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Lot 9218
Extraseitengewehr von Robert Klaas, Solingen Vernickeltes Eigentumsstück, die Klinge mit quartseitig punziertem Firmenlogo, vernietete und gewaffelte schwarze Kunststoffgriffschalen, schwarz lackierte Scheide, schwarz gelackter Koppelschuh (die rs. Stoffunterlage fehlt). Länge ca. 37 cm. Dazu eine Troddel für Unteroffiziere, ein Faustriemen für Mannschaften und ein Paar Schulterstücke für einen Hauptmann der Fallschirmtruppe. A dress bayonet made by Robert Klaas in Solingen A dress bayonet made by Robert Klaas in SolingenVernickeltes Eigentumsstück, die Klinge mit quartseitig punziertem Firmenlogo, vernietete und gewaffelte schwarze Kunststoffgriffschalen, schwarz lackierte Scheide, schwarz gelackter Koppelschuh (die rs. Stoffunterlage fehlt). Länge ca. 37 cm. Dazu eine Troddel für Unteroffiziere, ein Faustriemen für Mannschaften und ein Paar Schulterstücke für einen Hauptmann der Fallschirmtruppe. Condition: II -
Lot 9319
Paradeanzug für einen Hauptfeldwebel bzw. Spieß im Ludwigsburger IR 13 Der Waffenrock ein maßgeschneidertes Eigentumsstück aus feinem feldgrauen Gabardine mit weißen Vorstößen am dunkelgrünen Kragen, der Knopfleiste und den Ärmelaufschlägen. Grünes Seidenfutter mit Schneideretikett von Seiffer, Ludwigsburg, sowie Durchlass und Hänger für die Seitenwaffe. Weiße, silbern gestickte Kragenspiegel und Ärmelpatten, silberne Unteroffiziers- und Spießlitzen, vernähte Schulterstücke mit silbernen Metallauflagen, anhängende Schützenschnur, angestecktes VWA in Silber. Dazugehörige steingraue Hose mit weißen Vorstößen in den Seitennähten. Minimale Mottenspuren, gerne getragen mit Reparaturstellen, Brustadler fehlt. A dress uniform of a Sergeant Major or "Spiess" in the Ludwigsburg IR 13 A dress uniform of a Sergeant Major or "Spiess" in the Ludwigsburg IR 13Der Waffenrock ein maßgeschneidertes Eigentumsstück aus feinem feldgrauen Gabardine mit weißen Vorstößen am dunkelgrünen Kragen, der Knopfleiste und den Ärmelaufschlägen. Grünes Seidenfutter mit Schneideretikett von Seiffer, Ludwigsburg, sowie Durchlass und Hänger für die Seitenwaffe. Weiße, silbern gestickte Kragenspiegel und Ärmelpatten, silberne Unteroffiziers- und Spießlitzen, vernähte Schulterstücke mit silbernen Metallauflagen, anhängende Schützenschnur, angestecktes VWA in Silber. Dazugehörige steingraue Hose mit weißen Vorstößen in den Seitennähten. Minimale Mottenspuren, gerne getragen mit Reparaturstellen, Brustadler fehlt. Condition: II -
Lot 9333
An Evening Dress Formal Vest and Shirt Vest of white textured fabric with three button closure, mother-of-pearl buttons, two horizontal hip pockets, lined in white artificial silk, elastic neck band with button closure, adjustable waist belt at rear. Tears in lining near neck area. Private tailor shirt of white cotton with long tails and pointed collars, front exposed panel in ribbed fabric. Three button holes on breast, single button holes on each cuff. French tailor label at neck. Minor soiling and age fade to shirt, holes in left upper arm. Weste und Hemd zum Abendgesellschaftsanzug der Luftwaffe Weste und Hemd zum Abendgesellschaftsanzug der LuftwaffeVest of white textured fabric with three button closure, mother-of-pearl buttons, two horizontal hip pockets, lined in white artificial silk, elastic neck band with button closure, adjustable waist belt at rear. Tears in lining near neck area. Private tailor shirt of white cotton with long tails and pointed collars, front exposed panel in ribbed fabric. Three button holes on breast, single button holes on each cuff. French tailor label at neck. Minor soiling and age fade to shirt, holes in left upper arm.Condition: II
Lot 118
Depicts woman standing while holding her dress with left hand. White slip cast stoneware. Impressed Royal Doulton Lambeth backstamp and model number H8. Issued: c. 1912-1956Dimensions: 4.5"L x 2.75"W x 8"HManufacturer: Royal Doulton LambethCountry of Origin: EnglandCondition: Age related wear.
Lot 226
Art Deco style, depicting a dancing flapper in a beautiful vibrant butterfly wing dress. Artist signed.Marked 5715, 103, 10. Made in Austria. Goldscheider backstamp. This item has no reserve. Artist: Josef LorenzlIssued: c. 1926Dimensions: 10.5"L x 6.5"W x 15"HManufacturer: GoldscheiderCountry of Origin: AustriaCondition: Age related wear.
Lot 229
Matte Art Deco figure of an elegantly dress lady with a peacock on her shoulder. Attached to a wooden base. Capodimonte backstamp, and artist signed. Artist: Giuseppe ArmaniIssued: 1987Dimensions: 7.75"L x 5"W x 19.5"HEdition Number: 2472 of 5000Manufacturer: CapodimonteCountry of Origin: ItalyCondition: Age related wear.
Lot 237
Rare figurine. Depicts a female harlequin wearing a traditional clown costume and head cap, holding a dress mask, and leaning against a pedestal, concealing a seated, winged cherub. Hand written title and HN number. Royal Doulton backstamp. Artist: Leslie HarradineIssued: 1924 - 1938Dimensions: 7"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 244
Rare figurine; black and pink checkered ribbon, green polka-dot dress, standing on a black base. Handwritten title and HN number. Royal Doulton backstamp. Artist: Laurence PeruginiIssued: 1923-1936Dimensions: 2.5"L x 2.75"W x 8.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 246
Lady in colorful pink dress and hat with cobalt blue and orange accents.Inspired by the British comic theatrical genre called Harlequinade. Glazed porcelain, Royal Doulton backstamp. Artist: Leslie HarradineIssued: 1926-1940Dimensions: 3"L x 3"W x 7"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 247
Early piece that is part of the Harradine Classics series. Modeled as a girl wearing an dark blue dress with two lambs by her side. Hand written title and HN number. Royal Doulton backstamp. Artist: Leslie HarradineIssued: 1926-1936Dimensions: 3.75"L x 3"W x 7"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 1
Maruxa Fondevila (Pontevedra, 1978)Recreation of the costumes depicted in the painting "Ladies of the Court," created in the 18th century by an anonymous artist from the Mexican Colonial School. Reproduction of four dresses in cotton, cotton brocade, velvet, satin, and lace. The details of each dress are as follows:The golden, garnet and fuchsia, and green and pink dresses are all size 38-40 and consist of:Cotton petticoat.Cotton brocade interior corset .Velvet skirt with cartridge pleats (a type of pleating from the 16th and 17th centuries) and lace trim at the hem.Velvet corset with lace and lace trim, puffed sleeves in velvet and satin. The blue dress is size 36-38 and consists of:Cotton petticoat.Cotton brocade interior corset .Velvet skirt with cartridge pleats and lace trim at the hem.Cotton brocade corset with gold ribbon trim at the neckline and puffed sleeves in velvet and satin.
Lot 59
Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"Saint Joseph and Child"Nun's shield. Oil on copper. Signed.11,7 x 9 cm.The LACMA in Los Angeles, has a nun’s badge in its collection by the Mexican painter Francisco Martínez (Mexico, 1687-1758) dated circa 1750, with the central theme of The Annunciation surrounded by Saints. (Inv. M.2015.142.1)As Professor Ilona Katzew, Curator and Head of the Latin American Art Department at the LACMA in Los Angeles, notes with respect to these nun’s shields:"This small-scale painting is a badge worn by nuns of the Order of the Immaculate Conception (also known as Conceptionists) in Mexico as part of their dress. Painted badges originated in Mexico in response to religious reforms introduced by the archbishop Francisco Manso y Zúñiga (ruled 1629-1635), who attempted to curtail the luxury and privilege of the convent lifestyle. He forbade nuns to wear shields made of gold, precious stones, and enamel. The nuns circumvented this rule by commissioning shields painted on copper or parchment, and set into frames made of tortoiseshell. Many of the badges were painted by the best artists of the day."This genre of devotional art was widespread during the 17th and 18th centuries in Spain and the New Hispanic world.They tended to be small pictures painted or embroidered with religious scenes, which nuns wore on their chests as they took their vows.It is in the classic portraits of crowned nuns, also with flowers, veils and other ornaments, where we can see the relevance these badges had.On occasions, artists of the calibre of José de Páez, Luís Juárez or Miguel Cabrerawho was the painter of this shield, made some of these badges.Miguel Cabrera was one of the most renowned painters in the field of eighteenth-century New Spanish painting, with an oeuvre that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented." Little is known of his youth; In fact, according to the Andrés Blaisten Museum, it is only because of the painter's will in 1768 that we know that he was a native of Oaxaca. The first news of him is from 1739, the year of his marriage to Ana María Solano, and we also know of his stint at Juan Correa's workshop in the capital of the Viceroyalty.Archbishop Rubio Salinas was Cabrera's patron, whom he named his chamber painter. He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was appointed president for life of the Academy of San Carlos.In 1756 Cabrera published "American wonder and set of rare wonders observed and directed by the rules of the art of painting", a narrative about the image of the Virgin Guadalupe from the printing press of the Jesuit school of San Ildefonso.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756, for the temple of San Francisco Javier, is kept in the National Museum of the Viceroyalty.The Dallas Museum of Art has a Saint Gertrude the Great by Miguel Cabrera and another painting of the saint, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Likewise, there is an outstanding series of Casta paintings from 1763 that is kept in the collection at the Museo de América in Madrid. They represent the families, father, mother and son of the various castes and social strata, in situations of daily life.Reference bibliography:- Dallas Museum of Art. (n.d.). "Saint Gertrude". (2006.37). https://collections.dma.org/artwork/5328501 - Museo Andrés Blaisten. (s.f.). https://museoblaisten.com/Artista/79/Miguel-Cabrera
Lot 106
DAVID HOCKNEY (B. 1937)Study for the First Marriage (A Marriage of Styles I) 1962 signed, dated '62 and inscribed Berlin; numbered 6723 on the reverseink, pencil and coloured pencil on paper34 by 49 cm.13 3/8 by 19 5/16 in.Footnotes:ProvenanceGift from the artist to the present ownerThe present drawing from 1962, is a preparatory drawing for one of David Hockney's celebrated canvases from the same year, The First Marriage (A Marriage of Styles I) that today resides in the Tate Britain in London. Here, Hockney focuses on his female sitter featured in the final painting, who has been portrayed in the manner of an ancient Egyptian identified by her headdress and the pointed cups covering her breasts. Hockney roughly sketches the outline of the palm tree behind her keeping to a primitive representation and also includes the grey gothic arch shape seen to the lower left in the final canvas. His male figure has not been drafted in the present study, but in the canvas, he represents him in modern dress standing in profile behind the woman. As in several of Hockney's paintings made in the 1960s, much of the finished canvas has been left in its natural state with little detail or imagery in the background. 1962 marked an integral year for Hockney, it was the year that he graduated from the Royal College of Art in London and The First Marriage (A Marriage of Styles I) was painted in September after a trip to Germany. On a visit to the Pergamon Museum in Berlin, Hockney saw his friend standing in profile at the end of a corridor, next to an ancient Egyptian seated wooden figure. He explained: 'from the distance they looked like a couple, posing as it were for a wedding photograph' (the artist in a letter to the Tate Gallery: 'The First Marriage (A Marriage of Styles I)', tate.org.uk, 9 June 2023). He was interested in the idea of a marriage between these two people, ancient and modern, real and unreal and the accompanying idea of a 'marriage of styles', which he chooses in the title of both drawing and canvas. The raw draughtsmanship of Hockney's drawing is unboundedly apparent, revealing his mastery as an artist and his ability to work across an array of media. During his formative years at Bradford School of Art in the early 1950s he received traditional training which was based on drawing from life, producing figurative studies, portraits and cityscapes in graphite and coloured pencil. Indeed, his early graphic works can be said to have laid the foundations for his highly celebrated artistic oeuvre.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 133
Property of a LadyColonial schoolc. 1830Portrait of an elegant couple perambulating, free people of colourHe, dressed in white beaver top hat and frockcoat; she, in a feathered bonnet and elegant dress, holding a parasol.Oil on an early artist's boardInscribed indistinctly, bottom-centreDimensions:(Unframed) 40 cm (H) x 30 cm (W)
Lot 91
Studio of Sir Anthony Van Dyck (1599 - 1641)A portrait of Sir William Killigrew (1606 - 1695)Oil on canvasThis fascinating and intriguing portrait of Sir William Killigrew has recently come to light, having been revealed by restorers. The central section appears to be an ad vivum oil portrait of Sir William Killigrew painted circa 1638 (cf. Tate Britain portrait of Sir William Killigrew, ref. no. T07896, and his wife, Mary Hill). This is not a fragment and there is evidence of tacking holes on all four sides.Another piece of 1630s unfinished canvas has been used to surround the portrait to extend the portrait to the 30 x 25 inch format. This other canvas shows parts of allegorical figures and dress of very fine quality. We suspect that unwanted / unfinished studio work has been used in this regard. Dimensions:(Canvas) 30 in. (H) x 25 in. (W)(Frame) 38 in. (H) x 33 in. (W)? (delta)
Lot 94
Jacopo Bassano (1510 - 1592)A portrait of a ProcuratoreOil on canvasProvenance:Lucien Bonaparte's Collection (as Portrait of Doge Priuli, Tiziano);Virginia Museum, Richmond (as Portrait of Doge Lorenzo Priuli).Dimensions:(Canvas) 24 in. (H) x 19 in. (W)(Frame) 30.25 in. (H) x 26 in. (W)The painting is a portrait of a man half-length, on a black background. It is a three-quarter portrait, according to a custom very common in the genre of portraiture in the sixteenth century. The man is wearing a decorated dark red velvet jacket, lined with ermine on the front. There can also be seen a dark stole draped over the sitter’s right shoulder and a black cap. The face is fully illuminated, and framed by a long, bushy gray beard. The beard is darker on the cheeks and almost white on the front. The sitter’s crimson jacket is in velvet, decorated with large floral motifs - concentric corollas of flowers – and it is edged with ermine.In the catalogue of the collection of paintings of Prince of Canino Lucien Bonaparte (1775-1840), we can read that the painting was known as “Portrait of Doge Priuli†and attributed to Titian. The attribution to Titian, however, is no longer sustainable. Already in 1972, Federico Zeri, in his census of Italian paintings from America collections, and reporting the painting in the collection of the Museum of Richmond, Virginia, he did not confirm the name of Vecellio, preferring the term “Venice school, 16th centuryâ€.The portrait has recently been confirmed as the work of Jacopo Bassano, by the Bassano academic Dr. Bernard Aikema, and is a significant addition to the corpus of that artist. The masterful handling of paint and the absolute naturalism are signatures of the work of Jacopo. The skill of the naturalistic rendering of the face (thin shadows in the area of the eyes, the light on one temple and the blue vein that is visible under the left eye) can be attributed to Bassano’s paintings of the late period. There are also features that you can find in his other portraits. The half-length in three-quarter pose is one that identifies almost all Bassano’s portraits, just as the dark background and the lack of contextual details (no objects, even the hands are excluded) that isolate the face and bring it to the fore.The role of Jacopo Bassano as a portraitist has been the subject of considerable academic discussion. Just one signed portrait exists, and the attribution of the other portraits included in the artist’s catalogue raisonne is based exclusively on stylistic evidence. The account book that records all commissions for Jacopo and his father up to the 1550s, registers little more than a dozen portraits over two decades. The number of those works was increased gradually by critics, basing their attributions on the analysis of touch, colors and on the identification of his basic naturalism. In more than one of these portraits, for example in the Portrait of a Man at the Getty Museum in California, all the attention is concentrated on the face, without the insertion of the arms and hands and environmental details, and with the help of contrasting dark clothes.The approach of these portraits is internalized, staking everything on the sitter and the expressiveness of his presence. A methodology that derives directly from Lorenzo Lotto and, more obviously, from Titian. A deep interpretation of a single personality and subject, supported by superb observation skills and the rendering of naturalistic reality.A formal analysis of the painting allows us to date the work to the fifth decade of the sixteenth century. This was a period during which the work of Jacopo Bassano is faithful to a certain realism, and doesn’t yet display the gradual disintegration of form of the following decades. In comparison, it is appropriate to look at parts of other contemporary works by the artist, such as the hyper-realism in the rendering of the faces (especially San Giuseppe) in the different versions of the Flight into Egypt (the one in the Civic Museum at Bassano del Grappa, and that in Toledo. The comparison with the Adoration of the Magi in the National Gallery in Edinburgh is also interesting, with the male faces in the foreground, the old man and the kneeling person behind. Also, the heads of the old men in the Last Supper of the Galleria Borghese in Rome and in the Miraculous Draught of Fishes, now in Washington.More striking is the comparison with the portraits. In addition to that of the podesta Bernardo Morosini, in the Staatliche Museen of Kassel, recognized by Rearick in 1980 (the portrait of the mayor, who held the city of Bassano from 1541 to '42, is documented in Libro secondo) One might sensibly suggest the Portrait of Cardinal, now in Szépm?vészeti Múzeum in Budapest (also present in Bonaparte collection): the same black background, the same refined attention to details in the face, the same half-length, and the same lack of descriptive elements.The painting is initially registered as Portrait of Doge Priuli (and assigned to Titian); Federico Zeri finds it cataloged with the same words in the inventory of the Museum of Richmond, even with the clarification that this is the Doge Lorenzo Priuli. In the sixteenth Century, there are two Doges from the Priuli family, the brothers Lorenzo (1489-1559), elected doge in 1556, and Girolamo (1486-1567), elected after him.What prevents us from identifying this painting as a portrait of a Doge is the dress worn by the subject, the crimson red decorated velvet jacket. This type of garment, with the stole, also velvet but darker in color, and the cap, allows us to make some considerations that may affect the social status of this man. The color of this velvet, decorated with giant caper flowers, was the exclusive prerogative of members of certain social categories and specifically of precise political offices. This dress, therefore, including the scarf on the shoulder, also velvet decorated with plant motifs, and the hat, appears to be the traditional "vesta" or "toga" worn by procurators and senators.There are a number of portraits of procurators and senators portrayed by Tintoretto, which are wearing this type of garment, and in the catalogue of Jacopo Bassano, there are two portraits of senators of the same type: one now in Berlin, Portrait of senator, Staatliche Museen, Gemäldegalerie, and the Portrait Bernardo Morosini. The Doge, in his official portrait, was always represented with the robe, which identified him as such, which was different from that worn by our sitter, and above all wearing distinctive headgear, the “corno ducaleâ€. This cannot, therefore, be a portrait of Doge. It is instead certainly a portrait of a senator, or procurator, and is likely to date from the mid-1540s. *We are grateful to Dr. Bernard Aikema for confirming the attribution of this painting to Jacopo Bassano.? (delta)
Lot 549
Longines 14k Gold openface keyless lever dress watch with revolving roulette wheel bezel.The circular case with enlarged bezel surrounded by a freely revolving red and black enameled ring numbered 0 to 36 as a roulette wheel, corresponding black enamel arrow to 9 o'clock, the reverse of the wheel with red and black enameled ring numbered 1 to 9.D. 4.5 cmBox size : 14 x 8.5 cm
Lot 1000
Lucerne - a Chalet silver Jump hour Digital wind up wristwatch, brushed case, textured center, blue hour and minute dials, manual wind Swiss movement, 38mm wide base metal case, leather strap, c.1970; another marked Emporio Armani dress watch, Myoto Japanese quartz movement, leather strap (2)
Lot 1081
Rolex Tudor - Geneve Le Royer Quartz dress watch, Gold and Stainless steel two tone case, 32mm diameter, gold dial, Shield and baton markers, date aperture, quartz movement, screw back case, serial No 15613 653750, conforming two tone strap, serial No 12284, deployment clasp, c.1975NB these were only in production for short time so are hard to find in good condition a must have for all serious collectors.
Lot 1110
Rolex Tudor - lady's 9ct gold cased dress watch, silvered dial, Arabic numerals and baton markers, subsidiary seconds, manual wind 2325 17 jewel movement, 9ct gold case, Edinburgh 1962, fancy link 9ct gold bracelet, Birmingham 1964 , 16.3g gross, original box, guarantee book dated 19th December 1964
Lot 1124
Gucci - 3000 M gold plated classic strip dress wristwatch, 33mm gold plated case, three strip dial, Roman numeral bezel, ETA 978.002 quartz movement, serial No 0180836, green Gucci box; another 3000.2.M,33mm gold plated case, serial No 0380358, coffee brown Gucci box (2) brown leather strap,
Lot 1149
Watches - an Alpha Jump hour limited edition wristwatch, stainless steel case, white dials, mechanical wind movement, ref 316L, 582/1000, 623-SG2709, black leather strap; Peers Hardy half penny coin watch, 1943 half penny dial, gold plated case, brown leather strap; 1940s Helbro W Co Belove 14kt gold filled dress watch, floral case ref 203570, silver dial, blue Arabic numerals, manual stem wind 15 jewel movement, brown leather strap (3)
Lot 564
A LAOTIAN BRONZE FIGURE OF BUDDHA SHAKYAMUNILaos, 18th century. Seated in virasana atop a tiered base, his right hand in bhumisparshamudra, the left resting on his lap, wearing a samghati, the face with a serene expression, downcast eyes, aquiline nose, smiling lips, elongated earlobes, curled hair dress and usnisha. Condition: Good condition commensurate with age, minor wear and casting flaws, small dents, nicks, and light scratches. With losses to the ushnisha and the front side of the base. The interior filled with the original casting core. Provenance: Private collection Lyon, France. Weight: 9911 g Dimensions: Height 34 cm
Lot 891
Richard Cosway RA., (1740-1821) - Portrait of a young lady, head and shoulders three quarter length, her hair dressed with a white cap and wearing a white dress with a coral necklace, pencil and watercolour on paper, 4.25" x 3" ** The work is said to be signed under the mount, also inscribed verso by a later hand and originally sold by Sotheby's on the 28th October 1974 the original price paid was £250 and the work is sold together with old paperwork relating to that sale
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