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Lot 70
Alice Mary Havers (British, 1850-1890)Contemplation signed 'A Havers' (lower left)oil on canvas127 x 81.3cm (50 x 32in).Footnotes:ProvenanceWith Thos. Agnew & Sons, Manchester.With Pyms Gallery, London.Private collection, UK (acquired from the above).When Alice Havers died of an accidental morphia overdose in 1890, aged only forty years old, more was made of this abrupt, tragic end, linked to her status as a divorced woman than of her art. In her resultant obituaries, journalistic opinion swayed between describing her manner of dress, her mental health, only turning occasionally to the popularity of her art. Despite the seemingly gentle and traditional scope of her art, the life and career of Alice Havers, also known as Mrs Frederick Morgan, resonates with the fate of modern, creative women today.Alice Mary Celestine Havers was born on 19th May 1850. The Havers family lived at Thelton Hall in Norfolk, their ancestral home, built in the 16th century. Alice's father, Thomas Havers (1810-1870), relocated his family to the Falkland Islands in 1854, taking work as manager of the Falkland Island Company, then moving his family to Uruguay. Thomas Havers apparently had artistic aspirations himself, planning a series of pieces based on the flora and fauna of the islands and it is assumed he encouraged his daughter's talent.1 For source material far from home, Alice copied pictures from the Illustrated London News and the Graphic as her way of developing her artistic skills (Atlanta, Volume 4, 1890).After Thomas Havers' death in 1870, Alice returned to England with her siblings. She enrolled at the South Kensington Art School where her work earned her a free scholarship. She married fellow artist Frederick Morgan in April 1872 yet maintained her maiden name professionally. The couple had three children, including artist Valentine Havers (1873-1912), who tellingly used his mother's name professionally. Despite the pressures of motherhood, Alice continued to work and exhibit to some modest acclaim, including Ought and Carry One (1874), a profile of a schoolgirl working on a sum, which was bought from the Royal Academy by Queen Victoria. Coupled with this, Alice illustrated books, including the romantic novels of her sister Dorothy Boulger (1846-1923), becoming known for her spirited and expressive illustrations. The Gentlewoman magazine in September 1890 commented on Alice's work as being 'graceful, delicate, almost ethereal...She never painted anything large or very ambitious in design or colouring...it was [beauty] proceeding from purity of soul, and the outward expression of the artistic thoughts and ideas treasured up in her heart'.2 Her output bustled with images of idyllic, industrious female rural lives; groups of picturesque peasant girls washing clothes, gathering flowers or just pausing in woodland or by streams. Such public-pleasing images became coloured plates, sold for domestic display and securing her reputation as a popular, accessible artist, not to mention providing an income to her household that would have easily rivalled, if not exceeded, that of her husband. Throughout these years, Alice was contending with an abusive homelife. Frederick Morgan had conducted affairs from the year after Valentine was born until Alice filed for divorce in 1889. The marriage was violent; her sister Dorothy once took the place of her sister at a dinner party after Alice was too badly beaten to attend. It is possibly unsurprising therefore that alongside the pastoral idylls, Alice occasionally exhibited more poignant, darker paintings such as End of her Journey (1875), depicting a woman dying by the roadside, and Trouble (1885), showing a mother holding her cadaverous child la pietà, while stoically instructing her other children, within a dingy room with the grey-washed city visible through the slanting windows. When Trouble was exhibited with the Society of Lady Artists, it was praised in the way Alice 'treats the domestic sorrows of humble life with touching tenderness of sentiment.' The common thread through these works is the condition of female existence in a perfect world, sometimes in harmony, sometimes at odds.The present painting hangs between the idyllic and the pensive. A beautiful peasant girl carrying a bundle pauses by a stream in a woodland. Beyond the screen of trees lies a sunlit meadow but she pauses, hand on hair, gazing down at a patch of foxgloves. The familiar elements of Havers art are present – the setting, the character, the eternal summer – but the girl's pondering of the flowers brings interpretations to the work. In Thomas Miller's 1840 book on the language of flowers, The Romance of Nature, he gives the meaning of foxgloves as 'I am not changed, they wrong me', an expansion on the traditional meaning of 'insincerity'. Arguably a narrative of Havers own marriage, the weary, thoughtful expression and dark, atmospheric woodland speaks of choices and disappointments, raising questions of where the girl is headed or what she is leaving behind.Alice's arrival in London in 1870 coincided with that of Paul Durand-Ruel (1831-1922), famed Parisian art dealer, who sought exile from the Franco-Prussian war. With the establishment of his London gallery in New Bond Street and its annual exhibitions, the shock of Impressionism was finally released on the London masses. Art students including George Clausen (1852-1944) flocked to see Impressionism and its treatment of the rural poor as a legitimate subject. This drive gained further momentum with the publication of Alfred Sensier's 1881 book Jean-François Millet, Peasant and Painter together with others including the Fine Art Society's Twenty Etchings and Woodcuts of Millet's work on the noble, rural poor. This influence was reflected in a review of Alice's illustrations for William Morris's 1889 book of poems, where the Birmingham Mail referred to her as 'one of the foremost English lady exponents of the French school'.3 Alice's transition from rural idyll to rustic narrative reflects the general movement in Britain which resulted in the art of Henry Herbert La Thangue (1859-1929), the Newlyn School and the novels of Thomas Hardy. The girl who considers the foxgloves in Alice Haver's painting is a proto-Tess of the D'Urbervilles or Bathsheba Everdene, considering her life choices that are ever-dependent on their socio-economic status in natural surroundings that offer both light and plenty and dark and danger.After a very public and damaging divorce in 1889-90, Alice and her children moved back to London, to St John's Wood where she rented a house with a studio, but the new life was not to last long. She had been suffering from neuralgia and medicating with morphia, injected straight into her forehead, spending her nights on the couch in her studio. On the morning of 25th August 1890, the maid found her insensible from an overdose, with the needle still clenched in her hand. On the table was a letter to her doctor, describing her symptoms as unbearable and requesting another course of treatment.
Lot 3
Edward Lear (British, 1812-1888)Coast of Malabar signed with monogram (lower right) oil on canvas 23.5 x 46.5cm (9 1/4 x 18 5/16in).Footnotes:Painted in 1880 (according to an inscription on the frame).ProvenanceThe Honourable Eustace Henry Dawnay, 8 Belgrave Square, London.Thence by family descent to the present owner.Private collection, UK.An inveterate traveller, Edward Lear was in his sixties when Lord Northbrook (at the time Viceroy of India), persuaded the artist to undertake an all-expenses paid trip to India and Ceylon. Initially reluctant to leave his new home in San Remo, Lear was flooded with so many requests for depictions of India that he was finally persuaded to undertake one last voyage. After an initial attempt that got him only as far as Suez, Lear eventually reached Bombay in November 1873, noting his 'violent and amazing delight at the wonderful variety of life and dress' he encountered.1 Lear travelled extensively throughout the country, visiting Lucknow, Benares, Agra, Gwalior, Delhi, Simla, Poonah, Hyderabad and the Himalayas. He visited Mahee on the Malabar coast in November 1874 (see for example View of Mahee, India, Christie's, London, 10 December 2008, lot 51) noting 'the view there is a stunner!!! As a river scene can any other equal it'.2Lear produced a vast quantity of sketches while in India -at least 1500, many now in the collection of the Houghton Library at Harvard University- and worked some of these into oil paintings on commission (see for example View of Gwalior, India, 1880, Christie's, New York, 25 January, 2012, lot 56; this work, like the present lot, has the date of 1880 on the frame, suggesting the date of execution).The present work was in the collection of Eustace Henry Dawnay (1850 - 1928), who was a lieutenant in the Coldstream Guards and fought in The Egyptian Campaign of 1882. The work hung at West Heslerton Hall, which was the Dawnay home for over 150 years. 1Edward Lear, Indian Journal.2Ibid.For further information on this lot please visit Bonhams.com
![[Alexander, William, attributed]. Picturesque Representations of the Dress and Manners of the English, London: John Murray, 1](https://cdn.globalauctionplatform.com/58f83210-d8be-44f6-bb81-b06d011764e4/e2c61b1f-f757-4d64-a80a-b07600e695dd/468x382.jpg)
Lot 208
[Alexander, William, attributed]. Picturesque Representations of the Dress and Manners of the English, London: John Murray, 1814, 50 hand-coloured aquatint plates, a few minor spots, burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey, top edge gilt, later royal blue half morocco by Bayntun Riviere, Bath, spine lettered and decorated in gilt, corners slightly rubbed, 4toQTY: (1)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate).Colas II, 2357; Lipperheide 21; Tooley 374. A few leaves and plates watermarked 'J. Whatman' and dated 1808-15.
Lot 265A
Collection of costume jewellery to include: dress jewellery, watches, necklaces, mother of pearl spoons, John Pinches medallion in original case, vintage 1960s handbags, belts etc At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 264
Selection of jewellery comprising: a woven hairwork panel bracelet with agate and beads applied to the top, 18cm overall and an unmarked metal dress ring set with paste (2) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 4
3rd or Royal Westminster, Middlesex (Light Infantry) Militia, Officer's Albert shako plate 1844-55. Very fine rare die-stamped gilt crown star mounted with large silver curled bugle horn with central shield bearing the Arms of Westminster and Middlesex. Two horizontal loops with two pairs of wires behind the crown. VGC HQ. Turnham Green. This is the actual piece photographed as No. 1173 in “Head-dress Badges of the British Armyâ€.
Lot 59
Indian Army. Coorg & Mysore Rifles 1888 HM silver head-dress badge & collar badges Good die-stamped British made examples bearing Birmingham hallmarks. Large horned buffalo head resting on a title scroll. Four loops ... matching pair of 1887 HM horned buffalo head collar badges each on two loops. VGC (3 items) TBW (T.B. Wilkins)
Lot 246
Canadian Scottish, Stormont, Dundas and Glengarry Highlanders Officer's head-dress badge circa 1932-41. Fine scarce die-cast silvered Maple leaf bearing thistle sprays and S D G resting on FOY POUR DEVOIR scroll. P to reverse. Loops. VGC Landed in Normandy on D Day; first regiment to enter Caen.
Lot 138
Canadian Stormont, Dundas and Glengarry Highlanders post 1953 Officer's silver head-dress badge. Fine scarce Canadian Scottish die-cast saltire superimposed with crowned arched scroll GLENGARRY FENCIBLES with SDG below resting on Maple leaf, DILEAS GU BAS bi-part scroll, bird and thistle sprays. Reverse impress STERLING RMCO BREADNER Co LTD HULL CANADA Loops. VGC Landed in Normandy on D Day; first regiment to enter Caen.
Lot 317
Adrien Etienne Gaudez (French, 1845-1902): A patinated bronze figure of a violinistthe youthful musician clad in 18th century dress tuning his instrument, his left foot supported on an upturned pan, the base signed A.GAUDEZ LULLI ENFANT, the bow now bent, 49.5cm high overallThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 259
A late 19th century French patinated bronze figural group of a dancing master and his young female pupilthe figures clad in 18th century dress, the tutor holding the hand of the girl, his other hand resting on her shoulder, a violin in his jacket pocket, both standing on a circular plinth base, 49cm high overallThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 336
A pair of late 19th / early 20th century French gilt bronze mounted porcelain garniture vases and coversthe twin handles formed as classical winged terms, the ovoid urn bodies painted with figures of courting couples in pseudo early 19th century dress within garden landscapes, the necks, shoulders and pedestal socle bases banded in apple green with lilac panels heightened with gilt, the covers with acorn finials, painted by L.HERY, 53cm high (2)This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 5
Follower of Sir Peter Lely (Soest 1618-1680 London)Portrait of a lady, three-quarter-length, in a gold dress, seated before a fountain oil on canvas125.7 x 102.9cm (49 1/2 x 40 1/2in).unframedThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 334
A pair of 19th century French porcelain cabinet plates mounted within decorated gilt wood and composition framesthe porcelain in the Sevres stylethe plates enamelled with central bucolic scenes of courting couples and children in 18th century dress within rustic landscapes, the bleu de roi ground borders with three floral enamelled decorative panels, each with gilt tooled foliate and line border decoration, the rears with pseudo factory marks, the frames with twin bird and acanthus floral decoration, 38cm high, 31cm wide (2)For further information on this lot please visit Bonhams.com
Lot 2
Circle of Francois Pascal Simon Gerard, called Baron Gerard (Rome 1770-1837 Paris)Portrait of a young lady, half-length, in a white dress and coral beads oil on canvas76.1 x 63.2cm (29 15/16 x 24 7/8in).unframedFootnotes:ProvenanceCollection of J.T. Carter, London, by 1968.For further information on this lot please visit Bonhams.com
Lot 351
John Henry Foley (Irish, 1818-1874): A impressive late 19th century patinated bronze figure of Oliver Goldsmithcast by Elkington & Co.the electro cast figure modelled in contraposto and clad in a frock coat and breeches, his face downcast and his left hand supporting an open book, raised on shallow square plinth base signed to the cast J.H.FOLEY -RA, London, Sc and with Elkington & Co foundry mark, 101cm high overallFootnotes:Cast in bronze by the Birmingham founders Elkington & Co after a model by the sculptor John Henry Foley, depicting the Irish author Oliver Goldsmith (c.1728–1774), the offered lot is a reduced version of a larger one erected in 1864 outside Trinity College in Dublin which was commissioned along with a pendant statue of the Irish political writer Edmund Burke. Depicted in contemporary dress and looking down reading a book which he holds on his left hand, and with a pen in his right hand, Goldsmith is probably best known for his novel The Vicar of Wakefield published in 1766 which was a favourite of nineteenth century Victorian readers. For a comparable figure of identical size probably acquired by Queen Victoria, see The Royal Collection Trust, RCIN 36124.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 643
Graham Thomas Oakley (British, 1929-2022), The Foxbury Force and others looking startled at a fox in her wedding dress, watercolour, unsigned, 15 x 19 cm, (unframed) Provenance: From the estate of the late Graham Thomas Oakley deceased Graham Oakley is best known for the Church Mice series of picture books (1970-2000), next to the Foxbury Force series (1994-1998) From Graham Oakley’s personal box file reading: The Foxbury Force And The Ghost Please note this has not been referenced or checked against the books Please note these are sold without copyright
Lot 704
Graham Thomas Oakley (British, 1929-2022), The Foxbury Force in ladies dress, being greeted by the fox pirates, watercolour, unsigned, 23 x 37 cm, (unframed) Provenance: From the estate of the late Graham Thomas Oakley deceased Graham Oakley is best known for the Church Mice series of picture books (1970-2000), next to the Foxbury Force series (1994-1998)Please note these are sold without copyright
Lot 283
Graham Thomas Oakley (British, 1929-2022), Giraffes, cut in two pieces, watercolour, unsigned, 25 x 31 cm, (unframed), Game birds, cut in two pieces, watercolour, unsigned, 25 x 31 cm, (unframed), and Figures in fancy dress, cut in two pieces, watercolour, unsigned, 25 x 31 cm, (unframed) (3) Provenance: From the estate of the late Graham Thomas Oakley deceased Graham Oakley is best known for the Church Mice series of picture books (1970-2000), next to the Foxbury Force series (1994-1998)From Graham Oakley’s personal box file reading Magical Changes Please note this has not been referenced or checked against the books Please note these are sold without copyright
Lot 88
An 18ct gold and cubic zirconia dress ring, three rows of circular cut cubic zirconia, bead set in white to the hollowed ring head, to grooved shoulders and a tapered plain band. London, 8.86g. Finger size P-QBuying this gemstone ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportPits and scratches to the mount. Stones all present. Band measures 8.2mm at the base, to 11.5mm at the top.
Lot 216
Three pairs of gold and silver cufflinks,comprising a pair of 15ct gold plain oval chain link cufflinks, one cufflink is a later replacement, both with hallmarks for Birmingham, 1971 and 1876, a pair of 9ct gold oval engine turned and plain chain link cufflinks, London 1971 and a pair of silver chain link cufflinks, together with a small group of gold jewellery,to include two gold tie pins, tested as approximately 9ct gold, two 9ct gold dress studs, Birmingham 1986 and 1987, and a single gold dress stud tested as approximately 9ct gold. 9ct gold - 20.07g, silver - 12.48g totalCondition Report15ct gold plain cufflinks have different hallmark dates, one a later replacement.Marks and scratches to surfaces.Some tarnish.
Lot 1526
ROYAL DOULTON; two figures comprising HN1265 'Lady Fayre' and HN728 'A Victorian Lady', together with a Tuscan figure 'April Showers Potted by Plant', no.23, a Bing & Grondahl figure, a Continental figure of a ballerina with floral enscrusted crinoline type dress, etc (7).Condition Report: The two Doulton figures are af, the Victorian lady with large open cracks, Lady Fayre with chipping to fingers and cracks running through the fingers and into the body, crazing throughout, minor losses to the crinoline dress.
Lot 105
A pair of Derby Figures of a lady and gent standing on flower encrusted rococo bases holding boxes both with dogs at their feet Date: Circa 1770 Size: 24cm H Condition of Lady: Repairs to left arm, basket lid, back of dress, right fingers missing, leaves and flowers chipped. Condition of Man: Repairs to box and lid, neck and hair, left hand missing, fingers damaged, leaves and flowers chipped.
Lot 745
Victorian Sampson Mordan & Co Hallmarked Silver and Enamel Vesta Case depicting painted enamel front showing golfer in a bunker in period dress, hinged lid to top with striker to base, hallmarked to side London 1891 with Sampson Mordan & Co makers mark, length 58mm, enamel front has overall scratches and markings
Lot 746
Victorian Sampson Mordan & Co Hallmarked Silver and Enamel Vesta Case depicting painted enamel front showing golfer in period dress at the top of his swing, hinged top with striker to base, with personal inscription to rear, hallmarked to side London 1891 with Sampson Mordan & Co makers mark, length 58mm
Lot 241
A figure of a young girl in a brow, orange, and red dress with her backpack and basket prepared for school. Goebel Hummel backstamp. Certificates of Authenticity included. Issued: 1988Dimensions: 2.25"L x 2"W x 4.75"HManufacturer: Goebel HummelCountry of Origin: GermanyCondition: Age related wear.
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