Capital Cuff Music Box In a locking wood case, hand crank operation, countryside print on inside of lid and (7) music cylinders including 'I Want to Play in Your Yard No. 63', 'My Pearl's a Bowery Girl No. 33', 'Faust Flower Song No. 64' and 'Dancing on the Pier No. 27'; maker mark on crank handle and inner works Property from: a Park Ridge, Illinois collector Height: 7 3/4 inches, Width: 14 7/8 inches, Depth: 11 1/4 inches Condition: Good, overall light wear consistent with normal use; working when tested; on / off switch does not work; tune titles worn off of (3) cylinders, wear to decorative paint on cylinders overall; wood case having occasional scuffs and scratches Disclaimers: not all cylinders tested; instrument we cannot guarantee they will perform musically; we cannot guarantee operation of longevity; not checked for replacement parts Category: Cameras & Instruments > Other Instruments Estimated Sale Time: 3:46 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7
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Kikugawa Eizan (1787-1867) – Three Bijin-ga; A bijin with kitten and bonsai, publisher marks for Oyama Hangorō and Yamatoya Kyūbei, Edo period woodblock print, ink and colour on paper pasted onto board, image dimensions approx. 34 x 22cm; and two pasted into one card folder being Susaki no shiohi (Low Tide at Susaki), from the series Tôto meisho hakkei (Eight Views of Famous Places in the Eastern Capital), the bijin in the foreground holding a kiseru pipe, circa 1812; and one other unidentified by the artist with bijin in foreground and gentleman walking a terrace inset, possibly from the Tales of Genji, Edo period woodblock prints, ink and colour on paper pasted onto board, each image approx. 37 x 24.5cm (3)From a single-owner collection of Edo period ukiyo-e Japanese woodblock prints
Munich: The Spirit of a German City, cover title Dass niemand sagen kann, er kenne Deutschland (That nobody can say they know Germany), inner page Munich Capital of the National Movement with Stalag VII A 90 Gepruft stamp, At the behest of Oberburgermeister Reichsleiter Karl Fiehler, Text Collaborators Fritz Basil, Hans Brandenburg, Ernsdt Hoferichter, Ludwig Ktafft, Jorg Lampe, Josef Magnus Wehner and Hanns Wiedmann, published Arbeitsgemeinschaft fur Zeitgeschichte, Munchen, 1939.
An Arts and Crafts oak and copper mantle clock, the cuboid case with shallow domed pediment top supported on tapered and splayed acanthus capital pilasters, applied with a repousse dial of fret cut foliate frame and Arabic numerals, above a relief carved Celtic panel of entwined dragons, 33cm high, 29cm wide 18cm deep
Signed, oil on board23cm x 36cm (9in x 14in)Footnote: Exhibited: Glasgow, Royal Glasgow Institute of the Fine Arts, 1943Note: Hunter was born on the Isle of Bute and emigrated to America with his family in 1892. He established himself as an artist in San Francisco before moving to Glasgow in 1906. The city remained the base to which he returned throughout a peripatetic life which included significant amounts of time spent in France. Hunter had his first solo exhibition at Alexander Reid's gallery, La Société des Beaux-Arts in Glasgow in 1913, with the business supporting him for the rest of his career.By 1918, Hunter was in touch with S. J. Peploe and their work was shown with that of F. C. B. Cadell in The Leicester Galleries, London five years later. They were joined by J. D. Fergusson for a group exhibition at the Galerie Barbazanges, Paris in 1924, for another at The Leicester Galleries the following year and with the addition of Telfer Bear and R. O. Dunlop at the Galeries Georges Petit in the French capital in 1931, shortly before Hunter's death, aged fifty-four.Between 1919 and 1926, Hunter spent part of each spring and summer in Fife in eastern Scotland, which is bordered by the Firth of Tay, the Firth of Forth and the North Sea. As Bill Smith and Jill Marriner have written 'He came upon an important source of inspiration through his fortuitous discovery of Fife and the possibilities inherent in its colourful landscape and rural architecture...it opened up a whole new realm of possibilities for Hunter. Subsequently he would go to Fife in any season. It was there that he made the break to paint en plein air. The artistic ground he gained as a result marked an important turning point in his development in terms of modern colour.' (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Edinburgh 2012, p. 79)'Largo' comes from the Gaelic word meaning hillside and is the name of a region in the East Neuk of Fife. It consists of the villages of Upper and Lower Largo and Lundin Links. It was in this area that Hunter painted the present work. Given its intimate scale it was probably made on the spot in direct response to the view before him, of modest fishing boats moored at Lower Largo harbour.The scene is captured in confident brushstrokes, highlights of bright colour and harmonious tones of pale blue and green. A sense of movement in the sea and the vessels atop it is communicated. The eye is led out to the horizon, past rocks which break the surface of the sea and the modest, summarily-described figures gathered on the harbour wall on a fresh, sunny day.
Iron age coin die/potin matrix. The Portable Antiquities Scheme record for this die, SUR-08FD05, states:A copper alloy die matrix used to create casting moulds for the production of Soissons Eye Boar type potins, which are typically identified as a Continental/Belgic import type originating from the Soissons region of Northern France, c. 60-20 BC. The die face is in relief and shows the reverse of the potin which comprises a boar with pellet-in-annulet and arc of pellets below, possibly depicting a neck torc. The design is as ABC 85; BMC Celtic Coins III, 444-447; Delestree and Tache I, 530-531A. See PUBLIC-D2189D for an example of this coin on the PAS database.This matrix has a positive image in relief which is a copy of the image on the finished coin. Consequently it could not be used as a die to strike coins (which would consequently be incuse), but rather had another application such as to produce casting moulds for cast potin coins, potentially in large numbers. The other end of the die has a break, possibly from a casting sprue.Notes: The Suessiones "six peoples" lived around the river Aisne (Axona "river"). their capital: Noviodunum "New Fort" modern Soissons (Aisne, Picardy), which is named after the tribe.This is a find of note and has been designated: National importance. https://finds.org.uk/database/artefacts/record/id/949108Iron age Celtic coin dies are extremely rare finds with only a handful known from Britain, mostly for Gallo-Belgic issues. A die for striking Gallo-Belgic A (Ambiani) staters KENT-2EEAF0 recovered at Bredgar, Kent is of similar cylindrical form to the current example and also has a scar from a casting sprue at the butt end.Found near Basingstoke, Hampshire in 2019.For further information see.Rudd, C, Another forger in Hampshire? https://coinsweekly.com/another-forger-in-north-hampshire/Mac Gonagle, B, Observations on the First British Coins (and forgeries)https://www.academia.edu/11180222/Observations_on_the_First_British_Coins_and_forgeries_
CHARLES DICKENS: LITTLE DORRIT, ill H K Browne, London, Bradbury & Evans, 1857, 1st edition in book form, 1st issue, added vignette title and 39 plates as list, including 8 'dark' plates, three-line errata, no headlines or page numbers pages 97, 120, 321-323, single line quote followed by period before 'Mr' page 114, capital 'W' in 'when' page 197, no end quotes for those preceding 'very' page 200, 'fidgetty' pages 265 and 389, 'chimnies' pages 342 and 514, 'diceing' page 360, signature 2b2 printed B2 page 371, capital 'W' in 'was' page 373, quotes missing before 'because' page 377, 'into' page 456, single line quote rather than double page 470, 'rigaud' for 'Blandoix' appearing 10 times from pages 469-474, later calf gilt, spine gilt in compartments, morocco gilt spine label, teg
CHARLES DICKENS: THE LIFE AND ADVENTURES OF NICHOLAS NICKLEBY, ill H K Browne, 'Phiz', London, Chapman & Hall, 1839, 1st edition in book form, early issue, engraved portfrontis by Finden after Maclise and 39 plates by Browne as called for, 'wil' page x, comma after 'what' page 13, no hyphen in 'up stairs' page 129, 'latter' page 160, 'yesterday's' page 198, 'inscsribed' page 238, 'flys' page 245, 'mercie' page 270, 'visiters' page 272, 'twenty-years' page 273, no period after 'Ralph' page 288, 'incontestible' page 297, period after 'again' page 317, 'think' with capital 'T' page 319, 'conducter' page 342, 'how' with capital 'H' page 512, 'suprise' page 586, 'grogswig' page 618, later three-quarter crushed crimson morocco, spine gilt in compartments, marbled end papers
Packet: 9 assorted disbound pamphlets comprising ALEXANDER CAMPBELL: REMARKS ON THE SKETCH OF A BILL FOR REGULATING BANKRUPTCY IN SCOTLAND WITH OBSERVATIONS ON THE HEADS OF THE BILL FOR THE SAME PURPOSE OFFERED WITH A VIEW TO PREVENT ABUSES IN BANKRUPT ESTATES, Glasgow, printed by W Lang for Brash & Reid, 1809, 2nd edition, 55pp; SEDLEY TAYLOR: ON PROFIT-SHARING BETWEEN CAPITAL AND LABOUR, A WORD TO WORKING MEN, Cambridge, printed by W Metcalfe & Son, 1882, 1st edition, 23pp; [SAMUEL WARREN]: LORDS LYNDHURST, BROUGHAM AND LOCAL COURTS, London, printed for T Cadell, 1834, reprinted from Blackwood's Magazine with corrections and additions, half title, 52pp; WILLIAM GRANT BROUGHTON, ARCHDEACON OF NEW SOUTH WALES AND ITS DEPENDENCIES: A SERMON PREACHED IN CANTERBURY CATHEDRAL ON THURSDAY SEPTEMBER 17TH 1835 BEING THE ONE HUNDRED AND TWENTY THIRD ANNIVERSARY OF THE KING'S-SCHOOL-FEAST SOCIETY, Canterbury, Henry Ward, London, Rivington [1835], 30pp, title page detached; REV SANDERSON ROBINS: A SERMON PREACHED AT THE OPENING OF CHRIST CHAPEL, ST MARYLEBONE ON SUNDAY OCTOBER 5TH 1834, London, James Nisbet, 1834, 1st edition, half title, 35pp; PARLIAMENTARY COMMITTEE OF THE LIBERTY AND PROPERTY DEFENCE LEAGUE: OVERLEGISLATION IN 1883 REPORT ON THE BILLS OF THE SESSION..., London, 1883, 1st edition, 26pp; J G DELAPLOC: THE HOUSE OF LORDS WITH THE AUTHORS COMPLEMENTS A REPLY IS INVITED, [proposals for the reform of the House of Lords], London, printed by R Clay, Sons and Taylor, 1883, 28pp; THOMAS GEORGE BARING, EARL OF NORTHBROOK: INDIAN CRIMINAL PROCEDURE BILL, SPEECH OF THE EARL OF NORTHBROOK..., London, The National Press Agency [1883], 1st edition, 15pp, title page and final leaf detached; HENRY FAWCETT: STATE SOCIALISM AND THE NATIONALISATION OF THE LAND, London, MacMillan, 1883, 5th thou, 24pp, (9)
AN EGYPTIAN BEAD NECKLACE WITH LATER TABLET PENDANT the multi-strand necklace composed of lapis lazuli, stone, and composition seed beads with later gold beads, the central feature comprising two large discoid lapis lazuli beads, flanked by tubular carnelian and lapis lazuli beads threaded in Afghan style, to a modern glazed composition plaque pendant, depicting a standing figure addressing a figure squatting on a column capital, the reverse with eight lines of hieroglyphic text, the necklace terminating onto a modern screw clasp
Registration: Un-regChassis No: 40248MOT: ExemptDesirable Crossley 18/50 Tourer with the later 3.2 lite 6 cylinder engineOne of 12 cars manufactured for the Royal Tour of Australia, 1927, and just one of 4 surviving examplesPresented as a project for completion, with running engine, drivetrain and frame completed Previously a manufacturer of proprietary engines, Crossley Brothers Limited, of Manchester, built their first motor car in 1904. The first Crossley to make any impact was the A W Reeves-designed 20hp, introduced in 1910. The model was taken up by the military in World War I, seeing service as a staff car, ambulance, and light truck. In the post-war years the company continued to concentrate its efforts on transportation for the middle classes, a policy helped considerably by the marque's popularity with British royalty.Unlike many rival manufacturers of up-market cars, Crossley continued to favour four-cylinder sidevalve power units for all its models until the advent of the 18/50 in 1926. The 18/50 featured a 2.6-litre, six-cylinder, overhead-valve engine, which was stretched to 3.2 litres in 1928 for the broadly similar 20.9hp model. Mechanically akin to the smaller Crossley 2-Litre, the 20.9hp was built on a 125"-wheelbase chassis, and came with a right-hand change four-speed gearbox. Available in saloon, fabric saloon, and tourer variants, the model lasted until Crossley's demise as a motor manufacturer in 1937.In 1927, Prince Albert, Duke of York (later King George VI), and wife Elizabeth undertook a Royal Tour to Australia. Their journey by sea took them via Jamaica, the Panama Canal and they journeyed onto New Zealand afterwards. When they sailed into Sydney harbour on HMS Renown on 26 March, they attracted Australia's first gathering of more than one million people. The principal duty of the Prince on this visit was to open the provisional Parliament House in Canberra, on 9 May 1927. They spent twelve days in New South Wales, seven in Queensland, four in Tasmania, eleven in Victoria, six in South Australia, six in Western Australia and three in the Australian Capital Territory, with the remaining 10 for travelling and recreation. They departed the country on 23 May for New Zealand.The cars supplied for this Royal visit were made by Crossley Cars of Gorton, Manchester. They had a long standing connection with the Royal Family, have previously supplied cars for the Royal Family, with examples being supplied to the King George V, the Prince of Wales (later King Edward VII) and more. For the tour, 12 cars were built with a further 7 for the New Zealand leg in late 1926. These consisted of four limousines, two Landaulet’s and six open tourer’s. The cars were painted maroon with maroon upholstery and decorated with the royal seal on the rear doors. They also had metal seals on the bonnet front; and the cars featured the later 20.9 HP, 3.2 litre six cylinder engine and all had standards attached to the radiator cap to carry the Royal Standard.After much work cross-referencing the substantial existing records in the State Archives in Canberra, it is believed Chassis 40248 was a Tourer used on the Toowoomba, Victorian and Canberra legs of the tour, of which from an original group of 12, only four have survived, this example was exported to the UK in 1997. One is in the Australian National Museum in Canberra (a Landaulette), a Limousine body exists on a tourer chassis in Sydney, and the third car in Victoria with has survived with minimal remains of its tourer body. The car on offer today has been subject to mechanical overhaul and benefits from a running engine as well as a new frame. Now awaiting the final phase of its restoration, this vehicle presents a very interesting opportunity to acquire a historically important Royal Tour car of Australia. The vendor rates the condition of the bodywork, engine and transmission as ‘Good’ and comes accompanied with a detailed history file, as well as some spare parts.Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762
A scarce Korean War South African, 2 Squadron ‘Flying Cheetahs’, P51 ‘Mustang’ fighter pilot’s gallantry group of six awarded to Captain, later Kommandant, Sydney Grey de la Harpe, who was awarded the United States Distinguished Flying Cross and four Air Medals (for 80 missions) for his distinguished service and valour during the Korean war South Africa, Korea 1950-53 (Lt. S. G. De La Harpe) officially impressed naming; South African Good Conduct Medal, edge officially numbered ‘613’; United States of America, Distinguished Flying Cross, bronze, impressed (SYDNEY G. DE LA HARPE); United States of America, Air Medal, bronze, with three oak leaf clusters emblem on riband; U.N. Korea (Lt. S. G. De La Harpe) officially impressed naming; South Korea, Korea Medal, very fine and better (6) £1,200-£1,600 --- United States of America, D.F.C. citation: ‘Lieutenant Sydney Grey de la Harpe, South African Air Force, did distinguish himself by extraordinary achievement whilst participating in aerial flight on 24 June 1951. He led a flight of F-51 type aircraft on interdiction of Sariwon Airfield, North Korea. Second Lieutenant R. L. Staats flew in the position of wing man in this three-ship mission carrying 500 lb. bombs as well as rockets and .50 ammunition. Although anti-aircraft fire was continuous and intense over the airfield, Lieutenant de la Harpe personally directed successive attacks showing leadership and valor far above and beyond that normally expected. He directed the attacks with such outstanding success that four direct hits were obtained on the runway and two gun positions were destroyed. He did not leave the area until he was positive that the optimum damage had been inflicted. By his devotion to duty and his confident direction of the attacks, Lieutenant de la Harpe has caused the greatest possible damage to the enemy potential. His act has brought the highest credit on himself, his Unit, and the South African Air Force.’ Sydney Grey de la Harpe was born on 17 April 1929, at his father’s farm Taungs, Middleburg, Cape Province. After matriculation from school, fluent in English and Afrikaans, he attested as a Cadet in the S.A. Military College on 1 April 1947. He qualified on 31 March 1949 and was posted to Central Flying School, Migel, on 2 April 1949, additionally being appointed 2nd Lieutenant for flying duties. Posted to 2 (Flying Cheetahs) Squadron, with the original contingent of 49 officers and 157 men, he left Durban for Tokyo, Japan en route to Korea on 26 September 1950. Arriving at Johnson Air Base on 5 November, the squadron spent the next 10 days converting to F-51 Mustangs. Here the Americans tried to treat them like complete novices, whereas most had flown the Mustang previously, some during the Second War. It took a serious demonstration in acrobatic flying to show the Americans the error of their ways. By 12 November, the conversion was complete and the first pilots were on their way to Korea. On 16 November a further 13 officers and 21 other ranks left for K9 airfield at Pusan. The squadron was attached to the American 18th Fighter Bomber Wing, with whom they remained for the rest of the war. On 19 November, the advance detachment moved to K24 near the North Korean capital, Pyongyang, flying their first combat mission the same day. De La Harpe’s first mission was on 30 December 1950, an attack on an enemy occupied village and by the end of January 1951, he had completed a further 11 missions against enemy ground targets, on one mission his aircraft being damaged by anti-aircraft fire during an attack on an enemy Command Post. During the following five months, he took part in a further 71 combat missions, the majority against ground targets, with his last mission being flown on 24 June, for a total of 83 missions flown. Two weeks after his last mission, de La Harpe’s tour was over and on 11 July he was on his way home. For his service in Korea, he was awarded the United States Distinguished Flying Cross and four Air Medals for 80 combat missions. On his return home, he filled many senior positions in the South African Air Force before finally retiring in 1969 after 22 years’ service to take up a position as a sales representative (flying) with a Johannesburg aviation company. He died on 10 August 2010. Sold with official photos from S.A.A.F., including one of de la Harpe receiving the U.S. D.F.C. Also, a large amount of copied research, including service record, copies of his 83 combat mission reports. Together with ‘The American DFC to UK and Commonwealth Forces for Korea’ by W. Westlake (contains de la Harpe’s citation) and a DVD produced by ‘The Friends of the SAAF Museum’, being two informal Q&A sessions with S.A.A.F. veterans who were pilots in North Africa during WWII and Korea, including de la Harpe.
Ɵ Leaf from a large Passional, with an early white-vine initial, in Latin, decorated manuscript on parchment[Italy, first half of the eleventh century] Single leaf, with double column of 41 lines of a large and rounded Romanesque bookhand (with parts of the readings of the Passio Sanctae Iulianae and the Passio Sanctorum Faustini et Iovitae, with very occasional use of the et-ligature integrally within words (usually at the end of words, and this perhaps copied across from a Carolingian exemplar), a letter 'h' with a tall bowl whose penstroke flows underneath its body to nearly close the bowl, and notably tall capitals, capitals opening readings offset in margin, bright red rubrics, opening with a red capital touched in iridescent yellow wash, one large initial 'T' (opening "Tempore adriani impissimi imperatoris ...") in parallel bands of red penwork, all except the top bar coloured with iridescent yellow wash (to emulate gold), the bands entwined with simple sprays of acanthus leaves and a simple geometric knot, the whole on vivid blue triangular grounds, a few smudges, wormholes and small traces of paper in borders of verso from last mounting (perhaps that in an album), twentieth-century pen "85" in upper inner corner of recto, trimmed at edges to remove much of blank margins, else in excellent condition, 310 by 210mm.; in a cloth-covered card binding Provenance: 1. Domenico Maria Manni (1690-1788) of Florence, a polymath, prolific publisher and editor, as well as local antiquary, who held office as librarian and director of the Biblioteca Strozzi in Florence. A marginal note in his hand at the head of the verso here: "Faustina et Jovita".2. Aldo Olschki (1893-1963), Florentine bookseller, the youngest son of Leo Olschki, who took over his father's publishing interests in Rome in 1928-1935, and the entire family's publishing business from 1946. 3. Bernard Rosenthal (1920-2017), of San Francisco, California, his 'I/59', this leaf acquired in 1959.4. Quaritch cat. 1147, Bookhands of the Middle Ages, V (1991), no. 31.5. Schøyen Collection of London and Oslo, their MS. 636.
Ɵ Leaf from a gargantuan Augustine, Tractatus in Iohannem, in Latin, decorated Romanesque manuscript on parchment[Italy (probably the Veneto, perhaps vicinity of Vicenza), mid-eleventh century] Single very large leaf, with double columns of 52 lines of a small but good Romanesque bookhand (with CXXIV, 26:13-27:5), with residual use of et-ligature integrally at end of a few words, a distinctive 3-shaped 'z' whose mid-bar sits on the baseline, marks in margin of a 'clover' symbol but with two (not three) dots at its head and a double 's', red rubrics, one-line red initials set off in margin, one large red initial 'V' (opening "Verba domini in evangelio quae sermonem pristinum ...", opening Tractatus in Iohannem CXXIV, 27) followed by opening words in capitals touched in red (these and the initial oxidised to silver in places), recovered from a binding and hence with folds, scuffs and small holes, and some seventeenth-century scrawls (that once on the spine with inscription: "Informationum / MDCVIII III", see also below), but still in presentable condition, 454 by 334mm.; in cloth-covered card binding Provenance: 1. The parent manuscript was doubtless written and illuminated for use in lectern reading in a monastic or ecclesiastical community, probably in the vicinity of Vicenza. It was reused in the seventeenth century as binding material for account books, with this leaf with inscriptions with the dates '1660-1677' and naming the owner then of these estates as "Sr Alessandro Boldrini" probably followed by "Vicenza". This name reoccurrs on what would have been the spine of the account book, with "Boldrini / vol. 1" there. The Boldrini/Baldrini family were based in north eastern Italy, with significant presences in the Veneto and especially Vicenza, and the Alessandro named here was most probably a close relative of the celebrated engraver and probable student of Titian, Niccolo Boldrini of Vicenza (d. c. 1566).2. Bernard Rosenthal (1920-2017), of San Francisco, California, his 'I/150', probably acquired around 1961.3. Quaritch of London, their cat. 1088, Bookhands of the Middle Ages (1988), no. 14.4. Schøyen Collection of London and Oslo, their MS. 92. Script:The thin and precise hand here, reminiscent in places of early Carolingian hands, and with frequent use of wedges to terminate ascenders as well as a rapid ductus conveyed by the numerous casual ligatures (note the way that capital 'E' attaches itself to the following letter, and longer words such as "putatis" are written with all letters joined together) is probably explained by the origin of the parent manuscript in the far north-east of Italy. Manuscripts from this region, especially early examples, are far rarer than those of Central Italy.
Royal charter of King John, for Philip, son of Wastellion, and confirming the gift of an estate named "Dunwallesland" in Wales to him in exchange for feudal service to William de Braose and a knight's fee to the tenure of Abergavenny Castle, with all its woods, fields, paths, waters, mills, fishponds and so on, in Latin, manuscript document on parchment[Welsh Marches (St. Briavels Castle in Forest of Dean), dated 5 December 1209] Single-sheet document, on 15 long lines in a fine and professional English Romanesque secretarial hand, with long and tall ascenders that lean to the left, one penwork decorated capital 'Q', seventeenth-century endorsement on reverse: "A tenure to the Castell of Abergavenny xi Joh.", with a nineteenth-century addition below that: "Dec. 5th 1210 -11a Johis", remnants of seal-tag (but seal wanting), folds and small stains, two small natural flaws in parchment, else in excellent condition, 210+41 by 230mm. Provenance: 1. Richard Henry Wood (1820-1908), FSA, of Penrhos House, Rugby, iron merchant, antiquarian and collector of charters and rare books: this item doubtless the "Charter of King John to Philip Fitz-Wastell., of the land called Dunwallesland" loaned to the museum of the British Archaeological Association in 1876 (reported in the journal of the society, vol. 32, for that year, p. 306). In fact, the descriptions of what was lent to the museum by Wood appear to have been muddled in their order in the journal, as the final item in the list lent by Wood is described as "The tenure and knight's service for the custody of his castle at Abergavenny, dated at St. Briavels, Dec. 5, 1210", which, with a very slight miscalculation of the eleventh year of John's reign (note the nineteenth-century inscription on the back of this document with the same misdating), must also be the present document.2. Sotheby's, 21 June 1994, lot 80, at which time a photograph of this charter was deposited in the National Library of Wales (Facs. 743).3. Schøyen Collection of London and Oslo, their MS. 1857. Text:A visually attractive and remarkably early English royal charter in excellent condition. Documents with any connection to Wales survive in far fewer numbers than those for England, and rarely ever emerge on the market. Here the site of the lands named "Dunwallesland" are yet to be precisely identified, but as the Norman overlord, William de Braose, had ambushed and murdered Seisyll ap Dyfnwal, one of the lords of Gwent, on Christmas Day 1175 in Abergavenny Castle alongside other Welsh princes, they are likely to have been the ancestral lands of Dyfnwal ("Dunwall") ap Caradog ap Ynyr Fychan, the father of Seisyll. The lordship of Seisyll ap Dyfnwal and his father centred on Monmouthshire, with their main stronghold at Castell Arnalt, a motte and bailey near the River Usk to the south of Abergavenny. These same estates, then named "Donewaldeslond" were disputed in 1290, with John de Hastings, 1st Baron Hastings, then claiming their ownership and challenging the heirs of Philip, son of Wastellion. As befits a grant for military reasons to bolster the Welsh Marches, most of the witnesses here were crusaders, with William, Earl of Arundel (later justiciar of England, then crusader, d. 1221), Robert de Turnham (crusader, justiciar of Cyprus in 1191, d. 1211), Hugh de Neville (crusader, royal counsellor, d. 1222), Peter de Mauley (later traitor, who died in the Holy Land in 1241), as well as the royal agent who made this grant on behalf of the king, Robert de Vieuxpont (crusader and a nephew of Hugh de Morville who was one of the assassins of Thomas Becket, d. 1228). However, the presence of Cadwallan, son of Ivor ("Cadewallanus filio Ivor"), the son of the lord of Senghenydd, at the end of the witnesses, attests to the presence of Welsh nobles in this crucial grant and the new power structure it helped to create in early thirteenth-century Wales.
Two cuttings from a bifolium of Smaragdus of St-Mihiel, Liber comitis, including his quotation of Bede, De octo quaestionibus, quaestio II, with one of the earliest references to English illuminated manuscript ownership, in Latin, manuscript on parchment[Germany or perhaps France, third quarter of the ninth century] Substantial parts of a large bifolium, cut through the middle horizontally to use on a later binding as board supports, with sections cut out of the two halves for the thongs at the spine, trimmed at foot with loss of about 6 lines there, text showing that this once the innermost bifolium from a gathering, wanting probably a single line where bifolium was sliced through horizontally, cuttings now with remains of double column of 27 lines in a good rounded Carolingian minuscule with integral et-ligature within words, a notably long capital 'S' which sits with its midpoint on the baseline, and a distinctive 'r' with a long and undulating horizontal stroke, capitals in same pen, some offset, scuffs (especially to reverse, obscuring some areas of text there), splits and areas of discolouration, overall fair and presentable condition, in total 215 by 400mm.; set in glass on both sides, and in a large black fitted case Provenance:1. Quaritch of London; with a postcard dated 29 May 1991 from Bernard Bischoff, with his opinions on the cuttings, enclosed.2. Schøyen Collection, London and Oslo, their MS 1380, acquired from Quaritch in June 1991. Text: These cuttings contain Smaragdus of St-Mihiel's commentary on Corinthians 11, citing John Chrysostom and Ambrose (recto first leaf to verso first leaf, col. 1 and first half of col. 2), but with the text truncated at its end (compare the first half of col. 2 of fol. 1v here with that in Patrologia Latina 102, cols. 104-105), followed by Smaragdus' extensive quotation of Bede, De octo quaestionibus, quaestio II (verso first leaf, second half of col. 2 through to first half of col. 1 on recto of second leaf, this again truncated at end), and ending with Bede's commentary on Luke VIII (remaining recto and verso of second leaf). The De octo quaestionibus is by far the rarest here and deserves some individual attention. The initial publication of this text by Johann Herwagen in 1563 (reprinted from there by Migne, Patrologia Latina, 93 in 1862, and there called the Aliquot quaestionem liber) served to confuse rather than elucidate its authorship, as Herwegan used a manuscript which had interpolated non-Bede material at its end. This lead to the publication of the text by Migne among the 'dubia et spuria' and similarly among the uncertain works of Bede by M.W.L. Laistner and H.H. King in their Handlist of Bede Manuscripts (1943). Moreover, J.A. Giles went so far as to exclude it from his edition of Bede's work in 1843-1844. However, the Carolingians certainly knew of the text in a form usually described as 'eight questions' (it is cited by Smaragdus of St-Mihiel, Claudius of Turin, Hrabanus Maurus and Haimo of Auxerre, and in 852, Lupus of Ferrières sent a request to Abbot Altsig of York requesting a number of works, including 'questions by your Bede on both Testaments'), and strong academic defences of Bede's authorship of some part of this material were made by Paul Lehmann in 1919 ('Wert und Echtheit einer Beda abgesprochenen Schrift', in Sitzungsberichte der Phil.-Phil. Und der Hist. Klasse der bayer. Akad. Der Wissenschaften, Abhandlung 4) and again in 1999 and 2008 (M. Gorman, 'Bede's VIII Quaestiones and Carolingian Scholarship', Revue Bénédictine, 109, 1999, pp. 32-74; and E. Knibbs, 'The Manuscript Evidence for the De Octo Quaestionibus Ascribed to Bede', Traditio, 63, 2008, pp. 129-183). An initial core of eight 'questions' are now firmly thought to be of the eighth century, with four of these confidently ascribed to Bede (including the quaestio cited here). These cuttings here did not, however, come from a manuscript of that text in its unadulterated form, but from a copy of Smaragdus Liber Comitis, which quotes quaestio II of Bede's text. That quaestio is famous for its record, in its explanation of II Corinthians 11:24, of an illuminated manuscript brought from Rome by the most reverend and most learned Cuthwine, bishop of the East Angles (probably fl. mid-eighth century; here "reverentissimus ac doctissimus vir Chudo [in error for 'Cuduinus', which seems to have confused our scribe, leading to the erasure following] orientalium anglorum antistes", 5th to 3rd lines from end of col. 2 on fol. 1v). The brief description given by Bede of the miniatures of that volume allows the tentative conclusion that the illuminated manuscript brought back from Rome was a copy of Arator, De actibus apostolorum. However, Cuthwine may have owned more than one such manuscript. An illustrated copy of Sedulius' Carmen Paschale survives in the Plantin-Moretus Museum in Antwerp, their M 17.4. It dates to the ninth century, but its scribe copied in ornamental capitals an apparent ex libris from its earlier exemplar on fol. 68v: "Finit fines fines Cuðuuini" (noted by L. Traube in 1902; see also J.J.G. Alexander, Insular Manuscripts: 6th to the 9th Century, 1978, p. 83; and M. Lapidge, The Anglo-Saxon Library, 2006, pp. 26-27). This is not the sole record of its kind (Bede also records Benedict Biscop's bringing of an illustrated Apocalypse to Monkwearmouth-Jarrow from Rome in the seventh century), but it does stand among the very earliest such accounts, and its author was most probably an eye-witness to Cuthwine's manuscript. In addition, as no manuscript of the complete text of Bede's De octo quaestionibus or Smaragdus' Liber Comitis has ever come to the market, and no other commentator on Bede's text quotes the relevant passage about Cuthwine, this is most probably the only chance to ever acquire this important early bibliophilic record in manuscript.
Three Egyptian faience Djed pillars Late Period, 26th Dynasty, circa 664-525 B.C.Each with ribbed capital surmounted by four platforms, with back pillar pierced for suspension, each 2.6cm high (3)Footnotes:Provenance:Alex Anckonie II collection, a US Navy SEAL, acquired ca. 1960s-1970s; and thence by descent. Anonymous sale; Bonhams, London, 23 October 2012, lot 324 (part).Private collection, Europe, acquired from the above sale.The 'djed' is in the form of the hieroglyphic symbol for 'enduring,' and 'stable' and would thus confer these qualities on the owner of the amulet. The 'djed' was also considered a stylised representation of Osiris, god of the dead, depicting his backbone and ribs, promoting resurrection.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
POWER, W. Tyrone - Recollections of a Three Years' Residence in China ; including Peregrinations in Spain, Morocco, Egypt, India, Australia, and New Zealand : colour printed title-page, half calf hinge just starting, 8vo, Richard Bentley, 1853. With - Finlayson, George, The Mission to Siam, and Hue the Capital of Cochin China, in the years 1821-2, eng. frontis, half morocco, 8vo, John Murray, 1826. With - Lay, G. Tradescant : The Chinese As They Are: their moral, social, and literary character ... illustrated, org. cloth torn on the hinges, 8vo, William Ball, 1841. With - Walton, Joseph, China and the Present Crisis with notes on a visit to Japan and Korea : large folding map (slightly carelessly folded) org. cloth, 8vo, Sampson Low, Marston, first edit, 1900 (4).
12 BOTTLES PORTUGUESE RED WINEFreixo Estate and Vineyards Reserva 2017 and Terroir 2018; Oscar Quevedo Touriga Nacional 2019; Vinhos Quinta da Pedra Alta Pedra A Pedra 2018; Sivipa Soc Vinicola de Palmela Paco do Bispo Reserva 2019; Luis Vieira Montaria Reserva Lente 2018 and Montaria Reserva Capital 2018; Quinta do Paul Grande Reserva Touriga Nacional 2015; Quinta das Arcas Tapeda de Villar Reserva 2016 and Tapada de Villar 2019; Herdade Tinto e Branco Quinta do Paral 2018; Adega Vidigueira Cuba e Alvito Grande Escolha 2019
* TOM MACKENZIE (SCOTTISH 1947 - 2018),OLD MAN OF STORR IIcoloured etching on paper, signed, titled and numbered 12/75image size 45cm x 60cm, overall size 64cm x 82cm Mounted, framed and under glass.Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond.
* ALEXANDER CRESWELL (BRITISH b. 1957),MARIQUITA IN A SQUALL OFF FALMOUTHwatercolour on paper, signed, titled label versoimage size 37cm x 55cm, overall size 62cm x 79cm Mounted, framed and under glass.Label verso: Portland Gallery, London.Note 1: Alexander Creswell (born 1957) is an internationally celebrated artist known for his extraordinary fluency and technical skill in watercolour. He is largely self-taught. His distinctive style in watercolour combines subtle colouring and skilful draughtsmanship alongside a deep reverence for natural light. Creswell exhibits regularly to critical acclaim in New York, London and Dubai. Commissions include: HM The Queen, Lying in State of HM The Queen Mother, The House of Lords, Lying in State of HM The Queen Mother, The Royal Collection, Windsor Restored, Coutts Bank, 100th Birthday Gift to HM The Queen Mother, The Royal Collection, Windsor Castle after the fire of 1992, The Prince of Wales’ s Institute of Architecture, The Duchy of Cornwall, The Parliamentary Art Collection, Westminster, The Duchess of Northumberland, Alnwick Gardens Project, English Heritage, HSBC Middle East, Royal Bank of Scotland, The British School at Rome, The BBC, GNI Ltd, Chartered Association of Certified Accountants, The London Capital Club, Speyhawk plc, British & Commonwealth, Guinness Peat, Glaxochem, Wiggins Teape, Burmah Castrol, Cawdor Castle Tourism and many more. Very few of Creswell's pictures appear at auction but a watercolour of similar dimensions (37 x 55cm) to "Mariquita in a Squall Off Falmouth" was sold by Sotheby's London for £4080 (premium) - lot 147 25th May 2006.Note 2: The Yacht Mariquita was built by William Fife III and was launched at Fairlie on the Clyde in May 1911. She was part of a new generation of racing yachts, the new 19m Class which was a descendant of the historic Big Class racing and a precursor of the J-Class which arrived in the 1930s. In the early 1990s Mariquita went through major restoration (by Fairlie Restorations) and once re-built she set sale again taking part in countless regattas including Monaco Classic Week, Regates Royales Cannes and Les Voiles de Saint Tropez. In 2014 she was victorious, taking home the Big Boat Panerai Trophy. Mariquita's timeless elegance and incredible pedigree has contributed to her being widely regarded as one of the most beautiful historic racing yachts afloat today.
Gilt brass oil lamp, the cast base modelled with putti and mask amidst foliate scrolls, upon two scroll and one paw feet, leading to a onyx column with gilt capital, supporting a part acanthus cast gilt holder with removable bass reservoir and burner, clear glass chimney, and Vaseline glass shade, overall H85cm
UTAGAWA KUNISADA (TOYOKUNI III, 1786-1864), oban tate-e, depicting a lady preparing cosmetics, signed Kio Toyokuni ga, in toshidama cartouche, together with UTAGAWA HIROSHIGE (1798-1858) oban yoko-e print, Nagatababa Sannogu (Sanno Shrine at the Nagata Riding Grounds) from Toto Meisho (Famous Places in the Eastern Capital), signed (2)
mark of Hawksworth, Eyre & Co Ltd, Sheffield 1899, each with quatrefoil shell cornered base engraved with a crest, possibly that of BURTON, knopped column and part marked detachable shell edged sconce, two of the sticks supporting a foliate capped scrolled branch each end terminating in a capital, drip pan and part marked nozzle, the centre of each branch with a raised section supporting the third light, loaded and weighted bases, height of the sticks 28cm, maximum height including the branches, 47cm, 64.4ozt gross weighable silver (3)Footnote: Metamorphic candelabras are the most versatile of all styles, and this example can be used as a pair of single sticks, by removing the branch and removing and replacing one of the nozzles, or as a full three-light.Condition report: Sticks:Overall in reasonable condition. No splits or perforations. Some minor dents and dings as to be expected. Hallmarks and part marks crisp and clear as are the crests.All three wobble slightly when on a flat surface. Loading showing early signs of starting to break up, particularly on one stick, with the metal weight sitting very slightly proud of the base. Some minor damage and creasing to the rims of the capitals, particularly on two of the sticks, noticeable with the sconces removed.Branch A: In good condition with no obvious sign of damage or repair. Hallmarks and part marks all clear. Some minor surface scratches, dents and dings as to be expected. Centre light thread in good condition and centre light removable for conversion to a two light. Branches are attached direct to the socketBranch B: In good condition with no obvious sign of damage. Hallmarks and part marks all clear. Some minor surface scratches, dents and dings as to be expected. Centre light thread in good condition and centre light removable for conversion to a two light. Slightly different base fittings with the branches soldered to a domed flange which then sits over the socket, though all pieces have matching part marks, so this is unlikely to be a later repair, just a different style of manufacture.
PETRARCA (FRANCESO)Librorum...impressorum annotatio, 2 parts in 1 vol. (including 'Bucolicum Carmen'), A1r within a woodcut border, woodcut device at end of part 1, capital spaces blank, old ink numeral in upper corner of each page, and annotations concerning the contents on the opening title-page, later boards covered in a vellum manuscript leaf from a large ?sixteenth century Choral in red and black ink with musical staves and large initial in blue, red and black, 3 bookmarks cut from a similar sheet loosely inserted [Adams P774; cf. ISTC ip00370000], folio (308 x 205mm.), [Venice, Simon Bevilaqua, 15 July 1503]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
BEMBO (PIETRO)Gli Asolani, FIRST EDITION, FIRST ISSUE, with the dedication to Lucrezia Borgia, capital spaces with guide-letters, woodcut printer's device to verso of m8, without final blank (n2), early twentieth century maroon morocco gilt, covers stamped in period-style decoration with central cartouches enclosing title/author on upper cover, and imprint details on lower, g.e., spine in 8 compartments within raised bands (spine faded, upper joint weakened) [Adams B578; Ahmanson Murphy 88; Renouard 48/1], 8vo, [Venice, House of Aldus, 1505]Footnotes:FIRST EDITION, FIRST ISSUE, with the dedication to Lucrezia Borgia, dated August 1504. This was removed from the subsequent issue, perhaps as suggested by Renouard because Lucrezia's husband, Alfonso d'Este, who became duke of Ferrara in January 1505, had fallen out of favour with the Pope so Bembo felt that the dedicatin would no longer be advisable. Gli Aolani is 'to us... a work of great interest: a fascinating glimpse of high society, an important literary experiment, a popularisation of Ficino's theories of love, and an edition which commands attention because of the personalities concerned, and because of its connection with political developments in Rome and Ferrara' (M. Lowry, The World of Aldus Manutius, 1979).Provenance: Camillo Raineri Biscia (1846-1920), bibliophile from Bologna, with 'Biblioteca Raineri-Biscia' stamp on 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
LAM WILFREDO: (1902-1982) Cuban Artist. A.L.S., Wilfredo, one page, 8vo, London, 17th May 1961, to Harold Gramatges, in Spanish. Lam states that he was very sorry not to have been in Paris to see the film, Peuple Arme, about Cuba and directed by Joris Ivens although adds that he will be in the French capital in two or three days and would like to see Gramatges. In a postscript to the left border Lam explains that he is in London to take charge of some of his paintings, adding that they had been badly sold and he was almost robbed. VG Harold Gramatges (1918-2008) Cuban Composer & Pianist who had scored the documentary film Peuple Arme (1961) which was written and directed by the Dutch filmmaker Joris Ivens.
HICKS JOHN: (1904-1989) British Economist. Nobel Memorial Prize in Economic Sciences in 1972. Widely considered one of the most influential economists of the 20th century. Among his major contributions his "Consumer Demand Theory" in microeconomics and his book Value and Capital (1939). Signed printed 6 x 9 paperback copy of Hicks´ article The Quest for Monetary Stability, eighteen pages, being a reprinted from The South African Journal of Economics, 1975. Signed in blue ink `John Hicks´, to the upper right corner. VG
GARROS, VEDRINES & KIMMERLING: Rare multiple signed page by three legendary Pioneer Aviators. Although for different reasons, all died in air crashes. Comprising Roland Garros (1888-1918) French Aviation Pioneer and Fighter Pilot of World War I. Garros died at the very early age of 29 when he was shot down by a German fighter pilot only a month before the end of the war; Jules Védrines (1881-1919)French Pioneer Aviator, the first to fly at more than 100 mph. Winner of the Gordon Bennett Trophy race, 1912. Autographs of Védrines are rare as a result of his untimely death at the age of 37 in an air crash, & Albert Kimmerling (1882-1912) French Pioneer Aviator who died at the very early age of 29 in a crash while test flying. One page, 8vo, removed from an autograph album, individually signed by the three pilots, with written text in the hand of Védrines, stating `Souvenir of a superb travel over-flying the English capital, on 3 / 7 / 1911´. Also signed by René Vidart (1890-1928) French Pionner Aviator, who died at the early age of 38, adding alongside `Souvenir of a bird of France´. Bearing to the verso four signatures by British famous men, including the actors Henry Ainley and Norman Forbes Robertson. Small overall age tone with small foxing to borders, otherwise G Védrines refers to the European circuit flight Calais - London. Védrines won the race, Vidart was second, Kimmering fourth and Garros fifth.
EISENHOWER DWIGHT D.: (1890-1969) American General of World War II. American President 1953-61. An excellent war date D.S., Dwight D Eisenhower, one page, 4to, Allied Force Headquarters, Office of the Commander-in-Chief, 10th May 1943. The typed document is a memorandum addressed to General Richard Gale and asks him to distribute 'to all ranks under your command the following message to the Allied Forces from His Majesty the King', the message from King George VI stating, in full, 'Throughout the six months during which you have been in command of the Allied Forces in North Africa, I have watched with admiration the progress of operations on sea, on land, and in the air. Under your leadership, forces diverse in nationality and race have been knit into one united and successful whole. Their task has not been easy and the resistance of the enemy has been determined and desperate. But now, with the capture of Tunis and Bizerta, your campaign is almost concluded; the last enemy forces in Africa are being captured or destroyed and the debt of Dunkirk repaid. On behalf of all my peoples, I express to you, as Supreme Commander of Allied Forces, and to all ranks under your command our heartfelt congratulations on your victory'. Eisenhower concludes the memorandum by remarking 'I am profoundly grateful to all portions of the Allied Forces for having carried out their assigned tasks so magnificently as to earn this commendation from His Majesty'. A document of fine content and association. Some light overall age wear and a few minor stains (some caused by a rusting paperclip) and with a small area of paper loss and minor tear to the upper left corner, otherwise VG Richard Gale (1896-1982) British General of World War II who served as GOC 6th Airborne Division 1943-44. On 1st May 1943 the Battle of Hill 609 ended in Tunisia as the U.S. Army's II Corps drove Germany's Afrika Korps from a strategic position. The first clear cut victory of U.S. Forces in the North African Campaign, the action was described as 'the American army's coming-of-age'. Several days later, on 7th May 1943, Tunis and Bizerte were liberated by Allied troops, with Bizerte falling to the Americans, and the Tunisian capital being conquered minutes later by the British First Army.
LUFTWAFFE: A good D.S. by Karl Koller (1898-1951) German General der Flieger, the last Chief of the General Staff of the Luftwaffe 1944-45, Gunther Korten (1898-1944) German Colonel General who served as Chief of the General Staff of the Luftwaffe 1943-44 and who died from injuries suffered in the 20 July plot to assassinate Adolf Hitler, and Rudolf Wodarg (1908- ) German Colonel with the Luftwaffe Intelligence Department during World War II, three pages, 4to, Headquarters, 4th April 1944, in German. The partially printed document, completed in typescript, is a Recommendation list No.1. for the award of the War Service Cross Class I with swords, issued by Wodarg and presented to Korten, relating to Major Heinrich Golcher and Major Walter Kienitz, both of Air Force Ops. Staff, the summary of reasons for the recommendations stating, in part, 'Major (Gen.St.) Golcher has been working, for the past one and three quarter years, in the Air Force Operations Staff, as head of section and as the regular deputy of the head of the department. He has dealt efficiently with the tasks assigned to him. Deserving of particular emphasis are his quick intellectual grasp, his commendable application and his painstaking thoroughness, which make him a valuable colleague. In addition, he has always shown great skill and judgement in handling the 'intelligence' sphere of responsibility, and in cooperating with the most senior governmental officials. In his position as my deputy…..his eye for the essential is particularly to be stressed. Since 1.10.1943, he has been simultaneously in charge of the attache section, which he heads with judgement and skill - particularly with regard to relations with foreign attaches…….Major (Gen. St.) Kienitz has been working, for the last two years, in the Air Force Operations Staff as head of section or sub-department. He has dealt efficiently with the tasks assigned to him. Deserving of particular emphasis is his work as head of the enlarge 'Eastern' territories section. Being an officer far above the good average, he succeeded, in a short space of time, thanks to his organisational ability and by the appropriate employment of his subordinate staff, in producing the data on the Soviet Union which the leadership required. Kienitz displayed forward strategic thinking in the working up of this knowledge of the enemy. He has accustomed himself, with commendable drive and energy, to the work of the 'Western enemy air forces' sub-department, of which he has been head for 5 months. Here too, Major (Gen.St.) Kienitz's judicious management produces outstanding results in the assessment of the enemy, particularly on the military side…..' Signed ('Wodarg') by Wodarg in bold fountain pen ink to the first page and countersigned ('Korten') by Korten beneath a brief typed statement supporting the recommendations. Koller's signature appears on a separate slim oblong 8vo piece, originally affixed to the base of the third page of the document, with a brief typed note supporting the proposals. Two file holes to the left edge of each page and with some light creasing and minor age wear, about VG Karl Koller's diary, covering the period of 16th April to 9th May 1945, published as The Koller War Diary, is a detailed record of great value, largely for the events of Hitler's last days in which he was a principal intermediary and in regular telephone communication with the Bunker. In the last days of the war Koller flew from Berlin to Berchtesgaden to inform Hermann Goring of Hitler's decision to die in the capital.
A GEORGE II WALNUT AND INLAID ARCHITECTURAL CASKET IN THE MANNER OF WILLIAM HALLETT, CIRCA 1740-50The hinged top with a Greek key parquetry border, enclosing three compartments and two wood sliding locks for the drawer, with Palladian pediment, column and capital mouldings to the front and back, the sides with architectural stringing24cm high, 23cm wide, 19cm deepThis casket demonstrates the popularity in George II's reign for Palladian architectural objects and furniture, made fashionable in part by Isaac Ware's 1756 publication 'Complete Body of Architecture'. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe lock is not operating at time of report, there is a key that appears to fit but does not turn and engage the lock - it may be an incorrect key or the lock may need some attention, the lock is open at time of report The locking action to the 'secret' drawer is operating at time of report, The lid is slightly warped The handle appears original to the lid, Areas of dirt and discolouration with colour variationOld splits and cracks, some chips and losses to the moulded architectural elements especially on the extremitiesPlease refer to additional images for visual reference to condition Condition Report Disclaimer
10th-12th century AD. A silver-gilt roundel with a Ugric falconer on horseback, a falcon on his arm, horn in his hand, surrounded by forest animals, a disc in the field above, a gammadion below, the gilding providing a high contrast with the niello field, framed by a pricked dot roundel; symbol engraved on the reverse. Cf. Adams, N., Bright Lights in the Dark Ages. The Thaw Collection of Early Medieval Ornaments, New York, 2014, item 6.20. 3.85 grams, 33mm (1 1/4"). From the family collection of a UK gentleman, by descent in the early 1970s; previously acquired before 1960. The disc is a close parallel for the 'falconer disc' type of ornament found in the Ural region and known from a number of similar finds. The type is believed to have been made by the court craftsmen of the Volga Bulgar capital at Bilyar. This citadel was destroyed by the Mongols in 1236 AD. The discs remained in use as heirlooms for a considerable period. The iconography represents a falconer hunting with his favourite bird, surrounded by a sample of the wildlife of the northern forests. Some examples show the falconer raising a drinking horn to his lips. In addition to the gilt band, there is evidence for the use of niello to provide a stark contrast to the bright metal surfaces. The purpose of the discs has never been established for certain, but one possibility is that they were used as tally or accreditation items, guaranteeing safe passage to the bearer throughout the territory of the issuing ruler. Very fine condition.
Late Middle Babylonian Period, 1000-984 BC. A bronze tanged leaf-shaped arrowhead, either side of the rib inscribed with 'Eulmaš-š?kin-šumi', inscribed in cuneiform as 'É-ul-maš-GAR-MU', reading (property) 'Of Eulmash-shakin-shumi, king of the world'. See Brinkman, J.A., Political history of Post-Kassite Babylonia (1158-722 b. C.), Rome, 1968, p.161, for discussion of identical inscriptions on fourteen arrowheads known at the time of the book's publication. 8.2 grams, 65mm (2 1/2"). From a private family collection formed in London from the mid 1980s to early 1990s. King Eulmash-shakin-shumi was the founder of the 6th Dynasty of Babylon, named the B?t-Bazi Dynasty after the Kassite tribal group from which its leaders were drawn. There are discrepancies in the information surviving about his reign; whilst the Dynastic Chronicle states that he ruled for fourteen years, the King List A suggests a rule of seventeen years. The events leading to the king's rise to power unfolded in the context of the chaotic close of the Second Sealand Dynasty, and in the midst of the turmoil inflicted by the famine-induced Aramean migrations occurring at that time, during which Eulmaš-š?kin-šumi appears to have seized the throne and possibly moved his capital to Kar-Marduk, a hitherto unknown location presumed to be less vulnerable to invasions by semi-nomadic peoples than Babylon. Upon his death, king Eulmash-shakin-shumi was buried in the Palace of Kar-Marduk, the dynastic capital. A 9th century stele relating to temple endowments at Sippar relates that the king restored food offerings to Shamash, and entrusted a garden plot in a part of Babylon known as the 'New City' to the then high priest there. The weapons unearthed with inscriptions such as the one offered here were likely votive, as opposed to military, pieces. Fine condition, cleaned.
16th-17th century AD. A slender gold D-section annular band with plain outer face, the inner face inscribed 'IF THIS THEN ME' in seriffed capitals with small quatrefoil before; remains of niello fill. Cf. Evans, J., English Posies and Posy Rings, OUP, London, 1931, p.51, for the same inscription, 'me' spelt 'mee'; cf. The British Museum, museum number 1961,1202.413, for this inscription with spelling variation, dated 17th-18th century; museum number AF.1286, for this inscription with spelling variation, dated 16th-17th century AD; cf. The Portable Antiquities Scheme Database, id.LVPL-AD7284, for similar, dated 1550-1650; id. 1.12 grams, 17.40mm overall, 16.23mm internal diameter (approximate size British K, USA 5 1/4, Europe 9.95, Japan 9) (3/4"). From the Albert Ward collection, Essex, UK; acquired on the UK antiques market between 1974-1985. Capital letter inscriptions are thought to have been more common before the mid 17th century AD, when inscriptions in italic script gained popularity. ‘Posy’ is derived from ‘poesy’ or ‘poetry’. In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardised spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Sources suggest that rings could be acquired ready- engraved, or alternatively engraved sometime after their initial production, by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty. [A video of this lot is available to view on Timeline Auctions Website] [No Reserve] Fine condition.
18th century AD. A substantial gold D-section annular band with plain external face, internal face inscribed: 'loVe For EVer' in mixed script and capital characters. Cf. Evans, J., English Posies and Posy Rings, OUP, London, 1931, p.72, for this inscription; cf. The Portable Antiquities Scheme Database, id.GLO-9143B6, for a similar ring with the same inscription and script, dated c.1650-1850 AD and BH-5C4EAE, for a similar ring with same inscription and similar script dated 1600-1710 AD; cf. The British Museum, museum number 1961,1202.309, for a similar ring with the same inscription in a later script, dated 19th century AD. 5.20 grams, 21.84mm overall, 19.31mm internal diameter (approximate size British R, USA 8 1/2, Europe 18 3/4, Japan 18) (1"). From the Albert Ward collection, Essex, UK; acquired on the UK antiques market between 1974-1985. ‘Posy’ is derived from ‘poesy’ or ‘poetry’. In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardised spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Sources suggest that rings could be acquired ready- engraved, or alternatively engraved sometime after their initial production, by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty. [A video of this lot is available to view on Timeline Auctions Website] [No Reserve] Very fine condition, slightly misshapen. A large wearable size.
4th-10th century AD. A drum-shaped marble chest in the form of a tholos surrounded by eight columns with simple capitals, arcades between the pillars with elegant openwork foliate tracery; each tiered capital with a vertical socket for the attachment of a lid; the interior showing tooling. See Boehm, B.D., 'Relics and Reliquaries in Medieval Christianity' in Heilbrunn Timeline of Art History, New York, 2000; Abou-El-Haj, B., The Medieval Cult of Saints: Foramations and Transformations, Cambridge, 1994; Bagnoli, M. et al. eds., Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe, Cleveland, 2010; Weitzmann, K. ed., Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century, New York, 1979, no.569-575. 22.1 kg, 37.5cm (14 3/4"). Property of a London gentleman; before that in the private collection of a Kensington collector; acquired in Austria in 1993; previously in the Trimbacher collection; formerly acquired in Germany in 1980; accompanied by an academic report by Prof. Neritan Ceka and a scholarly note no.TL05394 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10949-181176. Reliquaries were containers for storing and displaying relics, such as bones, pieces of clothing or an object associated with a saint or other religious figure, in a church from the early Christianity onwards. Starting from the simple forms of chests in late Antiquity, they developed to various types depending on the relics they contained. During the Reformation, a large number of reliquaries were destroyed by Calvinists and as a result the number of original, especially early specimens, is limited. Interestingly, our reliquary has a hole in its bottom, which can be related to the practice of pouring oil into a container of relics of a saint or saints, which was then collected into pilgrim flasks. [A video of this lot is available to view on Timeline Auctions Website] Fine condition.
5th-6th century AD. An Eastern-Roman double-edged sword with parallel-sided blade and broad pointed tip, battle nicks to both cutting edges, the rhomboidal lower guard with a chip-carved gilt iron plate to the frontal face, divided into sections with spiralling garnet cloisons and the forming panels filled with geometric interlace of garnet and gold ornaments; the exceptionally well preserved wooden hilt ornamented with four gold sleeves, each ornamented with concentric circles; the pommel comprising a flattened agate disc, fastened with an iron nail set with garnet cloisons forming a flower; accompanied by silver elements from the scabbard, two with eagle protomes. See Behmer, E.,Das zweischneidige Schwert der germanischen Völkerwanderungszeit, Stockholm, 1939; Lebedinsky, I., Armes et guerriers barbares au temps des grandes invasions, Paris, 2001; Spier, J., Treasures of the Ferrell collection, Wiesbaden, 2010. 1.05 kg, 87.5cm (34 1/2"). Property of a European gentleman living in London; from his grandfather's collection by descent in 1989; formerly in the family collection since at least the 1970s; accompanied by an archaeological report by military specialist Dr. Raffaele D’Amato and a positive metal test from an Oxford specialist; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10885-180932. The sword belongs to the type IV of the Behmer classification of the Germanic swords, originating from the Sarmatian-Alanian long sword. Similar scabbard elements are visible on the sword from Phanagoria, within Krasnodar Krai (Lebedinsky, 2001, p.118"). It is quite natural that Type IV swords have been found in the countries conquered or settled by the Goths in southern, central and Western Europe. Their relative rarity in these areas depends, at least in part, on the early Christianisation of the Goths and the associated custom to no longer place weapons in the graves. The main importance of our specimen is the exceptionally preserved wooden hilt and its ornamentation. One of the main characteristics of this group is the highly decorated guard, richly ornamented with garnets and gold, and this element has been preserved in our sword, together with the agate pommel. The origin of this decoration is still controversial matter, but most of the scholars accept the hypothesis that this kind of decoration, born probably in the Caucasus Regions during the 4th century, soon spread to the Roman Empire. By the early 5th century, the Byzantine workshops of the imperial capital of Constantinople were producing very fine objects with inlaid garnets, including sword guards. These swords were used by the Roman soldiers, of Latin, Greek or Germanic origin, and naturally were also given as gifts to the Barbarian chieftain allies of the empire. [A video of this lot is available to view on Timeline Auctions Website] Fine condition, cleaned and conserved.
Railwayana, numerous volumes to include GW Steam Through the Cotswolds ..., Great Western Steam in Cornwall, Men of the Great Western, Diesels in the Capital, A Portrait of Steam, Brian Reid "Locomotives" and volumes relating to model railways including a Collection of The Model Railway Constructor and Steam Magazine (4 boxes)
A pair of silver candlesticks, with detachable sconces, Corinthian capitals and square stepped beaded bases, Sheffield 1897, maker Harrison Brothers & Howson. Height 16 cm (see illustration). CONDITION REPORT: One candlestick has denting to each of the four corners to the capital, the fluted column is showing a split to the fluted sections and the fluted column appears to have a repair and there appears to be a few holes remaining, the stepped square base has flattened points to the corners and some denting to the base rim and wear to the hallmarks leaving the makers mark partially obscured. The other candlestick is in slightly better condition, however it does have a repair to the base of the fluted column and similar denting and wear to the stepped square base and to the corners. Each candlestick is weighted.
Six George III silver caddy spoons, probably by John Lawrence, displaying different patterns and styles, all hallmarked for Birmingham within the years 1809 and 1812 (see illustration). CONDITION REPORT: All of the spoons in this lot bear some slight denting to the edges of the bowls. Some are slightly worse than others although none are very badly damaged. The mother of pearl terminal spoon bears an armorial to the underside of the bowl which is a scrolled capital W with coronet and paw surmount.
An early 19th century blue and white porcelain oval caddy spoon, with scalloped terminal, the bowl decorated with floral sprays and with impressed C to reverse, together with a Wedgwood Jasperware caddy spoon. CONDITION REPORT: The blue and white spoon has minor fritting to front edge of bowl, there are impressed marks to the underside with capital letter C above a star motif. The Jasperware spoon is rather scuffed and grubby.
An 18th century pearlware pottery oval tea caddy of architectural design, with reeded columns to corners. 13 cm high. CONDITION REPORT: The cover is missing, the neck rim with crack showing and some wear, the body with some glaze loss to the upper section with some cracking also, the base with crazing and some edge wear to the base rim, a small stress crack to the base of one capital, the base with crazing throughout.
Norfolk, Great Fransham.- Mesuagia Capital Bliford in magna ffransham, 6 manorial survey rolls, manuscripts in Latin and English, on vellum, 3 rolls consisting two membranes sewn together, all with tears and some loss (2 with extensive loss), folds, browned, c. 1020 x 250mm. & v.s., v.d., 1550, 1553, 1589 & 1722; sold subject to the Manorial Documents Rules (6).
Middle East.- Pakyne (Theodore) Voyage en Orient, manuscript account of a journey to Persia, 34pp., in French, some blank leaves ruled in pencil at end, sewn, lacking wrappers, 4to, 1839.⁂ Unpublished first hand account of a journey to Persia, unusual because it is written by the humble "vallet de chambre" to the wealthy aristocrat "Monsieur le Comte de Sercey." The latter's diplomatic mission to Persia is described in La Perse en 1840, which first appeared in La Revue Contemporaine in 1854, and was an attempt by the French government to re-establish relations with Persia. But this account by a mere servant is much more engaging, if rather idiosyncratic. He describes visits to Palermo, Messina and Mount Etna before they reach Milos; Constantinople is described in detail - "everywhere there are mosques and minarets" - before the hazardous crossing of the mountains from Trebizond to Bayazid - "the inhabitants are miserable and the women unwashed". In the capital of Azerbaijan, Tabriz, the expedition's artist M. Flandin, is attacked after he tries to gate-crash a wedding party, whereupon the guests are fined and administered fifty lashes. In March 1840 they arrive in Teheran where they are warmly welcomed with fanfares "despite the fact that Christians are regarded as dogs". A fascinating counterpoint to de Sercey's better known but more conventional account.
Ivon Hitchens (British, 1893-1979)Autumn Woods signed 'Ivon Hitchens' (lower right); further signed, titled and inscribed 'Ivon Hitchens/Greenleaves/Lavington Common/Petworth Sussex/Autumn/Woods' (on a label attached to the stretcher)oil on canvas40.6 x 75.3 cm. (16 x 29 5/8 in.)Painted circa 1948Footnotes:ProvenanceWith Lefevre Gallery, LondonSale; Christie's, London, 9 June 1989, lot 406Private Collection, U.K.ExhibitedLondon, Waddington Galleries, Ivon Hitchens, 3 March-3 April 1993London, Theo Waddington Fine Art, Victor Waddington, 22 November-24 December 1993, cat.no.32Berlin, Galerie Michael Haas, Ivon Hitchens 1893 bis 1979: Gemälde, 23 September-29 October 1994, cat.no.6 (col.ill.) London, Waddington Galleries, Ivon Hitchens, 19 June-13 July 1996, cat.no.2 (col.ill.)In 1940 the Hitchens family were forced to evacuate their bombed London home and move to Lavington Common near Petworth in Sussex. Hitchens was already familiar with this landscape having spent time painting there during the late 1930s and the seclusion and tranquility of the woodland, comprising of a mixture of oak, larch, birch and chestnut, would provide him with abundant material in the years ahead. Ironically, the devastation in the capital had freed him from former constraints and as Peter Khoroche has commented, his pictures in the 1940s are 'painted with unprecedented assurance and vitality, an uprush of energy – a renewal through contact with nature'. (Peter Khoroche, Ivon Hitchens, Lund Humphries, Farnham, 2014, p.72). Autumn Woods dates to the later 1940s and is painted with the distinctive harmonies of grey, blue, rich-brown and red that characterise several works from the period. Hitchens wanted to demonstrate the vivid, flowing nature of the countryside and the dramatic change the seasons had on the landscape. He conveyed this in a manner similar to Cézanne by means of a formal engagement with shape, space and depth. Hitchens favoured painting from the ground up, immersing us in the woodland itself so that we can fully absorb the surroundings. Here, we find ourselves drawn into and across the busy canvas and then down the receding tree lined path that the artist frequently incorporated into his bold and energetic interpretations of the landscape. We are grateful to Peter Khoroche 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
Circle of ANTON RAPHAEL MENGS (Aussig, Bohemia, 1728-Rome, 1779)."St. John the Baptist."Oil on canvas. Relined.It presents restorations.Measurements: 28.5 x 35.5 cm; 39 x 49 cm (frame).The work in question closely follows the aesthetic precepts developed by Mengs, the first chamber painter of Charles III whose art enjoyed great acceptance at court. Thus, we are faced with a Saint John the Baptist of soft and delicate features, which stands out for its naturalness. Although he has been represented beardless, when he usually has long and shaggy beards, there are several attributes that allow us to identify the figure as St. John the Baptist: first, the character points with his right hand a wide rod, topped in the form of a cross, covered by a phylactery. Secondly, and although it is not visible in this composition, the phylactery should read "Agnus dei ...", a reference to the phrase "This is the lamb of God who cleanses the sin of the world". The aforementioned lamb, symbol of Christ and his sacrifice on behalf of humanity, a usual attribute of St. John the Baptist, is not found in this work. The artist is probably inspired by classical images of the "Good Shepherd", bucolic figures of young shepherds caring for their livestock that were adopted at the beginning of Christianity as symbolic figures of Jesus caring for his faithful. This inspiration in classical sources could explain the youthful and beardless appearance of St. John.A painter and theorist of neoclassicism, Anton Raphael Mengs was trained both in the practical aspect of painting and in the theory of art, under the influence of Winckelmann, whose friend and outstanding pupil he was. He trained in Dresden under the direction of his father, Ismael Mengs, a court painter. Later, between 7141 and 1744, he traveled to Rome to further his education with Marco Benefial, studying especially ancient sculpture and the painting of Raphael and the classicists of the seventeenth century. In 1744 he returned to Dresden and was appointed court painter, where he devoted himself mainly to portraits. In 1746 he was appointed painter to King Augustus III of Poland, and subsequently undertook a journey through Italy, ending in Rome, where he settled permanently. In the Italian capital he painted important religious and mythological works in fresco, showing a mature style of a clearly neoclassical character, influenced by the Renaissance and, more specifically, by the work of Raphael. In 1761 he was called to Spain, where he remained until 1769 as the first painter of King Carlos III. For him he painted works destined to decorate the Royal and Aranjuez palaces, and also painted important portraits. His presence in Madrid definitely pushed Tiepolo into a corner, since Mengs represented a new taste that was well accepted by the court. Although he would later return to Rome, he would visit the Spanish court again between 1774 and 1776, shortly before contracting the illness that would lead him to die in Italy in 1779. Works by Mengs are currently preserved in the Prado Museum, the Louvre in Paris, the Hermitage in St. Petersburg, the Metropolitan in New York, the National Gallery and the Royal Collection in London, the Art Institute of Chicago, the Albertina in Vienna and other leading art galleries in Europe and the United States.
Nikos Kessanlis (Greek, 1930-2004)Giuseppe Marchiori avec Pierre Restany signé 'NIKOS' (en bas au centre et au revers) image photographique traitée sur toile189.5 x 95cm (74 5/8 x 37 3/8in).Peint vers 1964. signed (lower center and on the reverse)processed photographic imaging on canvasFootnotes:LittératureP. Restany, Nikos, Olkos editions, Athens 1976 (illustrated).Nikos Kessanlis - Grecia Biennale di Venezia 1988, Greek Ministry of Culture - Direction of Fine Arts, Athens 1988 (illustrated).P. Restany, Nikos, Kastaniotis editions, Athens 1988, p. 119 (illustrated).Nikos Kessanlis, retrospective exhibition catalogue, Macedonian Museum of Contemporary Art, Thessaloniki Cultural Capital of Europe 1997, p. 235 (illustrated).Nikos Kessanlis, Adam editions, Athens 1998, p. 235 (illustrated).T. Moutsopoulos, Nikos Kessanlis, Contemporary Greek Artists series, Ta Nea editions, Athens 2009, p. 47 (illustrated).For further information on this lot please visit Bonhams.com
Thanos Tsingos (Greek, 1914-1965)Cannes signé et date 'TSINGOS 59' (en bas à droite); signé et daté 'No 104/ TSINGOS/ 59' (au verso)huile sur toile162 x 130cm (63 3/4 x 51 3/16in).Peint en 1959.signed and dated (lower right); signed and dated (on the reverse)oil on canvasFootnotes:ProvenanceGalerie 65, Cannes.Private collection, Athens.ExposéCannes, Galerie 65, Tsingos, 1959, no. 104. Athens, National Gallery - Alexandros Soutzos Museum, Thanos Tsingos, July 1980, no. 60 (listed, p. 36, and illustrated in the exhibition catalogue).Athens, National Gallery - A. Soutzos Museum, Reminiscences, Transformations, Quests, Ministry of Culture and Science - Athens Cultural Capital of Europe, 1985 (illustrated in the exhibition catalogue, p. 93).In 1959, Tsingos reached the pinnacle of his success, reaping laurels in Cannes for his one-man show at Gallery 65. His paintings were sold in Europe, the USA and Canada, while his London galleries consistently promoted his work.1In Cannes, a brilliant picture included in this breakthrough show, sinewy calligraphic lines and abstractive shapes worked with thick impasto into a kind of sculptural form, are freely combined on a shimmering surface to evoke the meeting of sea and land and produce a highly personal interpretation of the cosmopolitan port in the South of France that recalls the leisurely pleasure found by Picasso at Antibes, Bonnard at Le Cannet, and Dufy in Nice.Bursting with intensity and verve, the painting showcases the artist's sensitivity for the materiality of paint and fascination with texture and colour (note the dazzling white and red highlights on a wonderful sea of green gleaming with an imaginative blend of hues including olive, mineral, forest, hunter, India, pine and midnight greens.) The immediacy of the execution, reminiscent of the surrealist automatic writing, shifts the centre of gravity from the production of images to the process of painting. The viewer's eye travels along the vigorous lines, following the movement of the painter's hand, his romantic gesture which reveals the liberation of confined energy.Starting in 1954, Tsingos used to spend spring and summer months in the Côte d'Azur, often working fervently on new projects that represent some of the most inspired formulations of art informel, Europe's response to the high-rhetoric of America's abstract expressionism. 1 See Thanos Tsingos - Yannis Gaitis [in Greek], exhibition catalogue, Cyclades Gallery, Ermoupolis, 2004.En 1959, Tsingos a atteint l'apogée de son succès, à l'occasion de l'exposition qui lui a été consacrée à Cannes par la Galerie 65 et a couronné son œuvre. Ses peintures ont été vendues en Europe, aux États-Unis et au Canada, et ses galeries londoniennes n'ont cessé de promouvoir son œuvre. À Cannes, cette exposition capitale a permis de voir cette œuvre brillante, qui combine librement des lignes calligraphiques nerveuses et des formes abstraites travaillées avec un empâtement épais dans une sorte de forme sculpturale, sur une surface chatoyante qui évoque la rencontre de la mer et de la terre et qui livre une interprétation extrêmement personnelle de ce port cosmopolite du sud de la France, clin d'œil aux villégiatures de Picasso à Antibes, de Bonnard à Le Cannet et de Dufy à Nice.Caractérisée par une touche et une verve intenses, cette peinture révèle la sensibilité de l'artiste pour la matière de la peinture et sa fascination pour la texture et la couleur (on notera le blanc éblouissant et les touches de rouge sur une mer verte merveilleuse, scintillant dans un mélange incroyable de teintes, y compris des verts olive, minéraux, forestiers, chasseur, indiens et sapin, ou encore des verts nuit). La spontanéité de l'exécution, qui rappelle l'écriture automatique des surréalistes, déplace le centre de gravité de la production d'images vers le processus de la création picturale. L'œil du spectateur voyage le long des lignes vigoureuses, suivant le mouvement de la main du peintre, et sa gestuelle romantique qui révèle la libération d'une énergie contenue.À partir de 1954, Tsingos a pris l'habitude de passer le printemps et l'été sur la Côte d'Azur, travaillant souvent avec ferveur à de nouveaux projets qui représentent certaines des formulations les plus inspirées de l'art informel, réponse de l'Europe à la rhétorique rigide de l'expressionnisme abstrait américain.For further information on this lot please visit Bonhams.com
Theofilos Hadjimichael (Greek, 1871-1934)Alexandre le Grand au combat signe en grec (en bas a droite) et inscrit (en haut)pigments naturels sur carton contrecollé sur panneau69 x 100.5cm (27 3/16 x 39 9/16in).signed in Greek (lower right) and inscribed (on the upper part) natural pigments on cardboard laid on boardFootnotes:Provenance Koumbas collection, Lesvos.Private collection.LittératureM.G. Moschou, Theofilos Hadjimichail Self-Biographed, doctoral dissertation, University of Athens, Athens 2005, Annex Illustrations, vol. I, p. 8 (mentioned), fig. I.40 (illustrated).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 114 (illustrated).When the painter Orestis Kanellis asked Theofilos to paint for him a landscape, the artist replied fervidly: 'I will paint you, instead, Alexander the Great rushing at the enemies with his sword.'1 Mighty, regal and handsome as an Olympian god, his golden armour flashing lightning, Alexander the Great, riding Bucephalus, commands his brave Macedonian infantry against King Porus of India in the victorious battle of the Hydaspes River (326 BC).2 History is filtered through the artist's rich imagination and transformed into the enthusiasm3 sparked in him by valour and heroic achievement. Gallantry is indicated through the repetition of pictorial and iconographic conventions, an approach to painting rooted in Byzantine and folk tradition and reminiscent of descriptions found in demotic songs. In this magnificent canvas of sparkling light and brilliant colour, Theofilos explores a mythical, ideal world that stirred his imagination since his early childhood. As noted by Nobel laureate O. Elytis, his grandfather used to sit him on his knees and recount old stories about Alexander the Great until the little boy closed his eyes and dreamt about the great deeds of this hero of Hellenism.4 Theofilos kept alive Alexander's tradition, which had grown since the period of the Ottoman Occupation as the incarnation of the dreams of liberation and, later, of the visions of the Great Idea.'5 1 See G. Petris, 'The Painter of the Folk Myth' [in Greek], Epitheorisi Technis magazine, no. 75, March 1961, pp. 198-200.2 A lengthy description of the historic event (with inaccurate date) is inscribed at the top of the painting. 3 Theofilos was so fascinated with the radiance, glamour and regal grace of the Macedonian king that he used to parade the streets dressed as Alexander the Great, with helmet, sword, buskins and accoutrements made and painted by himself, followed by a troop of boys similarly attired.4 O. Elytis, The Painter Theofilos [in Greek], Asterias editions, Athens 1973, p. 24.5 See Alexander the Great in European Art, exhibition catalogue, Organisation for the Cultural Capital of Europe, Thessaloniki 1997, p. 264.Lorsque le peintre Orestis Kanellis a demandé à Theofilos de lui peindre un paysage, l'artiste a répondu avec enthousiasme : « Je vais plutôt vous peindre Alexandre le Grand, se ruant sur ses ennemis avec son épée.» Puissant, majestueux et beau comme un dieu de l'Olympe, son armure dorée scintillant dans la lumière, Alexandre le Grand, chevauchant Bucéphale, commande sa valeureuse infanterie macédonienne contre le roi Porus d'Inde dans la bataille victorieuse des rives de l'Hydaspe (326 av. J-C). L'histoire est filtrée par l'imagination foisonnante de l'artiste et transformée par l'enthousiasme3 que lui inspirent la valeur et les actes héroïques. La bravoure est montrée par la répétition de conventions picturales et iconographiques, une approche de la peinture qui trouve ses racines dans la tradition byzantine et populaire et rappelle des descriptions présentes dans les chants démotiques.Dans cette toile magnifique qui irradie de lumière et de couleur, Theofilos explore un monde mythique idéal qui a nourri son imagination depuis sa toute petite enfance. Comme l'a fait observer le Prix Nobel O. Elytis, son grand-père avait l'habitude de l'asseoir sur ses genoux et de lui raconter de vieilles histoires sur Alexandre le Grand jusqu'à ce que le jeune garçon ferme les yeux et rêve des hauts faits de ce héros de l'hellénisme. Theofilos a maintenu vivante la tradition d'Alexandre, qui n'a cessé de croître depuis la période de l'occupation ottomane comme l'incarnation des rêves de libération et, plus tard, des visions de la Grande Idée ». For further information on this lot please visit Bonhams.com
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