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Lot 2207
Folio Society - many sealed, Benjamin Cowburn " No Cloak no Dagger " Dashiell Hammet " The Maltese Falcon" , Graham Greene " The Quiet American", Victoria Finlay " Colour", Kenneth Clarke " The Nude" , Howard Hibbard " Michelangelo ", Daniel Defoe " A Whole Tour of the Island of Great Britain" William Daniell " A Voyage Around the Coast of Great Britain" , Rudyard Kipling " The Second Jungle Book", Anthony Trollope, Henry James, H G Wells " Brave New World", George Eliot, many other vols ( 4 boxes)
Lot 386
David Paton (Scottish, active 1660-1695), Sir William Scott (c.1670-1725), plumbago oval miniature portrait on vellum, the sitter wearing cloak, lace cravat and long curling wig, turned and ebonised wood frame, the reverse with the sitter's details, overall 13cm x 11.5cm. Provenance: Bonhams, Sale 18840, Fine Portrait Miniatures, Lot 123, 25th May 2011.
Lot 1100
EYES WIDE SHUT (1999) - Ritual Cloak - A cloak from Stanley Kubrick's erotic mystery thriller Eyes Wide Shut. Dr William "Bill" Harford (Tom Cruise) infiltrated a ritualistic orgy party for the super elites, wearing a mask and a cloak just like the other attendees.So much is unique about the final feature film of arguably the most influential filmmaker in the history of cinema, Stanely Kubrick. Not least of which being that he passed away from a heart attack six days after the final cut was shown to Warner Bros. Kubrick himself called it his "greatest contribution to the art of cinema", and it topped the list as his highest-grossing film.The black cloak is made of polyester with a hood and lace adjustment feature at the collar's centre.Estimate: £1,000 - 2,000 † Bidding for this lot will end on Saturday, November 16th. The auction will begin at 3:00 PM GMT 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 Thursday, November 14th, Friday, November 15th or Sunday, November 17th.
Lot 1228
HARRY POTTER AND THE ORDER OF THE PHOENIX (2007) - "Pandemonium at the Ministry" The Quibbler Magazine with "Spectrespecs" - A "Pandemonium at the Ministry" The Quibbler magazine with a pair of "Spectrespecs" from David Yates' fantasy adventure sequel Harry Potter and the Half-Blood Prince.Luna Lovegood (Evanna Lynch) was reading a copy of The Quibbler when she found Harry (Daniel Radcliffe) on the Hogwarts Express after he had been petrified by Draco Malfoy (Tom Felton). The "Spectrespecs" from the magazine allowed her to see through Harry's invisibility cloak.This copy of The Quibbler has a colourful pair of "Spectrespecs" attached to its cover via a perforated seam, making them detachable. The articles within contain filler text. Dimensions: 27 cm x 20 cm (10.75" x 8")Estimate: £2,500 - 5,000 M Bidding for this lot will end on Saturday, November 16th. The auction will begin at 3:00 PM GMT 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 Thursday, November 14th, Friday, November 15th or Sunday, November 17th.
Lot 1509
THE MUMMY (1999) - Dr. Terrence Bay's (Erick Avari) Stunt Sword and Ardeth Bay's (Oded Fehr) Black Robe Costume - Dr. Terrence Bay's (Erick Avari) stunt sword and Ardeth Bay's (Oded Fehr) black robe costume from Stephen Sommers' The Mummy. Dr. Bay used his sword when the living dead minions of Imhotep (Arnold Vosloo) closed in on him in the town and he protected the others by sacrificing himself. Ardeth wore his costume as he joined Rick O'Connell's (Brendan Fraser) team in saving the world from Imhotep. This lot consists of a heavy black cotton cloak with creased black nylon panels, black-and-white woollen braids fixed to the shoulder, a silver-colour sash belt, matching black cotton trousers and a dark blue sash; and a black and silver-colour rubber sword with gold-colour painted details and a curved blade. The coat collar features decorative silver-colour stitching and patterned front lapels and all fastened with simple black ties. There is a small label inside the long coat that reads 'Oded Fehr - Ardeth Bay' on an Angels costumers label. This lot exhibits minor loose threads and chipped paint. Dimensions: (sword) 94 cm x 7.75 cm x 5 cm (37" x 3" x 2")Estimate: £1,500 - 3,000 Ω Bidding for this lot will end on Sunday, November 17th. The auction will begin at 3:00 PM GMT 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 Thursday, November 14th, Friday, November 15th, or Saturday, November 16th.
Lot 191
HARRY POTTER AND THE ORDER OF THE PHOENIX (2007) - Hogwarts Student Gryffindor House Robe - A 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 (marked size "L") 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. The cloak's interior has a small pocket which seems to be designed to hold a wand. It also features an internal label reading "566, HP5", while the size label has "001" handwritten on it. The stitching has come undone on both the lining and under one armhole on the exterior. There is also plucking near the front button fastening, and the cloak exhibits minor marks.Estimate: £5,000 - 10,000 M Bidding for this lot will end on Thursday, November 14th. The auction will begin at 3:00 PM GMT 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 Friday, November 15th, Saturday, November 16th or Sunday, November 17th.
Lot 1143
FOUR SCARCE EARLY NELSON MUSICAL SCORES: THE BATTLE OF THE NILE OR BRITANIA RULES THE WAVES - A PATRIOT SONG, Words by J W Fielding, London, Bland and Wellers; NELSON AND WARREN, written and composed by Mr Dibdin, London, printed and sold by the author; ENGLAND'S GLORY OR NELSON VICTORIOUS, Composed by Arthur Richardson, London, R Wornum; ; THE EGYPTIAN OR THE SCARLET CLOAK, Written and compsed by J Moulds, London, W Millhouse. Bounf within contemporary paper wraps. Ex libris
Lot 409
A LARGE JAPANESE WOOD NETSUKE OF A SENNINEDO PERIOD, 18TH CENTURYThe tall emaciated Immortal turning his head to the side with his mouth agape, holding his long beard with one hand and a gnarled staff in the other; wearing a cloak of mugwort leaves and loose robes opening to reveal his protuberant ribs; some areas lacquered, 14.5cm. Provenance: from the Mark and Elizabeth Harding Collection, South Africa. With a copy of a receipt from Sarzi-Amadè Limited, London, dated 17th May 1990, purchased for £7,600. By repute, purchased from Spink & Son Ltd.
Lot 3486
England, Charles I (1625-1649) half crown, group IV obv: King Charles I on horseback left, with upright sword and flowing cloak within beaded border, legend around, rev: oval quartered shield of arms within beaded border, legend around, heavily rubbed together with Charles I 1625 sixpence, tower mint, London and another heavily rubbed hammered Henry VIII? sixpence. (3)
Lot 417
THE FOLIO SOCIETY, Twenty-three miscellaneous titles in hardback format comprising, Nichols; Beverley, Down the Garden Path, Stevenson: R.L. Travels with a Donkey (unsealed), Hanff; Helene, 84 Charing Cross Road, London; Jack, The Call of The Wild (unsealed), Frugoni; Chiara, Inventions of the Middle Ages, Twain; Mark, Huckleberry Finn, Mitford; Nancy, Love In A Cold Climate, Wilde; Oscar, The Selfish Giant and Other Stories, The Folio Book of Card Games (unsealed, no slipcase), Grigson; Jane, Good Things (unsealed), Stevenson; R.L. Kidnapped, Parkman; Francis, The Oregon Trail (unsealed), Morris; Jan, Pax Britannica in three volumes, 1) Heaven's Command, 2) Pax Britannica, 3) Farewell The Trumpets, Cowburn; Benjamin, No Cloak, No Dagger, Hardy; Thomas, Tess of the d'Urbervilles (unsealed), Orwell; George, Homage to Catalonia, Johnson; George, The Ten Most Beautiful Experiments, Bates; H.E. The Darling Buds of May, Twain; Mark, Life on the Mississippi and The Fables of Aesop, illus. in colour by Edward J. Detmold (unsealed), all titles in original slipcases and sealed unless stated
Lot 15
A quantity of c.1920/30's lady's clothing, to include a black velvet cloak by Dickins & Jones, a black satin bias cut sleeveless gown, a powder blue evening dress and a gold brocade shift, (4) cloak - sash neck in need of re-stictchin; button a little loose; lining loose in place & needs re-stitching; some small marks throughoutblue dress - tears and stains around lower hem; stains to underarms; some pulled seams; old repairs and re-stitching to strapsblack dress - large patch repair to underarm; area of old re-stiching/repair to centre; patch near hemgold dress - large tear/hole to lower section of skirt where decorative floral patch was
Lot 6041
Russian biscuit porcelain figure depicting 'Kazan Tatar' from the Peoples of Russia series, marks for Riga factory 1891-1917, H25cm Condition Report:Overall good condition with no visible chips or cracks, there are some minor production flaws, particularly to the base. Decoration is worn in places as expected with age, particularly surrounding the gilt to the edge of the cloak. Overall look of the item is good, colour is vibrant.
Lot 328
A rare English delft ware Duke of Marlborough charger, probably Bristol, circa 1710, decorated with a full length portrait of the Duke wearing a suit of armour, yellow cloak and sash, with blue sponged trees and green grass, yellow and blue dash border, inscribed with the initials 'D M', 30.5cm diameterChips and glaze loss to rim and footrim. A few spots of glaze loss / imperfections to the front. There is a fine crack at about 2 o'clock (approx 8cm). No repairs or restoration.
Lot 5086
Doctor Strange: a group of 87 issues and related titles (Marvel Comics, 1972-99).This lot features:Doctor Strange (2nd series) Nos. 50, 51 (x2 copies), 52-74, 76, 77, 79, 80, 81Doctor Strange (3rd series) Nos. 5-12, 14-23, 24 (x2 copies), 25, 27, 28, 30, 35, 37, 42, 43, 50, 54. Annual No. 2.Strange Tales featuring Cloak and Dagger and Doctor Strange (1st series) Nos. 1, 3, 4, 5, 6, 8, 9, 10, 11, 14, 15, 16, 17, 18.Doctor Strange: the Flight of Bones (Mini-series) Nos. 1 (x2 copies), 2, 3, 4 (complete series).Doctor Strange Classics (1st series) Nos. 1, 2, 4.Marvel Premier featuring Doctor Strange Nos. 6, 13.What If..? (1st series) No. 40 (featuring Dr. Strange).All copies 1st Prints, US Cents and UK pence copies included.Issues complete without cut coupons, missing value stamps or missing pages.~(87)Condition Report: Majority of comics in lot in High-Grade condition.
Lot 3116
Pair of Art Deco Bookends in the form of Marabou Storks on books A unique pair of hand carved wooden bookends. Each one having two stained black wood books, with brown painted stork with red glass eyes. The Marabou Stork is also known as the "undertaker bird" due to it’s scavenging diet of carrion and it’s shape from behind resembling an undertaker -cloak-like wings and back, skinny white legs, and the sparse white head feather’s looking like the wispy hair on a bald man’s head
Lot 31
Statuette en porcelaine de Höchst représentant Bagolin, circa 1752A Höchst figure of Bagolin from the Commedia dell'Arte, circa 1752Modelled by Johann Christoph Ludwig von Lücke, standing on a gilt-edged pedestal with tree-stump support at the rear, playing the lute, wearing a black hat and cloak, yellow and red-striped costume with gilt trim to the sleeve and white ruff collar, the pedestal moulded with a recessed panel at the front embellished in gilding, 21cm high, wheel mark in iron-red (neck of instrument restored)Footnotes:Literature:Reber, Horst, Höchster Porzellan des 18. Jahrhunderts aus Privatbesitz, 1984, p. 30;Jansen, Reinhard (ed.), Commedie dell'Arte: Fest der Komödianten, 2001, cat. 151;Siemen, Wilhelm (ed.), Von den Ursprüngen des europäischen Porzellans bis zum Art Déco, 2010, p. 101, cat. 60Exhibited:Höchst, Jahrhunderthalle, Höchster Porzellan des 18. Jahrhunderts aus Privatbesitz, 9 December 1984 to 9 January 1985;Berlin, Schloss Charlottenburg, Commedia dell'Arte: Fest der Komödianten, 14 July to 14 October 2001;Selb and Hohenberg a.d. Eger, Porzellanikon - Staatliches Museum für Porzellan, Königstraum und Massenware. 300 Jahr europäisches Porzellan, 24 April to 2 November 2010;Hohenberg an der Eger, Porzellanikon - Staatliches Museum für Porzellan, 2018-2023Bagolin was one of the many zanni, or stock servant figures, from the commedia dell'arte, although he appears less frequently than other such figures like Scaramouche or Mezzetin. The modeller for this series, Johann Christoph von Lücke, likely copied the name, pose, and accoutrements from the eponymous engraving by Johann Jacob Wolrab (Nürnberg, ca. 1720).For a more comprehensive discussion of Höchst commedia dell'arte figures, see Horst Reber, 'The Höchst Italian Comedy series' in Hugo Morley-Fletcher, Early European Porcelain and Faience as collected by Kiyi and Edward Pflueger, vol. I, 1993, pp. 100-128; and H. Reber, 'Die Commedia de;;'are an der Höchster Porzellanmanufaktur,' in Reinhard Jansen (ed.), Commedia dell'Arte: Fest der Komödianten, 2001, pp. 138-144.A comparable example is in the Metropolitan Museum of Art, New York, inv. 1982.60.223, formerly of the Jack and Belle Linsky Collection, as well as in the Museum of Fine Arts, Boston, inv. 2006.866, formerly of the Kiyi and Edward M. Pflueger Collection.For further information on this lot please visit Bonhams.com
Lot 28
Groupe en porcelaine de Meissen répresentant Colombine et Pantalon, circa 1741A Meissen group of Columbine and Pantalone, circa 1741Modelled by J.J. Kaendler, Columbine holding a mask in her right hand and caressing Pantalone's beard with the left, wearing a gilt-edged, grey-lined turquoise cloak with red ribbon and bow, ruff collar, yellow bodice and a purple skirt with purple and gilt flower sprigs, Pantalone wearing a black skull cap, long black jacket, iron-red costume with yellow bows at the knees and yellow shoes, the base applied with leaves and flowers, 16cm high, (minor restoration)Footnotes:Provenance:The Property of Brigadier R.B.T. Daniell, D.S.O., sold at Sotheby's London, 15 May 1979, lot 97Originally modelled in 1736, Kaendler reworked this group for a second time creating a third version in 1741 as the moulds had again become worn and unusable. It is listed in his work records in July 1741: 'Ein Croppgen den Pataleon Vorstellet nebst seinen bey sich habenden Frauen Zimmer Völlig erneuert solches aufs Sauberste auspoussiret und aufs neue brauchbar gemacht Weiln die Forme Vorhero gäntzl. Ruiniret und unbrauchbar worden' [A group depicting Pantalone with a figure of a lady next to him completely renewed, cleaned up and made usable as new because the moulds were completely ruined and unusable]; and again the following month, when he records that the model was cut and prepared for moulding.The second version of this group of 1738 from the Merkle Collection was sold in these Rooms, 17 April 2024, lot 6.For further information on this lot please visit Bonhams.com
Lot 2
Rare statuette en porcelaine de Meissen représentant un personnage du théâtre jouant du luth, circa 1740A rare Meissen theatrical figure playing the lute, circa 1740Modelled by J.J. Kaendler, wearing a gilt-edge black hat with red rosette gilt-edged ruff collar, gilt-striped salmon-pink jacket with gilt and black flower sprigs and green bows at the front, a gilt-edged, grey-lined blue cloak draped over his left arm, puce trousers and black shoes with yellow bows, 16.8cm high, crossed swords mark in blueFootnotes:Provenance:Antiquitäten der Kunsthandlung D. Pergamenter, Berlin, sold at Rudolph Lepke's Kunst-Auctions-Haus, Berlin, 4-8 May 1909, lot 58;Pauls-Eisenbeiss Collection, Basel (applied paper label to base);Anon. sale, Christie's London, 5 October 1987, lot 160Literature:Rafael, Johannes, 'Zur 'Taxa Kaendler', Keramos 203/204 (2009): 46 (illustrated)Exhibited:Hohenberg a.d. Eger, Porzellanikon - Staatliches Museum für Porzellan, 2018-2023Kaendler's Taxa includes: '1. Musicante theatralisch gekleidet, wie er auf der Laute spielet' [1 musician in theatrical dress, playing the lute]. The figure is also included in Kaendler's work records in a list of models completed by Kaendler and two apprentices in overtime work between the beginning of May and end of August 1739.Other examples of this rare figure are in the porcelain collection in Dresden (formerly Gustav and Charlotte von Klemperer Collection), inv. PE 510; the Metropolitan Museum of Art, New York, Irwin Untermyer Collection, inv. 64.101.91; and in the Victoria & Albert Museum, London, inv. C.17-1984. Another was in the Emma Budge Collection in Hamburg (sold at Paul Graupe/Hans W. Lange, Berlin, 27-29 September 1937, lot 808).For further information on this lot please visit Bonhams.com
Lot 26
Groupe en porcelaine de Meissen figurant « Les Amants espagnols », circa 1740-45A Meissen group of 'Spanish Lovers,' circa 1740-45Modelled by J.J. Kaendler, the lady wearing a yellow hat with feathers and a pink ribbon, an iron-red bodice with turquoise bows, a salmon-pink crinoline dress with gilt and black flower sprigs and a gilt-edged blue underskirt, her companion wearing a purple jacket with green cloak, black breeches and yellow shoes with red ribbons, his yellow hat with a red rosette under his arm, the base applied with leaves and flowers, 19cm high (minor restoration)Footnotes:Exhibited:Hohenberg a.d. Eger, Porzellanikon - Staatliches Museum für Porzellan, 2018-2023.Provenance:Fritz Katz Collection, New York (applied label to base)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 in Rainer Rückert, 'Zur Staffierung der Gesichter von Meißener Porzellanfiguren,' Teil IV, Keramos 153 (July 1996): 156).For further information on this lot please visit Bonhams.com
Lot 424
AFTER THE ANTIQUE- A CARVED FRUITWOOD FIGURE OF THE APOLLO BELVEDERE ITALIAN, 17TH/18TH CENTURY On an integrally carved circular plinth figure 53cm high Provenance: Yves Saint Laurent and Pierre Bergé Collection Private collection, Lombardy. Literature: F. Haskell & N. Penny, Taste and the Antique, Yale University Press, 1981, p. 148-151 J. J. Winckelmann, Writings on Art, ed. David Irwin, Phaidon, 1972, p. 140. This figure is a rare fruitwood model of the celebrated antique marble in the Belvedere courtyard in the Vatican, known as the Apollo Belvedere. While scholars have been divided on whether the work is a Greek original, or a Roman copy of a fourth-century Greek bronze carved during the Hadrianic period, the Apollo Belvedere remains without doubt one of the most sublime statues surviving from ancient times. Its ancient provenance, along with its discovery are unknown; however, by the end of the sixteenth century, it was in possession of Cardinal Giuliano della Rovere, the future Pope Julius II, who moved it to the Vatican during his pontificate. There, it was displayed in a niche in the Belvedere courtyard, where, with the exception of the period between 1797 to 1816, when it was ceded by Pope Pius IV to the French (under the Treaty of Tolentino) and displayed in Paris, it has remained ever since. Admired for its physical beauty and underlying sensuality, for the preeminent neoclassical art theorist, Johann Joachim Winckelmann, the Apollo Belvedere represented the apogee of the Greek ideal. Winckelmann ascribed to the work 'a noble simplicity and quiet grandeur', one that had an incredibly powerful agency: "In the presence of this miracle of art I forget all else, and I myself take a lofty position for the purpose of looking upon it in a worthy manner [...] I feel myself transported to Delos and into the Lycaen groves, - places which Apollo honoured by his presence [...]". An icon of the Enlightenment, the Apollo Belvedere was widely copied and translated into a great variety of materials, and this fruitwood version is an unusual and rare survival from this period. The fine grain of this fruitwood allows for passages of very intricate carving on a minute scale and, when polished, enables the work to take on a rich brown coloration in a similar manner to bronze. Versions of classical sculptures made from these types of woods appealed to the same collectors who prized bronze statuettes. Condition Report: Saleroom Notice- the description has been updated and differs from the printed catalogue- the figure is 53cm high. With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with typical remedial/conservation work around jointed construction points- elbows, hands, base, knees and legs etc. These have occurred at different times- with differing levels of execution- surface with attrition scuffs from handling, signs of repairs to old damages to base of cloak, fold of cloak and right hand- which are more restoration than conservation. Shrinkage faults- some later infill Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Lot 306
GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO (ITALIAN 1591-1666) YOUNG DAVID Oil on canvas 69 x 56cm (27 x 22 in.) This unpublished canvas may be identified as the 'testa di un davide' that Guercino painted for his friend Gerolamo Panesi and for which he was paid 30 scudi on 16 October 1649.1 In her comment to the above entry in her 1997 edition of Guercino's Account Book, Barbara Ghelfi noted that a canvas corresponding to this payment had yet to be identified. In the painting, David holds the sword with which he had beheaded Goliath. Rather than engage the spectator he stares into the distance, as if pondering the consequences of his victory. The velvety paint textures, the attractive colouring, the figure's classical pose and the delicate rendering of selected details fit perfectly with Guercino's mid-Bolognese period. The occasional flourishes of impasto that punctuate the smooth paint surface include the plume on David's cap and the fur of the lining to his cloak, especially where it touches and slightly overlaps his right thumb. The beguiling combinations of a narrow range of forceful secondary colours, mostly of neighbouring hue, may also be seen in the Cleopatra, now in a private collection, which Panesi ordered from Guercino only a few months later.2 In 1648-1650 Panesi commissioned at least five pictures from Guercino. Panesi was a Genoese nobleman and art dealer and, during the artist's Bolognese period, was one of his more consistent and discerning clients, selling on some of the pictures he had commissioned from the master at a higher price in Rome, where he was mainly resident.3 Guercino stuck resolutely to his tariffs, yet somehow Panesi was able to persuade the painter to give him a discount, for example by reducing his standard-sized canvases in return for dropping his charge. In the following year, Guercino painted a 'Meza Figura del davide con la Testa di Golia Gigante' for a Sig. Lodovico Fermi of Piacenza, for which he was paid 75 scudi on 12 October 1650.4 Fermi's David is known from two versions-the actual-sized sketch in the National Museum of Western Art, Tokyo, and the finished picture, now in a private collection.5 Both correspond almost exactly in size and are significantly larger than the present picture. 6 In format, a half-length was the next size up from a head-and-shoulders and it generally included extra details, such as, in this instance, Goliath's severed head. Fermi paid Guercino 75 scudi for his picture, as compared to Panesi's 30 scudi, for a picture just over half the size of Fermi's, painted in the previous year. With such a busy practice, Guercino was inevitably asked to paint the same subject several times, especially for his half-lengths and heads. A commission for a subject, perhaps painted previously on other occasions, required a fresh invention. Guercino could avoid repetitions by referencing past drawings, but inevitably one compositional treatment morphed subtly into the next. From the point of view of Guercino's creative method, much may be learned by comparing Panesi's David with Fermi's, since similarities and differences abound, in costume, pose, studio props and facture. Two further works by Guercino, both half-lengths, connect in design with the present picture. The first is a drawing in the Royal Library, Windsor Castle, ascribed to Guercino but clearly by him. Despite the composition's half-length format, it could well have been made as a study for this canvas, with the head of Goliath included as an alternative to David's sword.7 Notwithstanding these differences, the overall correspondence is close. The second is a painting formerly in the collection of the King of Sardegna, now belonging to the Galleria Sabauda, Turin, presently on show at the Venaria Reale, which is reproduced here from a lithograph by Luigi Poggioli.8 As here, Goliath's head is absent from the composition of the Turin picture. Its larger size and the introduction of the regal columnar architecture in the background bring it nearer to Fermi's canvas. Strong echoes of the present painting are easily to be found in the Windsor drawing and the Turin picture. But it is the hybrid format of the present canvas that pins it down as the one ordered by Panesi. It is a reduced-sized half-length and is bigger and has more detail than Guercino's normal head-and-shoulders format. This rare exception to the painter's rule was probably the result of Panesi's successful haggling. Notes: 1). B. Ghelfi (ed.), Il libro dei conti del Guercino, 1629-1666, Bologna, 1997, p. 143, no. 413. When the picture was first shown to me, on 17 January 2013, I wrongly attributed it to Guercino's nephew Cesare Gennari. Five years later, following my immersion in Guercino's works in preparation for my monograph on him published last year, the presence of the master's hand is all too clear to me, and I now have no hesitation in giving the picture to him in full. 2). N. Turner, The Paintings of Guercino. A Revised and Expanded Catalogue raisonné, Rome, 2017, p. 662, cat 3723). N. Turner, 'Mola's Caricature Portrait of the Genoese Collector and Dealer Gerolamo Panesi,' Master Drawings, xlvii, no 4 (2009), pp. 516-9.4). Ghelfi 1997, p. 149, no. 430. 5). Turner 2017, pp. 667-8, nos 377I and II, respectively. 6). The Tokyo canvas measures 120.5 x 102 cm, the finished version in a private collection 120 x 100 cm.7). Windsor Castle, Royal Library: inv. 2944 (Mahon and Turner 1989, no. 408): pen and brown ink; 203 x 161 mm. 8). A. Alberghini, Guercino: La collezione di stampe, Cento, 1991, p. 217, no. 435. We are grateful to Nicholas Turner for his expertise and assistance in writing this catalogue entry. Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Some light craquelure throughout however the paint surface appears stable. Inspection under UV light reveals light scattered retouching and infilling throughout. Overall the work appears to be in good restored condition.Condition Report Disclaimer
Lot 1294
A Parianware Bust of Sir Colin Campbell, circa 1858, impressed 'Campbell' to plinth and 'J. Durram S.C, J. Ridgway, Bates & Co' to the rear. Approximately 10 1/2" tall x 7" wide. Chip to right of cloak. General Campbell was a famous Victorian Scottish General who commanded the Thin Red Line at Balaclava and the relief of Lucknow in India.
Lot 1859A
Dressing a Galaxy "The Costumes of Star Wars" by Trisha Biggar, complete in the original white ground and labelled box, with DVD, Chewbacca plaque, Section of Darth Vader Cloak and Certificate of Authenticity, rare exampleBacking card and bubble in excellent condition.Backing card is slightly bowed.Unpunched hanging loop.Overall excellent condition.
Lot 236
Collection of porcelain candle extinguishers, 19th century, including polychrome bishop, Red Riding Hood, two Crown Staffordshire ladies, young woman with black hair, Turk in robes, young scholar in blue robe, girl in blue. Condition Report Black haired girl is in good overall condition, some signs of crazing but no chips, cracks or signs of restoration; pale blue girl with basket is in good overall condition with no apparent issues; Turkish figure has some rubbing to the enamel on his head as we as a vertical crack to the back of his robe (see image); Red Riding Hood has some enamel loss to the top of her cloak and in other areas over the cloak but otherwise in good condition; Parson in blue has some crazing to the white areas including face, book and calf with some enamel loss to the hair but otherwise in good condition; white nun is overall in good condition however there is a fine stress crack to the front of her gown (see image); Praying Friar is in good overall condition given it's age; Praying Nun (bisque) is in good overall condition given it's age (some minor nibbling under the fingers to the veil edge); Sleepy Head has a repair to his head (very fine); Crown Staffordshire figure has some light crazing to the base of her skirt and the back of her cap; Crown Staffordshire figure has some light crazing throughout; Bishop has some loss to the top of Mitre.
Lot 3272
Betende Madonna in geschnitztem RahmenÖl/Leinwand/Karton. Unsigniert. 19. Jh. 44,5 x 34 cm. Gerahmt : 58,5 x 49,5 cm (mit Weinlaubornamentik versehener Schnitzrahmen). Kopie nach Carlo Dolci mit der nachdenklich zu Boden blickenden Maria in blauem Mantel. Altersspuren, ein Defekt. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 12:06 Uhr (CET) Prayerful Madonna in carved frameOil/canvas/cardboard. Unsigned. 19th century44.5 x 34 cm. Framed : 58.5 x 49.5 cm (carved frame with vine leaf ornamentation). Copy after Carlo Dolci with Mary in a blue cloak looking pensively to the ground. Traces of age, one defect. Aufrufzeit 26. | Oct. 2024 | probably 12:06 pm (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 321
An Egyptian bronze Figure of Osiris, 26th Dynasty, 664-525 B.C., of slender form, his hands emerging in from his cloak and holding the crook and flail, and wearing a braided beard with beard-straps and the atef-crown with prominent uraeus, his finely modelled face with large eyes and long cosmetic lines recessed for inlay, on a stepped square marble base; 30cms (12"); together with an early bronze Egyptian model of a Servant standing holding tray, wearing typical headdress, with robe and ribbon around chest, approx. 26cms (10 1/2") on a square stepped marble base. (2)
Lot 106
A Royal Doulton 'Butterfly' figure, 'HN720', modelled as a lady wearing a butterfly bodice and dress, holding a red cloak, printed mark and painted 'Butterfly HN720 Potted by R Doulton & Co.', 16cm highCondition ReportMinor nibbles to the base of the piece. Residue to the back form a label. Back of cloak on the edge small areas of rubbing. There is no restoration to the figure. It has been inspected under UV light. Additionally, the glaze is of a consistent hardness throughout. Please see the additional images.
Lot 532
A full-dress uniform for a Consul-General, comprising coatee with gold and silver embroidery to the collar, cuffs and pocket flaps, a bicorn hat with treble bullion silver loop, trousers and cloak, two swordsBy descent from Sir Alexander Byres Hutcheon K.B.E., C.M.G (1891-1956) Head of the Consular Department, Foreign Office, 1938-1943; Inspector-General, 1943-1947; Foreign Office Inspector, 1947-1950The whole outfit accords with the Dress worn at Court Regulations of 1929Some small holes to the inside red lining of the cloak but seems fairly minor. Yes the gloves etc are included
Lot 101
English School, mid 18th CenturyPortrait of Lord Robert Bertie (1721-1782)half-length, wearing armour with a red ermine trimmed cloak, in a feigned ovalwith Portrait of Lady Robert Bertie (1719-98)half-length, wearing a white dress, blue sash and blue ermine trimmed robes, in a feigned ovaloil on canvas76.2cm x 63.5cm Ombersley Court, Worcestershire with erroneous identifying inscriptions, the first 'Lord Robert Bertie / brother of / the Duke of Doncaster' upper left, the second 'Lady Robert Bertie / Sister of Viscount Blundell' upper left, and 'Knapton / pinxit' to the reverse, on the lining canvas.General Lord Robert Bertie was the fifth son of Robert Bertie, 1st Duke of Ancaster. He joined the Coldstream Guards in 1737 and became general in 1777. In 1762, he married Mary, youngest daughter of Montague Blundell, 1st Viscount Blundell. Lady Bertie: the portrait has been relined and restored, with craquelure throughout, especially to the lower left quadrant, where there is also a potentially bituminous area (as indicated on the condition report image). Picture surface is stable, but with some small areas of loss to the lower right edges.Lord Bertie: the portrait has been restored and relined, with varying degrees of craquelure throughout, especially to the upper right quadrant. Picture surface is stable.
Lot 460
Glossy Art Deco figure of an exposed woman in a mint green hooded cloak, resting on a black floral rectangle pedestal. Glazed nude figure kneeling on a rocky ground hoisting an owl on her arm. Artist original colorway 1/1 for Peggy Davies by Victoria Bourne. Artist: Victoria BourneIssued: 20th c. Dimensions: 5.75"L x 5"W x 11"HEdition Number: 1 of 1Manufacturer: Peggy Davies CeramicsCountry of Origin: EnglandCondition: Age related wear.
Lot 201
A PETRIFIED WOOD CARVING OF DAMO Modelled sitting with draping cloak, inscribed to underside, together with a wire inset hardwood stand 30cm high Condition: Condition Report There is a small chip to his left eyebrow, and a very small chip to the rear near the base. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 61
VARIOUS ITEMS OF SILVER JEWELLERY to include a finely engraved belt buckle bangle, hallmarked Birmingham 1959, silver filigree butterfly brooch, several marcasite set rings, lapis lazuli set ring, amethyst and garnet earrings and necklace. Also an antique turquoise set cloak pin. Total weight 99.8 grams.
Lot 95
A quantity of vintage costume jewellery, mainly Sarah Coventry, to include bead necklaces, 2 Sarah Coventry bead necklaces, a 4-string Aurora Borealis necklace, gold tone and silver tone chains to include 7 more Sarah Coventry examples, 7 Sarah Coventry dress rings, a gold plated ingot pendant and another, brooches to include a gold plated and jade example, 6 Sarah Coventry brooches, a Retro LCD quartz watch and a gold tone cloak double fastening. Location:If there is no condition report, please request.
Lot 75
* Edouart (Auguste Amant Constant Fidèle, 1788-1861). Full-length silhouette portrait of Reverend Charles Simeon (1759-1836), Evangelical leader and fellow of King's College, Cambridge, 1828, black scissor cut, full-length profile to left, showing a striding gentleman in a hat and long cloak, carrying an umbrella, signed and dated lower left, verso titled in ink 'Revd. Chas. Simeon', and with mounted printed advertising label: 'Likenesses in Profile executed by Mons. Edouart, who begs to observe, that his Likenesses are produced by the Scissors alone..., the expression of the Passions, and peculiarities of Character, are brought into action, in a style which has not hitherto been attempted by any other Artist. Numerous Proof Specimens may be seen at Mrs. Bays's Trinity-Street, Cambridge', 28 x 19.5cm (11 x 7 3/4 ins), attractive period maplewood veneer frame, glazed, with ink annotations to verso about the work and its provenance in the hand of A.N. L. Munby, and a presentation inscription at foot to Michael Jaffé dated 6 December 1964QTY: (1)NOTE:Provenance: Sir John Tresidder Sheppard (1881 - 1968), Provost of King's College, Cambridge, by 1956; by whom gifted to A.N.L. Munby, Librarian of King's College, Cambridge; by whom gifted in 1964 to Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.One of the most proficient silhouette artists of the nineteenth century, Auguste Edouart discovered his skill at paper cutting only after resigning his post in Napoleon's defeated army and moving to England in 1814. Sitters included the exiled French royal family of Charles X, the writer Sir Walter Scott and artist William Dyce, Fanny Brawne, the muse and fiancée of Keats, and many others. The National Portrait Gallery holds twenty-eight silhouettes by him.
Lot 391
SIMON PIETERSZ VERELST (DUTCH, 1644-1721) Portrait of Thomas Wyndham of Clearwell, three-quarter length, in a blue coat, white cravat and red cloak, his right hand resting on the head of a hound Oil on canvas, 144 x 117 cmProvenance: Sale, Christie's and Hamilton & Hamilton, Adare Manor, Co. Limerick, 9 and 10 June 1982, lot 102Thomas Wyndham (c.1686 - 1752) was the second son of Francis Wyndham of Cromer Norfolk and Sarah Darell, daughter of Sir Thomas Darell.
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