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Lot 51
Josefa de Obidos (Seville 1630-1684 Obidos)The Mystic Marriage of Saint Catherine signed and dated 'Josepha de Ayalla 1647' (on wheel, lower right)oil on copper27.2 x 36.2cm (10 11/16 x 14 1/4in).Footnotes:ProvenancePrivate Collection, UK, since at least 1981LiteratureJ.O.Caetano et al, Josefa de Óbidos and the Invention of the Portuguese Baroque, Museu Nacional de Arte Antiga, Lisbon, 2015, pp. 69-70This small devotional painting dates from a remarkably early period in Josefa de Ayalla's career as she would have been only 16 or 17 at the time it was painted. Clearly The Mystic Marriage of Saint Catherine was a successful composition for her as, in the catalogue of the 2015 exhibition of her work at the Museu Nacional de Arte Antiga, Lisbon, Joaquim Oliveira Caetano mentions that four versions are recorded (pp. 69-70). The whereabouts of two are known, one being in the collection of the MNAA, Lisbon, signed and dated 1647 (inv. 197 min), and the other in the National Museum of Soares dos Reis, Porto, signed, but undated (inv. 244 Pin). The Lisbon painting comes from the collection of King Luis I of Portugal and the version in Porto, from the Monastery of Santa Cruz de Coimbra. We know of two other paintings of this subject from early records. The 18th century art historian Cyrillo Wolkmar Machado mentioned a further copper dated 1647 which belonged, successively, to the collection of Gonçalo José Silveira Preto, then to the art dealer Francisco Cypriano and, in 1810, was sold to an English merchant (see Colleção de Memórias..., 1826, p. 62). Another painting on copper of this subject is referred to in the Catalogue Illustré de la Collection des Objects d'Art Qui Composent le Cabinet de Mr. Antoine Jos. Essingh, Cologne, 1865, p. 61, n. 276. As the current whereabouts of these last two works is unknown, it is possible that the present work corresponds with one of them. Born in Seville to a father who was himself a painter, Josefa moved back to Portugal with her family when she was four, settling in the small town of Óbidos, her father's birthplace. During her formative years as a painter she frequently based her compositions on engravings after earlier masters, the source of the present work being Titian's 1528 Mystic Marriage of Saint Catherine painted for the church of Santi Giovanni e Paolo, Venice. It was engraved by Cornelis Cort in 1565 with the image inverted, as it appears in Josefa's painting.Her output encompassed still lifes in the manner of her father, as well as religious works and engravings, and she seems to have been as comfortable undertaking large altarpieces, such as the one commissioned for the Monastery of Santa Cruz in Coimbra, as painting miniatures and small-scale devotional works on copper like the present Mystic Marriage. There is a noticeable influence of Zurburán's work both in the facial types Josefa employed and in the still life elements; indeed, she would have been familiar with his work as early inventories list several of his panels in the collection of her father and other family members.We are grateful to Joaquim Oliveira Caetano for his assistance in cataloguing this work.For further information on this lot please visit Bonhams.com
Lot 135
TOLSTOY (LEO NIKOLAYEVICH)Cabinet card portrait by Scherer and Nabholz showing the author half-length, WITH PRESENTATION INSCRIPTION FROM THE AUTHOR TO HIS FRIEND S.I. PLAKSIN, albumen print, the author's inscription ('Сергею Ивановичу Плаксину на память от Л.Толстого', 'To Sergey Ivanovich Plaksin in memory from L. Tolstoy') written vertically to the left, and the date ('10 ноября 1894', '10 November 1894') to the right, inscribed in turn on the reverse by Plaksin in red ink ('В знак памяти дарю этот драгоценный экземпляр моим друзьям Ивану/ Павловичу и Евдокии Андреевне Киселевым/ С.Плаксин/ 1 мая 1922г/ Одесса', 'As a token of remembrance, I present this precious image to my friends Ivan Pavlovich and Evdokia Andreevna Kiselev/ S. Plaksin/ 1 May 1922/ Odessa'), slightly faded, worn around edges and with 2 cracks affecting the image, dampstain on reverse affecting one word of inscription, 163 x 108mm. 1894; together with a copy of Plaksin's book Л.Н.Толстой среди детей ('L.N.Tolstoy Among Children'), Moscow, P.D. Sytin, 1903 (2)Footnotes:FINE ASSOCIATION PHOTOGRAPH, INSCRIBED BY TOLSTOY TO HIS CLOSE FRIEND SERGEY PLAKSIN. Sergey Ivanovich Plaksin (1854-after 1922), Russian editior, writer and functionary, had moved as a child to Hyères in Southern France, a favoured winter retreat for writers and artists. In a futile attempt to save the life of his ailing brother Nicholas, Tolstoy arrived there in 1860, and the author's sister Mariya Nikolayevna Tolstaya ended up sharing a villa with Plaksin's family. This period and the two families' friendship is described in Plaksin's book L.N.Tolstoy Among Children, where the photograph offered here is mentioned on page 7. A copy of the book is included in the lot.The portrait, two copies of which are held by the National Portrait Gallery (with the photographer unattributed), was sent by Tolstoy in a letter to Plaksin dated 17 October 1894 (L.N. Tolstoy. Collected Works [in Russian], vol. 67, p.244). At the time Plaksin was living in Odessa, working as Inspector of Printing Houses and the Book Trade, and was engaged in editing the Odessa Almanach for 1895; he wrote to the author asking for a portrait which he could illustrate in the volume, and Tolstoy in return sent back the cabinet card, a retouched version of which was duly published in the Almanach. The portrait is also mentioned by Tolstoy in a letter dated 6 November 1902 (L.N. Tolstoy. Collected Works [in Russian], vol. 72, pp.327-328, available at http://tolstoy.ru/creativity/90-volume-collection-of-the-works).Literature: Одесский альманах. Ежегодный справочный календарь-сборник на 1895-й год ('Odessa Almanach. Annual Reference Calendar for the year 1895'), Odessa, Yu. N. Sandomirskiy, 1894; S.I. Plaksin, Л.Н.Толстой среди детей ('L.N. Tolstoy Among Children'), Moscow, P.D. Sytin, 1903, p.7.Provenance: Leo Tolstoy, presentation inscription to Sergey Ivanovich Plaksin; Ivan Pavlovich and Evdokiya Andreevna Kiselyovy, presentation inscription from Plaksin dated 1 May 1922 on reverse; Tatyana Danilovna Klimenko-Rotgauz (1909-1990), actress in the Riga Russian Theatre, presented to her by her parents in 1937; thence by descent to the present owner.Further details in Russian and English available on request.For further information on this lot please visit Bonhams.com
Lot 211
NATURALIST'S POCKET MAGAZINEThe Naturalist's Pocket Magazine; or, Compleat Cabinet of the Curiosities and Beauties of Nature, vol. 1-6 (of 8), 352 hand-coloured engraved plates, several loose, some shaved, contemporary half calf, red and black morocco gilt spine labels, worn, some loss to 2 spines, one cover detached, 12mo, Harrison, Cluse, 1798-1800, sold not subject to returnThis 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 42
DICKENS (CHARLES)ROCKWOOD (GEORGE GARDNER) Three quarter length cabinet portrait of Charles Dickens, albumen print, mounted, photographer's printed credit and address '17 Union Square (West), N.Y.' below and on verso, image 144 x 97mm., 1867Footnotes:One of several photographs taken seemingly at the same sitting, during Dickens's last reading tour in America. These cabinet portraits, like others of Walt Whitman a few years later, were published jointly by both Rockwood and Gurney & Son.For further information on this lot please visit Bonhams.com
Lot 1500
Collection of Vintage Avon White Glass Perfume Bottles, comprising: two Oriental Moonwind bottles; tall stoppered bottle with rose decoration; Oriental cabinet; clock; two Pierrot Clowns; two small stoppered jugs; Swan; Snowman; lidded pot; heart shaped perfume box; decorated mug; small stoppered perfume bottle. Together with two Honeysuckle teapot shaped bottles; a boxed Balinese Dancing Lady; Royal Swan; and Snowman.
Lot 300
James Dixon & Sons Top Quality ( 56 ) Piece Canteen of Cutlery with Stainless Steel Non Rust Blades and Bakelite Handles. All Contained In a Solid Oak Cabinet with Key and Drawer with Concealed Brass Carrying Handles to Front and Sides of Oak Cabinet. All Pieces In Excellent Condition. Size of Oak Box 17.5 Inches Wide, 12 Inches Diameter & 7 Inches High.
Lot 404
Coalport - Late 19th Century Fine Quality Pair of Hand Painted Cabinet Plates. The Central Panels with Painted Images of Spring Flowers on White Ground, WIth a Further 3 Panels ( similar ) To Borders of Cobalt Blue Ground. Embellished with Hand Painted Gold Applied Border Decoration. The White Being of Superb Quality - Please Confirm with Photo. Not Marked or Signed to Undersides. Diameters 9.25 Inches - 23.20 cms.
Lot 420A
Royal Doulton - Decorative Hand Painted Cabinet Plate Made for Tiffany & Company New York. c.1923-1930. The Central Painted Panel Signed by the Artist R. Johnson, Embellished with Wonderful Painted Raised Gold Borders. Diameter of Plate 10.25 Inches - 25.70 cms. All Aspects of Condition Is Excellent.
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