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Lot 1
CAROLINE WALKER (B. 1982)Cats 2005 signed with the artist's initials; signed and titled on the overlapoil on canvas 91.2 by 91.2 cm. 35 7/8 by 35 7/8 in. This work was executed in 2005. Footnotes:ProvenanceThe ScotlandArt.com Gallery, GlasgowAcquired directly from the above by the present owner in 2006Caroline Walker's paintings of interiors and women in everyday domestic scenes draw upon the timeless tradition of portraying women at work, a subject matter which has been explored in masterpieces such as The Milkmaid by Johannes Vermeer, The Cradle by Berthe Morisot and Bar at the Folies-Bergère by Édouard Manet. The intricate compositions and layers of symbolism found in Walker's paintings are a testament to the depth and sophistication with which the artist approaches the genre. The present works strike a delicate balance between complex portraiture and narrative form, as the cinematic and often suspenseful unfurling of the tableaux lend a gravitas and realism to the paintings. Her scenographic compositions that highlight the subjecthood of women's work and the unobserved moments of privation distinguishes Caroline Walker as one of the foremost Contemporary painters on the market today. Much of Walker's oeuvre reflects an interest in the themes of the private versus public, indoor versus outdoor, often portraying women alone and isolated within the confines of a private space. The architecture, furnishings and decorative objects found in her works not only add narrative context but also serve to visually delineate the space. The converging of the planes of perspective along with the high contrast in light and dark borrows from the techniques of masterpieces from the Western canon, such as The Night Watch by the Dutch Golden Age painter Rembrandt van Rijn and Nighthawks by Edward Hopper. This variety in tints, tones and shades create a filmic atmosphere and renders the scene with a subdued sense of drama and layered meanings. In Cats, the spectator becomes a voyeur, glimpsing the interior, quiet spaces of the female sitter who avoids our gaze. The ordinary bedroom scene contemporises the popular nineteenth and early twentieth century European painting subject matter of the boudoir. Semi-dressed and with her back to the viewer, a young woman brushes her hair whilst the soft light filters in from the window. The domestic ephemera under Walker's brush become symbolic mementos of the subject and offer a juxtaposition of multiple narratives alongside the constrictive nature underlying domesticity. As the sitter's facial expressions are concealed, the loose stockings on the bed, the uplifting springtime outfit and the careful curation of the subject's environment are the only signifiers of the subject's feelings and psychological mood.In A Taste of the Orient, there is a similar dichotomy between the objectification of the subject versus the anthropomorphising of the objects. The title of the painting references both the interior design of the room and Orientalist art from the nineteenth century. The subject, seemingly unaware of the audience and dimly lit, sits in stillness. The amalgamation of the large Chinese ceramic vase, Persian carpet, damask wallpaper, large stone fireplace and a pin-up image of a lady in a qipao or cheongsam dress suggests the worldliness and materialistic comfort of the room's inhabitant. However, the high level of detail accorded to the objects and the small size of the sitter suggest unrealized aspirations, and remarks on and criticises the often decorative and objectifying nature of portraits of women. Walker's works deal with the blurred boundaries between the public and the private and the often invisible nature of domestic life. Her highly technical approach to painting which includes cutaway views of the interiors and the expert handling of subtle changes in light, opacity, and textures, imparts a participatory feeling to the audience. Caroline Walker has had solo exhibitions at Kettle's Yard, Cambridge; the Midlands Art Centre, Birmingham and KM21, The Hague. Her works are in several international collections, including the KM21 Kunstmuseum, The Hague, The UK Government Art Collection, National Museum Wales, and the Pérez Art Museum Miami.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 1536
Child's Wooden Dolls House, in white Georgian style, set over three floors, complete with furniture and accessories, including kitchen cabinets with wine racks, bathroom fittings, dining furniture, lounge furniture, fireplace, figure, nursery with baby, and various cups and saucers, toys, bowls, pots and pans, Christmas tree, decorations, presents, etc. Measures Approx 24" wide, 24" tall and 14" deep. With lighting.
Lot 2680
A 20th century George III style white and green marble fireplace, the frieze finely carved with three classical urns above fluted jambs, together with a steel insert and pink-tinted marble border, height 142cm, width 176cm (some faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2678
A George III style white marble fireplace, 20th century and earlier elements, the inverted breakfront mantel above dentil mouldings and a frieze of classical urns hung with bellflowers, the jambs of downswept scroll form, together with a matching steel fire grate, height 146cm, width 185cm (some faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2679
A 20th century George III style white marble and verde antico fireplace, the moulded mantel above an inlaid frieze carved with oval figural and rosette reserves, the jambs with carved fluting, together with a matching steel fire grate, height 152cm, width 173cm (some faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 842
GOYA FRANCISCO JOSE DE: (1746-1828) Spanish Painter. Goya is considered the most important Spanish Painter of the late 18th and early 19th centuries and is regarded as the last of the Old Masters and the first of the moderns. A precursor of the Expressionism. His masterpiece portrayal of a naked woman, La Maja Desnuda ("The Naked Maja"), now in the Museo del Prado in Madrid, was a remarkably daring nude for the time, renowned for the unashamed gaze of the model towards the viewer without negative connotations. An exceptionally rare L.S., `Fran[cis]co de Goya´, three pages, 4to, Bordeaux, 30th November 1824, to the Duchess of San Fernando, in Spanish. Goya apologies for his hasty departure from Paris preventing him from saying goodbye to her himself, stating in part `Cuando salí de Paris para venir a esta [ciudad], dispuse atropelladamente mi viaje; el tiempo urgía, me hallaba sin dinero, y admití la oferta de unos amigos que me anticiparon los gastos del camino…´ (Translation: `When I left Paris to come to this [city], I hastily organized my trip; time was urgent, I was without money, and I accepted the offer of some friends who anticipated the expenses of the trip…") Goya is still not sure about his near future and explains that his has requested to the King of Spain an extension of his permission to leave his court painter obligations, saying `Aqui estoy, sin saber lo que debo hacer de mi. He pedido una prórroga, siquiera para poder pasar el invierno al calor de la chimenea, y no se si S[u] M[ajestad] tendrá a bien de concedérmela…´ (Translation: "Here I am, not knowing what I should make of myself. I have asked for an extension, at least that I can spend the winter in the warmth before a fireplace, and I don't know if H[is] M[ajesty] will be good enough to grant it to me…") Further again, Goya explains in full detail what the present he has sent to his correspondent is, being some drafts, drawings and figurines of three dwarfs, stating in part `Me tomo la libertad de remitir a V.E. esos tres comisionados, a quienes doy el encargo especial de asegurarla cuan agradecido estoy a la memoria que conserva de mi, y cuanto deseo complacerla y servirla. Son tres enanos que se presentaron en la feria de Burdeos dos meses hace, y me pareció conveniente sacar un tanteo de sus caras y sus figurillas. El de los pantaloncitos tiene 18 pulgadas, de los otros dos (que son marido y mujer) ella tiene 21 pulgadas y el esposo 20. Celebraré que cumplan su comisión, según los deseos del invalido que los envia´ (Translation: `I take the liberty of sending to Y.E. those three commissioners [referring to his three dwarfs figurines], to whom I give the special charge of assuring you how grateful I am to the memory you keep of me, and how much I wish to please and serve you. They are three dwarfs who appeared at the Bordeaux fair two months ago, and I thought it convenient to make a test of their faces and their figurines. The one with the short trousers is 18 inches, and the other two (who are husband and wife) she is 21 inches and the husband is 20. I will celebrate that they fulfil their commission, according to the wishes of the invalid who sends them" [Goya refers here to himself]) Goya has a lengthy list of important portraits paintings of dwarfs. An exceptional document, with very interesting content related to Goya´s last years, short after his arrival to France, and referring to his work on three dwarves he met at a fair in Bordeaux. A letter in very fine condition. VG Goya became a court painter to the Spanish Crown in 1786 and this early part of his career is marked by portraits of the Spanish aristocracy. In 1793 an illness left him deaf, after which his work became progressively darker. In 1799 Goya became the First Court Painter, the highest rank for a Spanish court Painter, under King Charles IV of Spain. During the Peninsular War and Napoleon´s invasion of Spain, Goya remained in Madrid, and his series of paintings Disasters of War, or his painting The Second of May 1808, show how much this war affected him deeply, fearing for his country´s fate. He also painted important portraits of the Royal Spanish family and of Lord Wellington.His late period is marked by the Black Paintings, on the plaster walls of his own house "La Quinta del Sordo" ("The House of the Deaf Man") where disillusioned by political and religious corruption, and by social developments in Spain, he lived near isolation. He also painted dwarves, and persons with insanity or in mental asylums, as well as themes related with witches and fantastical creatures. Goya abandoned Spain in 1824, the year of the present letter, to retire to the French city of Bordeaux from where the present letter is written. He was accompanied by his maid and companion Leocadia Weiss, 42 years younger than him, although it remains unclear if she was or not his lover.It was at that time and in Bordeaux where Goya completed his well-known series of paintings La Tauromaquia, depicting bullfighting scenes. Goya died and was buried in Bordeaux, but was later re-interred in the Royal Hermitage of San Antonio de la Florida in Madrid. Famously, the skull was missing, and the Spanish consul to Bordeaux reported so to his superiors in Madrid, who wired back "Send Goya, with or without head". The present letter is most probably in the hand of Leandro Fernández de Moratín (1760-1828) Spanish Dramatist, Poet, and translator of works of Moliere and Shakespeare into Spanish. Goya made his friend´s portrait in his late years in Bordeaux. Fernandez de Moratin lived his late years in exile in France and died in Paris only two months after Goya passed away in Bordeaux. The present letter is written to Maria Luisa of Bourbon and Villabriga (1783-1846) Duchess of San Fernando de Quiroga. She was directly related to several Kings of Spain, being the grand-daughter of Philip V, the niece of Charles III, and cousin of Charles IV. Maria Luisa and her husband, first duke of San Fernando, went into exile in 1823 to Paris.
Lot 500
HEPBURN KATHARINE: (1907-2003) American actress, Academy Award winner for Best Actress in 1932/33 for her role as Eva Lovelace in Morning Glory. A very fine vintage signed and inscribed 7.5 x 9.5 photograph of Hepburn standing before a fireplace in a full-length pose in costume as Tracy Lord from the hugely successful stage production of The Philadelphia Story at the Shubert Theatre in New York, 1939/40. Photograph by Vandamm Studio of New York and bearing their credit stamp to the verso, along with the original typed caption. Signed by Hepburn in bold, dark fountain pen ink to the base of the image. About EX
Lot 459
A group of novelty pottery teapots, comprising a Cardew Design Classical Fireplace teapot, limited edition 247/5000, a Border Fine Arts James Herriot's Country Kitchen, 470953, a miniature Portmeirion teapot, a Farrahs Original Harrogate Toffee teapot, and an E. Dolittle Proprietor novelty flower shop teapot.
Lot 220
Photography. John Benjamin Stone (1838-1914). Windsor Castle, The Green Drawing Room, Private Apartments, 1899, platinum print mounted on card with manuscript caption, signed l.r., 19.5cm by 24.5cm (mount window), unframed. NB: A similar example depicting the fireplace is in the collections of the V&A. Together with three collodion photographic portraits, glass plates, c. 1859, two of which depict a young John Benjamin Stone, and two Christmas cards by John Benjamin Stone: The River Abana at Damascus, 1909, and Broken Fountain at the Lefkeh Gate, Nicaea, 1911, mounted halftone prints with lithographic captions, protective tissue-guards, card covers with silk ties, 24cm by 27cm (3)Provenance: By descent of the family of John Benjamin Stone (1838-1914)
Lot 58
Charles Jenner Dolls House - A large Tudor style wooden dolls house attributed to Charles Jenner of West Sussex. The impressive house measures 102cms (H) x 107cms (W) x 79cms (D). The four roomed house with lift off roof sits on top of a wooden cabinet (which also comes with lot) which measures 44cms (H). The house comes with an assortment of furniture and accessories in various scales and materials, including cabinets, sofa, crockery, beds, wooden fireplace, copper ware, and similar. The house has an unattached window and window frame (present), otherwise house appears to be in Good condition overall. Furniture and accessories show signs of display, generally appearing Good overall and are unchecked for completeness. (This does not constitute a guarantee)
Lot 257
A late 19th/early 20th century doll's house, modelled as a townhouse with red brick and white dentil cornice, opening to the front, the inside with three main floors, each with fireplace, above a single drawer, 153 cm high x 76 cm wideProvenance: Contents of the Estate of Sir Frank Williams CBE and Lady Virginia Williams.
Lot 191
A VICTORIAN CAST IRON & BRASS SAMPLE FIREPLACE, 17.5cms H, 15.5cms W, a Victorian cast iron bank of hexagonal pillar form, the domed cover pierced with a money slot to either side and inscribed 'Bank', the body with two panels pierced with birds and foliage, the other panels cast with stylised flower heads on a spreading base, Registered 187026, 17.5cms H and a cast iron 'Slug iron' with turned wooden handle, 13cms H
Lot 1505
Child's Wooden Dolls House, in white Georgian style, set over three floors, complete with furniture and accessories, including kitchen cabinets with wine racks, bathroom fittings, dining furniture, lounge furniture, fireplace, figure, nursery with baby, and various cups and saucers, toys, bowls, pots and pans, Christmas tree, decorations, presents, etc. Measures 24'' wide, 24'' tall and 14'' deep. With lighting.
Lot 6079
Quantity of WWI crested china including the Cenotaph, aeroplane, 'Keep the Home Fires Burning' fireplace, sailor winding a capstan, Britiah tank, ewer with the Allied flags, Peace mug, E boat, kit bag, British machine gun and four other items by Goss, Victoria China, Shelley, Alexandra China and others (14)
Lot 362
Two Victorian Cast Iron Doorstops, one a Highlander the other a hound, together with A 19th Century Brass Candlestick Converted to a Lamp, A Carved and Gilt Candlestick (converted), A Brass and Green Glass Desk Lamp, A Pair of Cast Iron and Brass Fire Andirons, An Ebonized Tin Documents Chest, monogrammed E.R under the crown, A Gilt Framed Wall Mirror and A Carved Marble Fireplace Element, decorated with roses, A Banjolele, A Box of DVDs, 48cm by 18.5cm and A Rosewood Wheel BarometerFrom the Estate of Stephen Hamilton Rawlings, Scarborough.
Lot 48
A Collection of Various 19th Century and Later Metalwares, including pewter tankards, a large pewter tyg, silver plated entree dish, Art Nouveau brass andirons, an early 20th century Arts & Crafts copper mounted twin-handled vessel decorated with religious subjects, miniature brass fire curb, pewter caddies, candelabra; together with early 19th century wooden handled knives and forks, a sextant, plated cocktail shaker and a Victorian miniature cast iron fireplace etc (two shelves)From the Estate of Stephen Hamilton Rawlings, Scarborough.
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