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Click here to subscribeA CLOAK CLIP, BROOCH AND A RING, the white metal cloak clip of a circular form, featuring rope twist detail and floral terminals, fitted with a pin, signed 'J. Betins' stamped 875, a white metal ring set with a banded agate cabochon, stamped 925 to the outer side of the band, ring size M 1/2 centre, together with a white metal circular textured brooch stamped 'Steel'
Spanish School. Zamora. Gil de Encimas Circle. First Third of the 16th century Óleo sobre tabla. 118 x 84 cm."The vocation of Saint Peter"Oil on panel. 118 x 84 cm.Como indica la Dra. Fiz, nuestra pintura, que considera de calidad, pertenecería a un autor de la zona de Zamora, cercana a Gil de Encinas (Antiguo maestro del Trascoro de la Catedral) y tiene influencia de Juan de Flandes.Como comparativa estilística nos indica la Dra. Fiz las siguientes obras:“La primera, del retablo de San Adrián del Valle en León, obra de talle, por tanto, de inferior calidad a nuestra pintura, pero aun así las coincidencias son notables. Dos tablas atribuidas a Juan Tejerina, no documentadas, porque no hay documentación que avale la relación de ninguna pintura con Juan de Tejerina, al contrario de lo que ocurre con Gil de Encinas, documentado en el retablo de Horcajo de la Torre y que sirve de base a las posteriores atribuciones como esta".This interesting renaissance panel depicts an episode from the vocation of Saint Paul and Saint Andrew, which Saint Matthew narrates in the following words: “As Jesus was walking beside the Sea of Galilee, he saw two brothers, Simon called Peter and his brother Andrew. They were casting a net into the lake, for they were fishermen. “Come, follow me,” Jesus said, “and I will send you out to fish for people.” At once they left their nets and followed him.” (Matthew 4, 18-20). The panel is clearly divided into two large spaces: the first with the monumental effigies of the characters, and the background which has a spectacular landscape which is deliciously conceived through bluish tones. In the foreground, the monumental figures of Christ and Saint Peter can be seen. Christ is on the edge of the earth, making a gesture with his right hand to attract the attention of Saint Peter, who solicitously reciprocates by placing his hands in a prayerful attitude. The Christ figure has an extremely elongated canon, wearing a purple tunic and a reddish cloak that he gathers with his other hand at the height of his abdomen, creating a knot with numerous folds. Already in the water, on a curious wooden boat with oars which is surrounded by fish and ducks, since the painter stands out for his wealth of anecdotal details, are the brothers Saint Andrew and Saint Paul who are fishing in the Sea of Galilee, clearly identifiable by their beards and attitudes. Saint Andrew has been characterised with a pointed beard, a concentrated face and continuing with his task of catching fish with the net, fish that the painter has managed to individualize to break the monotony. Saint Andrew has a rounded beard and his baldness is only broken by a small circular lock on his forehead. Seeing Christ, he has left his task and has turned towards him, joining his hands in a devout attitude, receiving the call that Christ makes very subtly with his right hand. The three characters are drawn with accurate and tight brushstrokes that capture the greatest number of details on the characters’ heads, but not so much in the clothes that are somewhat more sketched and crossed by folds of broad curvilinear lines. The features are small, the countenances pensive, and the hands are large. The background of the painting, to which the painter has given great importance, is made up of a splendid misty, bluish mountainous landscape, flanked by large clumps of trees painted with meticulous care. Above the hills is a clear blue sky with threads of cloud at the upper end. The colour is vivid and full of nuances, although the opposite can be observed in Christ and his disciples. There is a striking detail in the grove located on the left side where the anonymous painter has introduced an anecdotal scene which is not at all contemporary to the main event that is narrated on the panel. It seems to be Judas Iscariot hanging from a tree after having betrayed Jesus Christ for thirty pieces of silver. The fact that the panel presents us with such unusual iconography leads us to think that it could have formed part of an altarpiece dedicated to the first Pope in which the set would have illustrated the most relevant episodes of his hagiography. We thank Dr. Irune Fiz Fuertes for the identification and help in cataloguing our panel and Javier Baladrón, PhD in Art History, for the description of this work.
Possibly Spanish School. First half of the 16th century."The Annunciation"Oil on panel 41 x 31 cm.This very valuable and unusual panel represents the episode of the Annunciation in the luxurious private chambers of the Virgin. She appears kneeling in front of a table decorated with a red cloth with gold trim, on which rests the book she was reading until the sudden appearance of God's envoy. The arrival of the archangel has caused the Virgin to put down her book and turn her face to observe the unexpected visitor. Saint Gabriel, as usual, arrives from the left side of the scene. He is standing, in the act of approaching the Virgin, which is why his right leg can be seen pushing forward under his tunic, with his wings unfolded in different directions. In his left hand he grasps a golden sceptre topped with a kind of fleur-de-lys: it is the messenger's staff, which, according to Réau, is a transposition of the one carried by the god Mercury, "messenger of Jupiter, from whom the Announcing angel takes his ancient herald's wand, the staff of command entrusted by the celestial emperor to his extraordinary and plenipotentiary ambassador”. He extends his right arm pointing with his index and middle fingers towards the sky to emphasise the fact that the message he brings comes directly from God. This “oratory gesture”, according to Réau, is taken directly from “the statues of the philosophers of antiquity, he extends his right hand towards the Virgin, raising his index finger to underline his words”. Mary brings her left hand to her chest as a sign of compliance with the divine message, while with her right she still holds a page of the book she was reading. She wears a blue cloak, but in this case, it is a very dark blue and also decorated with small golden lily flowers. Her hair is thick and slightly wavy, falling in two large locks on both sides of her head. Her face, which is oval, with tiny facial features, a powerful chin and clear forehead, harks back to Flemish models. The archangel wears a long reddish tunic that shows us only the toes of one of his feet, and over it a green overtunic open at the front and fastened at the neck by a brooch in the form of a golden quatrefoil. Both characters have been conceived with well-defined volumes and with an interest in naturalness in both movements and expressions. The study of perspective is not completely successful, although the artist uses some devices to achieve it, such as the lines formed by the marble tiles of different colors (green, yellow and red) that pave the floor or the position of the bed. The painter has decided to capture the greatest possible number of details in the room, in the case of the bed with curtains or the seats decorated with red velvet and on which two cushions with floral motifs and gold fringes rest. In the foreground, there is a jug with lilies, an attribute that alludes to the purity of the Virgin Mary, and more especially to her virginity, which Saint Bernard refers to as the inviolable lilium castitatis. In the upper part of the scene, entering through the only window of the room, which vanishes into a distant landscape that combines land and sea, the presence of the Holy Spirit is evident through the appearance of the symbolic dove and the sparkles that surround it, one of which falls on the face of the Virgin to emphasize the mystery of the Incarnation. It is a harmonious composition, very beautiful and with a rich range of colours. The most mysterious detail of the table is found on its back, as there is an inscription in French: "Blanche de Castille Reine Fondatrice du Monastere du Lis". Blanca de Castilla was queen consort of France through her marriage to Louis VIII, and in turn was the mother of the holy king Louis IX. We do not know the reason for the appearance of this inscription, but it is striking that the Virgin's mantle appears completely upholstered with golden fleurs-de-lys, an emblem of the French monarchy and therefore of Blanca herself. Likewise, there is another detail which may have a symbolic meaning, which is the eagle type bird with outstretched wings painted on the front of the vase of lilies.We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
A Meissen figure allegorical of Justice, circa 1760Modelled by F.E. Meyer, as a crowned goddess wearing a white gown and cloak embellished with indianische Blumen, holding a sword in her right hand and some scales in her left, a putto seated on the base beside her feet, the base applied with leaves and moulded with gilt-edged scrollwork, 16cm high, very faint traces of crossed swords mark in blue (some restoration)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
A Meissen Bacchanalian group, circa 1750-60Modelled with Bacchus and a nymph seated on rockwork in front of a tree with two cupids holding a basket of grapes and a wine flask, respectively, the nymph holding a bottle and a goblet and leaning on a purple cushion above two doves at the side of the base, her drapery decorated with flower sprays, the young man wearing a wreath of vines and a leopard skin cloak, a recumbent leopard at his feet, the base moulded with gilt-edged scrollwork, 24cm high, crossed swords mark in underglaze-blue, impressed 4 (some damage and old restoration)For further information on this lot please visit Bonhams.com
An extremely rare Italian porcelain figure of a Magus, probably Rome, factory of Filippo Cuccumos, circa 1770Possibly depicting Caspar, as a bearded, kneeling man offering a covered goblet in his right hand, wearing a cloak hung with tassels and a sash tied around the waist, the edge of his cloak, the sash and the goblet embellished in gilding, likely a fragment, as the group is placed on a crudely finished base made for slotting into another segment, perhaps originally forming part of a larger group of the Adoration of the Magi, 10.7cm high (right hand restuck at the wrist, chips)Footnotes:Provenance:European Private Collection since the 1980sFor further reading on Cuccumos porcelain, see F. Sacchi, Filippo Cuccumos capitano romano ceramista, in La ceramica n. 10 (1964) and G. Santuccio, Filippo Cuccumos e la manifattura di porcellane in Via Panisperna a Roma, in Bollettino d'arte, Rome (1988). A discussion on a Cuccumos figure of Saint Bartholomew is published in G. Santuccio, Die Porzellan Manufaktur Cuccomos in Rom, in U. Pietsch and T. Witting, Zauber der Zerbrechlichkeit. Meisterwerke Europäischer Porzellankunst (2010), pp. 259-263.Only very few signed or marked objects by this very elusive factory, founded by Filippo Coccumos in 1761, are recorded today, all of them of religious subjects. The beforementioned signed and dated figure of Saint Bartholomew that was previously in a private collection in Rome, a signed and dated figure of Saint Anthony in the collection of the Castello Sforzesco in Milan and a marked and dated figure of Saint Francis and another unmarked Saint Francis of a very similar model, in the Collezione Cagnola in Villa Cagnola in Varese. Other Cuccomos figures that have come to the market include a pair of birds (Christie's London, 14 November 2013, lot 241) which are marked with the crowned double 'C'. The history of the Cuccumos factory was published in some detail by Lucia Arbace, Dizionario Biografico degli Italiani, Vol 31 (1985), an article which can now be found online on the website of the Istituto Treccani. Filippo Cuccumos or Coccumos was granted the right to produce porcelain in Rome for a duration of 40 years by Pope Clement XIII. In exchange for the priviledge, Cuccumos what asked to yearly execute a porcelain figure of a Saint on the feast days of San Pietro and Paolo (29 June). The factory was based in the Monastery of San Lorenzo on the Via Panisperna in Rome. The success was shortlived, and in 1764 Cuccomos applied for a loan from the Vatican. There is no more mention of the factory in the archives of the Vatican until 1781, when the factory was sold by Filippo Cuccomos to Lanfranco Bosio and Filippo Bianchini. The only known archiva reference outside the above mentioned archive is a contemporary source, a record given by the Abbot Grisellini which states that tutto andò in fumo, perché l'imprenditore allo spirito di somma loquacityà ed impostura non aggiungeva delle cognizioni in tal materia. [all went up in smoke because the owner had good spirit and intelligence, but no experience in the material]. A few years after Bosio and Bianchini had bought the factory, it closed permanently. Pope Pius VI withdrew the exclusive privilege of porcelain making from them and a legal situation ensued, in which Bosio and Bianchini blamed Coccumos, who they maintained had sold them faulty materials. The closed factory was investigated (among the recorded findings were six furnaces), and in 1792 it was ruled that Coccumos was not guilty.In a footnote to his discussion of the Volpato factory, Charles Drury Edward Fortnum (1820-1899) notes that it is possible that further researches might make known the former existence of some, perhaps private, furnaces for he production of porcelain at Rome at an earlier period in the century. A short time before leaving the city, in the Spring of 1870, the writer observed in the hands of Sign. Corvisieri, the dealer, an extremely well-modelled group of the 'Deposition' executed in a hard artificial white porcelain of a grey shade, very similar to that of Doccia, on which, scratched in the clay, was ROMA.MAG.1769 above the monogram of two interlaced letters C, surmounted by a crown, a mark similar to that incised on the porcelain of Buen Retiro, in Spain. (in: C. Drury E. Fortnum A Descriptive Catalogue of the Maiolica in the South Kensington Museum (1873), p. 463)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
A Meissen group allegorical of marriage, possibly outside-decorated, late 19th centuryModelled with Cupid wearing a red cloak, a bow and quiver at his feet, reaching out with his hand to a lady in classical robes with floral pattern and a turquoise cloak, a pedestal draped with a flower garland surmounted by a fire beside them, the base moulded with gilt-edged rocailles, 23.3cm high, crossed swords mark in underglaze-blue, incised model number 2449, impressed numeral and gilt 2. (her right arm and his right hand restored, small chips)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
A Meissen group of Europa and the Bull, late 19th centuryOriginally modelled by J.J. Kaendler and re-worked by E.A. Leuteritz, the nude Europa clothed only in a yellow cloak, seated on a brown bull with a flower garland draped on its head, two attendants with draperies seated on the ground, a flower basket between them, the base moulded with gilt-edged scrollwork, 22cm high, crossed swords mark in blue with three incised cancellation marks, incised model number 2691, impressed numerals, painter's numeral 9. (some chips)For further information on this lot please visit Bonhams.com
A Meissen group of 'Spanish Lovers', circa 1745-50Modelled by J.J Kaendler, the fashionably dressed lady wearing a white feathered hat, turquoise bodice with black stomacher, wide yellow skirt over panniers embellished with indianische Blumen and a gilt-edged blue underskirt, her companion wearing a blue and black cloak, iron-red jacket with gilt floral scrollwork and turquoise rosettes, gilt-edged black breeches and red shoes with yellow bows, the base applied with leaves and flowers, 18.5cm high, traces of crossed swords mark in blue (small chips and minor losses)Footnotes:Based on an engraving by Pierre Filœul after the painting 'Le baiser donné' by Jean-Baptiste Pater of 1736, this group is not mentioned in Kaendler's Taxa or work records but is referred to as the 'Spanier Gropgen' [Spanish group] in a specification of figures and groups completed by the Weiße Corps in overtime in January 1740 (quoted by R. Rückert, Zur Staffierung der Gesichter von Meißener Porzellanfiguren, Teil IV, in Keramos 153 (July 1996), p. 156). Another example from the Marouf Collection, sold in these rooms, 5 December 2012, lot 65.For further information on this lot please visit Bonhams.com
A Meissen 'Cris de Paris' figure of a spirits seller, circa 1755Modelled by Peter Reinicke, wearing a black tricorn, a white cloak, purple jacket and yellow breeches, holding a basket with bottles on his left arm and a lantern in his right hand, the base moulded with scrollwork and applied with leaves and flowers, 14.3cm high, crossed swords mark in underglaze-blue to the rear of the base, impressed 17 (some restoration to his hat and right hand)Footnotes:Based upon the drawing by Huet of 1753, inscribed: 'No 17 Ch - ein Mann, welcher Patafia verkauft und mit der Lanterne brennend von Licht in der Hand n 18 1753' [...a man selling patafia and with a lantern throwing light in his hand]; quoted by M. Eberle, Cris de Paris-Meissener Porzellanfiguren des 18. Jahrhunderts (2001), no.43, where the drawing and another example of the figure are illustrated.For further information on this lot please visit Bonhams.com
A Meissen group of Cupid and Psyche, mid 18th centuryCupid and Psyche seated on rockwork and embracing, Psyche with a blue cloak with yellow lining, the base applied with leafy and flowering branches and moulded with gilt-edged scrollwork, 16.2cm high, crossed swords mark to the rear of the base, impressed 14 (some old restoration and small losses)Footnotes:Another example is in the Victoria and Albert Museum, London, accession no. C.918-1919.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
A Greek terracotta figure of a young boy Boeotia, late 4th Century B.C.The plump young child stepping forth with his right leg, his hair dressed beneath a wreath, his cloak folds falling from his shoulder, over his left arm and covering his back, leaving much of his body nude, 12cm highFootnotes:Provenance:Gustave Mustaki Collection, Alexandria; exported from Egypt to the UK circa 1950.With Charles Ede Ltd, London.Property of a private collector, Edinburgh (1938-2021), acquired from the above on the 23 October 1990.Published:Charles Ede Ltd, Greek and Roman Terracotta Sculpture XI, October 1990, no.7.For further information on this lot please visit Bonhams.com
A collection of lead alloy Pilgrim Badges and miniature Pilgrim flasks 13th-16th Century and laterIncluding two Becket busts of the Archbishop martyr; another Becket head; a figure of a bishop saint, possibly Leonard; St Thomas Becket with ship, returning from his exile in France; a Herte badge; an equestrian badge of St Thomas returning from exile; a wicker basket badge from the shrine of Saint Dorothy; and five miniature lead pilgrim flasks, including one of scallop shell form, 2cm-7.5cm (a lot)Footnotes:Provenance:Property of a private collector, Edinburgh (1938-2021).Collected in the 1990s from the UK art market.Badges were collected by pilgrims as religious souvenirs once they reached their pilgrimage destination. After the martyrdom of Archbishop Thomas Beckett in 1170, Canterbury Cathedral became a popular pilgrim shrine. Becket busts were intended to represent his head casket reliquary. Such badges would have been worn by pilgrims on their hat, cloak or staff.For further information on this lot please visit Bonhams.com
A Roman bronze appliqué bust of Sol Invictus Circa 2nd-3rd Century A.D.Depicting the youthful sun god wearing a six-rayed crown atop his voluminous curls, and a cloak buckled on his right shoulder, 12.4cm highFootnotes:Provenance:Anonymous sale, Christie's, New York, 9 December 1999, lot 333. Private collection, New Jersey.Published:Royal Athena Galleries, Art of the Ancient World, vol. XXVII, New York, 2016, no. 41.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
MANNER OF ANDREA SOLARIO (1460-1524) PORTRAIT OF A YOUNG MAN Bust length, wearing a dark cloak and cap, gold neck chain, oil on panel, unframed 55.5 x 43cm. * Red wax collector's seal verso. Also, an old printed label, probably from an inventory or catalogue, reading ANDREA DEL SOLARIO - Portrait of the Artist ++ Much repaint on the cloak, cap and hair; some bitumen damage and evidence of old paint separation
ROSENTHAL "Tempelweihe" 1916 Entwurf von Ferdinand Liebermann, Marke Kunstabteilung Stammwerk Selb, mit Schleifstrich, unterseitig bezeichnet "Dieses Modell existiert nur in 200 Exemplaren, H: 37 cm. Schale und Kerze fehlen, Umhang besch.| ROSENTHAL "Consecration of the Temple" 1916designed by Ferdinand Liebermann, brand Kunstabteilung Stammwerk Selb, with grinding mark, inscribed on the underside "This model exists only in 200 copies, h: 37 cm. Bowl and candle missing, cloak dam.
Italienischer Künstler des 17. Jahrhunderts, Kopie nach Jacopo Robusti Tintoretto (1560 – 1635)DER HEILIGE MARKUS BEFREIT EINEN SKLAVEN Öl auf Leinwand. 98 x 125 cm. In Prunkrahmen.Der Legende nach machte sich ein Sklave auf den Weg nach Venedig, um am Grab des Heiligen Markus zu beten, jedoch ohne die Erlaubnis seines heidnischen Herrn. Bei seiner Rückkehr will sein Herr ein Exempel an ihm statuieren und lässt deshalb anordnen, dass dem Sklaven öffentlich erst die Augen auszustechen, dann die Füße abzuhacken und schließlich der Mund zu zertrümmern sei. Jedoch versagen alle Marterwerkzeuge nacheinander den Dienst, da der Heilige Markus über den Gläubigen wacht. Daraufhin erkennt der Herr seinen Irrtum und pilgert gemeinsam mit seinem Sklaven zum Markusgrab. Dargestellt ist hier das Ende der Erzählung: Alle Folterwerkzeuge sind zerbrochen und liegen im Vordergrund am Boden; darüber staunt die Menschenmenge ebenso wie die Folterknechte, von denen einer mit weißem Turban einen zerlegten Hammer nach oben hält und dem Herrn zeigt, der rechts im Bild über der Menge sitzt und sich voll Überraschung und Einsicht nach vorne lehnt. Der unbekleidete Sklave liegt scheinbar ohnmächtig am Boden und wird durch ein auf ihn fallendes, gleißendes Licht besonders hervorgehoben; über ihm schwebt der Heilige Markus mit bewegtem rotem Mantel und mit einem seiner Attribute, dem Evangelienbuch in seinem linken Arm, dabei wird sein Haupt von einem goldgelben Strahlenkranz umgeben. Qualitätvolle Kopie des Werkes von Tintoretto, jedoch insbesondere mit mehreren farblichen Abweichungen: So trägt Markus auf dem Original einen gelben Umhang und auch der sitzende Herr ist deutlich zweifarbig gekleidet.Anmerkung: Das Originalgemälde von Tintoretto befindet sich in der Gallerie dell´Accademia, Venedig. (1301506) (18)Italian School of the 17th century, copy after Jacopo Robusti Tintoretto (1560 – 1635)THE MIRACLE OF SAINT MARK FREEING THE SLAVE Oil on canvas. 98 x 125 cm.In magnificent frame. High-quality copy of a work by Tintoretto, but with several variations in colour: in the original, Saint Mark is shown in a yellow cloak and the clothing of the seated gentleman is clearly two-coloured.Notes:The original painting by Tintoretto is held at Gallerie dell’Accademia, Venice.
A GROUP OF ROYAL MARINE AND ROYAL MARINE ARTILLERY BADGES AND OTHER ITEMSincluding an RM officer~s gilt gorget; an OR~s 1839-55 shako plate (slightly defective), an officer~s fine gilt pre-1855 shoulder belt plate, and fittings for a similar SBP (lacking plate and upper scroll); an RMA officer~s 1874 -1921 forage cap badge and waist belt clasp; an oblong gilt waist plate mounted with VR cypher in white metal; an officer~s cloak-chain; officers~ and ORs~ 1879-1905 helmet-plates; SNCOs~ and ORs~ valise badges and pouch badges, shoulder-titles and many grenade cap and collar badges;(approximately 45 items)
AN INTERESTING SCOTTISH CARVED STONE FIGURE OF A YOUNG BOY EARLY 19TH CENTURY Depicted wearing a short hat, cloak, clogs and with a large bale of wool or tobacco, oval base 153cm high, the base 59cm diameterIt has been suggested that this might be a depiction of Tam O'Shanter, it seems more likely that it is a representation of a young man, at the market or docks unloading his wares.
A CARVED AND PAINTED TOBACCO ADVERTISING FIGURE LATE 18TH / EARLY 19TH CENTURY modelled as a European looking man wearing a red and gold coloured hat, a black cloak and gold coloured waistcoat and holding a later clay pipe, with an iron suspension staple to his back and on a domed base 61cm high Literature Pinto (E H), Treen and other wooden Bygones, 1969, p. 412 for a discussion on carved and painted tobacco advertising figures and plates 436-440 for some other examples.
A Victorian painted miniature brooch,of rectangular cut corner form, depicting a young lady in a red cloak. A glazed cover to a stepped gold framed with a gold back, pin and 'C' catch. Tested as approximately 9ct 45 x 38mm, 16.72gLight surface marks to the frame and back.Scratches to the glass.
Harry Potter interest - An original prop Gryffindor cloak from Harry Potter and the Goblet of Fire, the fourth film of the Harry Potter franchise, realeased in 2005, the hooded cloak with applied Gryffindor House badge, label to the lining numbered 37G. Approximately 89cm long. Provenance: Given to seven-year-old Alba Diaferia during a magical day on the Warner Brothers film set at Leavesden, arranged by Make A Wish Foundation. During the visit Alba watched filming in the trophy room and toured the other sets, met and lunched with the principal actors. This lot is accompanied by a copy of a photograph taken on the occasion, of Alba in the Trophy Room, together with the actors in the role of Rita Skeeter, Harry Potter and the other tri-wizard champions, also included is a copy of a letter from Anna from the Harry Potter production team to Alba, following her visit. Alba later also attended the Film premiere at Leicester Square. A percentage of the money raised from this sale will be gifted to Make A Wish Foundation.Cloaks from the Harry Potter films are almost never seen at auction. Alba, who was a passionate reader and particularly fond of the Harry Potter series, wore this cloak during her special day at the studios and on one other occasion, World Book day at her school, when she attended school dressed as her hero - Hermione Grainger, no doubt surrounded by innumerable other Hogwarts students, but sporting a rather more special outfit.
HEILIGER JOHANNES Süddeutsch/Franken, um 1500, Holz, rückseitig summarisch geschnitzt, mehrere polychrome Fassungsschichten, auf Vordersicht gestaltete Ganzfigur des auf einem kleinen Erdhügel stehenden Apostels, der in seiner linken Hand als kennzeichnendes Attribut den Kelch hält, stark gefältelter Umhang mit kontrastreichen Knick- und Parallelfalten, leichter S-Schwung im Körper, H: ca. 85 cm. Normale Altersspuren, rest. und teilw. besch.| SAINT JOHNSouth Germany/Franconia, c. 1500, wood, summarily carved on the back, several polychrome layers of paint, a full figure of the apostle standing on a small mound, holding the chalice in his left hand as characteristic attribute, strongly pleated cloak with contrasting folds and parallel pleats, slight S-shaped curve in the body, h: approx. 85 cm. Normal signs of age, rest. and partly dam.
A Meissen figure group, late 19th century, modelled as a lady and housekeeper flanking a seated gentleman and raised on a rococo style base edged in gilt, crossed swords mark, 17cmProfessional restoration to the gent's right leg, some repair to the housekeeper's left arm, and loss to the object in her hand repair to the housekeeper's cloak
AMENDED DESCRIPTION - Feliks Topolski (1907-1989). Portrait of a standing man with cloak and sword, possibly a theatrical character. Ink and watercolour on paper. Signed lower right and inscribed 46 years later. Personal inscription by the artist to Ernest Pearce verso. 22.5 x 17cm. Together with a small lithograph of the same figure titled in pencil Gen Franco M Fortinbras (variant drawing 1939) and a card to Ernest Pearce from Phyllis Gorlick King relating the Exhibition of Animal Art at London Zoo 1987, signed (3). Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. Provenance: The family of Ernest Pearce.
A early 20th century Russian silver and Baltic amber cloak brooch/pin. Comprising of a butterscotch amber cabochon in a silver mount with secure hinged pin, with Russian assay marks and makers mark. The brooch is connected to an articulated chain of amber beads terminating in a amber cabochon with silver stick pin.
Lynn Chadwick R.A. (British, 1914-2003)Sitting Figures in Robes I stamped with monogram and numbered '787S 2/9' (on the underside of the female figure's cloak); further stamped with monogram and numbered '787 2/9' (on the underside of the male figure's cloak)bronze with a black patina and polished faces, seated on a bronze base (in three parts)26.7 cm. (10 1/2 in.) highConceived in 1980, and cast by Pangolin Editions in 1985Footnotes:ProvenanceWith Osborne Samuel, London, where acquired byPrivate Collection, from whom acquired by the present owner Private Collection, South AfricaLiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.326, cat.no.787SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.334, cat.no.787SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.341, cat.no.787SCloaked, reclining, winged, standing, walking, watching and of course, as in the present example, sitting – the theme of the couple preoccupied Lynn Chadwick throughout his career. The sheer number of different forms they took over a period of five decades clearly demonstrates the enduring hold they had on the artist.Mobiles and beasts constructed of welded iron, rods and plaster in the early 1950s soon gave way to the first figures. Initially, they emerged all spindly legs and small, heraldic heads, maintaining an architectural feel. But in the following years the now familiar wings and square flat heads appeared, progressing later into the first seated works of the 1960s. Moving through the decade, the concept was explored further - certain body parts became polished, heads grew taller and multi-faceted, trunks and legs thicker. Later, in the early 1970s, a clear sexual differentiation was established – square head for male, triangular for female.Sitting Figures in Robes I dates from 1980 by which point, Chadwick was truly master of his chosen subject. Here, the couple sit together resting quietly, separate from one other and their seat. Their dignified pose is supported by the cloaks they wear, anchoring them to ground and the faces are, as always, blank, with the artist once declaring 'No expression is an expression' (Lynn Chadwick: The Couple, Exh.cat., Pangolin London, 2011, p.3). The body language is comfortable with the figure's legs at ease and their cloaks spilling over the edges of their seat, the overall impression being one of peace and content.We are grateful to the Artist's Estate for their assistance in cataloguing this work.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Late American Spanish school, circa 1300."Virgin as Sedes sapientiae".Carved and polychromed wood.It presents damage caused by xylophagous and leaps in the carving and polychromy.Measurements: 79 x 32 x 29 cm.The carving presents the couple formed by the Virgin with her Son on her lap. It is a carving that follows the typology of the "Sede Sapientiae" or "Throne of Wisdom". Mary, seated facing the viewer, acts as the throne, the seat of Christ, the supreme incarnation of Wisdom. No emotional communication of any kind is established between the two figures, but rather the majesty, the regal aspect of both figures is encouraged. Christ, dressed in a long robe, makes the gesture of blessing with his right hand, while with his left he holds The Gospels. It was also common in medieval carvings that, together with the gesture of blessing, the Child held a sphere, symbol of the totality, of the Universe, which would allude to his condition of "Salvator mundi". Mary, for her part, is depicted wearing a long tunic and cloak that fall in symmetrical folds to the ground. A veil covers her hair, framing her serene and harmonious face. In Christian exegesis, if Eve was the introducer of Sin, Mary is its counter-figure, through whom salvation comes to the human race, thanks to her son, Jesus. Formally, the delicate workmanship of their faces stands out, as well as the soft flesh tones that highlight their cheeks. The remains of polychromy still visible on the Virgin's attire speak of a careful decorative style.Romanesque is the name given to the first great period of medieval art in Europe (the western part), but it is not a uniform aesthetic movement throughout the territory, neither in aesthetics nor in chronology. In the Iberian Peninsula, it is necessary to speak of Visigothic art (from the 5th century until the Muslim conquest, approximately), Asturian art (area of the Principality of Asturias, without Muslim domination, between the end of the 8th and the beginning of the 10th century), Mozarabic art (of the Christians who lived in Muslim territory, from 711 to the end of the 11th century) and not forgetting Islamic Andalusian art, given that, chronologically, we are between the 5th or 5th centuries AD and the 10th or 11th centuries. Romanesque sculpture pursues mainly didactic aims, and its images are conceived as a visual narrative, which must always be clearly legible. At this time, prior to the quest for naturalism that would emerge during the Gothic period, the language is purely conceptual, and functions on the basis of symbols and conventions accepted by all. In this sense, anatomy is synthetic, representative rather than a reflection of the natural, as is the treatment of the face.
DOLORES RODEIRO BOADO (Galicia, 1853-1898)."Saint James the Apostle".Carved and polychrome wood.Measurements: 113 x 47 x 28 cm.The image of Saint James the Apostle, whom we recognise by his attributes such as the book, the wooden reed with the gourds and the shells on the front of his cloak. Aesthetically, the work follows the stylistic precepts of the Baroque, as can be seen in the treatment of the fabrics that make up the tunic, or the volume achieved by the artist in the waist area. However, the face and hair reveal that this is a 19th-century work. Little is known of Dolores Rodeiro Boado's biography. She was one of the youngest daughters of the Compostela sculptor Francisco Mª Rodeiro Permui, an artist who worked in the second and third thirds of the 19th century. Except for a pause in her training when she moved to Madrid in 1884, where she studied Antique Drawing and Antique Modelling at the School of Fine Arts, her artistic education was linked to her father. In 1875 he obtained an Honourable Mention at the Regional Exhibition in Santiago de Compostela, for a Crucifix and a Saint Ignatius of Loyola.James of Zebedee or James the Greater was one of the first disciples to shed his blood and die for Jesus. A member of a family of fishermen, brother of John the Evangelist - both nicknamed Boanerges ('Sons of Thunder') because of their impulsive temperaments - and one of the three closest disciples of Jesus Christ, the apostle James was not only present at two of the most important moments in the life of the Christian Messiah - the transfiguration on Mount Tabor and the prayer in the Garden of Olives - but was also part of the small group that witnessed his last miracle, his resurrection on the shores of Lake Tiberias. After Christ's death, James, passionate and impetuous, formed part of the initial group of the early Church in Jerusalem and, in his evangelising work, he was assigned, according to medieval traditions, the Spanish peninsular territory, specifically the northwestern region, then known as Gallaecia. Some theories suggest that the current patron saint of Spain arrived in the northern lands via the uninhabited coast of Portugal. Others, however, suggest that he travelled along the Ebro valley and the Cantabrian Roman road, and there are even those who claim that Santiago reached the Peninsula via what is now Cartagena, from where he set out on his journey to the western corner of the map.
Full title: A Spanish polychrome wooden panel depicting Jesus in a medallion surrounded by the twelve apostles after the altar of Sant Pere in Ripoll, 19th C.Description: H 59,5 x L 94,5 x D 9,5Ê Ê The original mid-12th century altar frontal, nowadays part of the Museu Episcopal de Vic altar frontal was recovered in 1889 from the parish church of Sant Pere in Ripoll, it was probably part of the liturgical furniture in the monastery of Ripoll, which had been sacked in 1835. It is one of the Catalan Romanesque altar frontals that best represents the typology of those that were made in imitation of the frontals in silverwork and precious stones, for the cathedrals and great monasteries. In the centre there is the figure of Christ Pantocrator inside the vesica piscis sitting with the book open showing the letters alpha and omega, symbols of the beginning and the end of the world. It was originally surrounded by the symbols of the four evangelists, now lost. In the side compartments there were the sculptures of the twelve apostles, of whom only four are now conserved: Saint Andrew, holding the book with the inscription 'S. Andreas', Saint Peter, with the keys and the inscription 'S.Petrus', Saint Mathias, with the book and the inscription 'S.Mathias', and Saint Judas, also holding the book with the inscription 'S.Iudas'. It is almost certainly a work contemporaneous with the monastery doorway, although from a stylistic point of view this is a different sculptor also endowed with great technical and compositional skill. The complexity with which he treats the folds in the Pantocrator's cloak, and the delicate and expressive movement of the figure of the apostle Mathias, so characteristic of the best European Romanesque sculpture of the time, make it clear that this is one of the great Catalan sculptors of the day (link available on rm-auctions.com).Ê About this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.
Full title: A Spanish polychrome wooden panel depicting Jesus in a medallion surrounded by the twelve apostles after the altar of Sant Pere in Ripoll, 19th C.Description:H 33 x L 50 cm Ê The original mid-12th century altar frontal, nowadays part of the Museu Episcopal de Vic altar frontal was recovered in 1889 from the parish church of Sant Pere in Ripoll, it was probably part of the liturgical furniture in the monastery of Ripoll, which had been sacked in 1835.It is one of the Catalan Romanesque altar frontals that best represents the typology of those that were made in imitation of the frontals in silverwork and precious stones, for the cathedrals and great monasteries. In the centre there is the figure of Christ Pantocrator inside the vesica piscis sitting with the book open showing the letters alpha and omega, symbols of the beginning and the end of the world. It was originally surrounded by the symbols of the four evangelists, now lost. In the side compartments there were the sculptures of the twelve apostles, of whom only four are now conserved: Saint Andrew, holding the book with the inscription 'S. Andreas', Saint Peter, with the keys and the inscription 'S.Petrus', Saint Mathias, with the book and the inscription 'S.Mathias', and Saint Judas, also holding the book with the inscription 'S.Iudas'. It is almost certainly a work contemporaneous with the monastery doorway, although from a stylistic point of view this is a different sculptor also endowed with great technical and compositional skill. The complexity with which he treats the folds in the Pantocrator's cloak, and the delicate and expressive movement of the figure of the apostle Mathias, so characteristic of the best European Romanesque sculpture of the time, make it clear that this is one of the great Catalan sculptors of the day (link available on rm-auctions.com).About this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.
HARRY POTTER AND THE ORDER OF THE PHOENIX - Hogwarts Student Gryffindor House RobeA Hogwarts student Gryffindor House robe from David Yates' fantasy-adventure sequel Harry Potter and the Order of the Phoenix. Hogwarts students wore their robes as part of their uniform, notably when Professor Trelawney (Emma Thompson) received an Order of Dismissal by Hogwarts High Inquisitor Dolores Umbridge (Imelda Staunton). The black cotton robe features a large pointed hood and short wide sleeves, with an embroidered Gryffindor crest adorning the left breast. It is lined with black synthetic fabric, with burgundy cotton lining the hood and front facings. Pockets are incorporated into the side seams, and there is a button fastening on the front. The cloak is marked as a size "S" and exhibits several marks from production use.This lot was initially gifted directly from the Harry Potter production to a young recipient who had been diagnosed with cystic fibrosis. Local charity Wishes 4 Kids granted the recipient a wish: to visit the Harry Potter film set at Leavesden in 2008, where they experienced a private tour and were gifted a cloak and wand directly from the production. A percentage of the proceeds from the sale of this lot will be donated to Wishes 4 Kids. Estimate: $10,000 - 15,000This lot will be auctioned on Tuesday, June 21st. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 22nd; Thursday, June 23rd; or Friday, June 24th.
STAR TREK: NEMESIS - Shinzon's (Tom Hardy) Reman Armor and CloakShinzon's (Tom Hardy) Reman armor and cloak from Stuart Baird's sci-fi sequel Star Trek: Nemesis. Former slaves of the Romulans, Reman soldiers were led by their commander, Praetor Shinzon, as they attempted to gain independence from Romulus and the Federation.This lot consists of an iridescent vinyl and plastic upper body corset with sleeves and an iridescent vinyl ankle-length cloak marked "TOM" on the interior with metal studs down the sides and fastening strips on the shoulders. The armor's details exhibit scuffing and wear. Estimate: $2,000 - 3,000This lot will be auctioned on Tuesday, June 21st. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 22nd; Thursday, June 23rd; or Friday, June 24th.
STAR TREK: NEMESIS - Shinzon's (Tom Hardy) Reman Armor and Body SuitShinzon's (Tom Hardy) Reman armor and body suit from Stuart Baird's sci-fi sequel Star Trek: Nemesis. Former slaves of the Romulans, Reman soldiers were led into battle on their Warbird, Scimitar, by their commander, Praetor Shinzon, as they attempted to gain independence from both Romulus and the Federation.This costume consists of an iridescent vinyl cloak with metal studs down the sides and fastening strips on the shoulders; a sleeveless zip-up vinyl bodysuit with iridescent latex paint and gold-color piping accents; and an iridescent vinyl and plastic upper body corset complete with gold-color piping on the sleeves. The cloak is marked "TOM #2" on the interior. It exhibits minor wear and a sticky residue on the neck of the armor details and some paint cracking on the bodysuit's shoulders. Estimate: $5,000 - 7,000This lot will be auctioned on Tuesday, June 21st. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 22nd; Thursday, June 23rd; or Friday, June 24th.
GLADIATOR - Praetorian Guard CostumeA Praetorian Guard costume from Ridley Scott's Academy Award®-winning historical epic Gladiator. Commodus (Joaquin Phoenix) gained the Praetorian Guard, an elite unit of the Imperial Roman Army, as his personal bodyguards when he became Emperor.This costume consists of a foam-padded fiberglass helmet with leather chin straps and bird details on the top and sides; a purple woolen hooded cloak with matching tunic and pants; a metal-backed resin lion emblem cloak clasp painted silver; plated plastic body armor painted to appear metallic and affixed with metal buckles; a brown leather singulum with gray plated details; a brown leather belt with resin accents; a rubber and leather sheath with an eagle-headed dagger permanently embedded inside; and a pair of brown leather boots.Also included is a replica brooch added to complete the costume. The costume exhibits chipping to the helmet, fraying and cracked leather, stains on the purple garments, and fading markings from production use and age. Estimate: $3,000 - 5,000This lot will be auctioned on Tuesday, June 21st. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 22nd; Thursday, June 23rd; or Friday, June 24th.
A DERBY FIGURE OF DIANA THE HUNTRESSCirca 1760Modelled standing with right arm raised , her left hand intending to hold a bow, a recumbent hound at her feet, 24cm highRestoration to right shoulder, arm and hand. Repaired break through right wrist and losses to two fingers. Restoration and chip to quiver of arrows. Restoration along the bottom edge of her cloak on the reverse. Restoration to the tree branch to the right. Restoration to the hound's left ear. Some losses to the applied flowers and leaves. Chip to the bottom tip of one of her strands of hair
A Liverpool (Samuel Gilbody) figure emblematic of Winter, circa 1758-60Modelled as a putto wearing only a fur-lined cloak and a pair of skates, left in the white, 13cm highFootnotes:ProvenanceBunny and Paul Davies CollectionIllustrated by Maurice Hillis, Liverpool Porcelain (2011), p.311, fig.7.81. Coloured Gilbody examples of the same model are illustrated by Hillis (2011), figs.7.79-80.For further information on this lot please visit Bonhams.com
A Derby 'dry edge' figure emblematic of Winter, circa 1752-55Modelled by Agostino Carlini, seated on a low mound base and draped in a voluminous cloak, leaning over a fire on the ground before him and warming his hands, left in the white, 11cm highFootnotes:ProvenanceBunny and Paul Davies CollectionA complete set of Derby seasons of this model is illustrated by Dennis G Rice, Derby Porcelain (1983), p.79 and another in the Victoria and Albert Museum by J V G Mallet, 'Agostini Carlini and Dry-Edge Derby', in British Ceramic Design 1600-2002 (2002), p.48.For further information on this lot please visit Bonhams.com
A rare Derby figure of an Actor, circa 1758The young man adopting a classic pose with one hand on his hip and the other outstretched, wearing a puce tricorn hat, white cloak, flower-painted shirt and puce breeches, by a stump on a white mound base applied with flowers, 16.8cm highFootnotes:This model appears to have been based on a figure of a dancer but was adapted to give the subject a theatrical pose. A related figure in the white, but clearly modelled as an older actor, is illustrated by Peter Bradshaw, Derby Porcelain Figures (1990), p.36, no.B10.For further information on this lot please visit Bonhams.com
Bell-shaped crater with the figure of a satyr. Magna Graecia, Campania, 4th century BC.Ceramic with red figures.Provenance: Private collection, Fontainebleau, France.In perfect condition. Intact. Only a slight nick on the base.Measurements: 19.5 cm (height) x 20.5 cm (diameter).Magna Graecia bell krater, made of ceramic and decorated with figures in reserve, in red and white, on a background of black varnish. On one side there is a scene depicting a woman seated on a stool, assisted by a lady and a man, the latter naked and wearing a cloak over his shoulders. The lady serves her food on a tray and holds a palm leaf, and the boy offers her an ornate mirror. On the opposite side we see three robed men in a frieze composition. Between the two figurative scenes, under the handles, there are palmettes flanked by brackets. At the base of this main band is a border of curved fretwork, and below the mouth is a laurel wreath.The krater was a large vessel, intended to contain a mixture of water and wine. It was carried to the place where the meal took place, placed on the floor or on a platform. The cupbearer administered the drink with a spoon or jug, and then filled the cups of the guests. The type known as 'bell-shaped' has small horizontal, protruding, upward-facing handles and an inverted bell-shaped bowl; it is a late type. The chalice krater is a more modern type than the column and scroll kraters, although it predates the bell krater, and its shape, with an almost inverted trapezoid profile, is reminiscent of the flower chalice.Red-figure ware was one of the most important figurative styles of Greek pottery. It was developed in Athens around 530 BC, and was used until the 3rd century BC. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the colouring is inverted, with the figures highlighted against a dark background, as if illuminated by a theatrical light, following a more natural scheme. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. The red-figure technique, on the other hand, allowed greater freedom. Each figure was silhouetted against a black background, allowing the painters to portray anatomical details with greater accuracy and variety.The technique consisted of painting the motifs on the still-wet piece, using a transparent varnish which, when fired, took on an intense black hue. The motifs were therefore invisible before firing, which meant that the painters had to work entirely from memory, without being able to see their previous work. Once the piece was fired, the unglazed areas remained with the reddish hue of the clay, while the glazed, "painted" areas took on a dense, glossy black colour.
A pair of Derby porcelain figures of William Shakespeare and John Miltoncirca 1806-25after Peter Scheemakers, model numbers 297 and 305, Milton modelled standing in puritan dress, holding a scroll with a quotation from Paradise lost and leaning on three books upon a circular plinth decorated in relief with scenes depicting the expulsion of Adam from the Garden of Eden; Shakespeare similarly posed, with a scroll inscribed in gilt with verses from The Tempest, painted iron-red marks and incised numbers, 26cm high(2)Shakespeare - one small foot rim chip and further small nibbles around the base. Crazing to the glaze and general areas of light discolouration throughout. Firing cracks to his legs and a further short firing crack near the vent hole on the base. Some wear to the gilding on the scroll and to the reverse of his cloak. Further firing crack above one head on the pillar and some spots of red enamel missing on the upper book.Milton- small repaired foot rim chip and further smaller nibbles to the edges of the base elsewhere. Again, some patches of staining and crazing. Elements of gilding are slightly patchy and worn in areas. Firing cracks underneath both feet.
England & Wales. Browne (Christopher), Untitled map of the Kingdom of England, Philip Overton & Thomas Bowles, circa 1720, uncoloured engraved map on four irregularly sized sheets, each formed by conjoined maps, the map of central England lacking the extension showing west Pembrokeshire, trimmed with thread margins (as issued), some creasing, old folds, sizes vary from 425 x 550 mm to 445 x 1420 mm,QTY: (4)NOTE:R. W. Shirley. Printed Maps of the British Isles 1650 - 1750 Browne 2 state 3. A very unusual map, first published as a wall map in about 1700. In its original form, the map had a large cartouche in the upper right, however, as a result of its popularity, it was published in a travelling format, with only the salient details necessary for someone venturing beyond an area they were familiar with. This format saved on weight and bulk and could be presented in a rolled or folded form. Its size seems to have predicated against it surviving in any numbers and today it is a scarce map. Philip Overton and Thomas Bowles acquired the plates in 1712 and under their imprint, it was advertised in the 'Monthly Catalogue' of 1717 and copies were also bound up in editions of the 'English Gentleman's Guide' where it was advertised as '.... made portable for Cloak-Bag, Portmanteau or Pocket'. The last edition was around 1760 by Robert Sayer and Thomas Bowles.
Flemish school of the 16th century."Virgin of the Milk".Oil on panel.It has a grid in allusion to San Lorenzo de El Escorial.Measurements: 49 x 38.5 cm; 67 x 55.5 cm (frame).In this panel the painter offers us a tender and intimate image of the Virgin and Child, within the iconography of the Virgin of the Milk, which has a long tradition in the history of art. Although this theme began to disappear in the Baroque period, it is fully in keeping with the interest of the artists of the time in depicting Jesus in his most human aspect, as well as the Virgin. Here even all allusion to the future sacrifice, which often appears with the presence of fruit or red flowers, disappears. The piece is notable for the modesty of its representation: the Virgin's breast is not visible, but is covered by the pink cloak.
Renaissance embroidery; Spain, first half of the 16th century."Saint John, Saint Andrew and Saint Augustine".Damage and losses.Measurements: 135 x 22 cm.The creation of embroidery has always been an art associated with femininity, the work of nuns, these pieces of exceptional technique used as ornamentation have been valued and revalued in recent decades. This piece depicts three saints: St. John, St. Andrew and St. Augustine. The Gospels say that John the Baptist was the son of the priest Zechariah and Elizabeth, cousin of the Virgin Mary. He retired at a very young age to the desert of Judea to lead an ascetic life and preach penance, and recognised in Jesus, who was baptised by him, the Messiah announced by the prophets. A year after Christ's baptism, in the year 29, John was arrested and imprisoned by the tetrarch of Galilee, Herod Antias, whose marriage to Herodias, his niece and sister-in-law, he had dared to censure. Finally, St. John was beheaded, and his head given to Salome as a reward for his beautiful dances. This saint appears in Christian art in two different guises: as a child, a playmate of Jesus, and as an adult, an ascetic preacher. The adult Saint John depicted here is dressed in Eastern art in a camel-skin sackcloth, which in the West was replaced by a sheepskin that leaves his arms, legs and part of his torso bare. The red cloak he wears at times, as well as in the scene of his intercession at the Last Judgement, alludes to his martyrdom. In Byzantine art he is depicted as a large-winged angel, with his severed head on a tray held in his hands. However, his attributes in Western art are very different. The most frequent is a lamb, which alludes to Jesus Christ, and he often carries a cross of reeds with a phylactery with the inscription "Ecce Agnus Dei".Aan Andrew is presented with the attribute of his martyrdom, the cross in the form of a cross on which he was tied by order of the proconsul Aegeas. The luminosity of the work, the predominance of blue tones and the peace that emanates from the bearded face, with its soft meditative features, form a peaceful image that shows us a saint who has already overcome pain and rests eternally beyond sacrifice. Andrew was the first apostle called by Jesus, which is why he was called by the Greeks Protokletos, "the first called". Brother of Simon Peter and, like him, a fisherman from Galilee, his name is Greek and not Hebrew, and means virile. He is mentioned twice in the Gospels: in connection with the vocations of the first two apostles, and in the episode of the multiplication of the loaves and fishes. His legend comes from the Apocryphal Acts, according to which he was appointed, after the death of Jesus, to evangelise Scythia, i.e. modern-day Russia. While preaching there, an angel appeared to him and said "Go to Matthew"; he was then miraculously guided to Ethiopia, where St Matthew had been blinded and imprisoned. The prison doors opened before Andrew, and he began to pray in front of Matthew, after which the prisoner regained his sight. His mission accomplished, he went to Greece and then to Asia Minor, where he reportedly performed a series of miracles. He finally met his death at Patras in the Peloponnese, where the proconsul Aegeas had him flogged with rods for preaching disobedience to the emperor, and then ordered him to be tied with ropes to a cross in the shape of an "X", where he died on the third day. The most popular attribute of Saint Andrew is precisely this cross, although until the 15th century he is most often depicted crucified on a normal cross.St. Augustine of Hippo (Tagaste, 254, Hippo Reggius, 430) was a doctor of the Catholic Church, known, among other things and for his writings, for a legend: the saint is said to have walked along the seashore, thinking about the Trinity.
TRIADE DE PADMASAMBHAVA ET SES ÉPOUSES, MANDARAVA ET YESHE TSOGYAL, EN ALLIAGE DE CUIVRE DORÉTIBET, CIRCA XVIIE SIÈCLEWith an original silver skull-cup (kapala) mounted within Padmasambhava's left hand.Himalayan Art Resources item no. 4810 24 cm (9 1/2 in.) high Footnotes:A GILT COPPER ALLOY TRIAD OF PADMASAMBHAVA AND HIS CONSORTS, MANDARAVA AND YESHE TSOGYALTIBET, CIRCA 17TH CENTURY西藏 約十七世紀 銅鎏金蓮花生大士與曼達拉娃及益西措嘉像Provenance:With Claude de Marteau, Brussels, by 1970sOne of the finest known examples of this rare, complete subject, the present gilt bronze triad depicts Padmasambhava—the 'Lotus Born'—according to his creation myth, joined by his two wives. Padmasambhava is credited with introducing Buddhism in Tibet in the 8th century. He is also the root guru of the Nyingma order, who regard him as a 'Second Buddha' and maintain he planted treasure teachings (terma) throughout the Himalayas to be discovered when the world is ready. According to traditional biographies, Padmasambhava was miraculously born in the center of a lotus blossom on Lake Danakosha in Oddiyana, which this sculpture commemorates. In delightful detail, two fish, a duck, a goose, an auspicious conch, and a mythical crocodile (makara) populate the lake's swirling vegetal waters envisioned by the ensemble's base. Padmasambhava is joined by his two consorts and close disciples, each smaller and seated on a lotus flower stemming from the same central stalk. His first consort, Mandarava (viewer's left), was a princess from Himachal Pradesh in Northwestern India and is therefore depicted wearing Indianized dress consisting of a pleated sari, large plug earrings, and jewelry with triangular foliate designs. She raises her hands in the age-old gesture of entreaty (anjali mudra), and the branching lotus stem below her also blooms a blue lily. His second consort, Yeshe Tsogyal (viewer's right), hailed from an aristocratic family in Central Tibet, and is therefore dressed in a heavy royal Tibetan cloak and wears floral-medallion earrings with small piercings. She wields the scented skull cup, a vajrayana implement, while displaying the gesture of teaching (vitarka mudra) with her other hand. Below, her stem also sprouts a white lotus bud. Tsogyal, whose name means 'Victor of the Lake', is considered the first Tibetan to have achieved Buddhahood in a single lifetime. The present ensemble ranks highly among a range of other examples depicting this subject listed as HAR set no. 5068. Exquisitely cast, thickly gilded, and featuring a particular style of long, plump lotus petals with frilled tips, this sculpture joins a growing body of sculptures being attributed to Tashi Lhunpo monastery in Shigatse, Central Tibet (for further discussion, see Luo, 'Tashi Lhunpo Statuary: Karma and Mt Meru', in Bonhams, Hong Kong, 26 November 2019). Tashi Lhunpo is the traditional monastic seat of the Panchen Lama, the Gelug order's second-in-command, and maintained a particularly close relationship with the Qing court during the reign of the Kangxi emperor (1662-1722). A related bronze of Panjaranatha Mahakala was sold at Bonhams, New York, 19 March 2019, lot 928.For further information on this lot please visit Bonhams.com
Formerly the Property of Lavinia, Duchess of Norfolk A Royal Presentation diamond brooch by Garrard & Co. Ltd., 1953, modelled as the facsimile initials ‘ER’ for Her Majesty Queen Elizabeth II, followed by a full stop, the initials modelled in the Queen’s handwriting, set throughout with single-cut diamonds, the full stop set with a brilliant-cut, within closed back millegrain-edged setting, the reverse engraved ‘Platinum’, and in facsimile script ‘With grateful thanks’, contained in a Garrard & Co. Ltd. red leather case, the Royal cypher in gilt to the hinged lid, total diamond weight approximately 1.5 carats, dimensions 27.5 x 39.5cm. Accompanied by a handwritten double-sided letter from Her Majesty the Queen addressed to Lavinia, Duchess of Norfolk, on headed stationery from Buckingham Palace and dated 4th June 1953, (two days after the Coronation),reading: “Dear Lavinia I write to express my heartfelt thanks to you for standing in for me in the Abbey in the weeks leading up to my coronation. It was extremely kind of you to be there to support me at such an important moment of ones life, and it gave me such tremendous confidence to know all was ready before the service. The Archbishop was very grateful for all your patient help and Mummy hopes that my understudy will be available when I am next ill in bed!! I hope you will accept this small gift, which was Philip’s inspired idea, as an enduring reminder of my appreciation. Yours sincerely Elizabeth R. “ £4,000-£6,000 --- Provenance: This brooch was given by Her Majesty Queen Elizabeth II to Lavinia Fitzalan-Howard, Duchess of Norfolk (1916-1995) in June 1953. The Duchess stood in for the Queen during the rehearsals held at Westminster Abbey in the lead up to the Queen's Coronation on 2 June 1953. The photograph depicts the Queen and the Duchess of Norfolk leaving Westminster Abbey together after one of the rehearsals in May 1953. As Earl Marshal of England, the Duchess of Norfolk’s husband, Bernard Fitzalan-Howard, 16th Duke of Norfolk, had overall responsibility for the organisation of the Coronation, and indeed he had previously planned the Coronation of King George VI in 1937. Six other matching diamond brooches were made by Garrard & Co. Ltd., and were given as gifts by Her Majesty to her six Maids of Honour who attended her at the Coronation. The recipients were: Lady Jane Vane-Tempest-Stewart, Lady Anne Coke (later Lady Anne Glenconner), Lady Moyra Hamilton, Lady Mary Baillie-Hamilton, Lady Jane Heathcote-Drummond-Willoughby and Lady Rosemary Spencer-Churchill who, together with the Duchess of Devonshire, assisted the Queen with the Robe of State, a 5.5m long hand woven silk velvet cloak lined with Canadian ermine, attached to the shoulders of the Queen’s coronation gown, designed by Norman Hartnell. One of these six presentation brooches, the example given to Lady Anne Glenconner (née Coke), was displayed at her ancestral home Holkham, in North Norfolk, in 2012, at an exhibition entitled ‘The Ostrich & the Crown’, the exhibition celebrating Holkham’s history from 1612 to 2012 and the Coke family’s association with the Crown over 400 years. This exhibition was staged to mark the Queen’s Diamond Jubilee. Lady Glenconner wore her diamond brooch pinned to her hat at the Service of Thanksgiving at Westminster Abbey on 4 June 2013, held to mark sixty years since the Queen’s Coronation. Lady Moyra Campbell (née Hamilton) and Lady Mary Russell (née Baillie-Hamilton), also wore their brooches to the Thanksgiving Service. The brooch offered here for sale was donated by the Duchess of Norfolk in 1956 to be sold for the benefit of the British and Foreign Bible Society. It was purchased by a relative of the present vendor, and thence by family descent.
A carved wood ship's figurehead,late 19th century, polychrome painted, the Eastern figure holding grapes and wearing a star headpiece, his cloak with a lion mask clasp,48cm wide42cm deep91cm highProvenance: The Gordon Gridley Collection, London.The timber of one side has split and the section is detached.Some paint loss to scroll base and evidence of old repainting.
American School (?), early 19th c - Portrait miniatures of a Nobleman and Lady of the Zollicoffer family, bust length in a braided green coat and red cloak or brown dress with rose corsage, oil on card, oval, 65mm, 19th c English papier mache frames with brass leaf hanger Both in good condition with old inscriptions on backing
A BAG OF SILVER AND WHITE METAL ITEMS, to include a graduated silver albert chain fitted with a lobster claw clasp and T-bar, hallmarked silver, length 280mm, a silver cigar piercer fitted with a 1901 three pence coin, hallmarked Birmingham, a silver whistle hallmarked Birmingham, a silver Scottish cloak brooch, set with a clover detailed pin, hallmarked Dublin, a silver napkin holder hallmarked Birmingham, four three pence coins, approximate gross weight 58.7 grams, together with a white metal cross pendant fitted with a tapered bail, earrings and a white metal ring, a cased cheroot set one broken etc
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