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Lot 1122
MOLINARI, ANTONIO MOLINARI, ANTONIO Venedig 1655 - 1704 Titel: Sophonisbe. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 113,5 x 94,5cm. Rahmen/Sockel: Rahmen. Literatur: A. Craievich: Antonio Molinari, Cremona 2005, S. 200; S. Brink: Genio vigoroso ed originale. Die Zeichnungen des Antonio Molinari, Düsseldorf 2005, S. 40-41, Kat. 6. Provenienz: Privatbesitz, Italien. Die Figur der Sophonisbe entstammt der römischen Geschichte und erfuhr eine traditionell große Beliebtheit sowohl für ihre Schönheit als auch für ihre Intelligenz. Sie war die Frau des Syphax, der sich als König der Massäsylier auf ihren Rat hin mit den Karthagern gegen die Römer verbündete. Nach der Niederlage durch die Römer 203 v.Chr. brachte sie den König von Numidien Massinissa dazu, sich in sie zu verlieben. Um nach der Gefangennahme durch Scipio der Demütigung der Sklaverei zu entgehen, schickte Massinissa ihr einen Becher Gift. Sofonisba trank das tragische Geschenk und zog es vor, lieber zu sterben statt als Sklavin der Römer zu leben. Das vorliegende Gemälde zeigt Sophonisbe, wie sie mit der rechten Hand den Giftbecher und in der linken Hand den Brief ihres Mannes hält, der sie zum Selbstmord verleitet. Der Autor des Werkes ist der Venezianer Antonio Molinari, der 1655 geboren wurde und bei seinem Vater Giovanni sowie dem als Vertreter der Tenebrosi bekannten Antonio Zanchi ausgebildet wurde. Als Molinari etwa zwanzig Jahre alt war, begann er selbstständig zu malen, immer nach dem Vorbild der Tenebrosi im Zeichen des Naturalismus und einer akzentuierten Theatralik der Szenerie. Ab den achtziger Jahren änderte Molinari seinen Stil und wandte sich eleganteren Formen und zarteren Farben im Geschmack der Neorenaissance zu, wobei er einen beachtlichen Erfolg mit den kleineren und mittleren Bildformaten hatte. Diese stellten insbesondere Episoden historischen, mythologischen oder biblischen Charakters dar, deren Erfolg durch die Nachfrage nach zahlreichen Wiederholungen bestätigt wird. Diese Gemälde feiern oft berühmte Heldinnen, wie Portia oder wie auf dem vorliegenden Gemälde Sofonisba, einige stellen Figuren aus der römischen Geschichte dar, die in theatralischen Posen vor in klassischen Kulissen dargestellt werden. Molinari war darüber hinaus ein ausgezeichneter Zeichner, dessen umfangreiche graphische Tätigkeit durch zwei Sammlungen dokumentiert wird, die sich im Düsseldorfer Museum Kunstpalast und im Zeichnungskabinett des Louvre befinden. Mit wenigen Feder- und Aquarellstrichen konnte Molinari eine ganze Komposition zusammenzufassen. Die Zeichnungen dienen dabei oftmals als graphische Vorlagen für Gemälde: Diese Sofonisba entstand auf der Grundlage einer in Düsseldorf erhaltenen Zeichnung. Erläuterungen zum Katalog Antonio Molinari Italien Barock 17.Jh. Originale Literarische Themen Malerei Historische Personen MOLINARI, ANTONIO MOLINARI, ANTONIO Venice 1655 - 1704 Title: Sophonisbe. Technique: Oil on canvas. Mounting: Relined. Measurement: 113,5 x 94,5cm. Frame/Pedestal: Framed. Literature: A. Craievich: Antonio Molinari, Cremona 2005, p. 200; S. Brink: Genio vigoroso ed originale. Die Zeichnungen des Antonio Molinari, Düsseldorf 2005, p. 40-41, cat. 6. Provenance: Private ownership, Italy. The figure of the Sophonisbe originates from Roman history and has traditionally been popular both for her beauty and her intelligence. She was the wife of Syphax, who, as king of the Massäsyliers, allied himself with the Carthaginians against the Romans on their advice. After the defeat by the Romans in 203 B.C., she made the king of Numidia Massinissa fall in love with her. To escape the humiliation of slavery after her capture by Scipio, Massinissa sent her a cup of poison. Sofonisba drank the tragic gift and preferred to die rather than live as a slave to the Romans. The present painting shows Sophonisbe holding the cup of poison in her right hand and the letter from her husband in her left, which tempts her to commit suicide. The author of the work is the Venetian Antonio Molinari, born in 1655, who was trained by his father Giovanni and Antonio Zanchi, known as a representative of the Tenebrosi. When Molinari was about twenty years old, he began to paint on his own, always following the example of the Tenebrosi in the spirit of naturalism and an accentuated theatricality of the scenery. From the eighties onwards Molinari changed his style and turned to more elegant forms and more delicate colours in the taste of the Neo-Renaissance, achieving considerable success with the smaller and medium-sized image formats. These represented in particular episodes of historical, mythological or biblical character, the success of which is confirmed by the demand for numerous repetitions. These paintings often celebrate famous heroines, such as Portia or, as in the present painting, Sofonisba, some of them depicting figures from Roman history, depicted in theatrical poses in front of classical backdrops. Molinari was also an excellent draughtsman, whose extensive graphic activity is documented by two collections, one in the Kunstpalast Museum in Düsseldorf and the other in the drawing cabinet of the Louvre. Molinari was able to summarize an entire composition with a few pen and watercolour strokes. The drawings often serve as graphic models for paintings: this Sofonisba was created on the basis of a drawing preserved in Düsseldorf. Explanations to the Catalogue Antonio Molinari Baroque 17th C. Old Masters Literary theme Painting Historical people
Lot 1108
ROMANELLI, GIOVANNI FRANCESCO ROMANELLI, GIOVANNI FRANCESCO Viterbo 1610 - 1662 Titel: Allegorie der Wahrheit. Technik: Kreide. Maße: 37,5cm. Alter Sammlungsstempel "Marquis de Lagoy" unten rechts. Provenienz: Sammlung Joseph-Hyacinthe-François de Paule de Rigaud, comte de Vaudreuil (1780er), Paris; Kunstmarkt, Paris (1791); Sammlung Vincent Donjeux (1793), Paris; Kunstmarkt, Paris (1794); Sammlung Jean-Baptiste-Florentin-Gabriel de Meryan Marquis de Lagoy (1764-1829), Aix-en-Provence, Frankreich; Privatbesitz, Deutschland. Giovanni Francesco Romanelli galt als einer der italienischen Maler der Barockzeit, der sowohl in seiner Heimat auch im Ausland, insbesondere in Frankreich, Erfolge feiern konnte. Nachdem er 1640 durch die Vermittlung von Kardinal Giulio Mazzarino einige Gemälde für den französischen Finanzminister Michel Particelli d'Émery ausgeführt hatte, konnte der Künstler die erste Reise nach Frankreich zwischen Juni 1646 und September 1647 antreten. Zu den ersten Aufträgen in Paris gehörte die Dekoration mehrerer Räume im Duret-Tubeuf-Palast und des Kabinetts des Hôtel Lambert. Der zweite Aufenthalt Romanellis in Paris (1655-57) erfolgte auf Wunsch der Königinmutter Anna von Österreich, die Romanelli mit der Dekoration von fünf Zimmern ihrer Sommerwohnung im Palais du Louvre beauftragte. Neben der Herstellung von Leinwänden führte Romanelli auch Zeichnungen aus, die als Vorstudien für Dekorationen dienten oder als eigenständige Kunstwerke angesehen werden können. Dazu kann die vorliegende Allegorie der Wahrheit gezählt werden, deren Präsenz in Frankreich zumindest vom Ende des 18. bis zur Mitte des 19. Jahrhunderts belegt ist. Sie erscheint im Verkaufskatalog der Sammlung von Joseph-Hyacinthe-François de Paule de Rigaud, Graf von Vaudreuil vom 26. November 1787: "F. Romanelly. Une Femme debout relevant un voile qui lui couvre la tête; elle est appuyée contre un tertre au bas duquel on voit deux masques. Ce dessin agréable, précieux & très-terminé, est aux trois crayons sur papier blanc. Pastel trois Buntstifte sur papier blanc, Hauteur 20 pouces, largeur 15 p.". Bis 1794 tauchte das Blatt in weiteren Verkäufen in Paris auf, die von dem bekannten Kunsthändler und Sammler Jean-Baptiste-Pierre Lebrun organisiert wurden. Schließlich gelangte die Papierarbeit in die berühmte Sammlung von Jean-Baptiste-Florentin-Gabriel de Meryan, Marquis de Lagoy. Die berühmte "marque de collection" mit einem großen L im Dreieck in schwarzer Tinte, die unten rechts abgebildet ist, verweist auf diese Provenienz. Erläuterungen zum Katalog Giovanni Francesco Romanelli Italien Barock 17.Jh. Handzeichnungen Allegorie Zeichnung Akte ROMANELLI, GIOVANNI FRANCESCO ROMANELLI, GIOVAN FRANCESCO Viterbo 1610 - 1662 Title: Allegory of Truth. Technique: Chalk. Height: 37,5cm. Old collection stamp "Marquis de Lagoy" bottom right. Provenance: Joseph-Hyacinthe-François de Paule de Rigaud collection, comte de Vaudreuil (1780s), Paris; Art market, Paris (1791); Vincent Donjeux collection (1793), Paris; Art market, Paris (1794); Jean-Baptiste-Florentin-Gabriel de Meryan Marquis de Lagoy collection (1764-1829), Aix-en-Provence, France; Private ownership, Germany. Giovanni Francesco Romanelli was considered one of the Italian painters of the Baroque period, who was successful both in his home country and abroad, especially in France. After he had executed some paintings for the French minister of finance Michel Particelli d'Émery in 1640, through the mediation of Cardinal Giulio Mazzarino, the artist was able to make his first trip to France between June 1646 and September 1647. Among the first commissions in Paris were the decoration of several rooms in the Duret-Tubeuf Palace and the cabinet of the Hôtel Lambert. Romanelli's second stay in Paris (1655-57) was at the request of Queen Mother Anne of Austria, who commissioned Romanelli to decorate five rooms of her summer residence at the Palais du Louvre. Besides making canvases, Romanelli also made drawings, which served as preliminary studies for decorations or can be regarded as independent works of art. Among these can be counted the present Allegory of Truth, whose presence in France is documented at least from the end of the 18th to the middle of the 19th century. It appears in the sales catalogue of the collection of Joseph-Hyacinthe-François de Paule de Rigaud, Count of Vaudreuil, 26 November 1787: "F. Romanelly. Une Femme debout relevant un voile qui lui couvre la tête; elle est appuyée contre un tertre au bas duquel on voit deux masques. Ce dessin agréable, précieux & très-terminé, est aux trois crayons sur papier blanc. Pastel trois coloured pencils on paper blank, hauteur 20 pouces, largeur 15 p.". Until 1794 the sheet appeared in further sales in Paris, organized by the famous art dealer and collector Jean-Baptiste-Pierre Lebrun. Finally the paper work came into the famous collection of Jean-Baptiste-Florentin-Gabriel de Meryan, Marquis de Lagoy. The famous "marque de collection" with a large L in the triangle in black ink, which is shown at the bottom right, refers to this provenance. Explanations to the Catalogue Giovan Francesco Romanelli Baroque 17th C. Watercolour / Drawings Allegory Drawing Nudes
Lot 12
English, dated 1844, signed to top of the limb 'Powell & Lealand, Makers, London', standing on typical Powell & Lealand tripod with large trunnions supporting body, large plano-concave mirror on Powel single-sided support, fully mechanical stage with X-Y control with substage accessory mount, triangular bar with rack and pinion focusing, limb with struts supporting back of the body tube, fine focus wheel to side of limb, also with an unusual mahogany stand, accessory case includes: A pre-RMS threaded 1in objective Lieberkuhn & can. A pre-RMS threaded 1/2in objective & can. A 1/8in empty can. A camera lucida eyepiece. A complex substage achromatic condenser with integral stops and aperture. A low power eyepiece A medium power eyepiece. A high power eyepiece. A set of 3 dark wells. A bar tool. A live box. An eyepiece polariser. A substage analyser. Stage forceps. Stage condenser. all in fitted French polished mahogany cabinet which also includes; a large microscope stage, a frog/fish plate, a bodytube with an erector lens and a large table bullseye, case height 41cm
Lot 19
English, 3/4 19th Century, plaque to inside of door reads W Watson & Son 313 High Holborn, London, constructed of French polished mahogany on plinth base, glazed door to front with lock and key, containing 28 drawers each capable of holding 3 rows of 12 standard slides, each drawer with pull with number in centre and porcelain labels to each side, professionally prepared slides by makers including: many diatom slides by W. A. Firth, J D Moller, cabinet 57cm tall x 32cm deep x 39cm wide (approximately 500 slides)
Lot 263
circa 1943; this camera appears to be unique and is reputed to have been made by an Italian prisoner of war in a camp in Perthshire; its origins remain a mystery as it has so many refinements that it almost appears to be a 'labour of love' by a skilled craftsman; the lens and shutter are of quite high quality and have been removed from an unidentified old camera of about 1909 and may have been one made by ICA of Dresden; the camera uses 35mm film wound from one cassette into another and the sprocket over which it winds rotates the pointer on the dial at the top, two frames per complete rotation; it also operates a frame counter, which can be re-set and the lens of the tiny folding viewfinder comes from another camera. There are two unusual features, one being the socket for a small spirit level, suggesting that the camera was intended for document copying and the other being a non-standard accessory shoe. The camera's interior is painted with home-made black paint and the final finishing touch is a holder from a filing cabinet on the back to hold a card
Lot 263
Thatcher's last Cabinet.- Official Cabinet photograph for July 1990, 470 x 555mm., signed beneath by all Cabinet members in various colour inks (red for Margaret Thatcher), framed and glazed, July, 1990.⁂ A rare and historically important item. By the November of that year, after falling popularity and various machinations by her own party, Margaret Thatcher had resigned as Prime Minister. The lot is accompanied by a copy of a note from the 10 Downing Street press office to the Prime Minister, on which she authorises, in a hand written reply, the release of the image (and its black and white equivalent) to the press. The number of signed copies of this Cabinet photograph was limited to a maximum of 30 copies, the majority of which were created for the 24 Cabinet members themselves, including the Prime Minister. Provenance: Mr. Ian Beaumont, contemporary member of the Downing Street press office, who was responsible for arranging the Cabinet photographs.
Lot 3014
An unusual late George III mahogany small chest or cabinet, perhaps Gillows, the rectangular top with reeded edge, above two slides and fitted four real and four opposing dummy drawers with turned knobs and raised on bun feet with brass casters, height 74cm, width 55cm, depth 50cm, possibly adapted.Condition report: It is in our opinion this is a converted Davenport, the sides are panelled, there is veneer missing on the slide out panel. four handles off but present, chips to handles, general wear throughout.
Lot 3120
A good Windsor and Newton's Artists material mahogany cabinet, circa 1900, with sloping glazed top enclosing sections and fitted below with a folio compartment enclosing two slide-out shelves and with twelve graduated drawers below with brass recessed handles, height 116cm, width 104cm, depth 76cm.Condition report: Extra images on David Lay website.
Lot 713
Arts & Crafts walnut collector's cabinet, a single door with acanthus carved panel enclosing three drawers. Height 35cm, width 38cm, depth 22.5cm.Condition report: There has been a repair to the bottom skirting. There is some light scratching and wear that in no way diminishes the cabinet. The drawers move smoothly, the lock works and the door closes properly. The precision and proportions of this cabinet make this a satisfying object to admire.
Lot 1130
A LATE VICTORIAN MAHOGANY MUSIC CABINET, C1900, WITH BEVELLED MIRROR INSET BACK AND FALL FRONT ENCLOSING SHELVED INTERIOR LINED IN VELVET, THE WEIGHTED FLAP TO THE LOWER PART WITH A CARVED PANEL, ON OGEE FEET, 123CM H; 40 X 46CM Good condition with only a few slight scratches consistent with age
Lot 3232
Photographs Two hundred and five cabinet cards, predominantly portraits, individual and group, studio and outdoors, including military, sportsmen, etc., loose or housed in leather box; One hundred cartes de visite and similar, predominantly portraits, including military, but also two circus performers, loose; Seventeen cased photographs, portraits, single and group, ambrotypes or deguerreotypes, monochrome and coloured, (322)
Lot 16
WILLIAM AND MARY WALNUT OYSTER VENEERED CABINET-ON-STAND LATE 17TH CENTURY the moulded cornice above a cushion moulded drawer, the pair of doors centred by concentric circles enclosing an arrangement of nine drawers around a central cupboard, the stand with two frieze drawers raised on spiral twist legs, united by x-stretchers(109cm wide, 154cm high, 51cm deep)
Lot 163
GEORGE III MAHOGANY BRACKET CLOCK, WILLIAM LIPTROT, LONDON, THE CASE AFTER A DESIGN BY THOMAS the arched brass dial with a silvered chapter ring with Roman and Arabic numbers and a matte centre and pierced brass spandrels, with two winding holes, date and false pendulum apertures, and signature plate inscribed 'William Liptrot/ LONDON', the arch with a subsidiary Strike/ Silent dial, in a carved arched topped mahogany case with pierced fretwork and carved with acanthus scrolls, the canted corners with Doric columns, on a moulded base with acanthus carved scroll feet, pull repeat on the right side; the eight day movement with verge escapement striking a bell and chiming on six bells, enclosed by an engraved backplate signed 'Wm. Liptrot/ London', with a bob pendulum(47cm wide, 68.5cm high, 23cm deep)Footnote: Note: The model for this clock case, which is rich in rococo embellishments, is taken directly from Thomas Chippendales 'Gentleman's and Cabinet Maker's Director', first appearing in the 1754 and 1755 editions as plate CXXXVIII, then renumbered as plate XLXV in the edition of 1762.
Lot 392
VICTORIAN OAK EXTENDING DINING TABLE, BY F. DANBY, LEEDS LATE 19TH CENTURY the wind-out oval top with a moulded edge on a central pedestal with four outswept legs and four tapered and lobed legs to the D ends, bearing a paper maker's label 'F. DANBY'S/ Upholstery and Cabinet Works/ LEEDS/ No. 41604/ Workman's Name W. Coates'; to include four leaf extensions(373cm long, 73cm high, 137cm)Footnote: Note: F. Danby’s was a 19th century cabinet makers and upholsters run by Francis Danby in the Upper Headrow of Leeds, West Yorkshire
Lot 402
VICTORIAN OAK DISPLAY CABINET-ON-STAND, IN THE MANNER OF ROBERT LORIMER LATE 19TH CENTURY the rectangular lift-up glazed top with turned column corners with acanthus carved capitals; the stand with a moulded frieze and chamferred legs and stretchers(87cm wide, 169cm high, 54cm deep; internal 73cm wide, 72cm high, 39cm deep)
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