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Lot 2265
Late 19th century walnut cased free standing and coin operated Polyphon by Nicole Freres of Leipzig, the case of architectural form with twin Ionic columns and arched glazed door above a single drawer on turned feet, bearing label to the sides 'Drop a penny in the slot Nicole Freres - Leipzig', with polyphon disc, H97 x W68 x D40cm Provenance: from a private collection of musical boxes to be sold without reserve
Lot 46
William Henry Bartlett - - 1858 London - 1932 London A bad wind for fish, but a good one for drying. 1884. Öl auf Leinwand. Rechts unten signiert und datiert. Verso auf dem Keilrahmen handschriftlich bezeichnet und nummeriert. 82 x 122 cm (32,2 x 48 in). PROVENIENZ: Wohl Jacob Hecht Kunst- und Auktions-Haus, Berlin (1928, in Kommission). Privatbesitz Berlin (seit drei Generationen in Familienbesitz). AUSSTELLUNG: The 116th exhibition of the Royal Academy, London, 1884, Nr. 51. LITERATUR: Wohl Jacob Hecht Kunst- und Auktions-Haus, Berlin, Sammlung A. H. Wätjen, Bremen: Tapisserien, Aubussons, Perserteppiche, antike Möbel, Bechstein-Flügel, Beleuchtungen, Fächer-Sammlung, Bibliothek; aus Berliner und österreichischen Sammlungen: Keramik, Glas, Kleinkunst, Auktion 2.-3.10.1928, Los 739 (hier datiert: 1881). Im Jahr 1884 kommt William Henry Bartlett in das malerische kornische Fischerdorf St. Ives und macht sich sofort an die Arbeit. Bei Besuchen des kleinen, vom georgianischen Ingenieur John Smeaton errichteten Piers und des nahegelegenen Porthmeor-Strandes beobachtet Bartlett die Aktivitäten der Dorfbewohner, die nach Sandaalen fischen, während sie auf die aus dem Norden kommenden Sardinenschwärme warten. Daneben widmet er sich den dortigen Szenen der Freizeitgestaltung wie den im Hafen stattfindenden Schwimmwettbewerben. Der aus London stammende Bartlett ist der Sohn eines Kunsthändlers. Noch vor seinem zwanzigsten Geburtstag reist er nach Paris, wo er sich an der Académie Julian einschreibt und schließlich an die École des Beaux-Arts wechselt. Nach einer Studienreise durch Tirol verbringt er den Winter in München und zeichnet an der Akademie am lebenden Modell. Dort beobachtet er die in Deutschland vorherrschende Tendenz zur Idealisierung des Modells, der „Zufälligkeit“. Seinen ersten Erfolg im Pariser Salon von 1880 bringt ihm jedoch das beeindruckende Interieur der Julianschen Akademie in der rue d‘Uzès ein, „Un atelier de peinture dans le repos“ (Standort unbekannt). Wie viele Künstler seiner Generation widmet er sich einem Plein-Air-Naturalismus, der von den Werken Jules Bastien-Lepages inspiriert ist. Der französische Maler rät jedem seiner Anhänger, seinen eigenen „coin de terre“ zu entdecken – so malt Bartlett in den folgenden Jahren im Westen Irlands und in Venedig, bevor er schließlich auf dieser Hügelkuppe in St. Ives ankommt. Hier – wie das vorliegende Gemälde bezeugt – vernachlässigt Bartlett auch nicht die Arbeit der Frauen. Wie auch andernorts in Europa wird die Wäsche bei ruhigem Wetter oft zum Trocken auf Wiesen oder Hecken gelegt. Während die Frauen ihre Körbe füllen, harkt ein älterer Fischer mit einem Ruderblatt sein Gemüsebeet, unter dem wachsamen Auge einer Frau im oberen Fenster eines nahegelegenen Cottages. Der bewölkte Tag an der Küste Cornwalls bietet Bartlett darüberhinaus eine reiche Harmonie an Farben und Tönen. [Prof. Kenneth McConkey] Aufrufzeit: 17.06.2021 - ca. 18.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONWilliam Henry Bartlett -1858 London - 1932 London A bad wind for fish, but a good one for drying. 1884. Oil on canvas. Signed and dated in lower right. Inscribed and numbered on the reverse. 82 x 122 cm (32.2 x 48 in). PROVENANCE: Presumably Jacob Hecht Kunst- und Auktions-Haus, Berlin (1928, on consignment). Private collection Berlin (family-owned for three generations). EXHIBITION: The 116th exhibition of the Royal Academy, London, 1884, no. 51. LITERATURE: Presumably Jacob Hecht Kunst- und Auktions-Haus, Berlin, Sammlung A. H. Wätjen, Bremen: Tapisserien, Aubussons, Perserteppiche, antike Möbel, Bechstein-Flügel, Beleuchtungen, Fächer-Sammlung, Bibliothek; aus Berliner und österreichischen Sammlungen: Keramik, Glas, Kleinkunst, auction on October 2-3, 1928, lot 739 (here dated: 1881). In 1884 William Henry Bartlett arrived in the picturesque Cornish fishing village of St Ives and immediately set to work. Visiting the small pier constructed by the Georgian engineer, John Smeaton, and the nearby Porthmeor beach, Bartlett observed the activities of villagers who fished for sand eels while awaiting the shoals of pilchards that descended from the north. These were accompanied by scenes of recreational activity – such as the swimming competitions held in the harbour. A Londoner, Bartlett was the son of an art dealer. Before his twentieth birthday he travelled to Paris where he registered at the Atelier Julian, eventually transferring to the École des Beaux Arts. Following a sketching tour of the Tyrol, he over-wintered in Munich, working from the life figure at the Academy, where he observed the powerful tendency to idealise the model – Zufälligkeit – that prevailed in Germany. However, it was Un atelier de peinture dans le repos (unlocated), an impressive interior of Julian’s new studio in the rue d’Uzès, that brought his first success at the Salon in 1880. Like many artists of his generation, he went on to practice the type of plein air Naturalism that drew its inspiration from the work of Bastien-Lepage. The French painter advised each of his followers to discover their own coin de terre and during the following years Bartlett painted in the west of Ireland and at Venice before arriving on the hilltop at St Ives. Here, as the present canvas indicates, Bartlett did not neglect women’s work. As elsewhere in Europe, washing was often laid on the grass or on hedgerows to dry when the weather was calm. As the women fill their baskets, an elderly fisherman, using an oar, hoes his vegetable patch, under the watchful eye of a woman in the upper window of a nearby cottage. It is an cloudy day on the Cornish coast when color and tone provide a rich harmony. [Prof. Kenneth McConkey] Called up: June 17, 2021 - ca. 18.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 3342
Large UK coin collection includes Victorian silver coins, South Africa silver shilling 1895 (holed),Frederick (the great) commemorative Medallic coin commemorating the battle of Leuthen 1757.two 1997 £5 coins with other commemorative crowns, large amount of Victorian penny’s bun head and veiled bust type, small amount of world banknotes, with other coins.
Lot 390
A collection of jewellery to include a Victorian heart shaped pendant set with alternate rows turquoise and half pearls unmarked assessed as 15ct gold, total gross weight approx 3.4gms a small oval pink paste and pearl set 9ct gold pendant, total gross weight approx 0.9gms, along with a silver and enamel circular pendant set with blue enamel (slight enamel loss) and a coin bracelet in a small wooden box decorated with swallowCondition report: heart pendant all stones intact, minor wear and tear, oval pendant stones intact, wear and tear, enamel pendant enamel losses, wear and tear to coin bracelet
Lot 411
A collection of vintage jewellery to include paste set brooches, in white and gilt metals, scarf clips, along with glass cufflinks and tie pinsgilt metal pendants, marcasite set jewellery, gilt metal rings, plastic bead necklaces, chains, white metal chains and pendants etc, gilt bangle, vintage compact by Regent London faux coin pendant along with a Boots vintage Christmas tea tin (1 bag)
Lot 106
A Victorian silver wyvern fluted circular sovereign holder, with interior spring coin holder, by Samson Mordan, London, 1890, approx 0.83 ozt together with an early 20th Century plain circular silver sovereign holder, hallmarked probably London, 1898, approx 0.58 ozt (2) (condition AF - replacement copper rivet to hinge to Victorian case, possibly hinge replacement to later example)
Lot 359
A 2017 'Platinum Wedding Anniversary' Silver Proof Five Pound Piedfort Coin, accompanied by certificate of authenticity, boxed, a 2011 'Honouring a Lifetime of Service' Silver Proof Five Pound Piedfort coin, accompanied by certificate of authenticity, boxed, The Platinum Wedding Anniversary First Day Cover Collection, The Longest Reigning Monarch £5 Silver Proof Coin Cover.
Lot 396
A collection of jewellery including a chain with a coin centrepiece, tested as 9ct gold, gross weight 43.7, a diamond set ring, stamped '585, weight 1.7g, a pearl bracelet with three gold pendants stamped '14K', gross weight 14.4g, and a selection of assorted silver and bead jewellery together with a Fortnum & Mason jewellery roll
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