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Lot 405
Continental School (18th century): Miniature Portrait of a Lady, half length, wearing a fur-lined blue cloak and lace-trimmed pink dress, on ivory, oval 9.7cm by 7.2cmWith Non-Transferable Standard Ivory Exemption Declaration Number CG814ZR1 No splits or noted warping. Some slight fading. Chips to frame. Some possible over painting towards the bottom
Lot 444
A Staffordshire pearlware figure of Venus, standing beside Cupid and a dolphin, circa 1820, approx 21.5cm high, with a figure of Hope, approx 18 cm high, and a figure of Peace, approx 21 cm (3) Peace in good condition, Venus some glaze chipping in places, end of the cloak in her hand has been restored, fireing crack to her finger.Hope-some glaze chips in places, back part of the anchor has been restored
Lot 197
Dark blue tam; green cloak.In a poem written by Robert Burns in 1791, Tam O' Shanter is a drunken farmer who happens upon witches who pursue him and his horse. He escapes, but his horse doesn't quite make it - one witch pulls its tail off. The Scottish woolen cap is reputedly named after this poem's hero. Artist: Max HenkIssued: 1973 - 1980Dimensions: 3.25"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Good.
Lot 498
A pair of Victorian citrine cloak pins, each pin set with an oval facet-cut citrine measuring approximately 25 x 18 x 11.5mm, in pierced scrolling mount, on gold pin, tests at approximately 14ct gold, joined by rectangular link chain, pins 11.5cms high, 47.2g gross, in fitted case retailed by MacGregor, Jeweller and Lapidary to the Queen, Perth.
Lot 404
A Victorian sapphire blue and black finely striped silk dress, circa 1860, the shoulders, head of sleeve and cuffs with jet coloured trimming, front button fastening, lined with glazed cotton (at fault), together with a silk taffeta skirt, in pale gray with tartan pattern flounces, and a Victorian grey woollen cloak, circa 1852, with ivory plush banding to body and hood with chenille tassels, lined with cream silk taffeta partly quilted (3)
Lot 652
A Collection Of Vintage First Edition Children / Adult Novels, To Include:Double Matthew Walker By John Maurice, Printed In Glasgow, 1959 This way To School By Elizabeth Ord Watt [Dust Cover Torn, Shelf Ware] London, 1935.Rustlers Of The Fells By Eric Leyland, London, 1960.The Bobbsey Twins Solve A Mystery By Laura Lee Hope, London, 1955.Gene Autry, and the Big Valley Grab, Whitman, 1952.Winning an Empire, London, 1963.What Happened To Kitty, T. Wilson Wilson, London.The Young Taylor By Griselda Gifford, London1963.Professor Branestawm Up The Pole By Norman Hunter, London 1972. [Ex Library Copy]Dear Dragon, By Sesyle Joslin And Irene Haas, London 1964 [Very Good Condition]The Giant Baby By Allan Ahlberg, London, 1994.The Bear Who Went To The Ballet By Jean Richardson, London, 1996.The Dark Mile, By D. K. Broster, London. Green Willow By Eileen Dunlop, 1993, New York. [Signed Copy]Beano Medieval Knievel Copy 141A Kettle Full Of Magic By Jean Kenward, London, 1988.Martin Shares His Cloak, By Regine Schindler, A Christmas Book By Svend Otto S. London 1978.A Sound Of Chariots By Mollie Hunter London 1975 [Signed Copy]A Selection Of Children's Publication, many first editions to include: Hoot and Ruff By Jane Hissey, 1994 , London.Paddington At The Fair by Michael Bond and David Mckee. Hong Kong 1985.Paddington At The Circus Michael Bond and David Mckee. London 1973. Flower Fairies Of the Summer, By Cicely Mary Barker, London, 1927?Hans Anderson Fairy Tales, London 1995. [With Presentation Box Very Good Condition]Parraults Fairy Tales L0ndon, 1998. [With Presentation Box Very Good Condition]Grimms Fairy Tales, London 1996. [With Presentation Box Very Good Condition]
Lot 270
Dark blue tam, green cloak.In a poem written by Robert Burns in 1791, Tam O' Shanter is a drunken farmer who happens upon witches who pursue him and his horse. He escapes, but his horse doesn't quite make it - one witch pulls its tail off. The Scottish woolen cap is reputedly named after this poem's hero.Royal Doulton backstamp. Artist: Max HenkIssued: 1973 - 1980Dimensions: 7"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 118
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 1/4 sovereign, 2017. Royal Mint. Proof. Commemorating the 200 year anniversary of the modern sovereign 1817-2017, featuring the original design of St. George and the Dragon as made by Pistrucci.Fifth crowned head of Elizabeth II facing right; JC below; ELIZABETH II · DEI · GRA · REG · FID · DEF · 2017 ·. Design by Jody Clark. / The reverse depicts an illustration of the legend of St George as the slayer of the dragon, in its original 1817 interpretation. St George is on horseback, advancing to right, wearing a helmet and chlamys (cape, or cloak) fastened in front by a fibula, and holding a broken lance. His left hand clutches the rein of the horse's bridle, and he does not wear armour, other than on his lower legs and feet, with his toes bare. The saint's horse appears to be half attacking, half shrinking from the dragon, which lies wounded by George's spear and in the throes of death. The point of the lance is broken off in the dragon's side. In relief in the left part of the ground line, the artist's initials B.P. (for Benedetto Pistrucci). Surrounding the image, a Garter circlet inscribed with the Order of the Garter's motto, HONI · SOIT · QUI · MAL · Y · PENSE · (from old French: Shame on he who thinks evil). Design by Benedetto Pistrucci. Edge milled.In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 6318603-006. Coin Value Index (CVI): £257.78 on 2023-12-12.Click here to read about the Coin Value Index.NGC Census in this grade: 478, equal-finest graded.Total NGC Census: 540Reference: S-SA5Mintage: 4,188.Diameter: 13.5 mm.Weight: 2 g. (AGW=0.0590 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 97
Report from Don Ángel Rivera de las Heras is attached. Doctor in Art History. Measurements: 152 x 90 x 52 without base, measurements with base: 215 x 90 x 60 cm. The figure is exactly the same model created by the Galician sculptor Gregorio Fernández that he made in 1617 for the Valladolid convent of San Francisco, and which was reproduced repeatedly, even during the master's lifetime, by disciples and imitators. The Virgin is standing, in a frontal and static position, almost hieratic, with her left foot forward. She has a youthful face, with a cylindrical neck and rounded head. Small locks of hair are arranged on her forehead, as in other omaculated autographs. Her long, wavy hair is divided into two levels, maintaining her symmetry: her front hair falls to her shoulders, the rest of it flows down her shoulders and down her back to below her head. waist. She keeps hers, hands joined, in a prayerful gesture. She wears a white tunic, tight with a headband, decorated with botanical motifs using the stew technique, and highlighted with borders in the cut-out, cuffs and fimbria. She covers herself with a blue mantle, bordered with a fretwork formed by vegetal scrolls applied with a brush tip, studded with seven-pointed golden stars. Her tunic and cloak show wide, ridged and broken folds, marking cavities, especially in the lower third; those on the back of the cloak are gathered, as usual, in a puff that seems to be attached to an invisible pin. The figure sits on the quarter moon and a cluster of clouds with a group formed by three heads of winged angels, who, like the Virgin, have glassy eyes, which seems to be a later addition. And she is surrounded by a halo with golden, straight and flamed rays, in which the following inscription is displayed: "TOTA PVLCHRA ES AMICA MEA / ET MACVLA NON EST IN TE" (Cf. Song of Songs 4, 7). The cubic base is from the 17th century, and is decorated with the anagram of Mary, as well as gilded moldings on its base and cornice, and vegetal plaques on the fronts. Conservation: the organoleptic examination allows us to affirm that its state of conservation is very good, although small scratches and minor chips are observed. It is a sculptural work of extraordinary artistic and plastic quality. It is not documented, but it can be attributed to Gregorio Fernández (Sarria, Lugo, 1576-Valladolid, 1636), from whose workshop it came out in the artist's last period, between 1620 and 1636. This is evidenced by its compositional design, its formal characteristics and some specific details of its execution. BIBLIOGRAPHY: Juan José Martin González, The sculptor Gregorio Fernández, Madrid, 1980; Jesús Urrea, Cat. of the exp. Gregorio Fernández, 1576 - 1636, Madrid, 1999. Provenance: important Spanish private collection.
Lot 505
A rare and evocative glaze figure depicting a fruit selling merchant wearing a green cloak. From an early edition of the Street Vendor series. Handwritten title and HN number. Royal Doulton backstamp. Artist: Charles NokeIssued: 1917Dimensions: 4.75"L x 5.75"W x 6.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 263
Vintage Star Wars Return of The Jedi Luke Skywalker Jedi Knight Outfit Action Figure, complete with Jedi cloak sewn shut clasp variation, Palace blaster and scarce blue lightsaber, @ L.F.L. 1983 Hong Kong, in near mint original condition, slight rubbing to nose on face, weapons are all original, with original ROTJ 65 back header card, some biro graffiti to back
Lot 340
Ca. AD 7th century.An intricate silver finger ring that is incised with two lovely portraits. This ring is comprised of a rounded hoop with a band of circles incised on the exterior, and a flat section interior. The bezel is circular, and decotated with busts of two figures, one turned 3/4 with raised hands in the 'orans' pose and a halo framing her head, likely Mary. The other faces the viewer, also with arms raised in the 'orans' pose. He wears a cap and has short, cheekbone-length hair and is dressed in a delicately incised cloak, delineated as if to suggest a clasp on his shoulder. Size: D:16.71mm / US: 6 1/4 / UK: M; Weight: 2.61g Provenance: Private London collection; formerly acquired in the US in the 1990s.
Lot 5
First piece of the Masquerade trilogy. Clear crystal figural has satin crystal face, collar wearing outfit adorned with colored crystal buttons on cloak, hat and shoes. Swarovski backstamp. This item has its original box: 6"L x 10"W x 5.5"H. Certificate of Authenticity included. This item has an oval base included: 5.5"L x 4"W x 1.5"H. Artist: Adi StockerIssued: 1999Dimensions: 4.5"L x 3.5"W x 8"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 236
Handmade porcelain bisque doll with five-piece jointed bisque body, arms, and legs and human hair. Snow white in her yellow, blue, and red gown with brown cloak. Includes doll stand. Dolls by Jerri hang tag. Dimensions: 7.5"L x 7.5"W x 20"HManufacturer: Dolls By JerriCountry of Origin: United StatesCondition: Age related wear.
Lot 116
Hieronymus Wierix, Hendrik Van Balen - The Virgin with five Children / Description: The Virgin and child; the Virgin, seated, and the child standing with a banner with his monogram; two angels on either side behind them; five children adoring them, two seen under the Virgin's cloak. Engraving made by Hieronymus Wierix (1553-1619) after a design by the Flemish painter Hendrik Van Balen, signed: 'Hieronymus Wierx fecit et excud.' and 'Cum Gratia et Privilegio Buschere'; and signed on image: 'H. V. Balen in.' A wild guess, but It is tempting to imagine the couple of children in adoration are based on family members of the artists involved. Beneath the print two lines in Latin captions and in bottom right corner the collection stamp of Friedrich Augsburg II, King of Saxony. / Dimensions: 13,40 x 9,10 cm / Condition: Excellent early impression on a dense laid paper. Full plate border. In an excellent untouched condition. / Literature: Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (1019) --- Maquoy-Hendrickx 1979 / Les Estampes des Wierix ... catalogue raisonné (747, only state) --- Alvin 1866 / Catalogue raisonné de l'oeuvre des trois frères Jan, Jérome et Antoine Wierix (485) / Medium: Engraving /Circa: before 1619 340
Lot 89
Lucas Van Leyden - Saint Simon - 1510 / Description: St Simon; with a book in his left hand tucked into his cloak and a saw in his right hand, tip on ground. Monogrammed with the letter L bottom right in the plate. With unidentified collection on the support sheet. / Dimensions: 11,70 x 7,20 cm / Condition: Good impression with some plate tone. With full plate border on dense laid paper. Mild age toning. Mounted with two hinges on a support sheet. / Literature: New Hollstein (Dutch & Flemish) 97 (Lucas van Leyden) Bartsch VII.388.97 . From fourteen plates of Christ, Saint Paul and the twelve apostles, each of whom is depicted isolated against a plain background and with his attributes. The series is not date but is given by Bartsch as around 1511 and by the New Hollstein c.1510. / Medium: Engraving /Circa: 1510 380
Lot 238
Hendrik Hondius (1573-1650) - Portrait of Hubert van Eyck Portrait of Hubert van Eyck, sitting at a table turned to the left, facing left; wearing a fur hat, and a fur-trimmed cloak; a painter's palette on the wall behind him, three viewers on top. A portrait from the series Pictorum Aliquot Celebrium Praecipuae Germaniae Inferioris Effigies made and published by the Flemish born engraver Hendrik Hondius who moved to The Netherlands and established his own publishing business. The portrait dates from 1610 and goes bas go back to Domenicus Lampsonius' Pictorum Aliquot Celebrium Germaniae Inferioris Effigies, published by Hieronymus Cock's widow in 1572 and engraved by Cock, Johannes Wierix and Cornelis Cort. In many cases, Hondius elaborated the backgrounds. This is a first edition published by Hondius, a later edition was published in 1612and 1618 by Jansonius. 21,00 x 12,00 cm Excellent impression on watermarked laid paper, good plate tone and small margins. In top condition. New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (82) --- Van Someren 1736 Etching 1610 280
Lot 190
A RARE BACCHANALIAN KUBERA, GUPTA EMPIRE, PINK SANDSTONENortheastern India, 6th to mid-8th century e.g. late Gupta Empire to Later Gupta Dynasty. Seated in royal ease on a pedestal, holding a wine cup in his right hand and a treasure sack in his left. The face with a benevolent expression, almond shaped eyes below arched eyebrows, a wide nose, and pouted lips, adorned in elaborate jewelry including large circular earrings, a collar and beaded pendant. His hair is gathered into a ribbed coiffure. Behind his head is a rayed nimbus.Expert's note: The close connection of ancient Bacchanalian imagery from the Hellenistic period with the present image of Kubera is evidenced by him holding a wine cup, while his rounded belly is indicative of prosperity and abundance.In the process of his conquests, Alexander III of Macedon, commonly known as Alexander the Great, introduced Hellenistic culture, including a taste for wine, to a vast swath of territories, including - although indirectly - northeastern India. His armies were accompanied by philosophers, geographers, and historians, who compared their own observations to those of past travelers, and to legends, including that of Bacchus. Alexander himself “wanted the tales of the god's wanderings to be true” and, en route through the mountains of the Punjab in northwestern India, became convinced that he was indeed following in the footsteps of Bacchus. The presence of wild vines and ivy seemed confirmation, so Alexander made a formal sacrifice and “many of the prominent officers around him garlanded themselves with ivy and . . . were promptly possessed by the god and raised the call of Dionysus, running in his frantic rout.”The Macedonians claimed to find the worship of Bacchus to be widespread in India, although it is likely that they confused the Hindu god Shiva with the son of Zeus. Shiva is often portrayed adorned with a tiger skin, in the style of Bacchus and his dappled cloak, and his followers, like bacchantes, were fond of dancing and drumming. Moreover, the Indian doctrine of reincarnation had a parallel with the birth and rebirth of the god of wine. In general, however, the Macedonians found the inhabitants of India temperate by their own standards. While Alexander's Empire fell apart shortly after his death, the Bacchanalian culture lasted, subject to local color and iconography, for centuries thereafter.Provenance: From a distinguished Italian private collection, acquired between the late 1960s and early 1970s. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, some losses, few nicks and surface scratches, structural cracks. Possibly some minor old fills. Dimensions: Height 84.5 cmKubera is known primarily as the god of wealth and abundance, but he is also one of the Four Great Kings (maharaja) as well as one of the Eight Guardians (lokapala), and in the latter role is associated with the northerly direction. He is also identified with Vaishravana, Panchika and Jambhala and has a further role as leader of the yakshas, nature spirits derived from pre-Aryan traditions who were believed to have power over wealth, fertility, and illness.Literature comparison:Compare a related earlier and simpler sandstone figure of a bacchanalian Kubera, dated to the Gupta period, 4th century, in the Norton Simon Museum, accession number M.1975.11.04.S. Also compare with a closely related pink sandstone statue of a bacchanalian Kubera from the Gupta Period, wearing elaborate jewelry, originally found in the Jamalpur mound in Bangladesh, today in the Government Museum, Mathura, India, accession number 00-C-5.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 17 March 2015, lot 1075Price: USD 81,250 or approx. EUR 100,000 converted and adjusted for inflation at the time of writingDescription: A red sandstone figure of Kubera India, Madhya Pradesh, 8th/9th centuryExpert remark: Compare the closely related bacchanalian iconography and pose, the round body, the jewelry, and the material. Note the size (90.8 cm).
Lot 324
A large Berlin group of Mercury, circa 1763-65 Modelled by F.E. Meyer, standing beside a tree, wearing a winged hat and a cloak, Cupid handing him a letter, a cockerel at his feet, left in the white, 33.5cm high, sceptre mark in underglaze-blue to the reverse, impressed 4 and incised / Footnotes: Provenance Mavis Bimson Collection For a full discussion of the model and both a coloured and a white example, see Dorothee Heim, Die Berliner Porzellanplastik und ihre skulpturale Dimension 1751-1825 (2016), pp.212-216, no.11. According to the Berlin inventories the group was modelled around 1762-63, and was created both as a single group and as part of a writing set. Due to the large number of mentions in 1763 and the number of surviving examples, it seems it was rather a popular model. Meyer used the figure of Mercury from the frame of the print Bataille in Braband by Abraham Drentwett d.Ä., Georg Philipp Rugendas and Jakob Andreas Friedrich d.Ä. from a series of etchings reproduced by Heim (2016), p.215. For further information on this lot please visit Bonhams.com
Lot 303
A Derby 'Dry Edge' figure of Pluto, circa 1752-55Modelled striding forwards amongst flames, the base with a demonic mask to the rear, the three-headed dog Cerberus emerging from under the god's cloak, left in the white, 17.3cm highFootnotes:ProvenanceMavis Bimson CollectionSimon Spero illustrates a similar figure in his paper 'A foreign visitor's view of the English porcelain industry in 1753', ECC Trans, Vol.20, Pt.2 (2008), p.418, noting that this class of 'Dry Edge' figure is 'amongst the most accomplished and dynamic ever made in England...conceived and modelled with an expressive sense of vitality rarely matched elsewhere'. Another example from the Lady Charlotte Schreiber Collection and originally acquired as Bow, is in the Victoria & Albert Museum (inv. no.414:142-1885).For further information on this lot please visit Bonhams.com
Lot 308
A rare Doccia figure emblematic of Winter, circa 1750After Balthasar Permoser, modelled as a bearded man holding a torch with flames, a fur cloak wrapped around him, standing beside a fire, the billowing smoke forming a rococo pedestal supporting the figure, left in the white, 19cm highFootnotes:ProvenanceBonhams, 16 November 2005, lot 125Mavis Bimson CollectionThis figure is modelled after one of the four seasons sculpted in ivory by Balthasar Permoser. Klaus Lankheit, Die Modellsammlung der Porzellanmanufaktur Doccia (1982), p.96, illustrates a similar coloured figure in the Museo Corrreale di Sorrento, his left arm hanging down rather than holding a torch. Another, slightly later polychrome model of the same type is in the Metropolitan Museum of Art, The Charles E Sampson Memorial Fund, and is illustrated by J. Munger, Eighteenth-century Doccia porcelain in the Metropolitan Museum of Art, New York, in Quaderni degli amici di Doccia, I (2007), ill.18. In the Doccia factory inventory, the series of the four seasons is mentioned around 1760 as Le quattro Stagioni di Baldassar senza padellina, e con candeliere, alte circa mezzo braccio, where it is also mentioned that the ivory originals were kept in the collection of Marchese Giuseppe Ginori in Florence. These figures appear to be lost. Lankheit notes there are two series of the seasons by Permoser mentioned in the inventory, which might relate to the figure groups with and without candle holders. Balthasar Permoser (1651-1732) moved to Florence in 1675 where he worked for Giovanni Battista Foggini, in whose studio he remained fourteen years before returning to Dresden in 1689 where he worked at the court of Johann Georg III, Elector of Saxony. Permoser returned to Florence once more in 1697, this time remaining only a year. A closely related ivory series of the four seasons by Permoser dated 1685-90 is in the Green Vaults in Dresden, inv. nos.II 45-47, published in Balthasar Permoser hats gemacht: Der Hofbildhauer in Sachsen, exhibition catalogue, Skulpturensammlung (2001), no.18a-d, where the existence of two other ivory versions of the Four Seasons is noted. Another Doccia example of this figure was sold by Bonhams on 16 November 2005, lot 125.For further information on this lot please visit Bonhams.com
Lot 291
An interesting English porcelain figure of an actor, circa 1755-60Probably representing David Garrick, standing beside a shaped plinth applied with a classical theatrical mask pierced by a dagger, his right hand resting on an open book, his left hand at his chest securing his cloak, left in the white, 19cm highFootnotes:ProvenanceMavis Bimson CollectionThe attribution of this figure is not straight-forward. A polychrome version was sold by Bonhams on 2 May 2018, lot 296, as Vauxhall. Illustrated by Peter Bradshaw, 18th Century English Porcelain Figures (1981), p.236, pl.142, this group of figures had previously been described as Longton Hall or Chaffers. Another example of this figure left in the white in the Glaisher Collection was bought from Frank Stoner and is in the Fitzwilliam Museum (inv. no.C.3087-1928). More recently, Errol Manners has made a case for this class of steatitic figures belonging to the short-lived venture of John Bolton, in Kentish Town. See Errol Manners, A group of London Porcelains in search of a home: the case for Kentish Town, ECC Trans, Vol.29 (2018), 219-224.For further information on this lot please visit Bonhams.com
Lot 301
A pair of Derby 'Dry Edge' figures of St Thomas and St Philip, circa 1752Boldly modelled with deep undercutting, St Thomas with his right arm swathed in the folds of his voluminous cloak, his left hand held at his chest, the bearded St Philip leaning forward with a basket of bread resting at his side, wearing a cap, cloak and a ragged tunic and trousers, left in the white, 24 and 25cm high (2)Footnotes:ProvenanceMavis Bimson CollectionThese highly sculptural models are discussed by J V G Mallet, Agostino Carlini and Dry-Edge Derby, British Ceramic Design 1600-2002 (2003), p.47.Saleroom notices:It has been suggested that the identity of the first-mentioned figure is St James the Great and not St Thomas. For a full discussion please see Nicholas Bundock's paper, ECC Trans, Vol.24 (2013), pp.177-194.For further information on this lot please visit Bonhams.com
Lot 314
A rare Cozzi figure of Neptune, circa 1780 Modelled seated on a scrollwork shell, a cloak hanging from his back, and a fish-tailed triton behind him holding a shell horn in his right hand, left in the white, 13.8cm high Footnotes: Provenance Mavis Bimson Collection For further information on this lot please visit Bonhams.com
Lot 304
Two Derby 'Dry Edge' figures of Roman Gods, circa 1752-55 Mars in the guise of a centurion, one hand resting on his sword, a shield, military banner and cockerel at his feet, 17.3cm high, crowned Neptune standing on a shell base and gathering his billowing cloak about his chest, before a dolphin spouting water from its mouth, 17.cm high (2) Footnotes: Provenance Mavis Bimson Collection The addition of a cockerel at Mars' feet is unusual. This may have been in reference to the war god's lesser-known role as a guardian of agriculture but more likely a nod to aggression and virility. With cock-fighting a popular pastime in the 18th century, this would not have been lost on the contemporary viewer. The figure of Neptune is illustrated and discussed by J V G Mallet, Agostini Carlini and Dry-Edge Derby, British Ceramic Design 1600-2002 (2003), p.52, fig.19. A similar example was sold by Bonhams on 30 November 2022, lot 362. For further information on this lot please visit Bonhams.com
Lot 505
A very rare Derby group of Two Female Macaronis, circa 1775-80Modelled as two young ladies in flamboyant attire, one wearing an enormous bonnet, fur-trimmed cloak and floral dress, her hands concealed in a fur muff, her companion with elaborate coiffure, wearing a fine pink dress with a flounced petticoat and striped skirt, holding a fan in her left hand, the rocky base applied with flowers, 19.4cm high, patch marks, incised 'No. 91'Footnotes:ProvenanceSotheby's, 16 March 1983, lot 127Illustrated by Peter Bradshaw, Derby Porcelain Figures (1990), p.244, fig.196. Another version of this group in which the lady holds a book instead of a muff is illustrated by Rosalie Sharp, Ceramics: Ethics & Scandal (2002), pp.78-9.For further information on this lot please visit Bonhams.com
Lot 117
Kenner Star Wars vintage loose 3 3/4" figures x6 and Hasbro Star Wars modern figures and others, vintage figures includes Gamorrean Guard (complete), Chief Chirpa (complete), Ben Obi-Wan Kenobi, Sand People (Missing cloak), Bib Fortuna (Missing staff and belt), Emperor's Royal Guard (Missing Force Pike), all generally Good to Good Plus; Hasbro The Force Awakens 12" Kylo Ren figure, Rey (Jakku) 3 3/4" figure, both within Excellent sealed packaging, Episode I colouring poster art tube, unused. Also includes loose Action Force Red Shadow 3 3/4" action figure, complete, Good to Good Plus.
Lot 2061
Set of Replica Dark Age Warrior's Armour comprising of a Suit of Chain Mail Haubergeon Body Armour, Steel Nasal Helmet which is a replica of an original conical nasal helmet worn by St Wenceslaus, Leather chest and back armour, leather and steel leg armour, tunic and cloak with fur collar. Along with a replica Seax of Beagnoth. The seax is a replica of a 9th century piece found back in the Thames near London in 1857. Single edged fullered blade 559mm in length with etched Futhark Runic alphabet inscription to both sides of the blade, wooden handle with brass binding, overall length 736mm. Complete with brown leather scabbard. Comes complete with the torso mannequin.
Lot 2064
Replica War of the Roses Armour comprising of Sallet Helmet, Bevor and Gorget, Cuirrass Breastplate & Backplate, Spalders, Brassards, Gauntlets, Cuisses, Poleyns, Greaves and Sabatons for the feet. Complete with black under jacket, black and white woolen leggings and a black cloak with White Boar insignia of King Richard III. Comes complete with the mannequin.
Lot 121
WILLIAM STRANG R.A., R.P.E. (SCOTTISH 1859-1921) GIRL WITH FAN Signed and dated 1912, oil on canvas Dimensions:76cm x 63.5cm (30in x 25in) Note: William Strang was an artist of many facets. He was both a pre-eminent etcher, pivotal in the medium’s revival at the start of the 20th century, and a popular society portraitist, regularly commissioned to depict key figures of the day. Strang’s diverse frame of artistic reference made it hard for critics to place him canonically. One minute he appeared a Realist, touching on contemporary social issues, the next he seemed more akin to a Symbolist, mining Classical, Biblical and allegorical subjects. He encompassed these multitudes with much skill and integrity, earning himself a respected position in the turn-of-the-century London art world. The portrait offered here illustrates how these seemingly disparate threads manage to interlace within his work to unique and impactful effect: concurrently truthful to its subject, decoratively appealing and enigmatic in atmosphere.Strang was born in Dumbarton, Scotland in 1859. The son of a builder, his working-class roots were an important part of his identity, including artistically. Much of his oeuvre (notably his etched works) were Socialist in sympathy and alluded to the struggles of the working and impoverished classes. This, combined with his training at the Slade under the French Realist Alphonse Legros, naturally aligned him with the ideologies of the Arts and Crafts movement with whom he also shared a commitment to the rigour of Life Drawing and a reverence for the Old Masters. The prominent designer and architect C. R. Ashbee became a major patron.This focus on draughtsmanship is very much evident in Strang’s work within the genre of portraiture. He produced over 500 portrait sketches in the early 1900s, drawn in black and red chalk. This choice of materials was a deliberate and characteristic referential nod to an earlier Master; in this instance Hans Holbein. The technical prowess and incisive ‘truth’ of these sketches proved so popular that Strang was able to make two consecutive trips to New York in 1904 and 1905 to execute drawings of his many American patrons.Strang also painted many important commissions in oil, notably those with literary connections including Thomas Hardy, Vita Sackville-West and the poet John Masefield. He exhibited oils regularly at the Royal Academy and the International Society, of which he became Vice-President in 1908. In the manner of Whistler, Strang rarely titled his works under the sitter’s names, rather in the guise of subject paintings. An example of this is 1913’s The Opera Cloak, which in fact depicts his beloved daughter Nancy, her cloak held by one of her brothers in the left of the composition.We believe that the highly attractive portrait offered here for sale, Girl with Fan, also potentially depicts Nancy Strang. Dated 1912, it was executed just one year earlier than The Opera Cloak. The sitter shares the same physical characteristics: the assertive jut of the chin, dark brows and pronounced cupid’s bow of the top lip. Strang clearly revelled in the depiction of women. His female sitters are invariably afforded an elegant sensuality and contemplative demeanour. As the artist once remarked to his patron Ashbee, “I’ve tried all my life to do the pretty-pretty but it’s no good…I can’t”. Instead, his likenesses evoke character, modernity and intellect.Leaning away from the overt, painterly glamour of his peers Sargent and Lavery, Strang’s portraiture was not, as one critic of the day described, “polite”. As we have seen, he was neither categorizable as purely a Traditionalist nor a Modernist; his style referenced broadly from both spheres, resulting in a manner entirely his own. Strang’s focus was on objective truth married subtly with a decorative aspect, producing an effect that was both distinctive and widely admired. He was critically revered for his exceptional, considered compositions and the way he eschewed anything extraneous in terms of detail or technique. His use of colour too, was praised for being confident and spare. We see that here with the striking choice of gold, purple, pink and green, linked subtly and balanced precisely, the fundamentally discordant hues somehow attaining harmony.William Strang’s work was featured in prominent exhibitions across many of London’s most respected galleries, including the Grosvenor Gallery, Whitechapel Gallery, Agnews and the Fine Art Society. In 1918 he became President of the International Society of Sculptors, Painters and Gravers and in 1921 was elected an Engraver Member of the Royal Academy. He died suddenly in 1921, shortly after his election as Royal Academician.
Lot 337
After Holme Cardwell, British, 1813–1895, a bronze model of a huntsman and a stag, possibly Hercules and the Ceryneian stag, dated 1859, depicting a Classical figure wearing a flowing cloak and holding a stag by the antler with his right hand while blowing a trumpet with his left, the naturalistic base signed and dated H. CARDWELL / FEC.T. ROME 1859, 20.7cm high, 23cm wide, 10.4cm deep Provenance: The Property of the Late Reverend John Watson. Footnotes: Note: A similar example sold at Sotheby's, Billingshurst, 20 April 1999, lot 578.Holme Cardwell was born in Manchester, before moving to London and attending the Royal Academy School in 1834. He was admitted to the Royal Academy following graduation and exhibited several portrait busts between 1837 and 1840. Cardwell eventually moved to Rome, where he lived off and on for the rest of his life, studying and continuing to produce busts and sculptures in the neoclassical style. Condition Report: In overall good condition. Having an even patina through with minor dents, marks and surface scratches commensurate with age and handling. Lacking base.
Lot 591
Sixteen Original Star Wars Trilogy Plastic Action Figures to include Yoda The Jedi Master with Snake, Cloak, Gimer Stick, Belt, See-Threepio (C-3PO) with Removable Limbs and Back Pack, Darth Vader with Black Cloak and Lightsaber (tip missing), Ben (Obi-Wan) Kenobi with Cloak and Blue Lightsaber. Wicket W. Warwick with Hood, some weapons and accessories present with figures. Together with a Tripod laser Cannon.
Lot 62
Of historical interest. A William IV silver coffee potA. B. Savory & Sons London, 1834Raised on four shell bracket feet, the lid with flower finial and the body engraved with presentation inscription reading: To Captain A. W. Robe R.E and his sisters. A token of affection from the parents of Hastings Fitz-Edward Murphy, Lient. Roy. Engineers who died 9th August 1856 at Bassora whilst employed as Astronomer to the expedition to the Euprates', engraved with coat of arms and the Robe family motto 'cum toga honoris' (with the cloak of honour) to opposite side, approx. 23cm high, approx. weight 30oz Ivory submission reference: GFJAP62K Condition Report: Note: Hastings Fitz-Edward Murphy died of typhus at Basra (Bassora), Iraq, on 9 August 1836, aged 37, while on the ill-fated expedition to explore the Euphrates under Colonel Chesney. Chesney had persuaded the British government to allow him to survey the long stretch of the river Euphrates from the Anatolian mountains to the Persian Gulf. In 1835 Chesney was put in charge of the expedition and carefully selected his associates, about fifty people in total, including Hastings Fitz-Edward Murphy. Two iron-hulled steamboats, the Euphrates and the Tigris, were chosen for the voyage. The objectives of the expedition were to set up a new trade route between Britain and India (which would avoid the lengthy voyage around the South African Cape of Good Hope) and to prevent Russian expansion in the Near East, as some considered this a threat to Britain's control of India.
Lot 414
Nicolaes Maes, 1634 Dordrecht – 1693 AmsterdamBILDNIS EINES HERRN MIT VIOLETTSEIDENEM UMHANGÖl auf Leinwand. Doubliert.68 x 56 cm.Links unten signiert.Seine erste Ausbildung erhielt Maes als noch junger Lehrling bei Rembrandt in Amsterdam, dessen Malweise er auch sogleich übernommen hatte. Noch während seines gesamten Aufenthaltes in seiner Heimatstadt Dordrecht herrschte sein Rembrandtesker Stil vor. Erst später, nach 1678 wandelte sich seine Malweise nach der Beeinflussung durch Van Dyck. Dies lässt sich vor allem in den nun vorwiegend entstandenen Porträtbildnissen sehen. Nun ging es ihm weniger um die Herausarbeitung von Licht- und Schatteneffekten wie in der Kunst Rembrandts, sondern vielmehr um die Erfassung der Charakteristik der dargestellten Personen, entsprechend dem Anliegen von Van Dyck. Auch narrative Bibel- oder Historiendarstellungen treten nun zurück. So zeigt der überwiegende Teil seines Oevres Herren-, Damen und Kinderbildnisse, zumeist aus adeligen, bzw. gehobenen Bürgerkreisen.Dies ist auch in dem hier vorliegenden Porträt zu erkennen, zu dem sich ein vergleichbares Werk der Zeit um 1680 im Niedersächsischen Landesmuseum Hannover befindet. Etwa zeitgleich ist das Selbstbildnis des Malers entstanden, heute im Museum Dordrecht. Zahlreiche Bilder seiner Hand sind heute in London, Amsterdam, Berlin, Brüssel, Sankt Petersburg und in anderen bedeutenden Museen ausgestellt.LiteraturVgl. Ausstellung National Gallery London, 2020. Vgl. Joseph Eduard Wessely: Maes, Nikolaus. In: Allgemeine Deutsche Biographie (ADB). Bd. 20, Duncker & Humblot, Leipzig 1884, S. 47 f. (1381366) (11)Nicolaes Maes, 1634 Dordrecht – 1693 AmsterdamPORTRAIT OF A GENTLEMAN WITH A PURPLE SILK CLOAK Oil on canvas. Relined.68 x 56 cm. Literature: cf. Exhibition National Gallery London, 2020. cf. Joseph Eduard Wessely: Maes, Nikolaus. In: General German Biography (ADB). Vol. 20, Duncker & Humblot, Leipzig 1884, p. 47 f.
Lot 192
Domenikos Theotokopoulos, auch genannt "El Greco", 1541 Candia, Kreta – 1614 Toledo, zug.PORTRAIT EINES MANNES MIT HALSKRAUSEÖl auf Leinwand. Doubliert.69 x 57 cm.In mit Akanthusblattrelief verziertem und vergoldetem Rahmen.Beigegeben diverse Gutachten: Rodolfo Pallucchini, 1945. Prof. G. Fiocco, 1945. Prof. Fernando Ghedini, 1940. Prof. Ugo Nebbia, 1940. Luigi Coletta. Sowie technische Analyse zur Altersbestimmung aus dem Jahr 2022. Vor abgedunkeltem Fond das leicht nach rechts gerichtete Brustportrait eines Mannes fortgeschrittenen Alters mit einer weißen Halskrause, die ein kippendes Oval im Raum nachzeichnet. Der schwarze, in späterer Zeit überarbeitete Umhang wird dezent durch lichtspiegelnde Kanten akzentuiert. Rest. (1380491) (13)Domenikos Theotokopoulos,also known as "El Greco", 1541 Candia, Crete – 1614 Toledo, attributedPORTRAIT OF A MAN WITH A RUFF Oil on canvas. Relined. 69 x 57 cm. Enclosed various expert’ reports: Rodolfo Pallucchini, 1945. Prof G. Fiocco, 1945. Prof Fernando Ghedini, 1940. Prof Ugo Nebbia, 1940. Luigi Coletta. As well as technical analysis from 2022. In front of a darkened background, the slightly right-facing bust portrait of a man in advanced age with a white ruff tracing a tilting oval in space. The black cloak, reworked at a later date, is discreetly accentuated by light-reflecting edges. Restored.
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