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Lot 338
Sir Arthur Conan Doyle (1859-1930) A sepia photograph portrait of Doyle wearing a Masonic, Crusader or Rosicrutian cloak displaying a red cross, together with an hour glass matching that in the photograph and am associated skull (3) These items relate to Sir Arthur Conan Doyle`s association with the Theosophical Society and Spiritualism
Lot 702
A Japanese woodblock print depicting a Yamamba or mountain woman wearing a cloak of leaves and another figures in conversation with a view of Mount Fuji, each 21cm x 18cm, framed together; another print depicting three women in a rain shower, 38cm x 23cm, framed; two reproduction prints. (4 framed).
Lot 18
A North Devon pottery jug most probably by George Fishley of Fremington, of oviform with ribbed strap handle with thumb rest and scroll terminal the body sgraffito decorated with a portrait of Britannia and the text ‘Britannia Rules the Waves, The Rose and the Thistle and the Shamrock so Green’ with smoking pipes, birds, fruiting branches, wheat and foliate meanders amongst the texts ‘The cock crow to let you know, If you ham (sic) wise what to his ****’ and ‘The path of truth is a plain and safe path, That of Falsehood is a perplexing maze’ together with a small panel of a man surrounded by the text ‘Beware of the Drunkard’s Cloak’, 29 cm high, early 19th century, minor losses.
Lot 121
A 19th Century Dieppe carved ivory figure of a faggot gatherer depicting a young girl wearing a hooded cloak and clutching a small bundle of kindling to her chest and standing with bare feet next to a tree stump, raised on a turned Rosso marble socle, 38 cm high overall (ivory figure 32 cm high) (ILLUSTRATED)
Lot 163
* Swiss playing cards. A deck of playing cards, Dauphine pattern, Geneva, Gassmann, c.1860, fifty-two wood eng. cards, with stencilled colouring, comprising four suits of thirteen (French suits), each with pip cards 1-10 (six of clubs soiled) and three full-length court cards (jack of spades with imprint), grey versos, 85 x 55 mm (3.25 x 2.25 ins) A Swiss copy of the Dauphine pattern described by Sylvia Mann, Collecting Playing Cards, 1966, p.72. Conforms in all details described by Mann (jack of hearts dressed as a Roman soldier with a drawn sword in right hand and left forefinger pointing up to heaven, etc.) except that the jack of diamonds does not have human faces on his shins (despite conforming in all other respects, i.e. he strides forward, bareheaded and wrapped in a cloak). (1)
Lot 221
A DERBY FIGURE OF JOHN PHILIP KEMBLE (1757-1823) AS RICHARD III. the monarch in gilt, red and turquoise doublet and hose and ermine trimmed cloak, his plumed hat lying on the shaped oval green mound, 25cm h, patch marks, c1795 The Derby model was adapted from John Dixon`s mezzotint after the portrait by Nathaniel Dance of David Garrick in the same role, which was exhibited at Burlington House in 1771. The scene captures the moment on Bosworth Field when the monarch cries out "A horse, a horse, my kingdom for a horse!". See Bradshaw (Peter), Derby Porcelain Figures 1750-1848, pp 186-188.. ++ Hairline crack, possibly a firing crack in one of the cloak flaps on on the underside of the base. On the back of the figure one or two insignificant paint scratches. A fine example and relatively scarce.
Lot 107
A sterling silver thistle hat pin stand by Adie & Lovekin, Birmingham 1920, together with a pair of Scottish pebble hardstone carved baton link cloak pins, a pair of Celtic sterling silver cloak pins (chain deficient) set with citrines and amethysts, other assorted agate and hardstone pins and a naturalistic talon holding a citrine
Lot 65
A FINE SILVER-MOUNTED OTTOMAN GREEK SHAMSHIR PRESENTED BY THE PACHA OF CANDIA TO CAPTAIN F.T.MICHELL R.N., DATED 1829. with curved blade double-edged towards the point and cut with two slender fullers of differing length along the back-edge, silver hilt comprising a pair of quillons with bud-shaped finials, engraved with scrolls and a bouquet of fruit, moulded back-strap engraved with the presentation inscription and date, and a pair of horn grip-scales fitted with a tear-shaped washer on each side of the pommel, in its original leather-covered wooden scabbard with large silver mounts cast and chased in relief, comprising locket, middle-band and chape each decorated with sprays of flowers, foliage, trophies and bouquets all within an elaborate series of scrollwork frames, and retaining a ring for suspension (one suspension ring missing). 75.5cm; 29 3/4in blade. Admiral Sir Frederick Thomas Michell KCB (1788-1873) was the son of Lieutenant Sampson Michell RN, a Cornishman who died an admiral in the Portuguese Navy in 1809. He was born in Exeter, entered the Royal Naval Academy at Portsmouth in 1800 and joined HMS EURYDICE (24) as a Midshipman in 1803, serving in a number of ships and locations before being commissioned lieutenant on 29th May 1807. Serving in several more ships in locations from the Adriatic to Brazil, he became 1st lieutenant of HMS BOYNE (98) in March 1815. When Admiral Lord Exmouth was appointed to command a punitive expedition to Algiers in 1816, he took BOYNE`s officers with him into his flagship, HMS QUEEN CHARLOTTE (100). Before the bombardment of Algiers, late in August 1816, Exmouth appointed Michell to command the battering flotilla of 55 small vessels - principally gun, mortar, rocket and bomb ships - in the acting rank of commander and Michell was confirmed in that rank on 16th September 1816. After a decade on half-pay, Michell was appointed to command HMS RIFLEMAN (18) on 27th December 1826 and took her to the Mediterranean.. During the 1820s Greece fought her war of independence from Turkey: Britain, France and Russia were involved to maintain the balance of power and their own interests in the eastern Mediterranean. At the time, Crete was known by its Venetian name Candia and the Sultan ruled the island though a governor, or Pasha; the island`s capital, now Heraklion, was also known as Candia. It was British policy to recognise Crete as Turkish and British ships were welcomed in its harbours by the island`s governor.. The Ship`s Logs of HMS RIFLEMAN for 1829 (The National Archives; ADM 51/3377 and ADM 53/1140) show that she left Malta, bound for Crete, on 2nd March 1829, taking as passengers two Turks, Mustapha Hassan and Mustapha Ali. On 7th March, she anchored in Port Greco, a harbour on the island of Stondia - now Dia Nisida - off the north coast of Crete opposite the city of Candia. On 8th March, she sailed across the strait to Candia, put the captain, Michell, and the surgeon ashore in a yawl, `stood off and on` until the yawl returned and then, having fired a salute of 19 guns - which was returned by the harbour`s Turkish fort - sailed back to Port Greco, leaving Michell - and, presumably, the surgeon and the ship`s two Turkish passengers - in Candia. On 9th March, she returned and sent the yawl for Captain Michell, who returned at 11.30am, whereupon she left Candia harbour, returning a salute of 21 guns from the fort, and made sail for Malta, arriving there on 16th March 1829. For the remainder of 1829, HMS RIFLEMAN cruised in the Mediterranean but did not return to Crete.. It seems most likely that Michell received the sword offered here in March 1829 as a gesture of thanks from the island`s governor, perhaps for conveying the two Turks from Malta. The Turkish governor of Candia 1832-51 was the Albanian Giritli Mustafa Naili Pasha (b. 1798) who, in 1829, would have been known as plain Mustafa Naili and so may have been the `Mustapha Ali` taken aboard Michell`s ship on the orders of C.-in-C. Mediterranean for passage to Crete; he had been active in suppressing Greek insurrections on Crete in the 1820s and passage on a British sloop-of-war was probably the most sure way of returning him safely to the island.. Michell was promoted post captain on 22nd February 1830, commanded the 5th Rate HMS MAGICIENNE (24) at the siege and bombardment of Acre in 1840 and then the 5th Rate HMS INCONSTANT until 1843. In 1852 he was given command of HMS QUEEN (110) and commanded her during the Crimean War, particularly distinguishing himself at the bombardment of Sebastopol 1854-55, after which he was promoted rear admiral and created CB. Michell returned home to live in Totnes, Devon, where he was elected mayor in 1855 and 1858 and where he died. He became a vice-admiral in 1862 and an admiral in 1866, being created KCB in 1867. In addition to the sword given him by the Pasha of Candia/Crete, he received another from the Sultan, as well as a cloak with diamond clasps and several Turkish orders and decorations; as well as the insignia of a KCB, he received that of an Officer of the Legion of Honour, the Naval General Service Medal 1793-1814, with clasps Algiers and Syria and the British and Turkish medals for the Crimean War.
Lot 994
Follower of Sir Godfrey Kneller 1646-1723, 19th century- Portrait of a gentleman, quarter-length in a red cloak; oil on canvas, 76.2x63.2cm: European School, mid 19th century- Portrait of a gentleman, quarter-length turned to the left in a black coat; oil on canvas, 76.2x63.2cm., (2), (unframed)
Lot 237
SEREBRIAKOVA, ZINAIDA 1884-1967 Bathing Nude signed and dated 1927 Pastel and pencil on paper, 47 by 62 cm. Provenance: Private collection, UK. Authenticity has been confirmed by Catherine Boncenne, niece of the artist. Related literature: For similar works, see V. Kruglov, Zinaida Serebriakova, Zolotoi Vek, St Petersburg, 2004. Serebriakova’s lovely pastel Bathing Nude, which she executed in 1927, is one of the earliest in a series of portraits of a young, dreamy model who became the artist’s favourite “life model” between the end of the 1920s and the first half of the 1930s. In Serebriakova’s best works of this period, we time and again encounter this same, invariably pensive girl from a Parisian Russian family. She poses lying serenely on sheets with a red scarf (Nude with a Scarf, 1932); blowing out a candle before going to sleep (Nude with a Candle, 1934); sleeping (Nude, 1927); washing herself in a bath-house, long tresses of hair over her shoulder (The Bathhouse, 1926); and rubbing herself dry and relaxing (Reclining Nude in a Light Cherry Cloak, 1934).The nuances of the way the model is portrayed vary in each case, and some of the works are less finished than others. These variations are determined by the goals Serebriakova set herself in each occasion. For example, the work presented for the auction, similar to Torso for which the same model sat and which is now in the State Russian museum, is one of the more lively and gentle studies. It is executed in pastel, which brilliantly conveys the nuances of air and colour and is so well-suited to the purpose that even the seemingly misplaced strokes of chalk all but enhance the impression of the vibrancy of life. As an artist specialising in life drawing and painting, Serebriakova occupies a special place in the history of the art of her native land. She had no systematic training, but she did possess a natural taste in relation to how to portray a human body. The young artist had her first lessons in the laws of human anatomy during a brief period of study in the school of M.K. Tenisheva and in the studio of O. Braz in St Petersburg. Her education was continued in Paris (1905 to 1906), where she made a detailed study of the Louvre collection and made sketches from works by Brueghel, Watteau, and Fragonard that had made an impression upon her. Serebriakova produced her first “female bathers” in early 1920s, thus laying a foundation to a whole series of works that would bring her international recognition. Following a move to Paris in 1924, Serebriakova revisited her avourite topic and spent quite some time doing life drawing and painting. Thus, she created another version of her renowned work The Bathhouse, featuring the same model that sat for the pastel presented for the auction. However, the artist’s principal achievements between the late 1920s and the 1930s were her studies and her life sketches in pastel and oil, in which Serebriakova refrained from attempting, similar to Kabanel, to transform her life models into abstract “bathers” or heroines of ancient mythology. She filled her albums with entire series of “nudes” lying, sitting, and standing in various poses, drawn with astonishing ease and with a fine understanding of the female body. Serebriakova herself explained her passion for drawing and painting the naked body in a letter which she wrote from Paris to A. Savinov: “I have always had a passion for the theme of the nude, and the subject of The Bathhouse was merely a pretext for this purpose, and you are right that this is ‘simply because a young and clean human body is a nice thing’. At the beginning of my time here, that is from 1922 to 1934, I had a number of acquaintances – nice young Russian girls – who would agree to sit for me. Then they would go off and get married, and after that they would no longer have any time to act as models. I did not have the money to draw and paint professional life models, and I began to content myself with drawing and painting still life instead, and also managed to find some joy of painting in this ‘quiet life’ also …”
Lot 252
HARLAMOFF, ALEXEI 1840-1922 Girl with a Pearl Necklace signed and dated 1881 Oil on canvas, 66 by 51 cm. In the 1870s, alongside works of the domestic genre and portraits, Harlamoff began working on his so-called “heads” and their related genre compositions, which became predominant and now represent the bulk of the artist’s creative legacy. This proved to be an astonishingly lucrative enterprise for the artist, which to a large extent explains why he painted so many of these compositions. It is true that Harlamoff struggled financially during the first few years of his sabbatical. The funds sent to him by the Academy were scarcely enough to support even the most modest lifestyle. Ilya Repin wrote that “The Academy’s scholarships were sufficient to enable the recipients to get to some town or other and then sit there doing nothing in some cheap cramped room”, barely making ends meet. So Harlamoff, to quote Repin, “for two or more years could only afford to dine in cheap eating houses; then, after he received fifteen hundred roubles for a copy, he started painting items for sale for the first time and is now selling little heads ...”. Among the buyers of these “little heads” were members of Russian and European nobility and royals, including Empress Maria Fedorovna and Queen Victoria. Harlamoff ’s early “heads” included his Head of a Gypsy Boy, which was painted before the artist’s trip to Belgium. Subsequently, in the 1870s, after returning to France, he created his Mordovian Girl (the Radishchev Saratov Museum), Little Italian Girl and Gypsy Girl (both held by the State Russian Museum), A Head (Penza Picture Gallery), and Portrait of a Girl (Perm Museum of Art), amongst others. These seem to have been painted by Harlamoff so as to invoke associations with the works of Italian artists of the 17th century. What distinguished Harlamoff ’s “heads” genre from the multitude of other portraits of the same period? One of the artist’s contemporaries wrote that “the head and the study [for the head] are nothing other than ‘uncommissioned’ portraits, portraits under which not only do the first name and surname of the original artist not appear, but we do not have even the inevitable X., N. or Z. The artist executes his head and the study from life in exactly the same way as that in which he paints a portrait from life. However, his choices are not diffident ones, and that is the reason all his heads are beautiful ...” To put it succinctly, this approach provided the artist with a rare opportunity to freely juxtapose his ideal of beauty against real life. The unrivalled master of this genre was considered to be Leon Bonnard, Harlamoff ’s teacher in Paris. However, despite the fact that such works were integral elements of the works of the Paris Salon, only a few artists managed to reach the standard of the master’s work. Harlamoff, who in his works provided his own unique interpretations of the achievements of Russian artists of the first half of the 19th century – most notably Bryullov, Kiprenskiy, and Moller, amongst others – was one such artist. Girl with a Pearl Necklace is one of the artist’s best “heads”. In his delicate, thoughtful image of a young girl, Harlamoff attempts to express certain psychological characteristics. The canvas as a whole contains a brownish “museum-like” colour spectrum; at the same time, however, Harlamoff is not afraid of providing a combination of resonant, “pure” white and red colours in the model’s clothing, and this was characteristic of his work in the late 1870s through early 1880s. The style of her simple dress – a blouse and a sarafan [Russian peasant tunic dress] – creates the impression that there is something Russian about the portrait, despite the fact that the painting was executed in France. The model for Girl with a Pearl Necklace was possibly one of the many female pupils of Pauline Viardot, with whom Harlamoff was very friendly in Paris. In any case, she can by no means be described as incidental to the artist’s work, as we certainly know of a number of works which had as their subject the same model as Girl with a Pearl Necklace. Moreover, one of them – The Girl with Brown Eyes – is virtually an exact copy of the composition of Girl with a Pearl Necklace, with the same angle of the head, the same cloak, and the same hands crossed on the chest. Diverse stylistic trends are interwoven in both of these canvases. Here, as in many of Harlamoff ’s other portraits, we have romantic or even sentimental reminiscences (it was not for nothing that his contemporaries remarked upon their “daydream” origins), features of realism, and, finally, allusions to the paintings of the “old masters”. After all, in the majority of his works Harlamoff continues to be a good colourist and a master who has a marvellous command of painting techniques. According to the recollections of the artist E.K. Liphart, who was one of Harlamoff ’s and Bogoliubov’s friends amongst the community of Russian artists in Paris, “everyone considered it to be an honour to pose for Harlamoff. In his strikingly similar portraits, what was important to him was the overall effect of the painting, and the details did not interest him – for example, if – as a result of being lit from above – an eye appeared to be sunken into the deep shadow of the eye socket, Harlamoff would satisfy himself with a half shadow, which would allow the pupil to be seen together with the vivid expression of the model’s gaze”. It was precisely this intense interweaving of light and shadow, as a contemporary artist noted, that created a certain sense of intrigue and mystery in Girl with a Pearl Necklace.
Lot 462
Three: Private James Cloke, late 49th and 62nd Regiments Crimea 1854-56, 1 clasp, Sebastopol (3852 .... Jas. Cloak. 62 Regt. Foot) depot impressed naming, rank illegible through bruising, clasp carriage broken at one side; South Africa 1877-79, 1 clasp, 1879 (J. Cloke, late 49th Foot); Turkish Crimea, Sardinian issue (3852 Pt. J. Cloke 62 Regt Foot) the first with heavy edge bruising and contact marks, good fine, the second with edge bruise, otherwise good very fine and very rare £1200-1500 The roll confirms J. Cloke for medal and clasp, no rank shown, and notes that he also had the medal for the Crimea. One of only two South Africa 1877-79 medals to the 49th Foot, the other recipient being Lieutenant H. E. Haldane who was attached to the Commissariat and Transport Staff. Cloke was possibly his batman.
Lot 216
Circle of Sir Godfrey Kneller, Bt. Portrait of Henry Fane, Half length, wearing a russet and green cloak and lace cravat, Oil on canvas, Oval, 71cm x 59cm. Provenance: Wormsley Park, Literature: (unpublished) Catalogue of The Collection of Pictures & Drawings at Wormsley, The Property of F. W. Fane as "Portrait of H. Fane Esq., Painted by Sir Godfrey Kneller". Henry Fane (b.1669-1726) was the son of Sir Francis Fane and Hannah Rushworth, and married Anne Scrope daughter of Thomas Scrope. Visit www.dnfa.com for condition reports
Lot 270
GREAT WESTERN RAILWAY - an unused booklet of Cycle Cloak Room Tickets c.1920; a small hand written ticket certifying that engine 2435 was employed for 15 minutes "at this station...."; a GWR Identification Card for W A J Pike, Bristol; a booklet Regulations in regard to the Supply of Stores, Furniture and Equipment to Offices, Stations, Depots etc. 1926; a War Record of the Great Western Railway by Edwin A Pratt and a WWII Air Raid Precautions Handbook no.14 The Fire Guards Handbook
Lot 357
A single stone diamond ring, stamped `18ct & Plat`, the brilliant cut of approximately 0.1 carats, finger size Q, a diamond half eternity ring, set with single cut diamonds, stamped `18ct, finger size O, an 18 carat white gold wedding ring, 0.9g gross, a 9 carat gold wedding ring, two 9 carat gold signet rings, 8g gross, a lava cameo bracelet, an agate cloak pin clasp, a silver and enamel Masonic fob, a gentlemans Seiko wrist watch and two ladies watchesVisit www.dnfa.com for condition reports
Lot 438
A rare Royal Worcester blush ivory figurine "Puritan", modelled wearing a wide brimmed hat, tunic, breast plate and breeches with cloak over his shoulder and resting a hand on his sword and carrying a scroll, with printed and impressed factory marks and numbered 2062 to base, height 17cm (Illustrated)
Lot 236
A Ribkoff animal print sequinned top and another similar top; a Cartoon turquoise and beadwork skirt and top; a NoaNoa black sequinned cocktail dress; a grey skirt & jacket; a long black velvet evening cloak; a Dorville royal blue day dress; a Trevona black floral long dress; a Lady Fayre blue evening dress; a Janice Wainright cream & black day dress; a pink day dress; a floral jump suit
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