Colonial School. Los Lugo Circle . New Granada. 17th century.'Saint Francis Borgia' Monumental and magnificent carved, gilded and polychromed wooden sculpture with 'estofado' decoration. 182 x 81 x 81 cm. A magnificent sculpture, highly comparable in anatomy and forms to the pair of Jesuit saints (Saint Francis Borgia and Saint Ignatius of Loyola) by Juan Martínez Montañés (1568-1649), created between 1624-1625 for the Church of the Annunciation in Seville, originally the Professed House of the Society of Jesus and currently used as a university chapel. It is evident that the model is that of the sculpture of Saint Francis Borgia, which is not surprising, as the influence of the Seville Master was decisive in the training of the sculptors of New Granada. The figures in the church in Seville wear black, Jesuit cassocks, but they are considered to require extra clothing. However, the cassock on this sculpture is richly decorated with golden scrolls, as befits the 17th century. Nevertheless, the faces and hands are very similar to the sculptures in Seville in their position, depth, anatomy, movements, and foreshortening. We base our attribution on the significant coincidence of artistic traits with the large-scale Saint Ignatius, located on the Altar of the Church of San Ignacio in Tunja, and catalogued as being made by the Los Lugo Circle. The position of the saint is identical, as is the habit. They have the same decoration and sculptural quality in faces and hands. Without a doubt, we can attribute its creation to an artist in Pedro de Lugo's workshop, who could well have been the master himself. In the aforementioned altarpiece, Saint Francis Xavier and Saint Aloysius Gonzaga flank Saint Ignatius of Loyola, who presides over them. As stated by Adrián Contreras-Guerrero, 'thanks to Father Mercado, we know that the three central images of said altarpiece [...], were commissioned in Santafé,' which reaffirms our attribution to the Los Lugo Circle. As indicated by Francisco J. Herrera and Lázaro Gila, 'referring to Pedro de Lugo Albarracín, implies delving into the little-known field of the Neogranadine sculptural workshops of the 17th century, which, judging by the remaining artworks, must have been intensely active artisically, supported by the growing demand of private individuals, clergy, religious orders, cathedrals, and parishes, both in the capital and in surrounding localities. Just as names such as Antonio Acero de la Cruz, Baltasar de Figueroa, and Gregorio Vázquez de Arce are mentioned that express the creative maturity of the Santafé workshop in painting, Pedro de Lugo Albarracín and some others with the same surname (Salvador or Lorenzo) are predominantly cited when referring to the progress that occurred in sculpture during that century in colonial Santafé and other cities such as Tunja.' Both scholars analyse Pedro de Lugo's preference for the figure of Christ at different moments of his Passion, but they also point out that he and his workshop created images of saints and some reliquaries, a fact that is closely related to our figure. They mention, for example, 'two sculptures of the Saint of Assisi, located in the church of the convent of the order in Tunja.' One of them 'has similarities to the homonymous Saint of the altarpiece of Saint Francis Borgia, in the Jesuit temple of Bogotá, also already related to Lugo.' Regarding the origin of the sculptor Pedro de Lugo, we read again in Herrera and Lázaro that, 'taking into account his Andalusian ancestry, his possible birth in Jerez, and the close relations that he and his ancestors would have had with Andalusia, the most suitable place to imagine he had his training is Seville. Well before going to Latin America for the first time, or in a youthful stay, Pedro de Lugo could have trained as a sculptor and caster in the Andalusian capital. Ig is worth noting that the city had an important establishment for the production of artillery, where he would have learnt the techniques of alloying iron, copper, and tin, and even lead and other soft metals.' Pedro and his brothers Alonso and Juan maintained an active workshop of sculpture and casting in different materials in Santafé in the central decades of the 17th century, whose influence extends beyond the capital, reaching various locations, especially Tunja. Regarding the depicted character, Javier Baladrón, Doctor in Art History, explains that 'Saint Francis Borgia (1510-1572) was a Valencian saint who became the third General of the Society of Jesus. One of the best-known episodes of his life, which would become vital in his iconography, is that of the death of Queen Isabel of Portugal, wife of Charles V, in 1539. She was considered to be one of the most beautiful women in the world. This death marked him so much that he always commented that it was the day of his conversion: 'For the empress who died on a day like today. For what the Lord did in me because of her death. For the years that mark my conversion today.' Subsequently, he organised the entourage that escorted the queen's body to the Royal Chapel of Granada. Before it was buried, he observed the disfigured face of the queen, which became one of his most recurring attributes, and he was asked if he swore that it was the queen, to which he replied, 'I have brought the body of Our Lady in strict custody from Toledo to Granada, but I dare not swear that it is herself, whose beauty I so admired.'' Baladrón continues to describe this Saint Francis Borgia: 'a still and meditative figure. He stands upright, with his right leg slightly forward, creating a contrapposto that gives the composition dynamism. This is also contributed to by the opening of the arms in different directions and the turning of the face to contemplate the cross. We do not know if originally the skull could have been in one of the two hands since it is currently held to the ground by a rod. He extends his left arm, making a declamatory gesture with his hand while pointing to the royal skull at his feet; at the same time, he flexes his right arm, bringing the crucifix that he holds in that hand closer to his face. The hands are very delicate, elegant, and realistically accentuated, so that the bones, joints, veins, lines, and even the nails are carefully defined. The head is the most impressive part of the whole, with each of the facial features and the locks that make up his sparse beard and hair perfectly and skilfully delineated. The sculptor has accurately captured the facial features of the saint, so he has managed to make a portrait, which was known through the death mask that was taken of him. He wears the typical Jesuit habit consisting of black cassock and cape, decorated with a dense network of delicate golden vegetation motifs that completely cover both garments, as if with horror vacui. Likewise, both garments are traversed by countless moving and dynamic folds, most of them soft and falling vertically, which break up the surfaces creating a succession of concave and convex surfaces. This is especially visible on the back where we find a succession of rigid tubular folds.' We would like to thank Javier Baladrón, Doctor in Art History, for the formal and iconographic description of the sculpture. Reference bibliography: - Contreras-Guerrero, Adrián. (2019) 'Escultura en Colombia. Focos productores y circulación de obras (siglos XVI-XVIII)”. Universidad de Granada. - Herrera, Francisco Javier y Gila Medina, Lázaro. (2018). “Pedro de Lugo Albarracín y el desarrollo del pleno barroco en la escultura neogranadina del siglo XVII”, capítulo IX en “El triunfo del barroco en la escultura andaluza e hispanoamericana”. (p. 305-365). Universidad de Granada. Spanish Americas.
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Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"Our Lady of Mount Carmel and Queen of the Carmelite Order with Child"Oil on canvas. Signed. 104.5 x 78 cm.A beautiful painting of New Spanish art from the delicate, tender, and mystical brush of Miguel Cabrera, who portrays the perfection of porcelain faces and anatomies, garments, movements, realism, and depth like no other, "as if we were present."It depicts the Virgin of Mount Carmel, also known as Star of the Sea, who is also the patroness of sailors, partly due to the proximity of Mount Carmel to the Mediterranean Sea. She is a beacon for ships as she announces safe harbour. She appears dressed as the "almsgiver of Carmel," with a royal crown on her head, holding the Christ Child in her left hand and a scapular in her right hand, a symbol of the yoke of Christ, the yoke that Jesus invites us to bear, but which Mary helps us carry.Miguel Cabrera was one of the most renowned painters in the field of 18th-century New Spanish painting, producing work that the Dallas Museum of Art defines as "legendary: over 309 works have been documented from his large studio."Little is known about his youth; in fact, according to the Andrés Blaisten Museum, it is only through the painter's will in 1768 that we know he was a native of Oaxaca.His first known records are from 1739, the year of his marriage to Ana María Solano, as well as his time in Juan Correa's workshop in the capital of the Viceroyalty.Archbishop Rubio Salinas was a protector of Cabrera, whom he appointed as his court painter. He was also a painter for the Society of Jesus, for whose churches he created numerous works.In 1753, he was appointed lifelong president of the San Carlos Academy.In 1756, Cabrera published "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura" (American Marvels and a Collection of Rare Marvels Observed Following the Rules of the Art of Painting), a narration about the image of the Virgin Guadalupe printed at the press of the Jesuit college of San Ildefonso.His works are preserved in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are housed in the Vatican Museum. Another, created in 1756 for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty.The Dallas Museum of Art houses a Santa Gertrudis La Magna by Miguel Cabrera, and another representation of the saint, also by Cabrera and dated 1768, is part of the collection at the José Luis Bello y Zetina Museum in Puebla, Mexico.Likewise, we should highlight an important series of Casta paintings from 1763, kept in the collection at the Museum of the Americas in Madrid. They depict families, father, mother, and child from various castes and social strata, in situations of everyday life.Reference Bibliography:- Dallas Museum of Art. (s.f.). "Saint Gertrude (Santa Gertrudis)". (2006.37). Https://collections.dma.org/artwork/5328501- Museo Andrés Blaisten. (s.f.). https://museoblaisten.com/Artista/79/Miguel-Cabrera
Linda Schwab D Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Linda Schwab lives and works in Yorkshire, UK. The starting point for her work falls into two categories; 'recent events', from life or mobile phone photos and 'recreated events', from archive or found photographs. The paintings capture something mysterious and unknown, someone or something seen at a distance and committed to memory. She describes the process of painting as starting with an objective record and ending with an attempt to capture what can be sensed at the peripheries of vision. Education 1979-82 University of Central Lancashire, BA Fine Art 1982-84 Slade School of Art, UCL, MA Painting Select Exhibitions/Awards 2023 RA Summer Exhibition 2022 RA Summer Exhibition & RWS Open 2018 'Me and You' Dean Clough Galleries 2005 'Situation Leeds' various venues, Leeds 2000 Lancaster Festival of Digital Arts 2000 1997 'Absolut Collection' Leeds 1994 'Wunderkammer' Leeds City Art Gallery, Leeds. 1994 'La Poupée' Bankfield Museum, Halifax 1992 'Penumbra' Crossley Gallery, Dean Clough 1989 'An Artist's Life' Spink & Son, London 1985 'Capital Paintings' Barbican Gallery 1984 'Germinations' Germany/Edinburgh/London/France 1983 'X Preston' Harris Museum and Art Gallery 1983 'Summer Show' Royal Academy London 1981 'Leicestershire Collection' Beaumanor Hall, Leicester 1981 Northern Young Contemporaries, Whitworth Gallery, Manchester Gallery Representation Contemporary Six, Manchester Old School Gallery, Alnmouth Statement about AOAP Submitted Artwork 'D' refers to an unknown woman, the subject of a found photograph from the 1920's. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Berlin. Gesamtansicht. “Vue Perspective de la Ville de Berlin Capital du Royaume de Prusse“. Kolorierter Kupferstich bei Huquier in Paris, um 1770, Blattgröße (knapp beschnitten) 42 x 27 cm (Querformat). (46) * Kupferstich für einen Guckkasten, bzw. seitenverkehrte Ansicht eines Kupferstiches von F. B. Werner. Zustand: Stark angestaubt, leicht gebräunt und fleckig. Bis an den Plattenrand beschnitten. Mit Knick- und Faltspuren. Beiliegt: Berlin. "Treillage et Baldaquin Execute‘ á Berlin". Kolorierter Kupferstich. Paris bei Daumont, um 1820. Bildgröße 36 x 21,5 cm. Rahmengröße 50,5 x 36 cm (Querformat). Zustand: Beide Stiche leicht gebräunt und fleckig, rückseitig mit Klebe und Montagespuren. Der Rahmen ist defekt.
A bronze mounted marble column pillar of variegated white marble, a circular mount (top missing), resting on a deep Corinthian bronze capital with a matching bronze base atop a stepped square marble plinth on four bronze corner feet, 41in. (104cm.) high. *Broken marble side panel to base and top missing.
A pair of late Victorian silver candlesticks, mark of James Dixon & Sons Ltd., Sheffield 1889/1900, in the neoclassical style, each loaded square and stepped base decorated with scrolls and foliate swags, Corinthian column with acanthus capital and friction fitting detachable wax pan, 13 x 13cm at the base, 34cm highOverall in fair condition. Stick A: Edge of base dented and pitted and corners dented. Further pitting to the base. Column a little loose and showing signs of splitting away from the base. Column with very minor dents and nicks. Column leans a little. Wax pan fused to the column with sign of wax residue inside. Underside with minor denting and pitting. Loading starting to break up, and 'rattles' a little when shaken. Hallmark clear and readable.Stick B: Edge of base dented and pitted and corners dented. Further pitting to the base. Column with very minor dents and nicks. Wax pan fused to the column with sign of wax residue inside. Underside with minor denting and pitting. Base plate splitting away from the sides in three corners with signs of denting and minor crushing to the three corners. Loading starting to break up, and 'rattles' a little when shaken. Hallmark clear and readable.
Three pieces of Sitzendorf 20th century ceramic figurines to include; a couple with flowers in hands/basket, a young gentleman with flower in hand and a lady. All with overlay foliage and floral detail and marked to bases with crown and capital S. Along with a Continental four footed pot pourri and cover with overlay foliage and flower detail and gilding. Largest Sitzendorf approx. 12cm high x 14cm wide. Continental pot pourri approx. 13cm wide x 10cm high. Further Details: Some slight damage to Sitzendorf lady figures object in hand (missing end), chips/loss to parts of flower overlay, slight nibbles to flower detail on larger Sitzendorf. General wear.
A late Edwardian hammered silver long toilet bottle, screwable top and gilt interior. With capital "M" to top and oval "Drew & Sons, Piccadilly Grove" to base. Hallmarked by Drew & Sons, London, 1909. Approx. 14.8cm high. Weight: Approx. 118.2 grams (3.7ozt) Further Details: Slight dent to top, tarnishing, general signs of wear.
Winifred Nicholson (British, 1893-1981)Flowers in Snow, Bankshead signed and dated 'Winifred Nicholson/1967' (verso) and titled 'FLOWERS IN SNOW BANKSHEAD' (on the canvas overlap)oil on canvas56 x 76.4 cm. (22 x 30 in.)Footnotes:ProvenanceThe Artist, from whom acquired directly by the family of the present ownerPrivate Collection, U.K.LiteratureChristopher Andreae, Winifred Nicholson, Lund Humphries, Farnham, 2009, p.134, cat.no.120 (col.ill.)Painted with a thickly textured impasto surface, Flowers in Snow, Bankshead is perfectly evocative of the crisp blanket of winter or early spring snow which can turn the landscape startlingly bright in the coldest months of the year. Against a background of icy blue and white, in which the suggestion of wintery peaks can be seen beyond, and against a powdery, pale sapphire sky, the bright and sunny blooms of daffodils and irises can be seen bravely holding their own. Painted in vibrant strokes of yellow, orange and purple, they represent the optimism that spring brings, the coming of the first pale rays of sun, and the promise that winter will soon be over for another year. Their leaves shoot upwards with vigour, stretching towards the light.Nicholson writes beautifully about her preoccupation with flowers, in her essay The Flower's Response: 'I like painting flowers – I have tried to paint many things in many different ways, but my paint brush always gives a tremor of pleasure when I let it paint a flower – and I think I know why this is so. Flowers mean different things to different people...to me they are the secret of the cosmos. This secret cannot be put into image, far less into the smallness of words – but I try to. Their silence says to me – 'My rootlets are moving in the dark, in the wet, cold, damp mud – My leaflets are moving in the brightness of the sky – My flowerface has seen the darkness which cannot be seen, and the brightness that is too bright to see – has seen earth to sun and sun to earth.' (Winifred Nicholson, quoted in Andrew Nicholson (ed.), Unknown Colour: Paintings, Letters, Writings by Winifred Nicholson, Faber and Faber, London, 1987, p. 216). This evocative statement sums up particularly well why she related so closely to the burst of new growth in spring time, and the first brave tendrils of green that dare to poke up through the frozen earth to bloom again, year on year. Nicholson also lent particular emphasis to colours and what they represented to her. Green, blue, yellow and white form the foundation of the present work and it is clear that the symbolism she saw in colours lends an extra layer of meaning to the palette she chose. As she wrote: 'Who has heard of blue talking to yellow, the green of conversation? I will tell you when I heard it before – I was high up on a spacious mountainside, below me was a valley with an unseen river flowing along its way. The sky was very distant, the air jasper clear, the scent of herbs all around me. I sat still. Far away in the distance I heard the sheep bells, a flock coming down the valley. The tone of the bells reverberated inconsequently as the sheep moved and browsed, the older members of the flock moving steadily, the lambs gambolling and frolicking with them.' (Winifred Nicholson, 'Can The Blind See Colour Green?', quoted in ibid., pp.236-7). Writing so evocatively, she conjures a sensory world in which there is a synaesthetic delight in the coming of spring, and it is easy to imagine a stream of melting snow trickling by just out of sight in the present lot, as we inhale sharp breaths of the icy clear air that she speaks of. With the promise of new life just round the corner, and the coming of lambs in the fields, Flowers in Snow, Bankshead is a striking example of her wholehearted appreciation of, and celebration for, the natural world.The present lot (and lot 50) come from a Private Collection whose family had a close friendship with the artist. The family would visit Winifred at her home Bankshead, Cumbria in the 1970s, and these trips were recalled as 'full of fun and enjoyment, especially with her son's dog Sally and long walks through the country lanes. Winifred always had lots of time for us children, playing games and showing us interest. My siblings and I remember the feeling of Winifred's incredible warmth and affection. She was always very welcoming to us and the many other friends and family visiting whilst we were there.' Winifred would also visit the family in London when she was in the capital city, and visit the nearby Christian Science Church, through which the friends met.We are grateful to Jovan Nicholson for his assistance in cataloguing this lot.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
Nikos Kessanlis (Greek, 1930-2004)L'artiste (Manolis Calliyannis) signé et daté 'NIKOS 65' (en bas à droite)image photographique traitée sur toile 60 x 74cm (23 5/8 x 29 1/8in).Peint en 1965.signed and dated (lower right)processed photographic image on canvasFootnotes:ProvenanceAcquired from AD Gallery in Athens.Private collection, Athens. ExpositionsRethymnon, Crete, Rethymnon Center for Contemporary Art, Nikos Kessanlis, Faces, Transformations of the Human Body 1953/1997, May-August 1998 (illustrated in the exhibition catalogue, p. 32).LittératureNikos Kessanlis, retrospective exhibition catalogue, Macedonian Museum of Contemporary Art, Thessaloniki Cultural Capital of Europe 1997, p. 242 (illustrated).G. Tzirtzilakis ed., Nikos Kessanlis, Adam editions, Athens 1998, p. 242 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Nikos Kessanlis Works, p. 3 (illustrated).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
Alexis Akrithakis (Greek, 1939-1994)Avion signé et daté 'Akrithakis/1982' (au revers)peinture sur bois et installation électrique73 x 86 x 18cm (28 3/4 x 33 7/8 x 7 1/16in).signed and dated (on the reverse)painting on wood and electrical installationFootnotes:Cette œuvre est accompagnée d'un certificat d'authenticité par la galerie Xippas.This work is accompanied by a certificate of authenticity from the Xippas gallery.ExpositionsThessaloniki, Macedonian Museum of Contemporary Art - Thessaloniki Cultural Capital of Europe, Akrithakis, Retrospective Exhibition, December 19, 1997 - February 15, 1998.Athens, National Gallery - Alexandros Soutzos Museum, Akrithakis, Retrospective Exhibition, May 4 - June 29, 1998.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
A 19th century Sevres tea set, the reserves painted with Watteauesque courting couples on a bleu ciel and gilt ground, with jewelled decoration, comprising a teapot, milk jug, sugar box and cover and five teacups and six saucers, interlaced blue L's and a capital letter L, printed and incised marks CONDITION REPORT: All pieces have jewelling missing and gilding rubbing, teapot lid, leaves are chipped, teapot spout is chipped, sucrier broken and re-glued, finial leaves chipped, three tea cups and one saucer are chipped and or cracked
SILVER CORINTHIAN COLUMN TABLE LAMP, HAWKSWORTH, EYRE & CO. LTD., SHEFFIELD 1917 the capital over a tapered fluted column and stepped base with beaded borders, contemporary rewiring and bulb fitting, base loaded39cm high Condition generally good. Surface wear as per age. It has been rewired and the new chromed light fitting is loose. additional images now available.
* Henry VIII Letters Patent. Vellum deed in Latin relating to lands in Hemel Hempstead, Hertfordshire; Westminster, 12 May 1540, being a Crown grant (letters patent) for £108, the first line written in elaborate strapwork – Henricus Octavus Dei Gracia Anglie et Francie Rex Fidei Defensor – with a fine portrait in the initial H of the king enthroned beneath a canopy with the motto VIVAT REX and the Tudor royal emblems of a cross of St George within the Garter, a crowned lion sejant bearing a standard charged with a fleur-de-lys, a crowned Tudor rose, a dragon rampant bearing a standard charged with the cross of St George, a monumental fleur-de-lys, and a sun in splendour charged with a coronet of Prince of Wales feathers, 44 x 72 cm, two large fragments of the second great seal of Henry VIII appended on green and white silk cords; the text giving details of the Crown to Richard Combes: 1. the reversion of the dairy of Hemel Hempstead in Hertfordshire and of the meadows and pastures belonging to it, with the rent of £4 reserved on a former lease and the stock of one bull, twelve cows, one boar and one sow leased with the dairy; 2. the capital messuage of the manor of Hemel Hempstead with all the buildings, yards, ponds, gardens and orchards adjoining and belonging to it, the meadows called Burie Mede and Horse Lees and the pasture called Cowe Lees; 3. the watermill called Burie Mill with the watercourse and the fishing of it; 4. the revenues of the capital messuage, lands and watermill from 29 September 1539, without rendering any account; all in in Hemel Hempstead, formerly part of the possessions of the late College of Ashridge in Buckinghamshire, excepting and reserving two barns within the manor called The Whete Barn and The Ote Barn for the reception of the tithes of grain; to hold of the Crown in chief by the twentieth part of a knight’s fee and a rent of 12 shillings payable to the Court of Augmentations; Recites: lease of the dairy of Hemel Hempstead, its stock and the right to occupy the manor places of Hemel Hempstead and Bovingdon, with the buildings, barns and stables, for 60 years from 29 September 1535 at £4, Thomas [Waterhouse], Rector of the College of Ashridge in Buckinghamshire, and the convent, to John Waterhouse and Richard Combes of Hemel Hempstead, gentlemen, 14 May 1535; later marginal annotation Molendinum (mill) against the third element of the grant, tested by F. Assheton; examined by R[ichard] Cupper [of Wookey in Somerset, Strand Inn and the Middle Temple, clerk of the Chancery c. 1537-1541], framed and set within a green velvet mount, glazed, 61 x 94 x 4.5 cm overallQTY: (1)NOTE:A very attractive document with a fine portrait of Henry VIII and part of the second great seal, concerning a dairy and lands less than one mile away from the legendary landmark, the Magic Roundabout in Hemel Hempstead.The College of Bonhommes at Ashridge was founded in 1283 by Edmund, Earl of Cornwall. It was the only house of this order in England, except the small college at Edington in Wiltshire. The last rector, Thomas Waterhouse, assisted at the trial of the relapsed heretic, Thomas Harding of Chesham, who was condemned to death in 1532. He signed the Acknowledgment of Supremacy in 1535, and surrendered his house 6 November, 1539, receiving by way of pension the rectory of Quainton. The rest of the 16 brethren received benefices or pensions of £6 or £7 a year; two of them were living in 1552 as incumbents of Ayot St Peter and Dachworth; both were married. The old rector himself lived till 1554, and seems to have held steadily to the religion in which he had been bred, bequeathing to several churches at his death the vestments which he had contrived to keep as personal property all through the reign of Edward VI. (VCH Buckinghamshire 1 (1905), pp. 386-90).The first grantee John Waterhouse was perhaps the grandfather of Richard Combes – John’s daughter Agnes had married a Robert Combes. The royal grant of a charter to the borough of Hemel Hempstead is said to have been an outcome of the king's favour to Waterhouse, who received a grant of arms in 1533 and died 11 August 1558 (Baker Men of court 1632). Having received this grant from the crown in 1540, Richard settled the property on himself and his wife Alice in 1557, and the family remained in possession in the middle of the 17th century. The house forming the subject of the grant indicated must be The Old Bury.It is said that John Waterhouse entertained Henry VIII in the Bury, of which the porch, surmounted by an upper story on which the arms of Richard Combes are carved, is still [1908] standing. Local tradition has named it 'Charter Tower,' and made it the site of the granting of the charter, but the porch is of later date than 1539. Richard Combes is alleged to have pulled down the old house and to have built another, which in its turn was demolished in or about the year 1790, when Mr Ginger built a new house on its site. The existing house is more modern, and is a square building of brick. The Bury was the property of Mr Hilton in 1819, and the residence of Mr Harry Grover, solicitor and banker at Hemel Hempstead, from about 1800 to 1850, and of Lieut-Col. William H. D. Jones in 1899. It is now [1908] inhabited by Mr George Crawley. VCH Hertfordshire 2 (1908) pp. 215-230; The Bury, Hemel Hempstead on Wikipedia.
* Prince Harry (1984- ), Duke of Sussex & Diana (1961-1997), Princess of Wales, 1981-1996. A handmade Birthday Card, c. 1987/88, folded dark grey paper with colour paper cut-outs of circles, diamonds, hearts, etc., pasted to front cover and inside pages, and ‘Stars and Stripes’ transfer capital letters reading ‘LOVE HARRY’ neatly pasted to right inside page, a few small glue and finger marks, lower outer blank corner of lower leaf torn away and missing, rear cover blank, 19 x 13.5 cm, together with 3 strips of personalised red, bronze and burgundy satin gift wrapping ribbon with the gilt-printed repeating message, ‘Happy Christmas from Charles, Diana, William and Harry’, various sizesQTY: (4)NOTE:Nicki, the recipient of the card, was given this birthday card by Harry when he was 3 or 4 years old. Diana told her that Harry had made it specially, (but possibly with some assistance from Diana). The ribbons, as the gift tags below, were kept as souvenirs from various presents given to Nicki.
* Dilke (Charles Wentworth, 1843-1911). Second baronet, writer and politican. A collection of approximately 46 letters, all signed but several in secretarial hands, principally from Dilke's lifelong home, 76 Sloane Street, others from Suez, Richmond, Dockett Eddy, Pyrford, Local Government Board, Toulon, Paris, House of Commons, and Newnham on Seyern, mostly c. 1875-1900, some undated, to a wide variety of correspondents, covering a wide variety of topics including an enquiry to the Daily Telegraph; publishing technicalities; a promise to get Lady Dilke to write (‘The only thing she has at all ready is a further set of her gruesome stories'); asking for information on fever houses (to Lyulph Stanley); declining a professional proposition (I have no capital at my disposal for a literary ventury'); to the actress Yvette Guilbert (1865-1944) about a picture in the National Portrait Gallery ('I will... remember your interest in the gentleman you name'); parliamentary matters; declining to do favours, particularly in respect of voting; sending a donation 'towards the starting of the Kensal Town Dispensary'; to J.T. Agg-Gardner MP ('I was entirely unable to come to the Conference with the Brewers, as Winston Churchill was speaking and I could not leave. ...'); the loan of a picture; to F[rancis] C[arruthers] Gould (1844-1925, caricaturist) inviting him to dinner at the House of Commons; announcing that he would be a speaker at the Cannock Chase miners demonstration, etc., etc., letters are generally in good condition, with a few traces of mounting, etc., together with: six letters of Sir Charles Wentworth Dilke, first baronet (1810-1869) and one of Charles Wentworth Dilke (1789-1864, liberal critic and writer on literature) from the Navy Pay Office about his financial difficultiesQTY: (approx. 52)NOTE:The second baronet was born into considerable wealth, inheriting property which included two major publications, The Athenaeum and Notes and Queries. He enjoyed a largely successful political career, being twice a member of parliament and briefly holding public office, but he is probably best remembered for his part in the Crawford Divorce and its unfortunate consequences. Dilke had been accused by Virginia Crawford, the sister of his brother's wife, that he had seduced her, and it became known that he had also been the lover of Virginia's mother. Although effectively found not guilty (although Virginia was not) Dilke had made the misjudgement of effectively re-opening the case, and in the event he was shown to be a bad witness to the truth, and his reputation was in tatters. Many years of investigation at great expense were eventually to show, at least to Dilke's friends, that it was Virginia Crawford who had lied in court.
* Mazarin (Jules, 1602-1661). Italian Cardinal, diplomat and politician. Letter Signed, 'Il Card. Mazarini', Paris, 26 January 1642, in Italian, in brown ink on laid paper, to Virginio Cenci in Rome, responding to congratulations on his elevation to the rank of Cardinal, with autograph 3-line postcript in Mazarin's hand at foot of letter and above his autograph, asking Cenci to call on him should he be in the capital, some overall browning and wear at folds with repairs to verso, 1 page with integral blank, folio, together with an engraved portrait of Mazarin, 165 x 115 mmQTY: (2)NOTE:Mazarin entered service with France under Cardinal Richelieu, making himself indispensable to the chief minister and King Louis XIII. When Richelieu died in 1642 Mazarin was the obvious choice as a successor, serving as first minister of Louis XIII and Louis XIV from 4 December 1642 until his death in 1661.
* Brunel (Isambard Kingdom, 1806-1859). British civil engineer and mechanical engineer. Autograph Letter Signed, 'I. K. Brunel', 18, [London, SW], 17 October 1857, to R. H. Wyatt of Great Western & Brentford Railway and the Duke of Northumberland, concerning a memorandum made by Mr Griffith and himself and 'you will find that the alterations in blue ink are not in accordance with this memorandum but directly in variance with it, some general soiling and creasing, 2 pages with integral docketed blank and institutional stamp, 8voQTY: (1)NOTE:The Great Western & Brentford Railway Company was incorporated on 14 August 1855, and construction of the line and dock at Brentford began on 3 March 1856, with Isambard Kingdom Brunel as chief engineer. As Brunel underestimated the cost of building the dock, it was necessary to raise additional capital under two further acts of parliament passed in 1857 and 1859. The line and dock were officially opened on 15 July 1859.
* Wagner (Richard, 1813-1883). German composer, theatre director and conductor. Fine Autograph Letter Signed, ‘Richard Wagner’, Bayreuth, 5 February 1879, to Julius Ruthardt, Director of the Riga Opera House, in German, replying to a request from Ruthardt that Der Ring des Nibelungen should be staged in Riga [now capital of Latvia], insisting that for every theatre the complete work should be staged (i.e. in four parts) and in the correct order, beginning with Rheingold, mentioning the theatres of Leipzig, Mannheim and Cologne and stating that his terms are 10%, setting out more specific terms for for Riga in four clauses, the terms to extend to 30 years after his death, written and signed in a very neat and clear hand in purple ink, 3 pages, 8vo, VGQTY: (1)NOTE:Partial translation:‘… In addition to the assurance of so-called "tantièmes" or author's rights, I ask every theatre to provide a guarantee that the complete 4-part work will be performed in full - even if in successive parts - and in the sequence of the parts, that is starting with the "Rheingold". I make claim on that guarantee through a partial prepayment of the tantièmes. Leipzig, Cologne, Mannheim etc. pay me tantièmes of 10 per cent of the takings for each evening (including the subscription quota), and I claim one half of this over a considerable period as an advance payment. Accordingly I should wish to have the following points established for Riga:1. Acceptance of obligation by an immediate advance payment of 4000 Marks (as referred to above).2. Undertaking to pay tantièmes of 10 per cent (on the basis stated above).3. This agreement to continue for 30 years after my death (according to the provisions of the German Reichsgesetz).4. Advance payment to be repaid by the retention of half of each tantième payment, so that only 5 per cent of each evening's takings would be payable to the author until the advance had been paid off in full…’.A very fine letter about the staging of his most famous four-opera cycle Der Ring des Nibelungen (The Ring of the Nibelung) and his insistence that all four operas were to be performed in the right order beginning with Der Ring (The Ring).Despite Wagner’s stipulations most opera houses did not perform the whole cycle and usually started with Die Walküre (The Valkyrie). The first performances at Riga, (where Wagner himself had been Kapellmeister in his younger years), were (in the correct order) on 26 October 1890, 28 March 1898 and 25 February 1902.Julius Ruthardt (1841-1909) was a German violinist and composer. He worked in a number of cities as Kapellmeister: Riga from 1871 to 1882, Leipzig from 1882, Berlin from 1884, Bremen from 1893, and Berlin again from 1898. Among his compositions, the incidental music for Bjørnstjerne Bjørnson's Halte-Hulda is notable.Not in the Selected Letters of Richard Wagner, translated and edited by Stewart Spencer & Barry Millington (London & Melbourne: Dent, 1987). A full transcription and translation is available on request.
* Political Posters. Vote Labour. "You could not make war without us / you cannot make peace without us!", printed by David Allen & Son, London: Labour Party, [1918], pictorial lithographic poster in brown and black with artwork by Will Dyson, showing a three-quarter length man in shirt sleeves standing at the door to the Paris Peace Conference, the man grasps the door handle with a crowd of working people looking on in the right background, printed header and footer caption, a little dust-soiling and creasing, 51 x 37.5 cm, together with:Budget Protest League. Can it be done? The great budget puzzle. To knock away the lower block without disturbing the top one. Can it be done?, London, [1909], lithographic poster from artwork by John Hassall, showing Lloyd George sitting on a rolled budget document and looking at two building blocks of labour and capital, some creasing and very frayed at edges with loss of blank area to upper left corner, 73 x 50 cmQTY: (2)NOTE:The 'Vote Labour' poster was designed to encourage people to vote Labour in the general election of December 1918, the first to take place after the vote had been given to some women. The image highlights the working classes' right to have a voice. In the election, the Labour Party increased its share of the vote by 14.5%.The Budget Protest League was a British pressure group formed in June 1909 to oppose David Lloyd George's 'People's Budget' outside of Parliament. In reaction, the Budget League was formed to promote the 'People's Budget', and chaired by Winston Churchill.
* Titanic Relief Fund. A cheque (No. K. 18642) from The Capital & Counties Bank Ltd, for six guineas to Mrs Ada Mary West, 28 April 1917, with the Titanic Relief Fund ink stamp and three signatures and payee name in ink to verso, with blue pencil marks and Barclays Bank red ink stamp, 10.5 x 20 cm QTY: (1)NOTE:Edwy Arthur West (1875-1912), a Cornishman, married Ada Mary Worth in 1905 and had two daughters. They decided to emigrate to Florida with their two daughters to start a fruit culture business. West purchased ticket number 34651, costing £27.15s and the family embarked on the Titanic at Southampton on 10 April 1912 as second-class passengers.Ada West later recalled the events of the sinking: 'We were all asleep when the collision took place but were only jolted in our berths - my husband and children not even being awakened and it was only the hurrying of passengers outside the cabin that caused alarm. The steward bade us all get up and dress thoroughly with plenty of warm things. Arthur placed lifebelts upon the children and carried them to the boat deck. I followed carrying my handbag. After seeing us safely into the lifeboat Arthur returned to the cabin for a thermos of hot milk, and, finding the lifeboat let down he reached it by means of a rope, gave the flask to me, and with a farewell, returned to the deck of the ship'.Ada also recalled male interlopers in her boat who had hidden under the women's skirts; the men had to be asked to stop lighting cigarettes in fear of the women's skirts being set alight. She also stated that she did not fear for her husband's safety until after the ship had sank and she heard the cries of those in the water. A steward in the boat tried to soften the mood by shouting 'Pull up men -- they're singing in the other boats. Give them a shout!'. The boat's occupants apparently made enough of a din to drown out at least a bit of the carnage happening not far away. As day broke Ada stated that she saw no wreckage or bodies but could see many icebergs. Rescued by Carpathia, Ada and her two daughters were treated kindly. She later recalled another survivor scoff that it was wrong that Titanic's surviving officers were feted by the passengers and crew of their rescue ship, allegedly being treated to champagne in the first class dining saloon on the evening of their rescueAda West died in St Vincent's Nursing Home in Plympton, Devon on 20 April 1953 aged 74. One keepsake that remained in her possession for the remainder of her life was the flask that her husband had passed to her the last time she ever saw him.Her daughter Edwyna, a Titanic survivor in her own right, was married in 1941 to Clarence Patrick Erskine-Lindop (1920-2001) who later became Permanent Secretary for the Ministry of Agriculture, Fisheries and Local Government in the Bahamas and he was made an OBE (Officer of the Order of the British Empire) in 1977. The couple are also believed to have spent time living in Manhattan. Edwyna died in Plymouth in 1969.The paper Mining World wrote 'It is impossible to write without mention of the conduct of this heroic Cornishman who unquestionably might have saved his life had he chosen to take the place that, we suppose, was subsequently occupied by one of the women saved. Of such heroes the world is not worthy. Arthur West may be one of the least known of the Titanic heroes, but none will deny him the distinction of being one of the noblest'.There is a memorial to Arthur West, a former chorister, in Truro Cathedral placed there by his wife and children who had returned to live in Cornwall following the tragedy. See Encyclopedia Titanica (2020).
Four toleware and wirework style twin branch wall sconces, each with pineapple finial, and hanging lustres, each 44cm high, along with a composite lamp base, of inverted baluster form, raku effect body, and faux bronze moulded shoulders, to a spreading circular foot, 62cm high, with a cast brass table lamp base, base of hexagonal form, relief moulded fleur de lis style decoration, the plain polished column supporting a fleur de lis studied capital, 48cm high (6) (at fault) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
British School, early 19th century- A pair of satirical prints: Corsican Condescension or: the Emperors return to his Capital; The Bear and the Monkey Preparing to attack the Turkey!; handcoloured etchings, each inscribed in the plate with title and publisher's inscription for 'Thomas Tegg' of '111 Cheapside' and date '1807' (lower margins), the first numbered '5' (upper right corner), each 22 x 33.4 cm.; together with three further satirical prints by George Moutard Woodward, British, 1760-1809- More Scotchmen or Johnny Maccree, opening his New Budget.; The Sailors Defence!!; The Kentish Hop Merchant and the Lecture on Optics!!; handcoloured etchings, each inscribed in the plate for publisher 'Thomas Tegg', each 24.4 x 34.7 cm., (unframed); and one other satirical print by Henry William Bunbury, A Militia Meeting, engraving, published by Bretherton, (unframed), six (6). Provenance: Private Collection, UK. Note: Impressions of the works titled 'The Bear and the Monkey preparing to attack the Turkey' and 'Corsican Condescension' , satirising Napoleon's invasion of Turkey and the Treaty of Tilsit respectively, are in the collection of the Bodleian Library, Oxford (nos Curzon b.4[168] and Curzon b.12[29]). The latter scene is there attributed to Charles Williams (fl.c.1797-1830).
Thomas Jefferys, British c.1710/19-1771- Plan of the Town and Citadel of Palais, the Capital of Bell'Isle; hand-coloured engraving, 16.1 x 23.3 cm. Provenance: with The Boydell Galleries, Liverpool. Private Collection, UK. Note: Jefferys was a prolific and prominent cartographer and 'Geographer to King George III'. He was particularly well-known for his maps of North America, produced in the mid-18th century, when territorial disputes were raging across the continent. The present map depicts Le Palais, the main town on the island of Belle-Île-en-Mer off the Breton coast, which is itself the second largest of the islands off mainland France, after Corsica. The citadel was built in 1549, and was redesigned in the late 17th century by Sébastien Le Prestre de Vauban, military engineer to Louis XIV. This map is related to the British invasion and occupation of the island from 1761 to 1763.
A pair of late 19thC Worcester porcelain candlesticks, converted for electricity, of white glazed column form, with a composite capital, spiral modelled hairbell enveloped column, above a square outswept base moulded with ram's heads and drapes, for Bailey Banks and Biddle Philadelphia, printed and impressed marks, 21cm high.
Johan Barthold Jongkind (Dutch, 1819-1891)Sortie du port de Honfleur (Leaving the port of Honfleur) Signed and dated 'Jongkind 1866' (lower right)Oil on canvas 58 x 80cm (22 13/16 x 31 1/2in).Footnotes:ProvenancePrivate collection, France;Anon. sale, Hotel Drouot, Paris, 11 March 1988, no. 56;Kunsthandel Ivo Bouwman B.V., Den Haag;Private collection, The Netherlands;Kunsthandel Ivo Bouwman B.V., Den Haag.ExhibitedLondon, Stoppenbach & Delestre, French XIXth and XXth Century Paintings, 1989, no. 16.Dordrecht, Johan Barthold Jongkind, 28 October 2017-27 May 2018.LiteratureVictorine Hefting, Jongkind, Amsterdam, 1992, p. 88, illustrated.Anne-Marie Bergeret-Gourbin, Jongkind au fil de l'eau, Paris, 1994, p. 13, illustrated.A. Stein, S. Brame, F. Lorenceau and J. Sinizergues, Jongkind: Catalogue critique de l'ouevre: Peintures, tome I, Paris, 2003, no. 436, illustrated p. 193.Often described as the Father of Impressionism, Johan Jongkind was born in Lattrop, one of ten children, and showed real artist merit from an early age. Jongkind enrolled at the Academie voor Beeldende Kunsten in The Hague in 1836 under the direction of Andreas Schelfhout, and in 1845 was introduced by Schelfhout to Eugène Isabey. The following year Jongkind left for Paris and settled in Place Pigalle, supported by an annual stipend from the Prince of Orange. By 1850, Jongkind was exhibiting at the Paris Salons, but he chose to show his work in the sections devoted to French artists, rather than acknowledge his Dutch heritage. His increasingly avant-garde style, characterised by short rapid brushstrokes (which was to be so influential on the Impressionists) was not popular with the critics, and led to the artist experiencing intense periods of self-doubt which led to alcoholism and financial insecurity. In 1855, following the death of his mother and the withdrawal of the stipend, Jongkind returned to Holland. However, he had not been forgotten by his friends in Paris and in 1860 a group of around 80 artists led by Camille Corot and Charles-François Daubigny arranged a sale of their work to raise funds to enable him to return to France. Upon his return he settled in Montparnasse where he became friends with Joséphine Fesser-Borrhee. This was the beginning of a critical and lifelong relationship that provided the artist both moral and, probably, financial support, and gave him the confidence to pursue his work even in the light of criticism and rejection from the Salon.In 1862 Jongkind became a member of the Société des Aquafortistes. The importance of this society was not only that it promoted etching as a serious art form, but because it also was an early model of cooperation among independent artists whose work straddled the line between mainstream academic taste and experimental exploration. He also met Claude Monet while visiting Normandy. 'His painting' Monet recalled, 'was too new and too artistic in tone to be rightly appreciated in 1862. Also, no one knew less than he how to show one's qualities. He was a good man, very simple, speaking very bad French, and very shy...He asked to see my sketches, invited me to go work with him, explained to me the how and why of his manner and completed the teachings I had received from [Eugène] Boudin. From this moment on [Jongkind] was my true master, and it is to him that I owe the definitive education of my eye.'1Two years later Jongkind was working again with Monet in and around Honfleur - where the present lot was painted in 1866. Monet was impressed by his working method of making sketches en plein air to be used as notes for when back in the studio. Similarly, his habit of painting the same scene at different times of the day or in different weather conditions was to have a profound effect on Monet.Still, Jongkind failed to find favour with the critics in Paris and he was rejected again from the Salon in 1873. He determined to leave the capital and by the 1880s, he was spending the summer months in the south of France where his landscapes, often in watercolour, proved more popular and sales increased. But this respite was short lived as by early 1891, fuelled by alcoholism and depression, his mental state had deteriorated. He was admitted to a psychiatric hospital in Saint-Egrève and died in February 1891.1F. Thiébault-Sisson, 'Claude Monet, an Interview' Le Temps, Paris, November 27, 1900, p. 3.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
A pair of 18ct gold diamond set Asprey 'Signature' design hoop earrings, c.2006,with a series of pierced capital letters, alternating between plain polished and micro pavé set with brilliant cut diamonds, to post and omega fittings. London 2006. A stated total diamond weight of 0.72ct, signed Asprey. 21mm diameter, 6.40mm wide, 11.65g (2)Condition ReportLight surface marks commensurate with its age.Diamonds bright and lively.
SEBASTIAN ERARD GRECIAN HARP WITH WELSH PROVENANCE with bird's eye maple frame, the gilded Corinthian column carved with Grecian figures and palmettes to the capital and base, fitted with eight pedals, on paw feet, engraved Sebastian Erard Harp & Pianoforte Maker in Ordinary to her Majesty and the Royal Family (on one brass arm plate) and further engraved Sebastian Erard Patent no 4963, 18 Great Marlborough St London (on the other side), circa 1830, 170cms h, 80cms wProvenance: former owner was the vendor's great-Uncle William (Wil) Jones (1910 – 1981) of Codau Mawr, Llangernyw, Abergele, and thence by descent.. The self-taught Wil Jones used to perform in Eisteddfod and chapels, he worked as a farmhand and worked in a quarry, also a keen poet and lyricist. To accompany a typed local history manuscript in Welsh, 'Cymeriad', with information on Wil Jones and his performances, also to accompany a bound Welsh music score 'Moliant Israel sef Crynoad o Donau a Dyganau Cynulledfaol Gwreiddiol a Dotholedig' (praise of Israel - a collection of original and selected congregational tunes and songs), inscribed in the fly-sheet by members of Wil's family and by Peter Parry with address in Llanelian, 1872, also various photographs of Wil and copies of a harpist manual 'Allwedd y Tannau', an old purse of English gut harp-strings and tools etc.Additional provenance added on 03/11/23 after catalogue printing: photographs / notice of rememberance / poem etcComments: gilt section overpainted in gold paint.
A PAIR OF GEORGE II CAST SILVER CANDLESTICKS JOHN CAFE, LONDON 1751 With shaped circular sconces, reel capitals, knopped baluster stems and shaped circular moulded spreading bases with leaves at intervals 22.5cm (9in) high 1196g (38.45 oz) Condition Report: Candlestick 1 - Marks to base are clear, marks to capital worn, sconce unmarked, stands well, play to the sconce, no engraving, shells to the sconces rubbed, some pitting to the base, start of a possible split towards the base of the stemCandlestick 2 - Marks to base are clear, marks to capital worn, sconce with partial maker's mark ... . P, sconce with worn crest, stands well, some pitting to the baseThe sconces appear to be matched to the candlesticksBoth with light scratches and wear commensurate with age and use Condition Report Disclaimer
A PAIR OF GEORGE II SILVER CANDLESTICKS WILLIAM SKEEN, LONDON 1755 The sconces with shells to the corners, baluster capitals, knopped stems and on shaped circular moulded spreading bases with foliage 25cm (9 3/4in) high 1694g (54.45 oz) Condition Report: Candlestick 1 - Marks clear, split and small piece missing to foot rim, badly wobbles, sconce fits tightly to the capital, stands true, rubbing to the decorationCandlestick 2 - Marks clear, stands well, stem slightly bent, sconce does not sit flush, some rubbing to the decorationBoth with light scratches and wear commensurate with age and useSplits and knocks to the ends of both sconces Condition Report Disclaimer
A PAIR OF GEORGE III CAST SILVER CANDLESTICKS EBENEZER COKER, LONDON 1760 With shaped square sconces with foliage to the corners, reel capitals, foliate knopped stems and on shaped moulded square bases with foliage and shells 25.5cm (10in) high 1151g (37 oz) Condition Report: Candlestick 1 - Marks to the base are clear, rubbed maker's mark to the capital, sconce appears to be unmarked, rubbing to the high points of the decoration, wobblesCandlestick 2 - Date to base partially obscured, rest are clear to the base, worn mark to the capital, sconce unmarked, rubbing to the high points of the decoration, stands well, one corner of the sconce knockedBoth with light scratches and marks commensurate with age and useCondition Report Disclaimer
A GEORGE III SILVER CENTREPIECE PAUL STORR, LONDON 1811 With an acanthus leaf and mask capital to a scroll and shell pedestal, to a tapering reeded column, to three scrolled lion leg and claw feet, the base engraved with a crest 73.5cm (29in) high 4045g (130.05 oz) The arms of Charles DUNDAS (1751-1832) Esquire of Barton Court and his first wife Anne WHITLEY (1760-1812) daughter and heir of Ralph WHITLEY (died 1761) of Aston Hall co. Flint. They were married 1782 at Richmond, Yorkshire. Charles DUNDAS was the son and eventually heir of Thomas DUNDAS (1710-1786) of Perth, Scotland by Janet MAITLAND (1720-1805). He was an MP for Richmond 1774/1784-6, for Orkney and Shetland 1781-4 and Berkshire 1794-1832. From 1783 he was the first Chairman of the Kennet and Avon Canal Company. From his first marriage Charles inherited great wealth and property, which included Aston Hall. In 1822 Charles married for a second time Margaret BARCLAY (1754-1841) the daughter of Charles BARCLAY and twice widowed: Firstly Charles OGILVY. Secondly Major Archibald ERSKINE. In 1832 Charles DUNDAS was created Baron of Amesbury and Barton Court, Berkshire and Aston Hall, Flintshire. The short-lived title became extinct on Charles's death at his property in Pimlico, his only issue being two daughters from his first marriage. Condition Report: Later drilled for a light fittingThree numbered apertures for arms/branchesThe centrepiece has some wear commensurate with age and use such as light scuffs and scratches, some slight rubbing to the high relief from polishing, stands true. The engraving is crisp Condition Report Disclaimer
A PAIR OF MATCHED VICTORIAN SCOTTISH SILVER GILT FOUR LIGHT CANDELABRA WILLIAM MARSHALL, EDINBURGH 1885, THE OTHER N. C, POSSIBLY JOHN CRICHTON, EDINBURGH 1879 The shaped circular sconces embossed with a band of flowers and each applied with three seated figures, the capitals with four male figures, to three beaded scroll arms with fauns, the stem pierced and chased with foliate scrolls and applied with figures and animals, to conforming circular domed bases 51.5cm (20 1/4in) high 5283g (169.85 oz) Condition Report: William Marshall - Marks are partially obscured, slightly wobbles, stem slightly bent, gilding good, arms do not sit in flush to the stem, three sconces with duty mark only, the other unmarked, some of the balls missing from the arms, one arm/capital bentJohn Crichton? - Marks clear, slightly wobbles, stem slightly bent, gilding good, arms sit flush, but with play, some of the ball missing from the arms, one sconce with a gap, the others sit wellBoth with light scratches and wear commensurate with age and useCondition Report Disclaimer
A PAIR OF MIDDLE EASTERN SILVER COLOURED NINETEEN LIGHT CANDELABRA MARKS INDISTINCT With a central trumpet shaped capital and six smaller to the top six scroll arms, above twelve urn shaped capitals on scroll arms, applied with birds, cherubs and foliate swags, to a urn and octagonal tapering stem, on an octagonal foot, chased and engraved with flowers and foliage 91cm (35 3/4in) high 13067g (420.2 oz) Provenance: From the Private Collection of a titled family Condition Report: Candelabra 1. Marks indistinctSlightly wobblesBase drilled for possible wiring Four lower branches with play, one middle tier branch with play, one upper tier branch slightly coming away from the bodyCandelabra 2. Marks indistinctSlightly wobblesBase drilled for possible wiringTwo lower branches with play, rest are good No personal engravingBoth with light scratches and wear commensurate with age and use Condition Report Disclaimer
UTAGAWA HIROSHIGE (1797-1858)EDO PERIOD, 19TH CENTURYTwo Japanese woodblock prints, one entitled Oji Otonashigawa entai, sezoku Otaki to tonau (Dam on the Otonashi River at Oji), number 19 from the series Meisho Edo hyakkei (One Hundred Famous Views of Edo); the other entitled Tôto Asukayama (Asuka Hill), from the series Toto sanjurokkei (Thirty-Six Views of the Eastern Capital), both signed Hiroshige ga; together with two other woodblock prints, one giga humorous print possibly by Katsushika Hokusai, and another gruesome depiction of a dead couple by an unknown artist, 36.5cm x 25cm max. (4) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
Studio of Joshua Reynolds (English, 1723-1792). Oil on canvas painting titled "Venus and the Piping Boy (Nymph and Boy)" depicting a nude Venus resting on a sumptuous cloth while a boy plays a pipe for her, ca. 1787. This painting after an original by Reynolds in the Polesden Lacey collection.Provenance: New Orleans Museum of Art; Christie's New York, "The House Sale," February 1-2, 2005, Lot 105; Private Collection; Bonham's, "Capital Style: Two London Collections," October 4, 2017, Lot 184; Private Minnesota Collection.Exhibition: Probably at Columbus Gallery of Fine Arts, "35 Portraits by Joshua Reynolds and His American Contemporaries," February 1958.Unframed; height: 51 in x width: 41 in. Framed; height: 52 1/4 in x width: 42 1/4 in. />Condition: The painting has been restored. There are areas of inpainting throughout that fluoresce under UV light. The largest of these areas is throughout the upper left quadrant. Craquelure throughout the painting. There is a large patch along the verso, visible in the lot listing. There is another smaller repair along the verso. For condition photos of this lot please see the following link: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0
A LAOTIAN BRONZE RECLINING FIGURE OF BUDDHA 19TH CENTURY, PROBABLY FROM VIENTIANE With a deep brown patina, the figure reclines in parinirvana on a rectangular dais with a double lotus border, his face is tranquil and smiling, his right arm supports his head and his left lies in a relaxed posture, 4.5kg, 31.5cm. The subject matter of this image is the passage of the Buddha into Nirvana. He lies down on a royal couch in the sala grove of the Malla kings beside the Hirannavati River. Surrounded by his faithful monks he utters his final words: "Everything is subject to change; strive on without delay" and at dawn on the following day passed into the great Nirvana. The Laotian kingdom of Lan Xang or Lan Chang was established during the 14th century and ruled by Thais. Its northern capital of Luang Prabang was subjected to cultural influences from the northern Thai city of Chiang Mai, while its southern capital, Vientiane, absorbed Khmer and Ayutthaya motifs. For a closely related bronze parinirvana Buddha see S Lopetcharat, Lao Buddha: The Image and Its History, Bangkok, p.229.
![[Sardar, Jarmani Dass]. Visit of His Royal Highness The Prince of Wales, K. G., M. C. to the capital of the Punjab. February](https://cdn.globalauctionplatform.com/b9199598-926c-41b8-aeda-b0a600f4e350/727cd5ee-51e1-4670-93a6-b0af00bfdc47/468x382.jpg)
[Sardar, Jarmani Dass]. Visit of His Royal Highness The Prince of Wales, K. G., M. C. to the capital of the Punjab. February 25th - 1st March 1922, Lahore: Printed by the Supdt., Govt. printing, Punjab, [1922], folding frontispiece, 10 black and white plates after photographs, folding map at rear, light scattered spotting, original limp black cloth, lightly rubbed, 8voQTY: (1)NOTE:Scarce. We can only trace two copies held institutionally.
Bindings. The Works of Charles Dickens, 12 volumes, London: Chapman and Hall, circa 1890s, monochrome illustrations, period inscriptions to the front endpapers, some light toning & marks, contemporary uniform gilt decorated red half morocco, boards & spines slightly rubbed, 8voThree Visits to Madagascar during the years 1853-1854-1856, including a journey to the capital,..., by William Ellis, 1st edition, London: John Murray, 1858, monochrome folding frontispiece & illustrations, period inscription to the front endpaper, some minor toning & spotting, contemporary gilt decorated full calf bound by W. Nutt, boards & spine slightly rubbed, 8voThe Indian Mutiny of 1857, by G. B. Malleson, large paper edition, London, Seeley and Co., 1891, monochrome portraits & maps, inscription dated 'Xmas 1900' to the front pastedown, some light spotting, contemporary gilt decorated tree calf, boards & spine slightly rubbed, front hinge cracked, 8vo, un-numbered limited edition of 250 copies, together with 27 further volumes of 19th century bindings, mostly gilt decorated leather, overall condition is generally good/very good, 8voQTY: (3 shelves)NOTE:41 volumes
Lysons (Daniel). The Environs of London: Being an Historical Account of the Towns, Villages, and Hamlets, within twelve miles of that capital, 6 volumes (including 1811 Supplement), London: A. Strahan for T. Cadell, 1792-1811, numerous engraved maps, plates and plans, some folding, a few colour, occasional light spotting and offsetting, manuscript note at front 'Clegg Collection August 1942', original cloth, spines faded with tears and splits, some edge wear, 4to, together with Hakewill (James). The History of Windsor, and its Neighbourhood, 1st edition, London: printed for Edmond Lloyd, 1813, half-title, 3 folding maps and plans, 18 engraved plates, some spotting and light offsetting, hinges reinforced, later cloth, a few marks, 4to, plus 2 others: Thomas Pennant's Some Account of London, 4th edition, 1805, and Walks through London, including Westminster and the Borough of Southwark, with the surrounding suburbs, by David Hughson, 2 volumes, 1817 (volume I upper cover detached), 8voQTY: (10)
A late Victorian 9ct gold pencil holder and other items first plain design, Birmingham, 1901, Arthur Downing, together with Guatemala Rafael Carrera 4 Reales, a small slide action propelling pencil with foliate engraved hexagonal barrel and shield shaped hardstone set capital bearing monogram and an 18ct gold stud, (4)first length 8.5cm., total weight excluding propelling approx. 7.5gCondition: Good condition
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hang woodblock print titled "Approach to Agra No. 3" depicting a crowd moving towards Agra, a city on the banks of the Yamuna river in the Indian state of Uttar Pradesh, southeast of the capital New Delhi, 1932. The Taj Mahal in the background shines brightly. Jizuri seal along the upper left margin. Pencil signed along the lower right; titled along the lower left; marked with Yoshida's seal in plate along the lower left; further inscribed in Japanese along the left margin. The jizuri "self-printed" seal indicates that the printing process was directly supervised by him and that he played an active role in the creation of this print. These seals were typically reserved for only the highest quality impressions as decided by Yoshida.One of the leading figures in the Japanese Shin-hanga movement, Hiroshi Yoshida was born in Fukuoka in 1876. In 1893, he moved to Kyoto and studied yoga and nihonga styles of painting and watercolors. It came only in middle age he started collaborating with the shin-hanga publisher Watanabe Shozaburo. Despite his late debut as a shin-hanga printmaker, he successfully put himself on the map as the greatest artist of the shin-hanga style and is especially noted for his excellent landscape prints. His prints are highly recognized in both Japan and overseas.Height: 11 in x width: 15 3/4 in. />Condition: No visible tears, losses, or signs of restoration under UV light. The sheet is toned and has very light wear along the upper and right margins, original to the artistic practice. The color is bold and bright. Very light creases along the margins, which do not affect the center image. Along the verso, the paper is toned and has a light foxing began to form to the center of the sheet.
ARISTOTLE'S MASTER-PIECEAristoteles Master-piece, or, The Secrets of Generation displayed in all the parts thereof., Containing, 1. The Signes of Barrenness. 2. The Way of Getting a Boy or Girl. 3. Of the Likeness of Children to Parents....7. The Prejudice of unequal Matches. 8. The Discovery of Insufficiency... 11. How a Midwife ought to be Qualified... 14. The Fabrick of the Womb. 15. The Use and Action of the Genitals. 16. Signs of Conception, and whether of a Male or Female. 17... 18. Instructions for Women with Child... to which is added a Word of Advice to both Sexes in the Act of Copulation: and the Pictures of several Monsterous Births drawn to the Life, FIRST EDITION, woodcut frontispiece of 'a Maid all Hairy, and an Infant that was black by the Imagination of their Parents', with blank H12, 6 woodcuts of monstrous births (including repeat of frontispiece) at end, blank free endpapers, final gathering frayed with short tears at fore-edge with minor losses just touching image and 1 letter of I6, and catch-word of I4, contemporary sheep, rubbed with small loss at upper margin of lower cover [ESTC R504793; Wing A3697fA], 12mo, J. How, and are to be sold next door to the Anchor Tavern in Sweethings-rents in Cornhil, 1684Footnotes:SCARCE COMPLETE COPY OF 'THE DIRTY BOOK OF THE EARLY MODERN PERIOD'.'Aristotle's Masterpiece was the most popular book about women's bodies, sex, pregnancy, and childbirth in Britain and America from its first appearance in 1684 up to at least the 1870s. More than 250 editions are known, but all are very rare... It was sold furtively by country peddlers and in general stores and taverns; regular booksellers seldom advertised it, though they usually had it under the counter' (The Library Company of Philadelphia, 'Treasures', online catalogue). The work 'was still on sale, contents largely unaltered, in Soho sex shops in the 1930s' (Books and Babies, Cambridge Library, 2011) and James Joyce's protagonist Leopold Bloom peruses an edition of the book in Ulysses. The work was in fact assembled from Levinus Lemnius's The Secret Miracles of Nature (1564) and Jakob Rüff's midwifery manual De conceptu et generatione hominis (1554), and the attribution to Aristotle is of course totally spurious and probably a vain attempt to give the work some measure of respectability.This is the earliest publication date for the Master-piece, ESTC listing three variant settings of 1684, all printed by J. How, with no priority having been established. ESTC records only the incomplete British Library copy (which lacks final gathering I1-6) of our setting, which has line 11 of title ending 'both', line 18 of title ends 'Ge-', and the first line of the imprint ending 'sold', the first line of imprint ends 'sold', signature B5 is under the 'nt Bl' of 'effluent Blood' and on p.190 the fifth line from bottom begins with a capital 'Q'.Provenance: '?J. Riam... [scuffed] his book 1740 February the 21', light ink ownership inscription on the verso of the title-page.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
HUME (DAVID)Series of four rediscovered autograph letters to Horace Walpole from Scottish philosopher David Hume (1771-1776), speaking of his infamous argument with Jean-Jacques Rousseau, justifying the publication of his account and distancing himself from Walpole's 'King of Prussia letter', comprising:i) Autograph letter signed ('David Hume') to Horace Walpole ('Dear Sir'), recounting how he has received a letter from D'Alembert '...who tells me, that, on receiving from me an account of my affair with Rousseau, he summon'd a meeting of all my literary friends at Paris...' who all agreed, contrary to his own opinion, that he should give a public statement '...especially after receiving the last mad letter... it is of great importance for me to justify myself from having any hand in the letter from the King of Prussia... I am collecting all the original pieces and shall connect them by a concise narrative...', ending by asking for Walpole's letter and Rousseau's answer, integral address panel, docketed in ink and pencil, one page on a bifolium, dust-staining, creased, seal tear, remains of red wax seal, 4to (226 x 185mm.), [n.p.], 'Saturday Forenoon' [but Saturday 26 July 1766, dated from Walpole's reply of that day, according to Correspondence, p.24]ii) Autograph letter signed ('David Hume') to Horace Walpole ('Dear Sir'), regarding the account of his '...rupture with Rousseau...' to be published by his friends (Exposé succinct de la contestation qui s'est élevèe entre M. Hume et M. Rousseau, published at Paris in October 1766), notifying him that he has included Walpole's letter '...justifying my innocence with regard to the Prince of Prussia's letter...', and his reluctance to publish but '...my antagonist had wrote Letters of Defiance against me all over Europe, and said, that the Letter he wrote me was so confounding to me that I would not dare to show it to any one without falsifying it... my Silence might be construed into a Proof of Guilt...', mentioning that the book will probably be soon in London, docketed in pencil, 2 pages on a bifolium, dust-staining, creased at folds, 4to (228 x 185mm.), Edinburgh, 30 October 1766iii) Autograph letter signed ('David Hume') to Horace Walpole ('Dear Sir'), on the publication of his '...Narrative of this ridiculous Affair between Rousseau & me...', objecting to D'Alembert writing in his appendix that the King of Prussia's letter was cruel, possibly because Walpole is a friend of his enemy Madame du Deffand, and that passages in the narrative that mention Walpole have been '...altered in translation, and rendered much less obliging than I wrote them...', assuring him that his original words will be restored in the edition printed in London, docketed by Walpole on reverse 'Recd Nov. 8th 1766.', 2 pages on a bifolium, dust-staining, frayed, creased at folds, some small holes, 4to (228 x 185mm.), Edinburgh, 4 November 1766iv) Autograph letter signed ('David Hume') to Horace Walpole, a long letter explaining why he felt it necessary to reluctantly consent to the publication ('...I am as sensible as you are of the ridicule to which Men of Letters have expos'd themselves, by running every moment to the Public, with all their private Squabbles and Altercations... My antagonist, by his Genius, his Singularities, his Quackery, his Misfortunes & his Adventures had become more the subject of general Conversation in Europe... than any person in it... How else could it have happened that a Clause of a private letter which I wrote somewhat thoughtlessly to a private Gentleman at Paris, should in three days time have been the only subject of Conversation in that Capital, and should thence have propagated itself everywhere, as fast as the Post could carry it?...'), apologising for suppressing Walpole's clause where he admitted to composing the King of Prussia's letter, discussing D'Alembert ('...a ...model of a virtuous and philosophical character...') and Madame du Deffand, vindicating himself and his friends, ending by begging him '...to consider the great difference in point of morals between uncultivated and civilized ages...', the postscript pointing out '...The French Translation of this strange Piece... was not made by Dalembert...', 6 pages on 2 bifolia, dust-staining, creased at folds, some small tears, 4to (235 x 188mm.), Edinburgh, 20 November 1766For further information on this lot please visit Bonhams.com
DRIJVERS, J.W. Helena Augusta. The Mother of Constantine the Great and the Legend of Her Finding of the True Cross. 1992. Ocl. w. dust-j. -- J. CURRAN. Pagan city and Christian capital. Rome in the fourth c. 2000. Obrds. w. dust-j. -- M. MAAS. John Lydus & the Roman past. Antiquarianism and politics in the age of Justinian. (1992). Obrds. w. dust-j. -- N.H. BAYNES. Constantine the Great & the christian church. 2nd ed. (1972). Ocl. w. dust-j. -- F. MILLAR. The emperor in the Roman world. (1992). Owrps. -- And 5 o. (10).
PERIODICALS -- HORA DE ESPAÑA. Revista Mensual. Barcelona, 1937-38. 21 vols. Owrps. NOTE: 'Hora de España' was a monthly cultural magazine published in Valencia (capital of the Second Republic at the time) and Barcelona, founded by intellectuals loyal to the Second Republic during the Spanish Civil War. A total of 23 issues were published, between January 1937 and January 1939. Lacking unfortunately n° 9 & 23.
A quality 19th Century Irish mahogany Stick Barometer, the rectangular glazed top with stamped capital, etched scales marked 'Mason, Essex Bridge, Dublin," and vernier adjustment, the trunk with glass thermometer (damaged) enclosed mercury tube, and urn shaped cistern cover, approx. 97cms (38") long. (1)
A fine quality Irish Georgian period Provincial Grandfather Clock, the ornate hood with dentil moulded swan neck capital over blind fretwork frieze, the glazed hinged door housing an ornate brass dial with Roman and Arabic figures by 'Bailie (William) of Down' c. 1820s, flanked either side by reeded columns, the main body with shaped panelled door with herringbone inlay flanked by half reeded columns, on a box base with bracket feet, approx. 233cms (92'') high. (1)
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