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Lot 1060
An oak easel backed frame with embroidery panel the design attributed to Edgar Wood, the flaring rectangular frame with flaring mantel, with pierced stem columns and carved flower panels, and central flowerhead roundel, the embroidered panel depicting an Art Nouveau maiden entitled 'The Daisy Chain', 91cm. highProvenanceGardiner Houlgate, circa 2017.Private collection
Lot 253
Cartier - a red leather cased vanity; London, 1928 and 1929; the case with red leather and cream watered silk interior, fitted easel back mirror and lift out tray; the fitted tray containing a silver back hairbrush, slim and wide silver backed clothes brushes, various silver topped glass bottles and boxes, silver handled nail file, button hook and shoe horn, and two leather boxes; 42.9cm x 30.3cm x 13.9cm
Lot 5
An Edward VII silver desk calendar, London 1906, maker Goldsmiths & Silversmiths Company Ltd. the arched top with tied bow and foliate engraved swags above two rectangular and a central circular aperture for the day, date and month, above a harebell cast foot and with leather mounted easel back, 11.5cm wide, 17cm high
Lot 64
WW1 An original Royal Flying Corps (RFC) propeller tip picture frame. A really nice piece of World War One trench art, the frame has been made from the tip of a hardwood RFC propeller blade with an oval aperture cut in the middle to showcase a picture, with a well carved twin blade propeller motif to bottom left corner and a small metal easel stand on the back. This original WW1 RFC propeller tip picture frame measures approx 8 inch (20cm) high x 10 inch (25cm high) shows just some very light signs of age otherwise is in very good condition (see photographs)Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Lot 65
WW1 An original Royal Flying Corps (RFC) propeller tip picture frame. A really nice piece of World War One trench art, the frame has been made from the tip of a hardwood RFC propeller blade with an oval aperture cut in the middle to showcase a picture, with a well carved twin blade propeller motif to bottom left corner and a small metal easel stand on the back. This original WW1 RFC propeller tip picture frame measures approx 8 inch (20cm) high x 10 inch (25cm high) shows just some very light signs of age otherwise is in very good condition (see photographs)Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Lot 58A
Duncan Grant, British 1885-1978 - At the Easel (Janie Bussy), 1956; oil on paper, signed and dated lower left 'D Grant /56', 62.4 x 44.5 cm (ARR) Provenance:The Bloomsbury Workshop, London, 1993 (according to the label attached the reverse of the frame); The Harris Collection, USA and thence by descent Note:in correspondence from Tony Bradshaw of the Bloomsbury Workshop, the lady depicted painting at an easel is Janie Bussy, daughter of the artist Simon Bussy and his wife Dorothy, Lytton Strachey's elder sister. Janie Bussy was born and brought up in France, but she spent time every year at Charleston and exhibited her still life paintings at the Lefevre Gallery in London. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh.
Lot 274
A SILVER EASEL BACK PHOTOGRAPH FRAME, maker Levi & Salaman, Birmingham 1912, of vertical oblong form with asymetric scroll top and striped engine turning, 12 1/2" high overall, internal dimensions 9 1/2" x 5 3/4" (Est. plus 24% premium inc. VAT)Condition Report: Top and bottom scrolls both have small dents and clear marks, internal top and bottom rims both a little bent but would press back easily
Lot 275
A SILVER EASEL BACK PHOTOGRAPH FRAME, maker's mark rubbed, Birmingham 1910, of shaped vertical oblong form with high cresting, the fascia stamped with pendant husks and scrolls, enclosing a vacant boss, 12" high overall internal dimensions 7 3/4" x 5 3/4", together with a pair of small candlesticks, London 1918, 6 1/2" high, loaded (Pr.&1) (Est. plus 24% premium inc. VAT)Condition Report: Frame has many holes polished into the extremities especially in husks, sticks are dented and tired
Lot 232
AN EDWARDIAN EASEL BACK SILVER POCKET WATCH STAND, maker Williams (Birmingham) Ltd., Birmingham 1903, of waisted form, the applied fascia repousse with art nouveau scrolling foliage, 6 3/4" high, together with a jumbo pocket watch (AF) (2) (Est. plus 24% premium inc. VAT)Condition Report: Fascia very good, velvet easel good but plush worn, watch lacks hands etc etc, not silver
Lot 255
OF BOER WAR INTEREST - a late Victorian easel back photograph frame, maker Deakin & Deakin, Chester 1900, of shaped vertical oblong form, the fascia repousse with a pair of crossed flags surmounting a vacant boss flanked by landscape panels with cannon, military trophies and British soldiers in various uniforms with rifles and flags, 8 3/4" x 5 1/2" (Est. plus 24% premium inc. VAT)Condition Report: Internal dimensions (smallest) 3" x 4 1/4". The silver fascia is in remarkably good condition with no apparent holes or splits, although there is a lot of old polish which may be covering a couple of small holes. Lacks one small pin to side of panel of soldiers. Rather obvious registration number 355553 stamped across side panel with crossed swords. Loss to one top flag and pole. Requires complete new back. Once taken off backing, properly cleaned and re-backed with colour showing through it will be very good
Lot 255
Raymond Henri REPIQUET (1896-?) "PAYSAGE MARITIME PROVENCAL", oil on canvas, French painting of the 20th century. Repiquet Raymond Henri, born March 17, 1896 in Paris. French. Landscape painter. It was in 1924 that he debuted at the Salon des Independants. He developed a new principle of lacquer decoration with the same colored resources as easel painting. Collectible fine art for interior decor.Height: 54cm; Width: 65cm;
Lot 423
Frame in gilded silver depicting the Madonna kissing the child. Rectangular frame with a semicircular arched top and two closing doors, decorated on the outside with pinkish-lilac transparent enamel on a guillashed surface. The semicircular upper surface of the frame is decorated on the outside with orange transparent enamel over a guilloched surface. The sashes of the frame are equipped with a latch. On the reverse side of the frame, a figured easel movable (on a loop) brace with a slotted pattern is fixed. In the central part, in a rectangular frame, there is an image of the Madonna holding and kissing the baby (possibly based on Josef Zasche (Austria, 1821-1881). The drawing is made in the technique of painted enamel (?). Good condition. Brand: Female head, oriented Letter A to the right, letter L to the left. Stamp in a hexagonal horizontally elongated shield. Letters in a rectangular shield. Unknown workshop. Possibly Austria-Hungary, Vienna, turn of the 19th-20th centuries. Silver, stamp, gilding, mount, guilloche , enamel, edging Traces of existence Dimensions: frame height - 8.7 cm, frame width with open doors - 9.2 cm, frame width with closed doors - 5.2 cm, frame thickness - 7.0 cm, weight - 123 gr. Width: 9.2cm, Height: 8.7cm, Depth: 7cm, Weight: 0.123kg, Condition: Good, Material: Silver, guilloche enamel, gilding
Lot 208
Stefani Bologna. Double silver photo frame with easel foot in Baroque style. Paired roccaille medallions combine bob-shaped photo spots decorated with whimsical waves, shells, garlands of flowers and plant motifs. Asymmetrical waves of shells form supports for the frame and, together with the dividing arc, support the ensemble unity of the composition. Hallmarks: Stefani Bologna. 800 in the oval. 900 in a diamond. Italy 20th century. Total weight: 456 g. Width: 20cm, Height: 14cm, Depth: 2cm, Weight: 0.456kg, Condition: Good, Material: Glass, wood
Lot 457
Easel drawing by Alexander Konstantinovich Bogomazov. Triple portrait. 1916 It is a combination of three, multidirectional portraits, revealing the facets of the character of one person. The profile and face of a balding man in glasses, dressed in a suit, with a tie and a button on the lapel of his jacket, are clearly visible. The third silhouette combines both previous ones and is opposite to the profile. Represents radical materiality seen from the back of the head. If the profile drawing carries the plot of psychological characteristics, lifestyle; face - the inner, desired image of a tired lyricist; then the ball of a skull with an open mouth and prominent superciliary arches is rather an act of surprise, seen from the back of unfamiliar matter. And it acts as a frightening physical objectivity of a person. Although, in the heat of provocativeness, there is more methodological controversy with fellow workers; nevertheless, in a dispute in absentia with the Italian cubo-futurists, Bogomazov nevertheless clearly expands the tripartiteness to philosophical generalizations and a constructivist secret vision of matter. In the lower right corner (3rd portrait), 1916 Kyiv. On the back, in blue pencil, is the signature of Bogmazovs widow Wanda: " I certify the work of my husband AK Bogomazov: V. Bogomazov " . The inscription was made during the sale of works in 1979. Half cardboard, charcoal pencil. 66.6 x52.6 cm. In addition to the examinations of the All-Russian Artistic Research and Restoration Center named after academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute of Restoration of the same year, Smolnikovs own handwritten letter about the acquisition of six graphic works from the masters family is attached . Width: 52.6cm, Height: 66.6cm, Depth: 0.3cm, Weight: 1kg, Condition: Good, Material: Pencil
Lot 456
An Edwardian silver mounted photograph frame, of shaped rectangular outline, the silver with four vacant cartouche and decorated with Rococo scrolls and floral and foliate detail, the backboard covered in Royal blue coloured felt, as is the easel frame support, J & R Griffin (Joseph & Richard Griffin), Chester 1906, height 29.2cm, dimensions of photograph frame size 20x15cm, approx
Lot 268
A George V silver-mounted pocket watch stand, of cushioned rectangular form, the silver decorated with vertical bands of engine-turning, the leather backboard with easel support, the hinged cover opens to reveal a velvet lined interior, ensuite with a metal pocket watch, the dial marked, 'Swiss Made', William Comyns, London 1910, length 8.1cm, together with a silver mounted square base cut glass inkwell and a hallmarked silver napkin ring (3)
Lot 253
V A Victorian silver mounted dressing mirror, of shaped rectangular form, with embossed silver mount decorated with scrolls, trellis work and flowers, surmounted by a vacant Rococo style cartouche, the covered back with easel support, inset with a bevelled glass, Henry Matthews, Chester 1898, length 50cm, width 32cm approx
Lot 63
Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)"Our Lady of Sorrows" and "Saint Francis of Assisi"Pair of oil paintings on copper. The first signed "Michl. Cabrera pinxit", el segundo "Michl. Cabrera en 1761".42 x 56.5 cm each. Miguel Mateo Maldonado y Cabrera was born on February 27, 1695, in Antequera, now Oaxaca City, Mexico. He is considered the foremost exponent of 18th-century New Spanish colonial painting. His parents are unknown and he was the godson of a mixed-race couple. He moved to Mexico City in 1719, where he began his artistic training. Cabrera painted altarpieces in the Jesuit church of Tepotzotlán in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter but also participated in the attempt to found an Academy of Arts in 1753. In 1756, he established himself as an intellectual, not just an artist, as he published a narrative about the image of Our Lady of Guadalupe through the printing press of the Jesuit college of San Ildefonso. In addition to easel painting, Cabrera's production includes altar design, large-scale works, as well as small artworks on copper and nun's shields. The figures in Cabrera's religious painting are of remarkable beauty, a beauty expressed through the ideological assumptions of worship of the time. It is refined art that possesses well-arranged chromatic richness, as well as great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that time, Cabrera had the most personality; the way he typically treated his figures was undoubtedly the basis of his painting style, because he placed models that were not ideal in his paintings, but that corresponded to people whom the artist knew and interacted with, such as when he incorporated portraits of donors or so-called "prelates" in some paintings, as he needed to observe directly and copy from nature. He was appointed court painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor Juana Inés de la Cruz, housed in the National Museum of History, and that of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.Cabrera's work is present in numerous public and private collections, such as the Pinacoteca de La Profesa, the Andrés Blaisten Collection in Mexico, and the Museum of the Americas in Madrid, which has a series of caste paintings consisting of sixteen paintings, perhaps one of his greatest masterpieces. Provenance:- Private collection Bilbao.
Lot 311
Unsigned - An oversized Goliath open faced pocket watch with a silver travelling case, circa 1900, the white dial, 127mm diameter, with black Roman numerals, blued spade hands, subsidiary seconds register at 6 o'clock and chemin de fer chapter ring, crown wind mechanical three-quarter plate 8 day movement with onion shaped winder within a perlée surround, case, 138mm diameter, verso hinged at 6 o'clock, interior with perlée decoration, numbered 163215, the cuvette similarly designed and numbered, presented with a wooden easel backed travelling case, hinged cover capped in silver, mark not traced (J.M shield cartouche), Birmingham 1904, with hammered finish, upper with circular monogrammed cartouche, 180 x 200mm
Lot 126
Cartier. A lot of two desk clocks (2)Comprising a Cartier 'Santos' blue lacquer and gilt brass quartz alarm clock on easel support, Circa 1990, case number 7508 1293, 73mm and a Cartier 'Happy Birthday' stainless steel folding quartz alarm clock, ref.2753, Circa 2000, case number 547310GD, 50mmFor further information on this lot please visit Bonhams.com
Lot 9
Constantinos Parthenis (Greek, 1878-1967)Alentours de l'Acropole signé et daté 'C. Parthenis 1909' (en bas à gauche)huile sur toile80 x 85cm (31 1/2 x 33 7/16in).Peint en 1909.signed and dated (lower left)oil on canvasFootnotes:ProvenanceSpyros Loverdos collection, Athens.Thence by descent to the present owner.ExpositionsParis, Galerie de la Boétie, Group Techni (Oeuvres d'un Groupe d'Artistes Héllènes), September 1-30, 1919, no. 98.Athens, Athens Technological Institute exhibition hall, Exhibition of Paintings by C. Parthenis, January 26 - February 9, 1966, no. 20 (listed in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Metamorphoses of the Modern, The Greek Experience, May 14 - September 13 1992, no. 6 (illustrated in the exhibition catalogue p. 33). Athens, National Gallery - Alexandros Soutzos Museum, Constantinos Parthenis, Painting an Ideal Greece , June 20, 2022 - April 9, 2023 (illustrated in the exhibition catalogue, p. 163). LittératureC. Parthenis, 1964 Calendar, Heracles-Olympos General Cement Company, Athens 1963 (illustrated).Y. Tsarouchis, 'The Work of Parthenis', speech delivered at the Athens Technological Institute on February 2, 1966 (mentioned). Nea Estia magazine, no. 927, February 15, 1966, pp. 232, 268 (discussed).Eikones magazine, no. 537, February 4, 1966, p. 44 (mentioned).The Greek Painters, 20th Century, vol. II, Melissa editions, Athens 1975, pp. 19-20, 23 (discussed), p. 35, fig. 18 (illustrated).Xydis, Propositions for the History of Modern Greek Art, vol. I, Olkos editions, Athens 1976, pp. 75-76 (discussed).S. Lydakis, The History of Modern Greek Painting (16th-20th Century),The Greek Painters, vol. III, Melissa editions, Athens 1976, p. 363 (discussed).T. Spiteris, Three Centuries of Modern Greek Art 1660-1967, Athens 1979, vol. III, p. 220 (mentioned).C. Christou, Greek Painting 1832-1922, National Bank of Greece edition, Athens 1981, p. 110 (mentioned), p. 161 (listed).A. Kotidis, The Painter C. Maleas (1879-1928), doctoral dissertation, Thessaloniki 1982, pp. 59, 206 ft. ie (mentioned).Landscapes of Greece by Parthenis, 1984 Calendar / February, National Bank of Greece, Athens 1983 (illustrated).C. Christou, Konstantinos Parthenis, Vienna-Paris-Athens, (exhibition catalogue), Foundation for Hellenic Culture - Vienna Academy of Fine Arts, Athens 1995, pp. 23, 24 (mentioned).E. Matthiopoulos, Greek Participation in the Venice Biennales 1934-1940, doctoral dissertation, vol. III, Rethymno 1996, p. 829, ft.199 (mentioned).Dictionary of Greek Artists, Melissa editions, vol. III, Athens 1999, p. 472 (mentioned).A. Kotidis, Constantinos Maleas, Adam editions, Athens 2000, p. 61 (mentioned).A. Kouria, Michalis Economou, Adam editions, Athens 2001, pp. 119, 126 fn.35 (discussed), p. 120 (illustrated).K. Perpinioti-Agazir, Le 'Groupe Tekhni', doctoral dissertation, Université Paris I - Panthéon Sorbonne 2002, vol. I, p. 178 (mentioned), vol. III, 674 (catalogued), vol. reproductions I, pl. LXXVII (illustrated).A. Xydis, Constantinos Parthenis, Ta Nea editions, Athens 2006, pp. 47-50, 97-99 (discussed), pp. 44-45, 46, 47 (illustrated).E. Matthiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, no. 74, p. 66 (mentioned), p. 418 (catalogued), p. 163 (illustrated).Parthenis is not a painter who depicts nature.He is a painter who interprets nature. Z. Papantoniou1A Parthenis masterpiece, as iconic and breathtaking as Slope and the Port of Kalamata at the Athens National Gallery, Alentours de l'Acropole is a powerful landscape unleashed in paint. The creative force and freedom in the handling of colour finds its match in the boldness of execution, creating a pictorial formulation that lies at the core of his achievement as a painter. Setting his easel outdoors, Parthenis radically simplified nature to concentrate on chromatic and painterly matters. Rather than striving for topographical accuracy or resorting to the picturesque, he relied exclusively on purely pictorial means to capture the exuberance and zest of Attica's nature. Although he painted the view in front of him with complete directness, he did so with a deep understanding of the landscape as a complex entity. The Parthenon, this classical masterpiece and symbol of everlasting value, blends in harmoniously with the violet luminosities and variable pulse of the surrounding landscape, underscoring its infinite and eternal nature. Parthenis treats the monument not as a lifeless relic of ancient glory but as a living organism; a form of eternity constantly reborn in the present. In his hands the Parthenon becomes a verse of lyric poetry. In such an evocative setting inhabited by dematerialised forms and charged with timeless references, painting is lifted to the realm of music, the most immaterial of all arts. Every part of the landscape is animated by colour and lit by grace, endowing the composition with an allegorical evocation, elegiac feel, and universal character. Land, monument and sky come together, with sharp outlines, bold colouring, and cooler and warmer tones producing a rhythmic outcome. To make such an irresistibly beautiful and at the same time well-formulated picture, Parthenis drew from the colour expressionism of the fauves and Cezanne's use of paint as a structural element. While the work of Cezanne taught him compositional discipline, Gauguin and the Pont-Aven School encouraged him to focus on the expressive use of line and elevate the horizon, extending the pictorial surface to the limits of the canvas without the illusion of receding space. Much like the post-impressionists, Parthenis was interested not only in delivering a fabric of brushstrokes and colour marks but also in weaving together light and structure in a unified pictorial experience.Suffused with eternal light, Alentours de l'Acropole transcends the fleeting sensations of the impressionist glance to remould the luminous landscape by means of pure colour's suggestive force. The artist's perceptive handling of the natural environment, combined with a poetic interpretation of visual reality come together in a work of great artistic sensitivity, poetic charm and spiritual uplift. This seminal work claims the eye and provokes the viewer's emotional participation, reflecting the vision of an artist loaded with age-old memories and entranced by the dynamism and boldness of the twentieth century.2 1 Z. Papantoniou, Valkanikos Tahydromos newspaper, May 11, 1920.2 See D. Papastamos, Painting 1930-1940, Astir Insurance edition, Athens, 1981, p. 68.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
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