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Lot 428
A Longines automatic chronograph with a swiss made automatic chronograph movement with column wheel in a 40mm steel case with a white dial and three subdials, a date aperture at 4-5 o'clock with sapphire crystal glass and an exhibition case back on a brown leather strap with original buckle.Model: LZ 7494Serial: 40054559Caliber: L688.2The watch appears to be in good working order, long term tests have not been performed and accuracy cannot be guaranteed a full service is advised upon purchase.Wear consistent with age
Lot 22
Nikos Engonopoulos (Greek, 1907-1985)L' Archéologue signé en grec et daté '43' (en bas à droite)huile sur toile74.5 x 56.5cm (29 5/16 x 22 1/4in).Peint en 1943.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceThe artist's estate, Athens.ExpositionVenice, XXVII Esposizione Biennale Internationale d'Arte, Padiglione della Grecia, Nikos Engonopoulos, June 19 - October 17, 1954, no. 17 (listed in the exhibition catalogue, p. 295).LittératureArdin magazine, no. 57-58, December 2005 - February 2006, p. 27 (illustrated).N. Engonopoulos, Man: the Measure, Ypsilon/Books editions, Athens 2007, p. 47 (listed), p. 7 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 309, p. 64 (illustrated), p. 257 (illustrated), p. 424 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 665-666 (discussed), p. 977 (listed), p. 667, fig. 278 (illustrated).Painted in 1943, the year Engonopoulos wrote his emblematic Bolivar, L'archéologue is no less a masterpiece, introducing the viewer to a magical pictorial world of poetic metaphor. Merging symbols of different origin and character, and using cross-temporal iconographic leaps that were common during the Byzantine and Post-Byzantine eras in miniature manuscripts and narthex decoration,2 Engonopoulos combines the ancient past with modern-day elements to subvert, in a typical surrealist fashion, the conventional ways with which rational thought perceives the world. Yet, as noted by theatre director and playwright Alexis Solomos, what is astonishing with him is the all prevailing spirit of Greece in his work. 'Everything Engonopoulos touches becomes Greek.'3 Here, set against a bright blue Greek sky interrupted by an ancient temple, a schematized tree and an unmistakably Engonopoulian travelling cloud, the visual act takes place in a shallow space reminiscent of a stage set that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to introduce the theatrical into his work, has once said that 'under the stage lights every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'4 Conceived on a human scale, this kind of contained setting that both frames and accentuates human activity, seems like a faithful emulation of Greece's natural environment. The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element.5 At the centre of the composition, a standing figure in a green tunic, possibly the archaeologist himself, seems determined to gain control over this fascinating gathering of images and restore a sense of order. Captured both frontally and in profile by means of the late cubist pictorial convention of contraction, he is flanked by a phantom figure with a picassesque head and a dazzling red clamys, and a helmeted kouros-like warrior holding a walking stick and a topper hat. The three monumental figures are being stared at by a woman-like wig stand with voluptuous curves and daringly rendered nipples, while a host of details, including a Doric column drum juxtaposed to ionic volutes in the extreme foreground, a lamp (a distinct and recurring theme in Engonopoulos's work with symbolic overtones), a chequered tile, and the artist's signature red-and-white bathing suit partially shown on the right, undermine the accepted narrative cohesion of images to explore the uncharted trails of the mind. Although this unexpected staging of dream-like images and objects is a fascinating feature of the work, no less impressive is the handling of colour. Dazzling reds, blues, greens and oranges, applied side by side with minimal tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.L'archéologue was exhibited in the 1954 Venice Biennale6, where, for the first time, Greece was represented by one artist alone. As noted by K. Perpinioti-Agazir, who prepared the painter's catalogue raisonné, this was perhaps the most important milestone in Engonopoulos's career.7 In Venice, he showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the theme of Surrealism. Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'1 O. Elytis, Open Papers [in Greek], Asterias editions, Athens 1974, p. 294.2 See D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 228.3 J. Lehman ed., New Writing and Daylight, New Direction editions, England 1946, p. 126.4 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.5 See S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters-20th Century [in Greek], Melissa editions, Athens 1974, p. 261.6 Up until the mid-20th century the famous Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.7 See K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural [in Greek and French], exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, p. 78.For further information on this lot please visit Bonhams.com
Lot 145
A group of four early 20th century oil lamps to include a pair of Matador brass lamps with applied coat of arms, and glass smoke funnels, a plated Corinthian column lamp with cut glass reservoir, green glass shade and glass smoke funnel and a VES British made black and gilded metal lamp with wrythen moulded glass reservoir, etched and frosted glass shade and smoke funnelLocation: A3F
Lot 52
Battle of Britain. The Hurricane control column of Hurricane P3554 shot down during the Battle of Britain on 5 October 1940, all parts numbered including AH 2040, the spade grip with gun firing button and brake lever, approximately 58cm long, together with a folder of extensive research plus a Rolls Royce 1904-2004 Centenary magazine which features this control columnQTY: (1)NOTE:Provenance: Private Collection, West Country having been purchased from Andy Saunders (Battle of Britain author and authority). A detailed history of the control column and certificate of authenticity signed by Andy Saunders is included with the lot.Hurricane P3554 saw a great deal of combat during the Battle of Britain having shot down 5 German aircraft in July and August 1940.The operational book of 607 Squadron records that on 5 October 1940, though, P3554 was hit and badly damaged in combat with Messerschmitt 109s of JG2 over Swanage. The pilot, Sergeant Spyer, managed to nurse his badly damaged Hurricane almost all the way back to RAF Tangmere before a growing on-board fire forced him to bale-out. Sergeant Spyer was unharmed. P3554 almost buried itelf on impact and lay in the ground until it was discovered in 1979.On 22 April 1979 Andy Saunders and members of the Wealden Aviation Archaeological Group pin-pointed the crash site of the Hurricane at Woodham Farm, Aldingbourne. At the crash site several pieces of surface wreckage were located, including a broken piece of silver-painted wood (a portion of internal structure) which had the numbers '554' stencilled on it in black.The crash site was excavated on 25 August and items of fuselage and cockpit wreckage were found impacted into the rear of the Rolls-Royce Merlin engine. Andy Saunders entered into the excavation once the wreckage had been encountered and spotted the knurled ring of the gun button just above the surface. Reaching around the spade grip, he pulled upwards and the extricated almost the complete length of the control column. Its bottom end showed the signs of burning and the rest of the column was scorched and had all of the Dunlop rubberised gripping burnt away. The brake lever and one of the stainless steel push rods had broken away but later re-attached. The main build plate confirming Hurricane P3554 was also recovered.Sergeant Richard Alfred Spyer (1917-1941) was born in Worcester Park, Surrey. He joined the RAFVR in March 1939 and on the outbreak of WWII was posted to 10 FTS for training, after completing his training in May 1940 he arrived at 5 OTU and was posted to 111 Squadron at North Weald.On 31 May 1940, Spyer was attached to 607 Squadron at Usworth and served on Hurricanes. This became a permanent posting and he went south with the squadron to Tangmere on 8 September. The following day on the 9th he was engaged by a Me109 and Do17 and his aircraft Hurricane P2680 crashed at Stilstead Farm, East Peckham, Spyer was slightly wounded. On 5 October 1940 he was shot down again, this time in Hurricane P2680.In November 1940 Spyer sailed for the Mediterranean and on 17 November he was in the first flight of six Hurricanes to take off for Malta. Spyer's Hurricane V7413 ran out of fuel and he baled out into the sea and was later picked up by a Sunderland.He joined 261 Squadron at Ta Kali and on 22 March 1941 he and seven other Hurricanes engaged ten Ju88's approaching Grand Harbour with an Me1909 escort. Five of the Hurricanes were shot down including V7672 flown by Spyer, all five were lost, Spyer is commemorated on the Malta Memorial.
Lot 217
Y REGENCY ROSEWOOD TEAPOY EARLY 19TH CENTURY of sarcophagus form outlined with bead moulding, the interior with four tea caddies and reserves for two mixing bowls, on a tapered lotus carved column support and quadripartite base with carved paw feet with brass castors(41cm wide, 78cm high, 31cm deep)Provenance: The Estate of the late J E AdamNote: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside Great Britain, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 233
Y REGENCY MAHOGANY , ROSEWOOD, AND BRASS INLAID BREAKFAST TABLE EARLY 19TH CENTURY the banded tilt top with brass line inlay, above a bead moulded frieze, on a tapered square column and quadripartite base with outscrolled legs ending in leaf cast brass caps and castors(127cm diameter, 74cm high)Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside Great Britain, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 244
Y REGENCY ROSEWOOD OCCASIONAL TABLE, IN THE MANNER OF GILLOWS EARLY 19TH CENTURY the oval top on a fluted column and acanthus carved legs ending in scrolled toes with brass castors(91.5cm wide, 73cm high, 75cm deep)Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside Great Britain, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 268
Y WILLIAM IV ROSEWOOD BREAKFAST TABLE EARLY 19TH CENTURY the circular tilt top on a large facetted baluster column and tripartite base with disc feet with castors(130cm diameter, 74cm high)Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside Great Britain, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 283
Y GEORGE IV ROSEWOOD SOFA EARLY 19TH CENTURY with a scroll and shell carved frame with high arms with lotus and reeded column facings, raised on reeded turned legs with two brass and two ceramic castors; in pale blue upholstery with two bolster cushions(190cm long, 94cm high, 64cm deep)Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside Great Britain, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 287
WILLIAM IV MAHOGANY PEDESTAL SIDE TABLE EARLY 19TH CENTURY the rounded rectangular top above a panel frieze and acanthus scroll carved brackets, a drawer to one end, on a facetted column carved with leaves on a quadripartite base and scrolled feet with brass castors(104cm wide, 75cm high, 53cm deep)
Lot 421
ROMAN CORINTHIAN COLUMN CAPITAL 1ST - 2ND CENTURY A.D. carved marble, with dual tiers of acanthus leaves, floral ornaments and scrolling vines above(32.6cm tall)Provenance: French and Co., New York, United States Private collection, California, United States, acquired from the above prior to 1981
Lot 504
PROFESSOR GIUSEPPE LAZZERINI (ITALIAN 1831-1895) PAUL AND VIRGINIA white Carrara marble figure group, on a veined white marble column, signed 'Prof. Giuseppe Lazzerini fece Carrara(Group 104cm high; column 100cm high)Provenance: Sotheby's 19th and 20th Century Sculpture, lot 141, London, 4 June, 1998 where purchased by the vendor's family and thence by descentNote: Guiseppe Lazzerini descended from a family of sculptors in Carrara and in 1848 entered the Carrara Accademia di Belle Arti under the direction of Ferdinando Pelliccia. While there he won the Rome scholarship which sent him to work in the studio of Pietro Tenerani, where he completed a statue of St. Sebastien followed by Hagar and Ishmael. Lazzerini returned to Carrara to work in, and eventually supervise, the family studio where he produced a wide range of his own works as well as works of other sculptors. His sculpture demonstrated the strong influence of Tenerani, which he in turned passed on to students of the Carrara Academy for which he was the director from 1889-1893. Lazzerini's sculpture Paul and Virginia is based on the popular romance novel by Jacques-Henri Bernadin de Saint-Pierre, first published in 1788. Set in the years before the French Revolution, it tells the story of the idyllic childhoods of the title characters and the fate of a child of nature corrupted by the artificial sentimentality of the French upper classes in the late eighteenth century. Born and raised on the island of Mauritius, John and Virginia are childhood sweethearts who are separated when Virginia is sent to Paris at the behest of a wealthy aunt, with the promise of an inheritance and education. While there she is miserably treated and unhappy, and is pressured to marry a nobleman but refuses, vowing to return to Paul and her simpler, more authentic life. On her return journey the ship enters a hurricane within sight of the island and is wrecked just off the coast. Paul tries in vain to swim out and rescue her, but fails, and Virginia is drowned. Lazzerini chose as his subject the moment in the story when the two young lovers lose their way in a remote part of the island and are confronted by a river which Paul helps Virginia to cross.
Lot 534
FRENCH EMPIRE ORMOLU MANTEL CLOCK 19TH CENTURY the Roman numeral dial in a column case surmounted by a bust of the artist Raphael attended by the archangel Raphael holding a palm and laurel crown, on a plinth base with garlands and urns; the movement with silk suspension and striking a bell(28cm wide, 35cm high, 10cm deep)
Lot 564
MEISSEN FIGURE GROUP OF LOVERS LATE 19TH CENTURY modelled with a fluted column and urn flanked by a pair of courting lovers holding a flower garland, to the reverse a girl with a flower garland, on a naturalistic rocky ground and a circular base; underglaze blue crossed swords, F.88; together with a MEISSEN SWEET MEAT BASKET, modelled as a lady lying alongside a pierced basket with applied flowers, blue crossed swords, incised 2858, 16.5cm high, 30cm wide(Group 22cm high)Provenance: Property of a Lady of Glasgow
Lot 59
A GOLD BRACELET, BY FRED PARIS, CIRCA 1965Composed of ropetwist fancy gold links with textured gold clasp, in 18K gold, signed Fred, with partial maker's mark, French assay mark, length 21cmCondition Report: Normal signs of wear, overall in good conditionSignature 'FRED' located on last link with maker's mark - vertical lozenge, partially visible a column and FTotal gross weight approx. 19.5g
Lot 113
A large bespoke circular light oak and sycamore marquetry dining / games table by Linley The centre inlaid with playing cards on a Macassar ebony ground, above a four column supports and a cruciform platform base, 170cm diameter, 76cm high Provenance: Property from a Hampshire country estate
Lot 155
A 19th century majolica polychrome decorated jardiniere The dished top bordered with floral swags raised on a foliate column surround by classical maidens swathed in drapery, on a stepped base with griffin supports, some losses, 50cm diameter, 94cm high. (2) Provenance: Property from a Hampshire country estate Purchased by the current owner from Arenski Fine Art, London.
Lot 237
Cartier. An 18K gold automatic calendar chronograph bracelet watchModel: Ballon BleuReference: 3106Date: Circa 2015Movement: 33-jewel automatic, column wheel chronographDial: Guilloche engraved silvered, black Roman numeral hour markers, black inner minute divisions with 5 minute markers, secret signature at 7, date aperture at 9, subsidiary dials at 3 and 6 for seconds and 30 minute recording, blued steel pointed baton hands, centre chronograph handCase: Brushed and polished round, exhibition back secured by 8 screws, inset cabochon set crown flanked by twin chronograph buttons, No.89641PXStrap/Bracelet: Fitted polished 18K gold linkBuckle/Clasp: Signed double folding claspSigned: Case, dial & movementSize: 43mmFor further information on this lot please visit Bonhams.com
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