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Lot 843
DAVID BOWIE - THE MAN WHO SOLD THE WORLD - UK ORIGINAL 'DRESS SLEEVE' MERCURY LP (6338 041). A top copy of the iconic, controversial and rather brilliant 1st UK pressing of Bowie's The Man Who Sold The World (6338 041). This is the original UK pressing with Jones sporting the dress, 'correct' Tony Visconti credits and with matrix/stampers 6338041 1Y//1?420 1 1 4 & 2Y//1 ?420 1 1 1. The record is in very well presented Ex condition. There are a couple of rather light and minor hairline/surface markings to the playing surface; there are absolutely no heavier markings to note. Lovely clean labels with some minor spindle markings. The fully textured sleeve is in impressive Ex condition with the start of some light ringwear on the front and reverse - this should be noted that it is only very minor. Elswewhere, a lovely example showing minimal signs of age. There will be no need for upgrading!
Lot 162
Cornelius Johnson (1593-1661) Portrait of Lady Bowyer (d. 1665), half length wearing a green dress with ribbons and a pearl necklace in a sculpted cartouche Signed and dated C. J. Fecit, 1636 and inscribed on a label verso Bowy../..dau: of Sir Anthony Aucher Kt/..Hester..Cornel..J.. Oil on canvas 79 x 63.5cm; 31 x 25in According to the, now fragmentary, label attached to the stretcher, the sitter is Lady Bowyer. Hester Bowyer was the daughter of Sir Anthony Aucher of Bishopsbourne, Kent. By 1633 she is recorded as married to Sir Edmund Bowyer (1613-1681) of Camberwell Green, Surrey, who served as MP for Gatton in 1660 and subsequently for Surrey in 1661. Sir Edmund seems to have been an active Member with a particular interest in the relief of the poor. George Vertue stated that Cornelius Johnson: lived sometime in Kent … [and] painted pictures for several Gent. Familyes thereabouts - Augers Palmers. Hammond. & Bowyers &c. done mostly in the years 1630 & to 40. Of these, Vertue singled out for especial praise: a Curious fine head of Sir Thomas Bowyer and the Lady Auger Bowyer. Called the Starr in the East for her remarkable beauty. Johnson was one of the most gifted portrait painters in England in the seventeenth century. He was born in London, the son of Flemish émigrés, and by December 1632 had risen to the post of |servant in ye quality of Picture Drawer| to Charles I. Johnson painted some of his most accomplished portraits during the 1630s and the feigned marble decoration of the cartouche in this portrait is a recurring stylistic motif. Johnson remained in royal employment until 1641, however, as Vertue describes, at the outbreak of the Civil War |Being terrified with those apprehensions & the constant persuasions of his wife went to Holland|. Johnson and his family left for Holland in October 1643, where he continued to paint into his final years. The work of Cornelius Johnson is represented in many of the great country house collections and museums of England, including the Tate Gallery, the National Portrait Gallery, and Dulwich Picture Gallery. ++Relined, good restored condition
Lot 166
Follower of Henri Gascars Portrait of a lady, three-quarter length, seated, wearing an embroidered dress with a blue cloak, holding a sprig of orange blossom and a flowering jardinière beside Oil on canvas, in an early George III carved, pierced and gilded swept frame 127 x 101cm; 50 x 39¾in
Lot 188
Circle of Francis Grant Portrait of a lady wearing a blue dress with a red rose and red shawl Oil on canvas 91.5 x 72cm, 36 x 28½in ++Old relining, several condition issues, strong paint separation and bituman problems in darker areas, further paint separation in other areas, scratches, abrasions and small spots of paint loss
Lot 219
Gerrit van Honthorst (Dutch 1590-1656) Shepherdess Holding Apples Signed upper right Oil on canvas 78 x 63.5cm; 30½ x 25in Provenance: Catton Hall, Osmaston, Coll. Sir Robert Horton by 1822 Exhibited: Birmingham, 1938, No. 149, as Paulus Moreelse Birmingham, 1953, No. 89 as Dutch School Literature: Davis, 1811, pp.277-279 Waterhouse, 1953 p.306 Judson, 1959, pp.98, note 3, 216, no. 133 Nicolson, CII, 1960, p.81, note 4 Braun, 1966, pp. 211, 212, no 71 Nocolson-Vertova, I, p.127, III, pl.1299 Utrecht-Luxemburg, 1993-1994, p.168 J. Richard Judson & Rudolf E.O. Ekkart, Gerrit van Honthorst (1592-1659), Davaco Publishers, 1999, p.166 Gerrit van Honthorst (Gerard van Honthorst) was a Dutch Golden Age painter who was influenced by the chiaroscuro of Caravaggio, adopting a similar style and becoming a leading portrait painter in the Netherlands. He was particularly noted for his depiction of artificially lit scenes, often painted by a single candle, earning him the nickname of Gherardo delle Notte (Gerard of the Nights). This painting has not been on the market for over 100 years and was in the collection of Sir Robert Horton in the 19th Century at Catton Hall, Osmaston and has come down through the Anson family at Catton Hall in the 20th Century. The painting features in the catalogue raisonnée by J. Richard Judson (Published 1999, p.166) where he notes it has ~the same soft surface quality and physiognomy that one finds in Honthorst~s paintings dating from the years around 1622-1623~. He also suggests that it may be related to a ~lost pendant~, another similar portrait, where she may be offering the fruit to a person, perhaps a Shepherd to her right where her smiling gaze is cast. The roses paired with the snowdrops in her hat are typical of Dutch Golden Age painting; depicting rare petals that could never actually bloom together at the same time and creating a botanical impossibility. The two apples in the hand are held a way that alludes to the erotic, in conjunction with the staff leaning on her shoulder and the revealing décolleté. She symbolises temptation and the apples are a reference to the Eve~s seduction of Adam. In addition to this, apples were often used as symbols of fertility, the beauty of the female form and also to love. The pose, costume and the model clearly hold strong similarities to the famous painting by Honthorst of the young woman playing the viola da gamba. The model recurs in several of his paintings, often holding a musical instrument which at the time were a conventional motif of brothel scenes and it is clear from her suggestive pose in this painting and her provocative dress that she is a courtesan or strumpet. Her warm and appealing smile resulted in her being called ~The Laughing Girl~ by the vendor~s family for several generations.
Lot 115
A pair of Pre-Columbian, probably Aztec carved stone statuesOne male, one female, each typically posed kneeling, he in typical dress. The male 69 cm high; the female 67 cm high. (2) CONDITION REPORTS: Some chipping and small losses, concrete pads to underside of each figure, dirty, general wear.
Lot 213
A CMG medal ,awarded to Charles Walter Sneyd-Kinnersley (1849-1904), together with his dress miniature, both in original R S Garrard & Co. cases, and another dress miniature, together with an official letter dated 31st December 1898, sent via The Governor of The Straits SettlementMost Distinguished Order of St Michael and St George.Father of Thomas Alfred S-K
Lot 214
A Baltic Medal,to T A S Kynnersley, HMS Duke of Wellington,with his dress miniature (2)Thomas Alfred Sneyd-Kynnersley was a midshipmanAfter service in the Western Squadron of the Channel Fleet, she was designated the flagship of the fleet that Vice-Admiral Sir Charles Napier was to lead to the Baltic on the outbreak of the war with Russia (later known as the Crimean War). Duke of Wellington served as his flagship throughout the Baltic campaign of 1854 and returned to the Baltic the following year as the flagship of Napier’s successor in the command, Rear-Admiral Richard Saunders Dundas, being present at the bombardment of Sveaborg.
Lot 640
A Continental ivory inlaid bureau cabinet, c.1870, the ogee cornice over two cupboard doors inlaid with a female in classical dress holding a ewer and a man in 17th century costume, surrounded by rococo-style panels over a fall front inlaid with an ivory plaque decorated with commedia dell'arte-style characters and further rococo panels opening to reveal a fitted interior, on circular tapering legs,75cm wide43cm deep146cm high
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