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Lot 3538
DORA AINSWORTH; a cast silvered metal sculpture of a nude figure sleeping, raised on black painted wooden plinth base, width 26cm, together with a similar bronzed figure by the same artist also a fibreglass panel on slate back depicting three maidens, and three ceramic plaques (6). *PLEASE NOTE THE PROCEEDS OF THIS LOT WILL BE DONATED TO CHILDREN IN NEED.
Lot 267
Hublot. A Limited Edition black DLC coated ceramic and titanium automatic calendar chronograph wristwatchModel: Big Bang 'Red Devil' Manchester United Special PieceReference: 318.CM.1150RXDate: Purchased 20th November 2005Movement: 55-jewel ETA automatic, No.2892A2Dial: Black, red baton hour markers, yellow outer minute divisions with 5 minute markers, subsidiary dials at 3 and 9 for seconds featuring Red Devil and 45 minute recording, date aperture at 6, black pointed baton hands with yellow inserts, red chronograph handCase: Polished tonneau form, back secured by 6 screws with Manchester United emblem, black Kevlar bezel secured by 6 screws, shouldered screw down crown with twin buttons, No.843218Strap/Bracelet: Black Hublot rubberBuckle/Clasp: Signed black DLC coated titanium double folding claspSigned: Case, dial & movement Size: 45mm Accompaniments: Hublot box, outer card, Certificate of Authenticity, Warranty Card, instruction manualFootnotes:Manchester United are the most successful club in English football having won a record 20 league titles as well as 3 European cups. The team were managed by Sir Alex Ferguson for 26 years and featured many notable players such as Eric Cantona, David Beckham, Rio Ferdinand and Wayne Rooney. In August 2021, 5 time Ballon d'or winner Cristiano Ronaldo agreed to return to the club, 12 years after he'd first departed. Hublot have a long-standing relationship with Manchester United. A 10 metre Hublot clock tower outside the East Stand at Old Trafford is a popular meeting point for supporters on matchdays.For further information on this lot please visit Bonhams.com
Lot 432
A Chinese blue and white ceramic ginger jar, decorated with panels to either side, one of children playing, one with young man riding mythical beast, circle mark to the base, height 18cm on a carved hardwood stand (no lid, some areas of scuffing to the surface of the glaze) good condition with glaze marks as described
Lot 110
FOOTBALL, FA selection, mainly pre-match gifts, inc. ceramic plates, Wembley Stadium 65 Years, The FA County Youth Challenge Cup 50 Years, Lafarge Foot Avenir Limoges 2011, metal (1) from the French Football Federation; UEFA U-17 2004/5 Elite Round Tournament commemorative plaque, donated FA Youth Trust first aid bag, international pennants, international keyrings, tickets, Portuguese scarf etc., from the John Waterall collection (FA Youth Team official), VG to EX, Qty.
Lot 98
CRICKET, selection, inc. trade inserts, English players by Sydney Mail (13), The People's Sporting Gallery (3), Nottingham, Flowers (Notts) & Webbe (Middlesex), Boys Own Paper Badges Caps and Colours, Ideas (1907 Surrey); ceramic plate Yorkshire v Lancashire at Bramhall Lane (1973), magazines; trade cards, Cornhill, brochures and sticker albums, Sportscaster, 1861 Bells Sporting Almanac (FR), phonecards etc., FR (1) otherwise G to EX, Qty.
Lot 588
Display Vase Large Greek Inspired Decorative Rustic Vase Ceramic Stoneware Naxos Large Antique White Vase, At 43cm High And 32cm Wide And Deep This Is An Ideal Size For A Vase. Display A Beautiful Bouquet Of Flowers Or Greenery To Complete This Product Perfectly. The White Finish Ensures This Product Will Fit Into Any Interior While The Style Has Taken Inspiration From A Greek Style Making It Timeless And Unique. (5050140950098)
Lot 309
GIOVANNI BATTISTA TIEPOLO (ITALIAN 1696-1770) A LARGE GROUP OF PUNCHINELLI Pen, ink and wash 23.9 x 37.5cm (9¼ x 14¾ in.) Provenance: The Henry Oppenheimer Collection Sale, Christie's, The Henry Oppenheimer Collection, 14th September, 1936, lot 185 (A) (part lot) Where purchased by Sir Osbert Sitwell, 5th Bt. And thence by descent. Literature: G. Knox, 'Domenico Tiepolo's Punchinello Drawings: Satire, or Labor of Love?' in Satire in the Eighteenth Century, (J.D. Browning Ed.) New York, 1983, p. 138, fig. 5. G. Knox, 'The Punchinello drawings of Giambattista Tiepolo', in Interpretazioni Veneziane studi de storia dell'arte in oncore di Michelangelo Muraro, (D. Rosand Ed.) Venezia 1984, p. 441, fig.5. V. Sears Goldman, April 2012, 'The Most Beautiful Punchinelli in the World': A comprehensive Study of the Punchinello Drawings of Giovanni Battista Tiepolo, (unpublished doctoral dissertation), Princeton University, New Jersey, pp. 390-393, no. 4, fig. 4. We are grateful for Professor Bernard Aikema for confirming the authenticity of this work from a photograph. Catalogue Note: This drawing is from a distinctive group of documented Punchinello drawings by Giovanni Battista Tiepolo (1696-1770); related drawings by Tiepolo of the same period, depicting large groups of Punchinelli include: A large group of Punchinelli cooking (École des Beaux-Arts, Paris, no. 393); A large group of Punchinelli (private collection, Zurich); Punchinelli preparing a meal of gnocchi and parmesan cheese (Baron Dominique-Vivant Denon; Vivant-Denon sale, Pérignon, Paris, 1-19 May 1826, lot 543; most recently, Christie's, New York, 31 January 2013, lot 75, USD 542,500 inc. premium) (Sears Goldman, op. cit., pp. 393-397, no. 5; pp. 420-422, no. 10; pp. 423-429, no. 11). Punchinello was the buffoon character of the 17th century commedia dell'arte, a subject that Tiepolo embraced from the late 1720s through to the early 1760s, primarily in drawings, executing about thirty-six, but also in at least two paintings, and etchings. Tiepolo's interest in Punchinello was most likely stimulated when he was in Verona working on the illustrations for Scipione Maffei's Verona Illustrata (c. 1725). The drawing offered here dates from the early 1730s; it retains the fine delicate line of the earlier drawings but includes two tones of painterly wash, the wash less evenly applied than in slightly later drawings (Sears Goldman, op. cit., p. 376). Tiepolo, in contrast to his son Domenico, who shows Punchinelli engaged in everyday activities in his Divertimento per li Regazzi, portrays his Punchinelli making and eating gnocchi, and suffering from the excesses of overindulgence. The subject derives from a regional festival, venerdì gnoccolare, which took place in Verona on the last Friday of Carnival. Young boys from the poorest district of San Zeno, dressed up in costume, and gathered at the Palazzo del Podestà to invite the mayor to the town square for a glass of wine and a plate of gnocchi, followed by a town fiesta of eating and drinking until dawn. This drawing depicts a jumbled group of Punchinelli; two figures on the right are engaged in the cooking and presentation of gnocchi, but most have surrendered to the gnoccolonità that affects unlucky Punchinelli after the feast - several are drunken or ill (Sears Goldman, op. cit., p. 390). Some of the figures in this drawing can be found in other Tiepolo Punchinello drawings. For example, to the left of the drawing is a prostrate Punchinello with a protruding stomach lying on top of his hat; a similar Punchinello is depicted in Drunken Punchinello in the Musée de Picardie, Amiens (M.P. 975-6) and Two Punchinelli in the Fondazione Giorgio Cini, Venice (30.082). The Punchinello slumped over on the ground in the centre of the present drawing has its counterpart in Punchinelli cooking gnocchi (formerly Tito Miotti, Udine) and Three Punchinelli gathered around a gnocchi pot (Kennedy Onassis estate sale, Sotheby's, New York, 24 April 1996, lot 250). The composition of the present drawing is additionally related to a disegno di Pulcinella senza Pulcinella (c. 1724) by Tiepolo in the Staatliche Museen zu Berlin (inv. 11772). A toppled gnocchi pot or Punchinello hat, a wine flask, and a walking stick lie in the foreground. The use of scattered objects in the front appears in other Tiepolo drawings, for example, La folla e i serpenti, but in the world of Punchinello these symbols of the venerdì gnoccolare are represented differently: Punchinello's hat, a fallen quiver of arrows; the wine flask, a ceramic pot with a grotesque carved mask, Punchinello's walking stick suggesting a makeshift caduceus, a serpent-encircled staff (A. Rizzi, Mostra del Tiepolo: disegni e acqueforti, Milan, 1971, p. 17, no. 9; G. Vigni, Disegni del Tiepolo, 2nd ed., Trieste, 1972, pp. 53-54, no. 6). George Knox, the Tiepolo art historian, suggests that this drawing is among the earliest of the Punchinello drawings because of its fine line and delicate, even use of wash (Knox, op. cit., p. 441; G. Knox, Tiepolo: A Bicentenary Exhibition, no. 6). He further proposes that this drawing may be linked stylistically with the studies for the Villa Loschi at Biron, executed around 1734 (Knox, op. cit., p. 441). The present drawing, and others of this period, undoubtedly mark the moment that Tiepolo's draftsmanship assumes its mature form (G. Knox, Tiepolo: A Bicentenary Exhibition, 1770-1970; Drawings, mainly from American Collections, by Giambattista Tiepolo and the Members of His Circle, Cambridge, Mass., Fogg Art Museum, Harvard University, 1970, no. 13). Scipione Maffei (1675-1755), a Veronese writer, art critic and collector, was possibly the patron of the Punchinello works (Knox, op. cit., pp. 439-446). Tiepolo visited Verona twice, around 1730 when he worked with Maffei on Verona Illustrata, and nearly thirty years later in 1760 to paint the ceiling of the Palazzo Canossa. By the middle of the 18th century, however, Punchinelli drawings were collected outside Verona; in 1761, Count Francesco Algarotti's wrote to Pierre-Jean Mariette that he had 'les plus belles polichinelles du monde de la main de notre célèbre Tiepoletto' (Knox, 1984, op. cit., p. 444). Moreover, many artists made copies after Tiepolo's drawings, whether in pen and ink or as prints. Some of these were direct copies; others, such as the artist Georg Friedrich Schmidt's (1712-1775) 1751 etching, after Three Punchinellis cooking gnocchi, was based principally on the drawing but contributed new elements as well (Sears Goldman, op. cit., p. 364). Henry Oppenheimer, F.S.A. Click here for full description.
Lot 1839
A French boulle work and gilt metal mantel clock, 19th century, the gilt metal dial with inset ceramic Roman Numeral plates, within a gilt metal mounted tortoiseshell and boulle work case, of typical waisted form, twin train movement with outside countwheel strike on a bell, no. 4888 and visible gilt mask pendulum, 12in. (30.4cm.) high.* Condition: Winds and runs. Strikes corectly on the hour and half hour. Has been restored - gilt metal parts have been regilded to a good standard. One replaced leaf to brass inlay to lower right corner of left hand side. A few brass pieces lifting to lower edge of decoration to right hand side. A few small bruises and tiny flakes from tortoiseshell to lower edge on both sides and a little crazing and some surface dirt to tortoiseshell in places. Overall in good condition. No winding key.
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