Original vintage travel advertising poster for Grace Line Caribbean South America Cruises featuring colourful artwork by Carl G. Evers (1970-2000) titled Curacao Netherlands West Indies depicting a busy harbour scene in the capital city of Willemstad with passengers on an ocean liner (possibly the SS Santa Rosa; launched 1932) on the calm water with cars driving by the historic colonial buildings of the 17th century Dutch Golden Age architecture style with stepped gable frontages (including the Penha Building; built 1708) in the background, a man leading a donkey with a barrel on the cart and people on covered sailing boats selling fruit, flowers, hats and other souvenirs to tourists on the pier in the foreground, a man fishing at the end of the dock. Good condition, restored tears, staining, paper loss on top right corner, backed on linen. Country of issue: USA, designer: Carl G. Evers, size (cm): 106x72, year of printing: 1960s.
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Original vintage travel poster published by Aeroflot Soviet Airlines - Welcome to Tbilisi - promoting tourism to Georgia, the poster features a photograph of Narikala, an ancient fortress overlooking Tbilisi, the capital of Georgia on the banks of the Mtkvari / Kura river, with the city in the distance, blue lettering and white winged hammer and sickle logo of the company below. Good condition, creasing, tears, staining, paper loss in top left corner. Country of issue: Russia, designer: unknown, size (cm): 97x66, year of printing: 1980s.
An Egyptian limestone fragmentary royal shabti with cartouche for the Pharaoh Akhenaten New Kingdom, 18th Dynasty, reign of Akhenaten, circa 1352-1336 B.C.18cm high Footnotes:Provenance:Anonymous sale; Sotheby Parke Bernet, New York, 4th May 1974, lot 137.with Charles Ede Ltd., London (Small Sculpture from Ancient Egypt, July 1976, no. 4).Bodo Bleß (1940-2022) collection, Berlin, acquired from the above.Published:G.T. Martin, The Royal Tomb at el-Amarna II, Egypt Exploration Society, 1989, p.58 and pl.90, no.499; 'Presumably originally from the Royal Tomb or Royal Wady'.The reign of Akhenaten marked an important break in Egyptian history as the pharaoh introduced a radical programme of religious and artistic reformation. At the death of his father Amenhotep III, he changed his name to Akhenaten and moved the capital to the new city of Akhetaten, modern Tel el-Amarna. He ruled from there together with his wife, Queen Nefertiti. The aim of his reform was to substitute the traditional polytheism for a new monotheistic cult centred around the deified sun disc, Aten. For further discussion, see R. E. Freed, Y. J. Markowitz and S. H. D'Auria, Pharaohs of the Sun. Akhenaten, Nefertiti, Tutankhamen, London, 1999, pp.17-28.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
An Egyptian painted wood anthropoid coffin for the lady Irtwrw Third Intermediate Period-Late Period, circa 25th-26th Dynasty, circa 747-525 B.C.173cm highFootnotes:Provenance:with Jacques Schulman N.V., Amsterdam.Bodo Bleß (1940-2022) collection, Berlin, acquired from the above on the 2nd September 1965.The gilded face of the coffin links the deceased with the sun god and regeneration. Below there is a large elaborate collar with a sun disc beneath.The front of the coffin: The upper register is painted with a central seated Osiris, with text reading: 'Words spoken by Osiris, great god, lord of Rostjau'. To the right the Four Sons of Horus are depicted on a lotus, with the falcon-headed soul of Pe behind. Behind Osiris over an offering table there is another winged disc protecting the god and also protecting him is his wife, Isis, with text reading: 'Words spoken by Isis'. Behind her is Nephthys, with a red cloth over her arm, with text reading:'Words spoken by Nephthys, given life'. Behind is the jackal-headed soul of Nekhen. Both Pe and Nekhen are named in the register below.The second register shows a seated falcon-headed deity wearing a sun disc, named as Osiris. He is flanked by winged goddesses and wedjats on a basket: both the goddesses are named as Isis. On the right she is 'given life', on the left called 'the great'. To the right a standing falcon-headed god with arms in gesture of jubilation with text reading: 'Words spoken by the Soul of Pe,given life, stability, all dominion, health for ever'. On the left a standing jackal-headed god in a mirror posture, named as 'Soul of Nekhen, given life, stability, dominion, health'. They are the protective deities of Lower and Upper Egypt respectively.In the third register Anubis tends the mummy on a lion-headed funerary bed with the deceased woman's name below, 'Irtwrw'. To the right stands winged Isis, named as 'the great land divine mother', and to the left there is another winged Isis with a wedjat on a basket, named 'the great [...]'.The lowest panel shows a winged Wadjyt and winged Nekhbet flanking a central column of text. The cobra-headed Wadjyt is named as 'Wadjyt of Dep and Pe (the double capital of Lower Egypt), mistress of per-nw (a Lower Egyptian sanctuary), given all life, stability, dominion, dominion forever'. Nekhbet is represented with a cobra head, with text naming, 'The White One'; the other epithets are missing. The central text reads: 'An offering which the king gives to Osiris foremost of the West, invocation offering of bread and beer for the Osiris'.The back of the coffin is decorated with the standing winged figure of the goddess Nut, with the three hieroglyphs naming her in front of her face. The goddess wears a long close-fitting sheath dress and bracelets, and holds maat feathers in her hands. The field is filled by palm fronds.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
* GERARD BURNS (SCOTTISH b. 1961), UNTITLED oil oon canvas, signedframedimage size 61cm x 61cm, overall size 88cm x 88cmNote: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.
* GERARD BURNS (SCOTTISH b. 1961), UNTITLED oil on canvas, signedframedimage size 60cm x 60cm, overall size 82cm x 82cm Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.
Michel Basbous (Lebanon 1921-1981)Tête voilée (Veiled Head) bronze signed, dated and numbered '2/8', number 2 from an edition of 8, executed in 197735.5 x 8.5 x 5.5 cm Footnotes:Provenance:Property from the Artist's EstateBorn in 1921, in Rachana precisely. Michel Basbous, son of a priest of a tiny village in the north of Lebanon was amongst the first students to enroll at the newly founded 'Academie Libanaise des Beaux-Arts'(ALBA) in 1945 and one of its first graduates. Three years on, and after his first public success in the capital, he left to Paris in 1950 were he joined the atelier of Zadkine. His master there, Gaumont, asked him the purpose of his stay in Paris, and Basbous answered, deadpan, 'To learn sculpture'. Gaumont replied: 'Lebanon, the Mediterranean, Phoenicia, Assyria, Babel, Egypt... You have them all. What are you doing here? Go back to your country.' Ultimately, Basbous would obey this sage stricture. But not before having accomplished much in Paris. Upon his return in 1956, and after a short stay in Beirut, he took the surprising decision to move back to his native village Rachana. Back then, Rachana was not even accessible by asphalted roads. ' It was a new experience for me. As I did not have a workshop in the village, I placed my works on the side of the road and started working in the open air.'Michel spared no efforts to nurture a public interested in the arts, so he created the festival of Rachana in 1960, mixing theatre, music, poetry with sculpture and painting, in the hope of motivating people to interact with different kinds of cultural activities. He invited famous figures like César, Jack Lang, Karlheinz Stockhausen, Hasan Fathi and Adonis just to name a few. He fought fiercely to disseminate sculptures in public spaces, government buildings, municipal gardens... He spared no efforts to export his art to the world, multiplying trips to the USA, Japan, France and elsewhere. He experimented in different genres, styles, sizes, media from the classical marble, stone, wood, bronze, alloys to the more experimental fibre glass, resin, cement. He also believed that the world will discover him one day as a gifted painter as he was known as a talented sculptor. He was a charismatic man, larger than life. Michel Basbous, pioneer of modern sculpture, especially monumental in his country and the Arab world. His artworks are found at Oxford Museum in London, British Museum London, UENO Museum in Japan, the Modern Art Museum in France as well as in many other public places in Lebanon and abroad.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Abdallah Benanteur (Algeria, born 1931)Le Chant du pré oil on canvassigned (lower right), signed, dated and titled on the verso, executed in 198560 x 120cm (23 5/8 x 47 1/4in).Footnotes:Provenance :Property from a private collection, Paris Christie's, Modern & Contemporary Middle Eastern Art Auction, Dubai 26 October 2011Acquired from the above by the present ownerBorn in 1931 in Mostaghanem, Abdallah Benanteur was brought up in an Algerian family and cultural environment, specifically enthralled by writing and illuminated manuscripts, by mystic Muslim poetry, by Andalusian music and songs. In 1953, he settled down in Paris, which he transformed into his own capital of life and creativity. Abdallah Benanteur passed away on 31 December 2017, at Ivry sur Seine, France. Impregnated by the Arab culture from his native Algeria, by the great European painting in museums across France and Europe, by the graphic arts and manuscripts from Europe, the East and the Far East, inspired by the poets from around the world, he managed to create his own personal and sublime works, producing lyrical landscapes infused with the light of his Mediterranean homeland and that of his adopted Brittany, as well as a transcendental light that transforms the memory's landscapes in a paradise peopled by his beloved 'chosen' ones'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
Paul Fordyce Maitland (British, 1863-1909)Kensington Gardens, Afternoon Haze signed 'P Maitland' (lower left); further signed, titled and indistinctly inscribed 'No.46 18- eac--/'Kensington Gardens/Afternoon Haze' (on artist's label attached to the reverse)oil on canvas63.5 x 76.8cm (25 x 30 1/4in).Footnotes:ProvenanceWith The Leicester Galleries, London.Anon. sale, Sotheby's, London, 21 June 1986, lot 39. Private collection, UK (acquired from the above sale).LiteratureKenneth McConkey, British Impressionism, Oxford, 1989, no. 86, p. 92, illustrated.The present lot is an unusually large composition for the artist, who dedicated his career to painting the parks and streets around Kensington and Chelsea. An acolyte of Whistler, and a student of Theodore Roussel, Maitland was accepted into the New English Art Club in 1888, and exhibited at the influential London Impressionists exhibition at the Goupil Gallery the following year. Kenneth McConkey describes the artist's work as 'the calm accumulation of marks and meditations', noting that Maitland's 'scenes in Kensington Gardens with their tall trees and frail distant figures provide the basis of a vision of the capital which slowly emerged in the twenty years after the London Impressionist's exhibition'11Kenneth McConkey, British Impressionism, Oxford, 1989, pp. 88-89.For further information on this lot please visit Bonhams.com
SPRINGBANK 2003 15 YEAR OLD RUM WOOD CAMPBELTOWN There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: December 2003Bottled: August 2019One of only 9000 bottles released.51% ABV / 70clThere is some very slight wear to the top edge of the back label, which is an issue common with most recent Springbank expressions. Asside from this, there are no condition issues to report. Please see additional photographs for details and illustration of fill level.
SPRINGBANK 12 YEAR OLD CASK STRENGTH 2019 RELEASE There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.57.1% ABV / 70cl
SPRINGBANK 10 YEAR OLD 2019 RELEASE CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
SPRINGBANK 10 YEAR OLD 2015 RELEASE CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
SPRINGBANK DISTILLERY VISITORS 2008 MINIATURE CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.No stated ABV / Approximately 5cl
SPRINGBANK 15 YEAR OLD 2000S CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
SPRINGBANK 10 YEAR OLD HMS CAMPBELTOWN DECOMMISSIONING CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.50.5% ABV / 70cl
SPRINGBANK 21 YEAR OLD 2020 RELEASE CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
SPRINGBANK 2009 10 YEAR OLD LOCAL BARLEY CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: July 2009Bottled: October 2019One of only 9000 bottles released.Made from locally grown Optic Barley.56.2% ABV / 70cl
SPRINGBANK 21 YEAR OLD 2000S CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
LONGROW RED 13 YEAR OLD CHILEAN CABERNET SAUVIGNON MATURED CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.One of only 9000 bottles released.51.6% ABV / 70cl
SPRINGBANK 15 YEAR OLD 2000S CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
SPRINGBANK 10 YEAR OLD CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
A historicist Revival oak library bookcase, outswept cornice with gadrooned capital above a pair of leaded bullion and sheet glass doors enclosing three shelves, the base with a linenfold panel door, carved throughout with masks, stylised flowers and lunettes, plinth base, 230cm high, 126.5cm wide, 58cm deep
Pierro Fornasetti (1913-1988) Four plates, 'Giornal', 'Gentili', 'Trompe-l'oeil' & 'Calendario' series, circa 1970-2000 Printed porcelain Each with printed manufacturing marks / Fornasetti hand symbol Giornal : 26.2cm diameter ; Gentili : 25.5cm diameter ; Trompe-l'oeil : 23.5cm diameter ; Calendario : 24cm diameterCondition Report: Giornal - surface wear throughout to include scratches and minor surface blemishes, small areas of rubbing to text throughoutGentili - Only light surface wear, in generally good clean overall conditionTrompe-l'oeil - Only light surface wear, some minor rubbing in areas to text, otherwise in in generally good clean overall conditionCalendario - Only light surface wear, some rubbing to printed decoration to right hand side of ionic capital and to top of hand
Capital porcelain teapot with blue and white decor of 2 long lines and servant with tea ritual under willow on one side and man with dotted horse and man with cart under willow on the other side and lid with 3 fools, with silver fittings, China Kangxi period, 23 cm high, 32 cm wide (ear restored and glaze damage, lid with hairline, glaze damage spout)
A fine damascened sword, Jineta, in the nasrid Hispano- Moresque taste, formerly displayed by the Munich Swordcutler Johann Stroblberger and perhaps from his workshop, late 19th century. With very slender blade formed in two stages, the lower part flattened and etched with a gilt panel filled with an inscription inhabited by minute birds that is repeated by a different hand on the reverse side, blued iron hilt modelled on the Nasrid type, finely damascened in delicate gold and silver bands of leafy tendrils linked by linear interlace, heightened with pellets, circles and stars, and enclosing rosette-shaped cartouches filled with a brief inscription repeated on both sides of the pommel and guard, the grip retaining its original white rayskin covering, and the hilt in fine condition throughout. L. overall: 105.3 cm - L. blade: 84.3 cm - W.: 9.3 cm. The inscription on the blade was translated by Dr. Stefan Hedelmann of Berlin as "Al-K?mil Sayf ad-D?n Chaban": the name of a Mameluk Bahri Sultan ruling in 1345-1346 A.D. (A.H. 746-747). The sword was inspired by the very small surviving group of richly decorated Hispano-Moresque swords dating from the latter part of the Nasrid dynasty (1238-1492 AD.), the capital of which was the city of Grenada. Surviving examples include three made for the last Sultan Abu Abdullah Muhammad XII, called "Boabdil" (circa 1460-1533), one of which is in the Museo del Ej?rcito (24.902), Madrid, another in the Biblioth?que Nationale, Paris, Cabinet des M?dailles, collection de Luynes (959), and another in the Staatliche Kunstsammlungen (B II 608), Kassel. Provenance: Klingbeil Collection.Lenght - 105cm
Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"Saint Joseph and Child"Nun's shield. Oil on copper. Signed.11,7 x 9 cm.The LACMA in Los Angeles, has a nun’s badge in its collection by the Mexican painter Francisco Martínez (Mexico, 1687-1758) dated circa 1750, with the central theme of The Annunciation surrounded by Saints. (Inv. M.2015.142.1)As Professor Ilona Katzew, Curator and Head of the Latin American Art Department at the LACMA in Los Angeles, notes with respect to these nun’s shields:"This small-scale painting is a badge worn by nuns of the Order of the Immaculate Conception (also known as Conceptionists) in Mexico as part of their dress. Painted badges originated in Mexico in response to religious reforms introduced by the archbishop Francisco Manso y Zúñiga (ruled 1629-1635), who attempted to curtail the luxury and privilege of the convent lifestyle. He forbade nuns to wear shields made of gold, precious stones, and enamel. The nuns circumvented this rule by commissioning shields painted on copper or parchment, and set into frames made of tortoiseshell. Many of the badges were painted by the best artists of the day."This genre of devotional art was widespread during the 17th and 18th centuries in Spain and the New Hispanic world.They tended to be small pictures painted or embroidered with religious scenes, which nuns wore on their chests as they took their vows.It is in the classic portraits of crowned nuns, also with flowers, veils and other ornaments, where we can see the relevance these badges had.On occasions, artists of the calibre of José de Páez, Luís Juárez or Miguel Cabrerawho was the painter of this shield, made some of these badges.Miguel Cabrera was one of the most renowned painters in the field of eighteenth-century New Spanish painting, with an oeuvre that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented." Little is known of his youth; In fact, according to the Andrés Blaisten Museum, it is only because of the painter's will in 1768 that we know that he was a native of Oaxaca. The first news of him is from 1739, the year of his marriage to Ana María Solano, and we also know of his stint at Juan Correa's workshop in the capital of the Viceroyalty.Archbishop Rubio Salinas was Cabrera's patron, whom he named his chamber painter. He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was appointed president for life of the Academy of San Carlos.In 1756 Cabrera published "American wonder and set of rare wonders observed and directed by the rules of the art of painting", a narrative about the image of the Virgin Guadalupe from the printing press of the Jesuit school of San Ildefonso.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756, for the temple of San Francisco Javier, is kept in the National Museum of the Viceroyalty.The Dallas Museum of Art has a Saint Gertrude the Great by Miguel Cabrera and another painting of the saint, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Likewise, there is an outstanding series of Casta paintings from 1763 that is kept in the collection at the Museo de América in Madrid. They represent the families, father, mother and son of the various castes and social strata, in situations of daily life.Reference bibliography:- Dallas Museum of Art. (n.d.). "Saint Gertrude". (2006.37). https://collections.dma.org/artwork/5328501 - Museo Andrés Blaisten. (s.f.). https://museoblaisten.com/Artista/79/Miguel-Cabrera
Moroccan princesses' unexpected arrival in Portugal.- Sousa (João de ) Narração da arribada das princezas Africanas ao porto desta capital de Lisboa, seu desembarque para terra, alojamento no palacio das necessidades, hida para Quéluz, seu embarque, e volta para Tanger, first edition, dedication in Portuguese and Arabic, text in Portuguese, occasional light spotting or staining, antique style speckled calf-backed sage boards, vellum corners, spine gilt and with red morocco label, a very good copy, [Innocêncio IV, 42], small 4to, Lisbon, Printers of the Academy of Sciences, 1793.⁂ Rare, with only a handful of copies recorded by WorldCat. A first-hand account of the arrival in April, 1793 and subsequent stay in Portugal of the wives, concubines, and children of Moulay Abdessalm, and their entourage (a total of 221 people). Following dynastic struggles in Morocco he had sent them by ship to Salé, but bad weather and other factors brought about their arrival at the bay of Cascais. The Portuguese court dispatched de Sousa to meet them. He was Professor of Arabic at the University of Lisbon. The work describes tours they made and courtly entertainments given before their departure for Tangiers in the August. The final leaf lists the principal members of the party.
A BOWIE KNIFE, T. ELLIN & CO., SHEFFIELD, 20TH CENTURY with straight blade formed with a clipped-back point and filed back-edge, etched ‘I Never Fail’ in large capital letters on one face, signed recessed rectangular ricasso, shaped steel guard, and blackbuck grip with steel pommel, in its leather scabbard with iron locket and belt loop, 25.0 cm blade LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 294. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A HUNTING KNIFE FOR THE AMERICAN MARKET, MAPPIN & WEBB, SHEFFIELD, CIRCA 1880 with robust blade formed with a clipped-back point with false swage, notched at the forte, stamped ‘Celebrated American Hunting Knife’ in capital letters, ‘Self Defender’ in script on a scroll, rectangular ricasso stamped with the maker’s name and ‘Trustworthy’ on one face of the ricasso and ‘US’ on the other, German silver oval cross-piece and chequered horn scales retained by six rivets, in its German silver mounted leather scabbard with locket and chape each engraved with groups of three lines, and the former with a stud for suspension, 25.3 cm blade LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 262. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
'THE MING TOMBS', QING DYNASTY 清代明皇陵風水圖China, 1644-1912. Ink and watercolors on paper. Portraying a broad landscape view of the shrines set in a mountainous river landscape, the foreground with a path divided by gateways and lined with pottery figures and mythical beasts, each shrine with an identifying inscription.Provenance: From the collection of Naima Rutgersson (1922-2020), Stockholm, Sweden, and thence by descent.Condition: Overall in fair condition and presenting very well. Old wear, minor creasing, soiling, staining. Some tears, losses and touchups mostly to edges. Laid down on board. With a European wood frame.Dimensions: Image size 232 x 76 cmThe Ming tombs are a collection of mausoleums built by the emperors of the Ming dynasty of China. The first Ming emperor's tomb is located near his capital Nanjing. However, the majority of the Ming tombs are located in a cluster near Beijing and collectively known as the Thirteen Tombs of the Ming dynasty. They are located within the suburban Changping District of Beijing Municipality, 42 kilometers north-northwest of Beijing's city center. The site, on the southern slope of Tianshou Mountain (originally Huangtu Mountain), was chosen based on the principles of feng shui by the third Ming emperor, the Yongle Emperor. After the construction of the Imperial Palace (Forbidden City) in 1420, the Yongle Emperor selected his burial site and created his own mausoleum. The subsequent emperors placed their tombs in the same valley.Literature comparison: Compare a related painting depicting the Ming tombs, 119.4 x 251.5 cm, at Christie's London, 25 June 1998, lot 293. Compare a related painting depicting the Ming tombs, dated after 1736, in the Library of Congress, inventory number G7822.M5A35. 清代明皇陵風水圖中國，1644-1912年，紙本設色，描繪了坐落在山間河流景觀中的皇陵風水圖，小路延伸，兩側可見陶俑和神獸，四周山嶺分別每個神社都刻有識別銘文。來源：瑞典斯德哥爾摩Naima Rutgersson (1922-2020) 私人收藏，保存至今。品相：總體狀況良好，舊時磨損、輕微摺痕、汙漬、染色。一些水跡，主要在邊緣有些缺失和修補。採用歐式木框架。尺寸：畫面232 x 76 釐米
CHEN DINGWU: A HANGING SCROLL PAINTING OF BAMBOO SHOOTSChina, first half of the 20th century. Chen Dingwu was a female painter, who was active in the first half of the 20th century. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll with wooden handles. Depicting bamboo shoots and foliage.Inscription: (For) Sister Shenyi. Ding Wu painted in the capital.Seal: Ding Wu, ChenCondition: Extensive water damage, tears, creasing and stains. Slight browning of paper. Provenance: Croatian private collection.Dimensions: Image size 69.5 x 27.5 cm, Size incl. mounting 168 x 42 cm
A WHITE MARBLE RELIEF DEPICTING VISHNU, HOYSALA EMPIRESouth India, 10th-14th century. The central deity seated with four arms holding various attributes, adorned with beaded jewelry, the serene face with almond-shaped eyes, gently arched brows, mustache, and long beard, the head surmounted by a tall elaborate crown, the figure flanked by two standing female attendants.Provenance: A noted Belgian private collection, acquired between 1985 and 1990. Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, chips, signs of weathering and erosion, and encrustations. The marble fragment with remnants of cement, indicating it was once set into a wall. Dimensions: Height 51.5 cm (excl. stand) and 55 cm (incl. stand)Fitted with a modern metal stand. (2)The Hoysala Empire was a Kannadiga power originating from the Indian subcontinent that ruled most of what is now Karnataka, India between the 10th and 14th centuries. The capital of the Hoysalas was initially located at Belur but was later moved to Halebidu. The Hoysala rulers were originally from Malenadu, an elevated region in the Western Ghats. In the 12th century, taking advantage of the warfare between the Western Chalukya Empire and Kalachuris of Kalyani, they annexed areas of present-day Karnataka and the fertile areas north of the Kaveri delta in present-day Tamil Nadu. By the 13th century, they governed most of Karnataka, parts of Tamil Nadu, western Andhra Pradesh and Telangana in the Deccan Plateau. The Hoysala era was an important period in the development of art, architecture, and religion in South India. The empire is remembered today primarily for Hoysala architecture. Over a hundred surviving temples are scattered across Karnataka.
A PAIR OF 20-BORE FLINTLOCK LIVERY PISTOLS BY JOHN TWIGG, LONDON, LONDON PROOF MARKS, CIRCA 1760 with slightly swamped barrels each inscribed 'London' in capital letters on the top flat at the breech, plain tangs (one broken), rounded locks with first form of signature (one cock replaced, the other fractured, one steel-spring incomplete), figured full stocks (minor bruising, one butt split through), brass mounts comprising flush-fitting scroll side-plates, trigger-guards with terminals of shaped outline, spurred pommels, border-engraved escutcheons with the owner's crest, moulded ramrod-pipe, and brass-capped ramrods, perhaps the original (the steel parts with areas of pitting), 20.7 cm barrels ProvenanceBonhams, Knightsbridge, 30th April 2014, lot 438. These are among the earliest Twigg firearms. The crest is that of Dymoke.
A 25 BORE 1801/16 PATTERN FLINTLOCK SEA SERVICE PISTOL, MARKED 'H.M.S.VICTORY' of regulation type, the barrel stuck with Tower view and proof marks on the left of the breech, border-engraved lock with 'Tower' on the tail and traces of a crown (cock missing, steel associated), full stock (areas of light bruising), with traces of date and government ownership mark, and brass mounts including butt-plate stamped 'H.M.S. Victory' in capital letters (rubbed, later ramrod), 23.2 cm barrel
A Boer War Brass Shell Case Dinner Gong, the shell case engraved "This is the case of the shell that exploded the magazine at the relief of Ladysmith, Febry. 28th 1900", suspended from a fret cut brass pediment joining a pair of ring engraved brass cylindrical pillars supported on a walnut oblong plinth, 49.5cm high, with a striker.Footnote :- The fact that the shell case is engraved "Magazine" implies that it could possibly be naval. Sailors would refer to an ammunition store as a "magazine", soldiers referred to one as an "ammunition dump/store". Magazines were very problematic during naval engagements in the Great war. A number of British capital ships were lost when direct hits were scored on their magazines. Many Royal Navy ships contributed men and heavy guns for land use in South Africa. This shell case is possibly from a projectile fired by a 4.7 inch naval gun mounted for field service on land. There were some with the Ladysmith Relief Force.
Henry Bone, RA (1755-1834) after Sir William Beechey Portrait miniature of Robert Hobart, 4th Earl of Buckinghamshire (1760-1816) signed, inscribed and dated 'The Rt. Honble. The Earl of Buckinghamshire. Painted by Henry Bone ARA. Enamel Painter to HRH the Prince of Wales. Jany 1806' (to the counter-enamel)enamel on copper, oval7.5cmProvenance:Ellison Fine Art, from whom acquired in 2018 by the late Barry Lock (1934-2021)The sitter was the eldest son of George Hobart, 3rd Earl of Buckinghamshire and Albinia, daughter of Lord Vere Bertie, younger son of Robert Bertie, 1st Duke of Ancaster and Kesteven. From 1784, he served as aide-de-camp to successive Lord Lieutenants of Ireland and held the position of chief secretary from 1789 to 1793. He was appointed to the Privy Council in 1793 and served as the Governor of Madras between 1793-98. He sat in both Irish and English Houses of Commons, but in 1798, he was summoned to the House of Lords in his father's barony of Hobart. From 1801 to 1804, Hobart served as Secretary of State for War and the Colonies. He inherited his father's earldom in 1804, but as he died without issue aged 55 in 1816, he was then succeeded in his earldom by his nephew, George. Australia’s second-oldest city, the present-day capital of Tasmania, was named after him in 1804.The present portrait by Bone derives from William Beechey's full-length portrait of him seated, which is in the Allport Library and Museum of Fine Arts, Hobart, Tasmania.Some surface dirt around the edges and to the sitter's face and hair. Some pitting in the painted texture around the sitter's head. Unglazed. 13 x 11cm framed
A brass Corinthian column standard lampOf typical form, the capital above a reeded support on a stepped square base and dragon cast feet, with a twin branch brass desk lamp, on a square support mounted with anthemions on four down-swept legs, drilled with holes possibly for attaching to desk, 48cm wide x 48cm deep x 128cm high, (18 1/2in wide x 18 1/2in deep x 50in high) height not including light fittings, the desk lamp 7cm wide, 7cm deep, 60cm high (2 1/2in wide, 2 1/2in deep, 23 1/2in high) (2)This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Full title: A Chinese famille rose 'Xi Xiang Ji' plate depicting Zhang Junrui leaving for the capital, YongzhengDescription:Dia.: 22,5 cm Ref.: Tutuhaoyi, where Dr Yibin Ni writes: Young scholar Zhang Junrui (å¼ å›ç‘ž, also called Zhang Sheng å¼ ç”Ÿ) is the male protagonist in the famous ancient Chinese play, Romance of the Western Chamber (西厢记 Xixiang ji, alternative translation is The Story of the Western Wing). He was commonly referred to as Scholar Zhang. The son of a cabinet minister of the court, he suffered the tragedy of losing both parents. This left him with only his sword and his books for solace and entertainment. Thus, he decided to sit for civil-service examinations. In Episode 2 of the play, he set off on horseback to the capital with his pageboy. The scene (in fig. 17 and 19) depicts the moment when they approached the district of Pudong on the west bank of the Yellow River, in the territory of the Hezhong Prefecture (å¼ ç”Ÿè‡³è’²ä¸œ). (link)
Antonio Joli (1700-1777)/A View of Naples from Mergellina/oil on canvas, 67.5cm x 97.8cm/Note: In the eighteenth Century Naples was one of the great cities of Europe,'In size and number of inhabitants she ranks as the third city of Europe, and from her situation and superb show may justly be considered as the Queen of the Mediterranean' wrote john Chetwode Eustace in 1813. By then Naples had enjoyed a golden age of nearly eighty years as the royal capital of the richest Italian state. The reign, from 1734, of Charles VII, first of the Neapolitan Bourbon rulers of the Kingdom of the Two Sicilies (he was also, from 1759, King Charles III of Spain) saw the construction of the Teatro San Carlo and the palaces of Caserta, Portici and Capodimonte (which now houses the famous art gallery), the rediscovery of Pompeii and Herculaneum and the founding of the Naples Archaeological Museum. Music and painting flourished, and those travellers who extended their Grand Tour beyond Rome were amply rewarded by the experience. Residents including Sir William and Lady Hamilton greeted visitors such as the Holy Roman Emperor Joseph II, Casanova, Mozart, Angelica Kauffman, Joseph Wright of Derby, Jacques-Louis David, Elizabeth Vigée-Lebrun (who described the city as a 'lanterne magique ravisssante') and Goethe (who remarked that nobody who had seen Naples could ever be really unhappy).The definitive portrait of Naples in its heyday is that provided by Antonio Joli, whose depictions of the city over several decades make him to Naples what his (almost exact) contemporary Canaletto was to Venice. Joli was not, in fact, Neapolitan by birth. Most of the leading Neapolitan view painters were from elsewhere. Born in Modena, Joli was partly trained in Rome, where he worked until 1725 under Giovanni Paolo Panini (1691-1765), the outstanding Rome based view painter of his generation. During the following three decades Joli became the most widely travelled of the Italian view painters of the eighteenth Century, designing scenography as well as view painting throughout his career. It is as a scenographer that Joli is first recorded, in 1732, in Venice where he remained until after 1740. He is mentioned in the memoirs of Giacomo Casanova as 'the celebrated theatrical scene painter' (G. Casanova, History of My Life, ed. Baltimore & London, 1997, I, p. 200). Joli may have visited Dresden before productive periods in London 1744-1749 and in Madrid 1749-1754. After returning to Venice, where he became a founder-member of the Venetian Academy of Fine Arts, he embarked in 1756 on a tour of Southern Italy and Sicily with his most important patron John Montagu, Lord Brudenell (1735-1770), for whom he executed an unrivalled series of at least thirty-eight views of Southern Italy, Florence, Sicily, Malta and Southern France. These include his celebrated group of views of Naples, where he is first recorded on 21 April 1759 (R. Toledano, Antonio Joli, Turin, 2006, nos. N.VI.7, N.VIII-XIV, N.XIX.1, N.XX.1, N.XXIV and N.XXVII.6-7, all illustrated). Apart from a brief return to Venice, where he is recorded on 28 December 1761, Joli was resident thereafter in Naples, working for visitors and for fellow residents such as Sir William Hamilton. Joli must have been familiar with Naples long before this date. He is indeed described as 'Napoletano' in inventories of the collection of the great Venetian collector Field Marshal Johann Matthias von der Schulenburg, who paid him for a view of Naples in 1736, one of the first records of the artist as a painter of views (Toledano, op. cit., p. 298, no. N.I.1, illustrated). It is the setting of Naples in its glorious bay, in the shadow of Vesuvius, which gives it its unique character. The heart of the city is here seen from the West. Near the left edge is the Torretta of Chiaia or of Piedigrotta, built in 1564 as a defence against Turkish raids. Just beyond it is one of the fountains erected along the shore between the Castel dell'Ovo and Posillipo by Luís de la Cerda Fernández de Córdoba Folch de Cardona y Aragón, 9th Duque de Medinaceli (1660-1711), Viceroy of Naples 1692-1706, and beyond that the Riviera di Chiaia stretches to Pizzofalcone and the Castel dell'Ovo off the point. The city is overlooked by the imposing walls of the Castel Sant'Elmo, built by the Aragonese Viceroy Don Pedro de Toledo in 1537-47, on the Vomero Hill behind to the left. Immediately below it to the right is the Certosa di San Martino, the great Carthusian monastery, on whose expansion Cosimo Fanzago worked for thirty-three years in the mid-seventeenth Century. Six variants by Joli of this composition are published by Toledano, all of very roughly similar scale, in the Kunsthistorisches Museum, Vienna (two) and in private collections (Toledano, op. cit., pp. 310-15, nos. N.V.1-6, all illustrated). As one would expect of Joli, the boats differ widely between most of the versions, including this. In three versions, however, the differences are limited; those are Toledano's N.V.1 and N. V. 2 (sold with a pendant showing the Gulf of Pozzuoli at Sotheby's, London, 8 July 2015, lot 20) and a previously unknown version sold (with a pendant showing the temples at Paestum) at Sotheby's, New York, 30 January 2019 (lot 78). The British three-master prominently shown in the foreground in our painting does not recur in any of the others and suggests that the painting was intended for a British patron. Our thanks go to Charles Beddington for preparing this catalogue note/see illustration CONDITION REPORT: A 4 inch tear to the top right of the picture, extensive re-touching to the sky and an areas of the sea on the right hand side, a 1 inch area of restored damage near the right hand edge, a restored hole to the top of the hill on the left hand side. re-lined 1974Provenance:- Private Collection Gloucestershire. Acquired from a Gloucestershire house sale circa 1965 (catalogued as Dominic Serres).
A green onyx and gilt metal mounted table lamp, 20th century, of Corinthian composite column form with gilt metal capital and acanthus leaf terminal, socle, and square base raised on four feet, 43cm high exc. fittment It is the buyer's responsibility to ensure electrical items are professionally rewired for use.
Medieval design ebonised corbel, the top section with a moulded scaly grotesque with mouth agape and pointed ears, the lower with concave arch surrounding an armoured knight in prayer, the sides of the corbel decorated with moulded flower heads and foliate patterns; Medieval design ebonised corbel, the cavetto top over a grotesque elf in medieval tunic with hood; Medieval design ebonised corbel, the capital moulded with arcade patterns, the scrolled body decorated with central repeating acanthus leaf design, terminating in a gryphon mask (3)Dimensions: Height: 50cm Length/Width: 22cm Depth/Diameter: 27cm
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