the time. The paint layers do not follow the underdrawing exactly. It is possible that there is underdrawing in the torso, but it is masked by the black of the drapery.The paint layers have been built up in thin even layers, using what appears to be a limited range of pigments, and simple paint structure. The background has been laid in first, with a reserve left for the face. The hat, with reserves left for the jewels, then the face has been added, followed by the pillar and clothing, again with reserves left for the two jewels at the neck. The highlights on the costume, jewellery and curtain were then applied in a more bodied lead tin yellow, and the black pattern on the curtain in a more bodied black paint. The colour of the pigments are typical of the period, and the use of lead tin yellow to imitate gold rather than using real gold, indicated a date in the later 16th century. This sequential pattern of painting, rather than working up the whole picture at once, is typical of painting practice of the period.Other versions Catherine Macleod writes that a new portrait type emerged when Edward was about thirteen years old, and at least five full length versions are now known. Of these five, she considers the Louvre version the prime copy by Scrots. The Hampton Court version was the most widely copied in England, and is the one to which ours is closest. SummaryThe materials and techniques are consistent with late 16th and early 17th century Anglo-Flemish Painting.*The above report was completed by Katherine Ara Paintings Conservator & Restorer in December 2010
Lot 104
Follower of Thomas Gainsborough Portrait of a gentleman, bust-length, wearing a dark navy jacket and white stock, in a feigned ovaloil on canvas, unframed76.5 x 63.5cmCondition report: (unframed)The painting is executed in oil on a linen canvas support which has been lined. The paint layer has a network of age and impact cracks which have been stabilised and flattened through lining. The paint layer appears slightly worn in some areas but is in a good condition overall. The cracks in the sitter’s face have been retouched. Overpaint in the background is also mainly located to the cracks. The varnish is semi-matte and even.
Lot 494
Studio of Sir Francis Legatt Chantry RA, (1781-1841) a plaster bust of Mary Somerville, signed and dated 184077cm high Footnote: Cf. Nicholas Penny, Catalogue of European Sculpture in the Ashmolean Museum, 1540 to the Present Day, Vol 111: British, 1992, no. 761, ill. p.245 for another example.
Lot 71
English School, 18th century A study after an antique bustinscribed in later hand 'from the Kerrich colln. Soc. Antiqu.' (to the mount)with another study of the same subject to the versored and black chalk on laid paper, foolscap watermark18 x 14cm; together with An etching of a rocky river landscape by Jane C Hayles (fl. 1792-1804) dated 1793,inscribed in the plate 'From a Drawing by Gisbert van [sic] Hondecoeter in the possession of Mr Kerrich' 11 x 16cm (two)Provenance:By repute from the collection of Thomas Kerrich (1748-1828) Footnote: Thomas Kerrich (1748-1828) was a clergyman, amateur artist, collector and principal librarian at Cambridge University. He was a fellow of both the Society of Antiquaries and Magdalene College, Cambridge.
Lot 99
Follower of Hans Holbein the Younger Portrait of King Henry VIII (1491-1547), bust-length, in a fur-lined cloak and gold-brocade doublet, with a chain and feathered black hatinscribed 'HENRICVS OCTAVVS' (above)oil on panel35 x 27cmProvenance:Christie's, London, 25th June 2013, lot 329Footnote: This portrait is based on the iconic images of Henry VIII which Holbein and his studio produced throughout the sitter’s lifetime. These depictions of Henry VIII became the sanctioned images of the court and were reproduced widely. They were intended to propagate the strength of the Tudor dynasty and the total authority of Henry VIII as King. Significantly, these images achieved this without the traditional symbolism of royal power such as a crown or sceptre, but instead through Henry VIII’s posture, facial expression and symbols of wealth, such as his costume and jewellery.Condition report: 45 x 36.6cmBelieved to be a 16th-century copyThe painting is executed in oil on a wooden panel formed from a single board. The panel has tool marks and bevels on the reverse and the woodgrain runs vertically. There are some old woodworm holes running along the centre of the panel. The paint layer has suffered from flaking and loss in the past. In some areas there are localised listers of paint following the vertical woodgrain, although these appear stable. There is extensive overpaint across the panel covering old loss. The overpaint is reasonably well matched to the original. The varnish is clear, even and semi-matte.
Lot 483
An Art Nouveau Doll's House with unusual triple gable roof, the front opening in two sections to reveal the six rooms all having original chimney pieces and overmantels and all furnished with art nouveau pieces.The Kitchen with green metal cooker, sink and cupboards and adjoining pantry and china pantry with crockery. The first floor Drawing Room with German made art nouveau writing desk, horn gramophone, a bust of Edward VII, a stick telephone etc.The Dining Room with German green velour upholstered sofa, art nouveau dining suite, gong etc.The First Bedroom with fine wall unit set behind the bed, and a green painted washstand set.The Second Bedroom includes an art nouveau dressing stand, metal wash stand and a fretwork screen. Circa 1900Provenance the Constance King dolls house collection
Lot 205
English school (early 19th century),Two portrait miniatures, one depicting a bust length portrait of a lady, the other a bust length portrait of a gentleman,Watercolour on ivory,Framed and glazed, mounted one above the other within a chased and pierced brass border, set to a shaped velvet covered panel with easel stand,30cm x 25cm overall
Lot 430
An Austrian blush ivory centrepiece, 19th century, modelled as a clam shell with cherub bust handles extending to scroll feet, gilt highlights throughout, impressed "1158" to base, 18.5cm H x 33cm W CONDITION REPORT:Small firing pit to one handle. Small glazing fault to the top of one leg. The odd chip and nibble to highpoints of the cherub's hair. Rubbing to the gilt throughout. Descending hairline crack approximately 10mm long running over evidence of repair below one wing tip. The piece is dirty and would benefit from cleaning.
Lot 131
Leonidas Drosis (Greek, 1834-1882), a white marble bust of Diana, inscribed in Greek to the reverse, raised on a later alabaster socle, 28cm wide19cm deep36cm highCondition report: The socle later as catalogued (lighter stone), and the bust wobbles a little upon it. General surface wear, patination and discolouration to marble. Small chips and losses to edges and raised areas. Surface scratches. Some slight sugaring. Rear inscription rubbed. Chips and losses to socle and throughout.
Lot 245
Jean-Baptiste Duffaud (French, 1853-1927)Portrait of a lady, bust lengthsigned 'J B Duffaud' l.c., oil on canvas, oval41 x 31cmCondition report: Some slight cockling to the canvas, the canvas is unlined. No significant signs of damage or restoration. Not examined under UV light, please contact the department for a full condition report.The painting is executed in oil on a finely woven linen canvas support. The canvas is unlined and the tension is slightly slack leading to stretcher bar marks and undulations around the edges. The undulations are starting to cause losses to the paint layer at the lower edge. The thinly applied paint layers are in a stable condition overall. There is overpaint in the background and it also appears that the face has extensive overpaint. The varnish is clear, even and semi-matte.
Lot 472
After the antique, an alabaster bust of Venus,late 19th/early 20th century, raised on a circular socle base,46cm high Condition report: Light surface scratches and small chips to the edges, impact marks and small abrasions to areas of high relief, dinks and knocks, discoloured and stained to the surface.
Lot 344
Antique ivory miniature bust of an Elizabethan man on turned column and square plinth base with dark staining, 10.5cm high; ivory knop of cylindrical form carved with an ecclesiastical scene, 7cm high; small ivory chess figure of a queen, 8cm high; bone plaque depicting a girl and angel, 11.5cm high; 19th century stained ivory pendant of ankh cross form, 5cm high and a small figure of Christ (lacking arms), 8cm long. (6). NB: Bidders are responsible for arranging all documents relating to CITES and must comply with the relevant regulations of their destination country. We will not post outside the UK.
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110054 item(s)/page