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Lot 775
Sigmund Pollitzer (British, 1913-1982) Bust on plinth, signed and dated 67, oil on canvas, 85cm x 94cmBorn in London in 1913, Arthur Sigmund Pollitzer was a member of the Pollitzer family who owned the major warehouse and transportation company Beck and PollitzerHe went to Germany aged 17 to study language, art and architecture and was much influenced by contemporary continental art, especially the Bauhaus. He returned to England and became an architectural draughtsman, working on many large London projects including the Cumberland Hotel.From 1933-1938 he became Chief designer at Pilkington Glass at St. Helens and was responsible for engraved and etched architectural glass for numerous public buildings and ocean liners including the Queen Mary.After war service in the Army, he moved to Cyprus where he lived and worked before moving in the late fifties to Positano in Italy.During the late forties and fifties, he exhibited work not only in Cyprus and Italy, but had many shows in London at the Redfern Gallery, Hanover Gallery, Roland Browse and Delbanco amongst others, as well as museums and art galleries around the country. He shared his shows with most of the great names of contemporary art of the immediate post war years. His sales were considerable over three decades, and he was also an avid collector of contemporary work. A particular Summer Exhibition at the Redfern Gallery for the July to September Exhibition 1948 his name is seen alongside Matisse, Moore, Nash, Picasso, Piper, Sutherland, Lautrec and Renoir to name but a few.As a self-taught artist, his own original eye, with a true mastery of line and form. He died in 1982The Victoria and Albert Museum hold examples of his glass designs.
Lot 780
Sigmund Pollitzer (British, 1913-1982) Roman bust, signed and dated 70, oil on canvas, 111cm x 111cmBorn in London in 1913, Arthur Sigmund Pollitzer was a member of the Pollitzer family who owned the major warehouse and transportation company Beck and PollitzerHe went to Germany aged 17 to study language, art and architecture and was much influenced by contemporary continental art, especially the Bauhaus. He returned to England and became an architectural draughtsman, working on many large London projects including the Cumberland Hotel.From 1933-1938 he became Chief designer at Pilkington Glass at St. Helens and was responsible for engraved and etched architectural glass for numerous public buildings and ocean liners including the Queen Mary.After war service in the Army, he moved to Cyprus where he lived and worked before moving in the late fifties to Positano in Italy.During the late forties and fifties, he exhibited work not only in Cyprus and Italy, but had many shows in London at the Redfern Gallery, Hanover Gallery, Roland Browse and Delbanco amongst others, as well as museums and art galleries around the country. He shared his shows with most of the great names of contemporary art of the immediate post war years. His sales were considerable over three decades, and he was also an avid collector of contemporary work. A particular Summer Exhibition at the Redfern Gallery for the July to September Exhibition 1948 his name is seen alongside Matisse, Moore, Nash, Picasso, Piper, Sutherland, Lautrec and Renoir to name but a few.As a self-taught artist, his own original eye, with a true mastery of line and form. He died in 1982The Victoria and Albert Museum hold examples of his glass designs.
Lot 285
An unusual retro vintage early 20th Century advertising point of sale shop display chalkware bust of a pilot / airmen likely for Imperial Oil or Pilot Cigarettes. Proud features in full flight uniform. Extensive damage however is structurally sound. A good display piece. Measures approx; 38cm x 34cm.
Lot 322
A vintage early to mid 20th Century French painted roughout iron plant / bust stand of decorative form having a circular top supported by three twist supports. Raised on a horse shoe base. All being finished in red. Condition; wear to the paint work, overall good. Measures approx; 120cm x 52cm x 28cm.
Lot 84
A Chinese teapot in embroidered case, a crackle glazed vase and cover, a bisque teapot, a 19th century Paris coffee pot and covered jug, a Parian bust of Harriet Duchess of Sutherland, a pair of Helena Wolfsohn Augustus Rex twin handled cups, covers and saucers (qty) (one tray). Helena Wolfsohn cups, both with restoration. Chinese teapot good condition. Crackle glazed vase with a piece missing from the rim of the cover. Paris coffee pot with repair to the spout, jug with short rim hair cracks. Parian bust good condition. Wine pot in good condition.
Lot 12293
Portraitbüste eines Soldaten Spritzguss bronziert, mit antikisierender Darstellung eines nackten Kriegers mit Weltkriegsstahlhelm. Höhe ca. 16,5 cm. Zustand: I - IIA portrait bust of a soldier Spritzguss bronziert, mit antikisierender Darstellung eines nackten Kriegers mit Weltkriegsstahlhelm. Höhe ca. 16,5 cm. Condition: I - II
Lot 303
dating: late 18th Century provenance: North Italy, Fine, smooth, two-stage, 18 mm cal. barrel, octagonal at the first part, then of sixteen faces and featuring rings and acanthus leaves, provided with foresight; miquelet lock transformed to percussion, flat lock-plate, with recessed tang; wooden half stock (small missing parts and defects) with grooved butt, wooden trigger guard, sculpted with a bust (rare, chiselled wood decoration) and leaves on the front, scraped off at the back. Smooth, brass mounts. Horn-tipped wooden ramrod and iron cartridge extractor. length 149 cm.
Lot 304
dating: provenance: Italy, Smooth, two-stage, 17 mm cal. barrel, octagonal with broad, silver rear sight at the first part, then round after a smooth ring and another beaded ring, with foresight; transformed to percussion miquelet lock, lock plate carved as a snake's head on the edge. Wooden half stock with grooved butt featuring a small patchbox with iron lid. Beautiful, silver mounts engraved with floral motifs, the counterplate with a mask, the escutcheon on the back is decorated with a female bust among vases and floral motifs. Horn-tipped wooden ramrod and iron cartridge extractor. length 125.5 cm.
Lot 324
dating: Second half of the 18th Century provenance: North Italy, Smooth, three-stage, 16 mm cal. barrel, octagonal at the first part and signed 'VINCENZO COMINAZZO', then round after a sixteen-side segment and rings, with brass foresight; flintlock with remains of floral engravings, slightly-carved at the end; wooden half stock with some carvings (small missing parts and defects). Beautiful, bronze mounts, the counter-plate featuring little angels, a bust, a cornucopia, eagle and floral motifs, butt-plate with trophy, a cowned bust with a trophy below and with a mask, mounts with floral motifs. Horn-tipped, wooden ramrod (incomplete). In patina. To be cleaned. It is worth a good restoration. length 137 cm.
Lot 328
dating: Second half of the 18th Century provenance: Southern Italy, Smooth, two-stage, 14 mm cal. barrel, octagonal at the first part with stamp of the Real Fabbrica of Naples among lilies and gilded stars, then round after rings and with foresight; engraved tang; flintlock engraved with floral motifs, screw-cover of the hammer carved as a flower. Catalan-type, wooden half stock, slightly sculpted and with brass mounts engraved with floral motifs, featuring a plaque depicting a bust under the butt. Wooden ramrod. Small defects and missing parts. length 142.5 cm.
Lot 55
dating: about 1870 provenance: USA, Group of four round, rifled, 8 mm cal rimfire barrels, with address, engraved with floral motifs, forward sliding, frame decorated en suite. Silver-plated (up to 70%). Button to open the barrels on the side, spur trigger, ivory grip scales, one smooth, the other finely sculpted with female bust in high-relief. Scarce. length 11.5 cm.
Lot 179
DRINKWATER (JOHN)HARDY (THOMAS) Photographic postcard of a plaster bust of Hardy depicted in profile, inscribed in ink on the image ('To John Drinkwater:/ Thomas Hardy'), postcard 122 x 85mm.; with the remaining papers from the collection of John Drinkwater, including the unfinished manuscript for English Poetry written in two manuscript notebooks both with ownership inscriptions ('The Property of John Drinkwater/North Hall/Mortimer Crescent...'), with chapters on 'The Nature and Function of Poetry', 'Poetry and Prose', 'Elizabethan Lyric', 'Poetry and Narrative' etc., with annotations and corrections by the author, written on verso only, 120 numbered leaves in two volumes, 4to (225 x 170mm.); two manuscript notebooks with ownership inscriptions ('The Property of John Drinkwater...'), the first volume entitled 'Being the Third Book of an Autobiography/ by/ John Drinkwater' (unfinished), written on verso only, 67 numbered leaves, folio (322 x 200mm.); drawings including sketch by Edwin Lutyens of two horses signed and inscribed to Ann Penelope Drinkwater, January [19]37, tipped into a menu inscribed 'Penny Darling/ At this dinner I got Sir Edwin Lutyens to/ draw a special little drawing for you. Daddy.' and miniature watercolour painting by Abigail Brown Tompkins; various typed notes and essays by Drinkwater; pamphlets and privately printed material, several with John Drinkwater's ownership inscription; collection of printed menus some annotated, including menu for 'Dinner of Welcome for the Indian Cricket Team', 27 April 1939 signed by various English captains and the All India cricket team such as C.B. Fry, Douglas Jardine, Syed Wazir Ali and others; quantity of theatre programmes, many for Drinkwater's own productions including Bird in Hand, A Man's House and his translation of Mussolini's Napoleon: The Hundred Days; other printed ephemera and personal papers including passports, driving licence etc., family indentures, press cuttings, and much else, early 20th century (quantity)Footnotes:'BEING THE THIRD BOOK OF AN AUTOBIOGRAPHY': the manuscript for the third volume of Drinkwater's autobiography intended to accompany the two volumes already published, Inheritance of 1931 and Discovery of 1932. Dated 'Begun Pepys House/ August 2nd 1933/ J.D.', it tantalisingly stops mid-sentence ('...I realised anew how good a poet Blunden is himself. Vita Sackville West...').The collection also includes Drinkwater's unfinished manuscript (dated '3.ix.35') for what was to be English Poetry: An Unfinished History, published posthumously by Methuen in 1938: 'When a Poet writes poetry he can scarcely fail to interest. And the author of this posthumous volume was not only a poet but no mean critic too. As a result, his approach to English Poetry is not a work of merely casual interest: it is illuminating. No one could fail to be enriched and delighted by its discriminating enthusiasms, its happy quotations, and the no less happy judgements, discoveries, definitions and phrases which it gives us... This premature ending is deeply regretted. But, fortunately for us, the first five chapters are devoted to general and personal observations, and are so full of references to the intervening and modern periods that we can genuinely claim to have here a fair impression of Drinkwater's view of the whole panorama of English Poetry' (routledge.com). Provenance: John Drinkwater (1882-1937); his daughter Penelope Ann and thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![PULP FICTION - CRIMESTORME (MICHAEL), Pseud. of GEORGE HERBERT DAWSON. Make Mine a Virgin, [1949]; Make Mine Dangerous, [1949](https://cdn.globalauctionplatform.com/5329f428-b57e-403c-aeba-ad3b00cf838d/0c9326a5-c215-4049-afb3-ad4a00afa8d0/468x382.jpg)
Lot 204
PULP FICTION - CRIMESTORME (MICHAEL), Pseud. of GEORGE HERBERT DAWSON. Make Mine a Virgin, [1949]; Make Mine Dangerous, [1949]; Make Mine a Corpse, [1950], Make Mine Beautiful, [1949]; Satan Buys a Wreath, [1950], Stoke, Archer; Unlucky Virgin, first American edition, extreme tip of one upper cover corner torn away, Cleveland, Kaywin, [1951]; Hot Dames on Cold Slabs, first American edition, New York, Leisure Library, [1952]; Elvira Digs a Grave, [1952]; Chicago Terror, [1952]; Make Mine a Redhead, [1952], Harborough--ANGEL (ROSS), Pseud. of DONALD CRESSWELL. Dead Easy, [c.1951]; Smile Baby, Smile, [c.1951]; Over My Dead Body, [c.1951]; One-Way Trip, '2/6d.' price tab pasted on upper cover, [c.1953]; Dames Don't Dictate, [c.1952]; So Long, Johnny!, [c.1952], Scion--MARKHAM (STEVE) Alcatraz Breakout, [c.1950]; Dames Can't Wait, [c.1950]; It's Not Easy to Die, [c.1950]; The Hideout, [c.1950]; The Maltese Mob, [c.1950]; Date in Detroit, [c.1950], Art Publicity; Cornered, [c.1951]; New Orleans Wildcat, [c.1951]; I'll Take Blonde!, [c.1951], Gaywood; Dames Spell Trouble, Kaye Publications, [c.1953]--SHANNON (BRAD) The Big Snatch, [c.150]; Fall Guy, [c.1951]; The Lady's for Killing, short tear to upper cover, [c.1950]; Blues for My Baby, [1950]; So Many Dead, [c.1950]; The Countless Steps, [1952]--LUGAR (HANS) You Don't Say, Bolton Book Exchange stamp on upper cover, [1951]; Handle with Care, [1952] Midnight Sister, short tear to upper cover, [1953]--DRAYTON (RICKY) Stick or Bust!, [1953]--HANSEN (FRANK) I'll Get By, [1953]; Lady Be Bad, [1953], Scion publisher's pictorial wrappers by Heade, Ferrari, Gomez, Roger Davis, J. Pollock, and others, occasional light creases or light markings, 8vo; and 62 others by mentioned authors, R.C. Finney, and Christ Wheatley (c.100)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 191
Two Benin bronze busts of Queen Idia, Nigeria, Queen Mother of the Benin Empire, her tall coiffure covered in a simulated coral beaded net, the eyebrows scarified, and with a necklace around her long neck, 26cm, on wood stands; a Benin bronze bust of an Oba (King), wearing a bifurcated crown with scarification marks to the skull, the neck and chest with plain band necklaces, 30.5cmFootnote: The collection of Eric Mayes.
Lot 214
A large late 19th century Meissen figural group of children playing on and around a See Saw, construed of a plank across a fallen column with ionic capital, before a classical female bust upon a pedestal, crossed sword marks, incised G32, 28cm.Condition report: Drumstick broken off. The girl missing half of her right index finger. some small chips to flowers in the basket. Small losses to tree stump at the rear.
Lot 218
A Ralph Wood style Staffordshire bust of The Reverend John Wesley 1703-1791 painted in colours and bearing an inscribed panel to the reverse,'THE REVD/JOHN WESLEY.MA./DIED MAR 2. 1791/AGED 88/ENOCH WOOD SCULP/BURSLEM'. 31 cm high, attributed to William Kent; an 18th century Worcester attributed blue and white porcelain bowl, transfer printed with birds in branches. 11.2 cm diameter, and a Brown Westhead & Moore "Vernon's Patent" pottery wash set with shell decoration. (3)
Lot 316
Charles I (1625-1649), brass coin weight for Gold Unite of 20 Shillings, crowned bust of king left and CAROLVS REX, lozenge stops, rev., value crowned, lozenge stops, 19mm dia, and assorted coins of the British Isles, to include a Charles II crown, 1679, Tricesimo Primo, a James II 'Limerick Siege' halfpenny, 1691, a William & Mary copper halfpenny, two Queen Anne shillings dated 1711, a conjurors/conman's double sided Geo II half penny, a Geo IV half crown, 1820, Pius VII Baiocco 1816, and other copper coins of Geo I - Geo III to include faerthings, halfpennies, pennies and cartwheel pennies and two pence
Lot 340
The Winchester College Queen's gold medal to Charles Alfred Cripps, 1st Baron Parmoor, KCVO, PC, QC (1852 – 1941), by Benjamin Wyon, The obverse with the bust of Queen Victoria to left, her hair tied back with roses, The reverse with the tomb of William of Wykeham at Winchester, inscribed to the rim. Awarded 1870. 60 grams, 49 mm diameter. Together with The Winchester College Queen's silver medal to the same recipient dated 1871 and a William IV Winchester College silver medal (Uninscribed but probably to Henry William Cripps 1815-1899) The three medal come with the remains of their display caseQty: 3Condition report: The gold medal is slightly bent and deformed at the rimSee the link below for many other images and video detailing the extent of damage and the inscriptions about the rims of the medals.https://drive.google.com/drive/folders/1_-09GIY_BFX9tZNKz_1Z3AuOBjpk7lzy?usp=sharing
Lot 322
A 19th century medallion (probably gilt bronze). The edge of the medallion engraved 'To the Heroes of Trafalgar from M: Boulton'. The obverse with the bust of Nelson and 'Horatio Viscount Nelson K.B., Duke of Bronte'. The reverse with the battle scene and 'England expects every man will do his duty' and 'Trafalgar OCTR. 21. 1805'. (5cm diameter)There is a ding to one part of the medallion. This is not perfect, see images.
Lot 553
Attributed to George Romney and Joshua Reynolds - two small portraits:1 Portrait of a lady - half-length and wearing a wide-brimmed hat, pencil on paper 5 ¾ x 3 ½ ins (14.5 x 8.5 cms). Attributed to George Romney (1734-1802).2 Portrait of a lady - bust-length and wearing a wide-brimmed hat. Bears a signature. Ink and colour washes 4 x 3 ins (10 x 8 cms). Attributed to Joshua Reynolds (1723-1792).(CONDITION REPORT: Foxing & spotting throughout)
Lot 558
Attributed to Hugh Douglas Hamilton (Irish 1740-1808) - A Portrait of the Hon. William Brownlow (according to a label verso). Bust length, bewigged, facing sinister and wearing a blue coat. Pastel, oval 9 ¾ x 8 ins (24.5 x 20.5 cms). Period carved giltwood frame. (CONDITION REPORT: Mould spots throughout) Also a portrait engraving of His Grace The Duke of Wellington, 8 x 7 ins (20.5 x 18 cms) period frame (2)
Lot 206
Augustin Pajou, 1730 – 1809, nach BÜSTE DER MARIE-ANTOINETTE77 x 43 x 26 cm.In hellem Marmor gearbeitet die auf rundem Profilsockel stehende Büste vermutlich der Marie-Antoinette, wie sie bereits von Pajou bekannt ist. Die Büste von oder nach Augustin Pajou, der als einer der bedeutendsten Bildhauer seiner Zeit gilt und dessen Werke sich in zahlreichen Museumssammlungen befinden. (1270857) (13)Augustin Pajou, 1730 – 1809, afterBUST OF MARIE-ANTOINETTE77 x 43 x 26 cm.
Lot 212
Büste des Kardinal Richelieu 82 x 63 x 28 cm. Frankreich, wohl 17. Jahrhundert.Bronze, gegossen, ziseliert, brüniert. Auf profiliertem wie gekehltem rot-weiß geädertem Marmorsockel die glanzpatinierte Büste des Richelieu.Anmerkung: Armand-Jean du Plessis, duc de Richelieu, wurde in Paris geboren, wo er zeit seines Lebens wirkte. Seit 1624 bis zu seinem Tod war er unter König Louis XIII seit dem 13. August 1624 Premierminister, seit 1622 durch Betreiben von Maria de Medici durch Papst Gregor XV Kardinal und bestimmte maßgeblich das politische Handeln des Königs. Richelieu bekämpfte die Hugenotten, entmachtete den Amtsadel und reformierte die Verwaltung, indem er beispielsweise eine Geheimpolizei aufbauen ließ. (1271828) (13)Bust of Cardinal Richelieu82 x 63 x 28 cm.France, probably 17th century.Bronze; cast, chased and burnished.
Lot 216
Italienischer Bildhauer des 16./ 17. JahrhundertsBÜSTE DES MARC AUREL75 x 50 x 26 cm.Auf doppelkonischem gewulstetem Sockel in rotem Marmor, die Büste des jungen unbärtigen Marc Aurel, dessen Toga auf der linken Schulter durch eine runde Agraffe gehalten wird. Der Blick leicht nach links gerichtet, die Haartracht teils tief eingeschnitten.Anmerkung 1: Die Büste orientiert sich an der römischen Büste von ca. 140 n. Chr., die uns aus der Sammlung Albani in den Kapitolinischen Museen (Inv.Nr. MC279) überliefert ist. In ihr erkennen wir Marcus Aurelius (121-180 Vindobona), der von 161-180 Kaiser war und Philosoph der jüngeren Stoa. In unserer Büste ist Marc Aurel um 138 n. Chr. dargestellt. In diesem Jahr wurde er von den Senator Antoninus Pius adoptiert und hieß fortan Marcus Aelius Aurelius Verus. Dem ging voraus, dass der todkranke Kaiser Hadrian am 25. Februar 138 Antoninus Pius adoptiert hatte. Nach dem Tod Hadrians wurde Antoninus Pius also Kaiser und verheiratete Faustina, die einzige Tochter Antonius‘, mit Mark Aurel. Anmerkung 2: Eine weitere antike Büste des Marc Aurel mit Bart wird in der Glyptothek in München verwahrt. (12718127) (13)Italian sculptor, 16th/ 17th centuryBUST OF MARCUS AURELIUS75 x 50 x 26 cm.Notes:The bust takes inspiration from a Roman bust ca. 140 AD held at the Albani Collection at the Capitoline Museum (inv. no. MC279). It shows Marcus Aurelius (121- 180 Vindobona), who was Roman Emperor between 161 and 180 and is depicted as a philosopher of the Stoa.
Lot 217
Venezianischer Bildhauer des 16. JahrhundertsBÜSTE EINES MANNES81 x 54 x 26 cm. Vermutlich Venedig, 16. Jahrhundert.In Carrara-Marmor gearbeitete Büste. Auf konisch zulaufendem profiliertem und gekantetem Sockel die separat gearbeitete Skultpur. Der Büstenkorpus durch einen in Flachrelief gearbeiteten Umhang verdeckt, dessen sanftes Erscheinungsbild steht in Verbindung mit dem ruhigen nach vorn gerichteten Blick des bärtigen Mannes fortgeschrittenen Alters, der in seinem Ausdruck und Umriss an Büsten des Sokrates erinnert und vielleicht mit diesen unterschwellig einhergehen soll. Unter dem Kopfansatz leicht überkragender feiner Kragen. Rückwärtig mit Eisensicherung. (12718129) (13)Venetian sculptor, 16th centuryBUST OF A MAN81 x 54 x 26 cm.Probably Venice, 16th century.Bust in Carrara marble.
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