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Click here to subscribeAn album of pre-First World War early 20th Century photographs of Burao, the capital of the Togdheer region and the second largest city in Somaliland, and its surrounding area, including military and rural village life, one photograph dated 1909; some earlier photographs of college rowing dated 1901/2 towards back.
A collection of Disney movie posters, comprising: a Walt Disney’s Classic Peter Pan movie poster, 104 x 69cms, unframed; a Walt Disney’s Classic Cinderella ‘The Slipper’ movie poster, first time in Dolby Stereo, 104 x 69cms, unframed; a Cinderella ‘Aschenputtel’ movie poster, German language, The Walt Disney Company, 87 x 62cms, unframed; a The Rescuers Down Under movie poster, Walt Disney Pictures, 43 x 30cms, unframed; a Walt Disney’s Classic Snow White and the Seven Dwarfs movie poster, 60 x 40cms, unframed; a Walt Disney Pictures The Little Mermaid movie poster, ‘Pieni Merenneito’, Finnish language, 64 x 41cms, unframed; a Walt Disney’s Classic Cinderella ‘Askungen’ movie poster, Finnish language, 59 x 42cms, unframed; and a The Rescuers Down Under movie poster, The Walt Disney Company, 101 x 69cms, unframed. (8)Provenance: The late sister of the vendor worked for Warner Brothers, in London and Norway.
Film Press Kits, films include: James and the Giant Peach, Free Willy, The Hunchback of Notre Dame, The Exorcist, Braveheart, The Muppet Christmas Carol, The Usual Suspects, Major League II, Buffy the Vampire Slayer, Star Trek First Contact, Glory, The Mask of Zorro, Thelma & Louise and many more, varied pack contents including photos, notes, postcards, booklets, etc. (Approx. 130)
A collection of Disney movie posters, comprising: a Walt Disney’s Classic Peter Pan movie poster, 104 x 69cms, unframed; a Walt Disney’s Classic Cinderella ‘The Slipper’ movie poster, first time in Dolby Stereo, 104 x 69cms, unframed; a Cinderella ‘Aschenputtel’ movie poster, German language, The Walt Disney Company, 87 x 62cms, unframed; a The Rescuers Down Under movie poster, Walt Disney Pictures, 43 x 30cms, unframed; a Walt Disney’s Classic Snow White and the Seven Dwarfs movie poster, 60 x 40cms, unframed; a Walt Disney Pictures The Little Mermaid movie poster, ‘Pieni Merenneito’, Finnish language, 64 x 41cms, unframed; a Walt Disney’s Classic Cinderella ‘Askungen’ movie poster, Finnish language, 59 x 42cms, unframed. (7)Provenance: The late sister of the vendor worked for Warner Brothers, in London and Norway.
A collection of Disney movie posters, comprising: a Walt Disney’s Classic Cinderella movie poster, first time in Dolby Stereo, 104 x 69cms, unframed; a Walt Disney’s Classic Snow White and the Seven Dwarfs movie poster, 104 x 69cms, unframed; a Walt Disney’s Classic The Jungle Book movie poster, 104 x 69cms, unframed; a Walt Disney’s Classic Snow White and the Seven Dwarfs movie poster, 60 x 40cms, unframed; a Walt Disney’s Classic Cinderella ‘Askungen’ movie poster, Finnish language, 59 x 42cms, unframed; and a Walt Disney Pictures The Little Mermaid movie poster, ‘Pieni Merenneito’, Finnish language, 64 x 41cms, unframed; and The Rescuers Down Under movie poster, The Walt Disney Company, 101 x 69cms, unframed. (7)Provenance: The late sister of the vendor worked for Warner Brothers, in London and Norway.
Moritz Michael Daffinger (Austrian, 1790-1849)A Lady, called Countess Perera (Pereira), full-length reclining on a chaise longue draped with a yellow cashmere shawl, in a white dress with a blue waistband, flowing dark hair, grey curtain background. Watercolour and pencil on card, signed on the obverse, Daffinger, gilt-metal mount, later gilt-wood frame. Rectangular, 144mm (5 11/16in) highProvenance: Ernst Holzscheiter Collection, Meilen; Part I, Sotheby's, London, 28 March, 1977, lot 167Christie's London, 27 November 2012, lot 243;The Twinight CollectionExhibited:Musée d'art et d'histoire, GenevaChefs-d'oeuvre de la miniature et de la gouache, 1956, no. 120 (lent by Ernst Holzscheiter)Albertina, Vienna, Meisterwerke der europäischen Miniaturmalerei von 1750 bis 1850, 1965, no.65 (lent by Ernst Holzscheiter)Royal Academy and Victoria and Albert Museum, LondonThe age of Neo-Classicism, the fourteenth exhibition of the Council of Europe, 1972, no.971 (as the Countess Perera, on vellum, lent 'from the Holzscheiter Collection')Literature:L.R.Schidlof, The Miniature in Europe, 1964, vol.II, p.938, no.278, ill.pl.150Footnotes:The son of Johann Daffinger, a painter at the porcelain factory of Vienna, Moritz Michael Daffinger entered the factory as an apprentice in 1801, training under Johann Weixlbaum. The following year he commenced studies at the Academy in Vienna, under Heinrich Friedrich Füger, winning a first prize for drawing in 1804. He worked at the porcelain manufactory until 1812, simultaneously pursuing a career as a a miniature painter. A commission in 1819 from Klemens von Metternich to make a copy in miniature of a painting by Sir Thomas Lawrence of the prince's deceased daughter Clementine had a profound impact on the style of his work- resulting in a richer colour palette and a more fluid painting technique. He received extensive patronage from the Imperial family and the most prominent members of the high aristocracy.The powerful presence of the recumbent sitter is reminiscent of that captured by Francisco de Goya in the paintings La maja vestida and La maja desnuda (c. 1797–1800) and La marquesa de Santa Cruz (1805), in the Museo del Prado, Madrid (inv. nos 741, 742, 7070). The sitter has been previously identified as the Countess Perera (Pereira), however, at the time this miniature was painted the illustrious Portuguese family of Pereira was extinct. It is not inconceivable that the name was adopted as a soubriquet by a grande horizontale.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Sophie Liénard (French, active 1842-1845)Queen Victoria (1819-1901), Queen of Great Britain and Ireland (1837-1901), standing in the Royal Box at the Drury Lane Theatre, wearing white dress, three-quarter-length sleeves trimmed with two tiers of white lace, white rosette to her corsage set with a diamond pendant jewel, blue sash of the Order of the Garter, black lace shawl, diamond pendent earrings and diamond tiara, the ruched trim of her white gloves decorated with black rosettes, a nosegay of pink roses held in a gold bouquet-holder (a gift from the Marquess of Coyngham) in her left hand, her right hand resting on the ermine stole draped over the ledge of her box, on which sits a programme held open by an ivory fan, the gilt-wood and red upholstered chair behind the Queen bearing her monogram VR. Painted on porcelain, signed on the reverse and dated, Queen Victoria/ copied by Sophie Lienard, of Paris,/ from the original by E. T. Parris/ London._1838., gilt-mounted on a suedette slip impressed with a gilt-metal crown and monogram VR, gilt-wood frame . Rectangular, 179mm (7 1/16in) highProvenance:Bonhams London, 28 June 2012, lot 151;The Twinight CollectionFootnotes:As indicated by the inscription verso, the present lot derives from a portrait by Edmund Thomas Parris (British, 1793-1873). On her first state visit to the Drury Lane Theatre in November 1837, Parris made a preliminary sketch of the Queen from his seat in the orchestra. Understandably, this image of the young Queen was immensely popular and was reproduced by a number of artists. A version by the miniaturist Sarah Biffin was sold in these rooms, 19 November 2008, lot 167. Versions in oil exist in the Royal Collection and the Forbes Magazine Collection, New York. The portrait was also engraved by Charles Edward Wagstaff and published by Hodgson & Graves on 5 April 1838, giving it an even wider circulation. Perhaps due to the success of this portrait, later the same year, Parris was commissioned by Hodgson & Graves to portray the Queen's coronation. He received sittings from the Queen and all of the key figures who were scheduled to attend the ceremony. A print of this painting, also by Wagstaff was later published in 1842.The whereabouts of Parris' prototype are somewhat elusive. It has been suggested that the original work is possibly that which formerly belonged to Queen Mary, exhibited in Queen Mary's Art Treasures at the Victoria and Albert Museum in 1954 (R. Ormond, Early Victorian Portraits, vol.I: Text, London, p.480).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)George IV (1762-1830), King of England (1820-1830), when Prince Regent, half length, wearing a Field Marshal's red uniform with gold lace and sash, with the badge of the Order of the Golden Fleece and stars of the Orders of the Garter, Holy Spirit, Black Eagle and St Andrew. Enamel on copper, inscribed on the counter-enamel, His Majesty George 4th and further signed and inscribed indistinctly, Painted by Henry Bone/ Enamel ..... His Majesty/ ....painting....the Duke of/ Thos. Lawrence R.A. ...., gilt-wood frame. Rectangular, 187mm (7 3/8in) highProvenance:Sotheby's London, 4 December 1985, lot 161;Sotheby's London, 11 November 2003, lot 69;The Twinight CollectionFootnotes:The present lot is based on Sir Thomas Lawrence's portrait, painted for Lord Charles Stuart and exhibited at the Royal Academy in 1815 (Garlick 325c). Following the exhibition Bone immediately began making copies in enamel, the earliest recorded being dated November 1815. The Prince Regent evidently found the portrait most pleasing, and in the ensuing years gave away numerous copies as presents, leading to it becoming one of the iconic images of him. The present work, dated 1826, was painted eleven years after Henry Bone's first work. For other examples in the Royal collection see R. Walker, Miniatures in the Collection of Her Majesty the Queen,, 1992, nos.757-765.George was the eldest son of George III and Queen Charlotte. In 1811, George became regent after his father was declared insane and king in 1820. Throughout his adult life, George was an important artistic patron, acquiring an impressive collection of art. In the last years of his life George spent his time in seclusion at Windsor Castle. His only child, Princess Charlotte having died in childbirth in 1817 meant the crown passed to George's brother who became William IV.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A very rare Meissen group of a lady and gentleman playing a duet, first half 19th centuryAfter the model by J.J. Kaendler, seated with a pug between them on a gilt-edged canapé elaborately moulded with foliage below a mask flanked by pierced panels and scrollwork, the lady playing the lute, wearing a yellow-lined lavender coat with purple flower sprigs, a salmon-pink crinoline dress with flower sprigs and a blue underskirt, the gentleman playing the flute, wearing a white jacket with gilt-ground cuffs reserved with flowers and a similarly decorated waistcoat, 23cm across; 14.7cm high, crossed swords mark in blue (one leg and back edge of cannape restored)Footnotes:The model is first mentioned in Kaendler's work records in November and December 1737. In April 1743, Ehder mentions that he reworked the back of the canapé with French decorations, and in August 1743, Kaendler records that he repaired the group 'for His Majesty the King'; quoted by S.-K. Andres-Acevedo, Die autonomen figürlichen Plastiken Johann Joachim Kaendler, II (2023), no. 152. An early version of the group with slightly more elaborate canapé is in the Metropolitan Musem of Art, New York, acc. no. 1974.356.356; another is in the Pauls Collection, Basel (I. Menzhausen, In Porzellan verzaubert (1988), pl. 216).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Christian Friedrich Zincke (German, circa 1683-1767)A Lady, traditionally identified as Lady Isabella Bentinck, second wife of Evelyn Pierrepont, 1st Duke of Kingston-upon-Hull, wearing widow's weeds, a black gown and veil with a pleated lawn cap. Enamel on copper, gilt-metal frame. Oval, 44mm (1 3/4in) highProvenance:Christie's London, 25 May 2004, lot 5;The Twinight CollectionFootnotes:Lady Isabella Bentinck (1688–1726), daughter of Hans William Bentinck, 1st Earl of Portland and his first wife Anne Villiers, married in 1714, as his second wife Evelyn Pierrepont, 1st Duke of Kingston-upon-Hull (1655–1726). Two daughters were born of the union.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A large Royal Copenhagen portrait vase depicting Christian IX, King of Denmark, circa 1871The oval portrait of the King placed in a gilt cartouche with pearls and laurel wreath and crowned gilt border against a puce ground colour, the base of the vase with pearl and dart motifs in gilding, foot and neck of the vase with gilt and polychrome elements of orb and scepter and coat of arms, the reverse with the King's cypher of a crowned C9 within a gilt palm-leaf wreath, the double scroll handles picked out in gilding, 26cm high, triple wave mark for the Copenhagen factory to the base, pencil writing to the unglazed footrimFootnotes:Provenance:The Twinight CollectionThis portrait is likely based on a full-length portrait of Christian IX painted by H. Olrik in 1871 and now in Amalienborg Castle. He is wearing the symbols of the Orders of the Elephant and of the Garter on his uniform. In 1863 Christian IX succeeded the childless Frederik VII as king and was the first monarch from the House of Glücksburg line of the Royal family. In 1842 he married Princess Louise of Hesse-Kassel, with whom he had six children, four of whom later ascended European thrones.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Charles Boit (Swedish, 1663-1727)Anne, Queen of Great Britain and Ireland (1665–1714), seated three-quarter-length, in an ermine-lined crimson cape, lilac-coloured gown, white chemise, the lesser George on a blue ribbon at her corsage, crown and orb to dexter, interior and drapery background. Enamel on copper, signed on the obverse and dated, C: Boit pinx; / 1712, gilt-metal frame with pierced spiral cresting. Rectangular, 127mm (5in) highProvenance:with D.S. Lavender Ltd, London, 1993 Mrs T.S. Eliot, executor's sale 'A life's devotion: The Collection of The Late Mrs T.S. Eliot', Christie's London, 20 November 2013, lot 152;The Twinight CollectionExhibited:D. S. Lavender (Antiques) Ltd., London, The Monarchy in Portrait Miniatures from Elizabeth I to Queen Victoria, 1993, no. 63 (lent by D. S. Lavender (Antiques) Ltd.).Literature:C. Lloyd and V. Remington, exhibition catalogue Masterpieces in Little. Portrait Miniatures from the Collection of Queen Elizabeth II, London, 1996, p. 134Footnotes:Charles Boit, born in Stockholm to French parents, first trained as a goldsmith in his hometown before travelling to Paris to further his studies. He moved to London in 1687 where he benefitted from the protection of the Swedish portrait painter Michael Dahl. His 'very neat' work, as described by George Vertue, assured him patronage, the apogee of which was marked by his appointment as court enameller to King William III in 1696. Royal employment continued under Queen Anne, which included a commission to paint a large (40.5 x 61cm) commemorative enamel plaque celebrating the Battle of Blenheim. This highly ambitious project was abandoned due to a combination of technical, financial and political issues, ultimately forcing Boit to flee to France in 1714. In Paris he was able to re-establish his career, enjoying the patronage of the Regent, Philippe, Duc d'Orléans. In 1717 he was made an Agrée of the Académie Royale.A full-length portrait by Charles Boit of Queen Anne, depicted seated with her consort Prince George of Denmark standing to her right, is in the Royal Collection (RCIN 421497, signed and dated 1706).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An oval portrait plaque of Marie-Thérèse, Duchess of Angoulême, circa 1814 - 1817painted by Louise Bathilde Girard, Maria Theresa, Duchess of Angoulême (1778-1851) lavishly dressed with a tiara and with large ostrich feather, 9.5cm diam. high, 7.5cm diam wide (unframed) 12.7cm x 11.2cm wide (framed) 'L.Girard' in red to the reverse,Footnotes:Provenance: Christie's London, 17th April 2000, lot 132; The Twinight CollectionLouise Bathilde Girard was a Parisian painter based on the Rue Condé, she took part in the Salon de Paris for the first time in 1824 with three paintings after Gérard and after that took part in the Salons regularly until 1848. She was the wife of the engraver François Girard. (see: W. Neuwirth, Porzellanmaler-Lexicon, 1740-1914, p. 304).The eldest child of King Louis XVI and Queen Marie Antoinette of France, Princess Marie-Thérèse Charlotte (1178-1851) was born at Versailles. She was the ill-fated monarch's only child to reach adulthood. In 1799, she married her cousin, Louis Antoine, Duc d'Angoulême, the eldest son of Charles, Count of Artois, henceforth becoming the Duchesse d'Angoulême. She became the Dauphine of France upon the accession of her uncle and father-in-law, Charles X, to the French throne in 1824. She was herself briefly but unofficially Queen of France for all of twenty minutes, on 2nd August 1830 - between the time of her father-in-law signing his abdication and her husband, reluctantly, signing the same document, although this claim is often disputed.The diamond parure seen in the present lot was assembled for the Duchess in 1814. Upon the return of Louis XVIII after the Hundred Days of 1815, part of the diamond parure was returned to the Crown. The full parure consisted of the diadem, necklace and pendent earrings, all seen in the present portrait, a pair of bracelets, a comb, a bandeau and a belt-clasp. The necklace and earrings were retained by the Duchess together with the pair of matching bracelets because these jewels all belonged specifically to her. The remaining diadem, comb, bandeau and belt clasp were returned to the Crown via the Parisian jeweller, Gibert, with whom the Duchess had left them. The stones from the bandeau were later broken up for use in other jewels.In 1824, the Duchess naturally expressed her desire to keep the diadem as part of her personal collection of jewellery. This magnificent jewel can be seen with the matching necklace and pendent earrings in the Duchesse d'Angoulême's oil portrait of 1816 by Antoine-Jean Gros (French, 1771-1835), which forms part of the Louvre Collection at Versailles (inventory number. 5079). Louis XVIII had instructed that no further items were to be removed from the Crown Collection. He therefore agreed to buy new diamonds for the diadem. Papers from the Crown jeweller, Bapst, that are held by the Bibliothèque Nationale in Paris include a document from the Ministry of the King's Household, dated 4th May 1824 and described as a 'budget of 200,000 francs......to secure the return to the Crown Jewel House of the diamonds mounted on the diadem belonging to the Duchesse d'Angouleme, and to supply H.R.H. with a new diadem of a value equal to that of the first'. The total value of the diamonds acquired by Bapst to replace the original stones from the diadem was recorded as 333,962 francs with the largest diamond exceeding 13.00 carats (see Morel, B. The French Crown Jewels, 1988, p.303, on which an engraving of the present lot is also illustrated). Although the diamond diadem of 1814 tragically no longer exists in its original form, the original stones it consisted of were returned to the French Crown for mounting in different jewels and a new diamond diadem was constructed for the Duchess. The majority of the French Crown jewels were later sold in the Pavilion de Flore at the Louvre on 12th-23rd May 1887 by the Third Republic. The sale attracted worldwide attention from some of the wealthiest personalities of the Gilded Age and the greatest jewellery houses of the day including Bapst, Fabergé, Tiffany and Van Cleef & Arpels. Many of these jewels were deconstructed and broken up - a huge loss to the jewellery world - while others have remained intact and majestically resurface from time to time at auction.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A rare black-ground Sèvres hard-paste plate, circa 1791Asiette uni, fond noir chinois en or platine, decorated with a black ground over its entire surface in imitation of Chinese lacquer, the chinoiseries after Jean-Baptiste Pillement, in two-tone tooled gold and platinum, the rim with three individual cartouches in the same manner, 24.4cm diam., interlace double L enclosing date letters oo for 1791, painters mark 2000 in gold for Henri-François Vincent (le jeune) and Bn for Nicolas Bulidon, (flat chip inside footrim)Footnotes:The Production and Legacy of Black-Ground Sèvres Porcelain (1778-1794)For a discussion of decoration in imitation of lacquer, see Selma Schwartz, Chinoiserie Decoration on Black-ground Sèvres Porcelain, in M. Köpplin (ed.), Schwartz Porcelain - The Lacquer Craze and its Impact on European Porcelain, vol. III (2003), pp. 98-107.With the rise of Neoclassicism in the 1770s, there was renewed interest in the furniture of André-Charles Boulle (1642-1732) as well as furniture inspired by his designs. Their materials: tortoiseshell, brass, and tin, in their black, gold, and silver appearance matched perfectly with lacquer objects. In fact, the inventories of some of the most prominent lacquer collectors show that their furniture was more often in the Boulle genre rather than made from lacquer. Selma Schwartz (op.cit., pp.98-107) explains the incorporation of lacquer imitation beyond the obvious technical advancements. In the late 1780s, a series of important lacquer furniture was delivered to the French court, including pieces for Versailles, Saint Cloud, Compiègne, and Bellevue; for Louis XVI, his aunt Adelaide, and Madame Victoire. Notably, Jean Henri Riesener created furniture for Marie Antoinette in 1783 (now in the Metropolitan Museum of Art, see catalogue illustration), intended for her Grand Cabinet Intérieur at Versailles. This furniture harmonised with the collection of Japanese lacquer boxes inherited from her mother, Empress Maria Theresa (1717–80) of Austria, by reusing choice fragments of seventeenth-century Japanese lacquer as veneer.The interest in creating porcelain that resembled lacquer and related experiments seem to have started in Sèvres around 1769, shortly after the manufactory began producing hard-paste porcelain. This was driven by the new technical possibilities and the ongoing fascination with East Asian lacquer. Two documents in the Sèvres archives (Archives, Cité de la céramique, C2/9) suggest that the manufactory explored the process of producing lacquer, possibly for applying lacquer decoration to already fired pieces. In one letter, a Parisian manufacturer of vernis (imitated lacquer) describes his recipes and the process of using black and white lacquer on porcelain. The second document, signed by the director of the manufactory, Melchior François Parent (1772-78), specifies the mixture ratios for black and red lacquer and the application of gold. However, it would take another ten years before the first lacquer imitations were produced.Between 1778 and 1782, the Sèvres manufactory produced a remarkable series of porcelain decorated in imitation of lacquer. This included a notable series from 1779 with black ground colours, achieved using a combination of iron oxide, cobalt, and manganese. These black backgrounds were often adorned with gold and silver decorations, echoing the renewed taste for lacquered furniture. However, the production was marred by technical difficulties related to the tarnishing nature of silver. Platinum, which does not tarnish, quickly replaced silver.In April 1790, the Comte d'Angiviller, Director-General of the King's Buildings and in charge of the Sèvres Manufactory, wrote to Antoine Régnier , the new director of the manufactory (1778-93), congratulating him on acquiring 3.5 pounds of platinum:It was an acquisition not to be missed, and I strongly approve of it. For I rely heavily on this new kind of decoration that no other manufactory will certainly achieve(Archives, Cité de la céramique, H5 vol.1, sincere thanks to Cyrille Froissart who first published this reference).Notable Productions and SalesBetween 1790 and 1793, Sèvres created around forty pieces with black grounds, decorated with coloured gold and platinum. These included vases, flower bowls, water pots, candlesticks, tea services, and table services. The first of these services, though with a sparser decoration of polychrome flowers on the cavetto, was sold on May 6, 1791, to the Marquis de Sémonville (1759-1839), Louis XVI's ambassador to Genoa. A second service was purchased on 4 April, 1792, by James Milmes (sic), consisting of 48 plates at 48 livres each. Some plates featured enamel flowers, while others had entirely black backgrounds with Chinese figures in gold and platinum, similar to our plate. James Milmes, as listed in the Sèvres archives, likely refers to James Milnes (1755-1805), heir to a wealthy Wakefield woollen merchant and member of Parliament. Milnes was an inconspicuous Member. He joined Brooks's Club, sponsored by Fox, on 17 May 1803 and a week later voted with the Whigs on the failure of negotiations to prevent the resumption of war with France.In late 1794, Citoyen Empaytaz & Compagnie, a company acting as agents for the King of Prussia, bought part of a black-ground service produced in 1791 that remained in stock. This service, composed of 71 pieces including 21 plates, a mix of black ground pieces with others featuring polychrome flowers on a white background. Provenance and LegacyIn the 19th century, specifically in 1844, Prince Nicolay Borisovich Yusupov (1750-1831) owned 107 pieces of the black-ground service. By 1887, the Yusupov family possessed only 32 pieces. Fifteen of these are now housed at the Hermitage Museum in Saint Petersburg, including five plates with entirely black backgrounds (see Nina Birioukova and Natalia Kazakevitch 'La porcelaine de Sèvres du XVIII siècle' The Hermitage Museum (2005), pp. 189-193, nos. 946-954). Twelve plates are in the Metropolitan Museum of Art, New York (Christian Dauterman, Sèvres (1969), p. 52, pl. II); and two others are in the Nelson-Atkins Museum of Art, Kansas City (cat.no. 33-1369 and 33-1370). Two 'seau à demi bouteille' dated 1791 are in the Getty Museum, Malibu (Adrian Sassoon, The J. Paul Getty Museum, Vincennes and Sèvres Porcelain (1991), no. 30, pp. 152-157). A jug and two hexagonal double-gourd bottles are in the collection of Belton House, Lincolnshire, NT 433527 (Patricia F. Ferguson, Ceramics: 400 Years of British Collecting in 100 Masterpieces (2016), p..). Two plates were sold at Christie's in New York in 2010 (Christie's, New York, 22 October, 2010, lot 639) and another plate was sold in 2018 from the collection of Christophe Perlès, Pescheteau-Badin, 18 June, 2018, lot 120). The source for the central scenes on the plate can found in the work of Jean-Baptiste Pillement (1728-1808). The prints after Pillement used at Sèvres can be found in Jean Avril's 'Cahier de Balançoires chinoises' of circa 1770, and the image used for this plate is on the title page (see catalogue illustration). For a study on Sèvres black-ground dessert services, see David Peters, Sèvres Plates and Services of the 18th Century (2015), Vol. IV, no. 91-4, pp. 943-945; no. 92-4, pp. 965-968, and vol. V, no. 94-11, pp. 1075-1078.For further information on this lot please visit Bonhams.com
A Sèvres ornithological plate, circa 1794En suite with the previous lot, decorated with a fond jonquille oiseaux, white well with polychrome bird in landscape after Buffon, titled on the reverse in blue script 'La grande linotte des vignel.' (sic.), the rim in yellow with maroon frieze, 24.3cm diam., Sèvres.R.F. p for the painter Guillaume Buteux (1782-94)in blue over jd in black script and TFootnotes:The birds on this service were copied directly from François-Nicolas Martinet's illustrations for Georges Louis Leclerc, comte de Buffon's ornithological publication, Histoire Naturelle des Oiseaux, published in ten volumes between 1770-1786. These illustrations were frequently used at Sèvres as sources for decoration.This plate and the subsequent lot in this sale are related to three amalgamated services produced first in 1791 (see: D.Peters (2015), 92-2,) The maroon frieze was generally described at the factory as 'Etruscan' and the pattern appeared in production several times, two additional times as services, and several times as loose service wares. The last addition appears to have been a large service purchased by François Speelman (likely Franciscus Norbertus Speelman (1748-1817), a cotton merchant) in 1795.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)Sir William Ponsonby (1772-1815), wearing fur-trimmed brown cloak over armour. Enamel on copper, signed, dated and fully inscribed on the counter-enamel, London/ July 1807 / Painted by Henry Bone ARA/ Enamel Painter to HRH/ Prince of Wales/ Miniature, gilt-wood frame. Rectangular, 112mm (4 7/16in) highProvenance:By Family DescentPurchased from Philip Mould & Company, 23 May 2008 ;The Twinight CollectionFootnotes:Bone's preliminary drawing for the present lot, inscribed, after Saunders June 1807/ Col. Ponsonby., is in the Collection of the National Portrait Gallery, London, no. NPG D17594. Ponsonby was not, despite Bone's hurried note, made a full Colonel until 1810, but had been a Lieutenant Colonel since 1800. The enamel dates from the year of his marriage to the Hon. Georgiana Fitzroy, sixth daughter of the First Lord Southampton (described as a 'lady of very uncertain temper') and may have been a gift to her. Ponsonby, a member of an Irish aristocratic family, was a long-serving Guards officer. He won a seat in the Commons as a supporter of the Whig opposition, which was led by his uncle, George Ponsonby, but he was mostly away on military service. Ponsonby commanded the Union Cavalry Brigade at Waterloo, where he was killed in action after a charge in which his horse got stuck in the mud. In his Waterloo Dispatch, Wellington expressed his grief 'for the fate of an officer who had already rendered very brilliant and important services, and was an ornament to his profession'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)Sir Thomas Smythe (c.1558-1625), wearing black robes, cap and fur stole, his right hand resting on a globe, a ring on his left hand, which holds a pair of gloves. enamel on copper, signed, dated and inscribed in full on the counter-enamel: Aetis suce, 33__/ Sir Thos: Smythe Born March 28th 1512/ Died Augst 12th 1577__/ 1526__ Sent to Queens Coll: Cambridge__/ 1535__ Brought in a new manner of pronouncing/ Greek, which prevailed in the University/ 153*__ Made University Pastor__/ 1539__ Took the Degree of Dr of Civil Law at P[...]/ 1542__ Regi[...] Professor of Civil Law at Cambridge/ Preceptor to Edward 6th/ Master of Requests to the Duke of Somerset./ Steward of the Stanaries. Provost of Eaton./ Dean of Carlisle./ 1548__ Secretary of State & Knighted by Edward 6/ 1551__ Ambassador to France/ Allowed a Pension of £100 per annum in Marqis Reign/ 1558__ Employed by Elizabeth in the Settlement of Religion/ S[...] Ambassador to France/ 1571__ Made Chancellor of the Garter/ 1572__ Secretary of State - author of several Works/ & a Man of great Learning &c. &c./ London Decr 1814 Painted by Henry Bone R.A./ Enamel painter in Ordinary to His Majesty & Enamel/ painter to HRH the Prince Regent after the Original/ by Holbein in the Possession of Sir Willm Smythe [...]/ of Hill Hall Essex, gilt-metal slip engraved, ENAMEL HBONE, gilt-wood frame. Rectangular, 175mm (6 7/8in) highProvenance: The Collection of Lady Lanesborough, previously at Swithland Hall, LeicestershireLyon and Turnbull, 14 January 2015, lot 22;The Twinight CollectionFootnotes:Sir Thomas Smythe was an English merchant and politician. He was the first Governor of the East India Trading Company and was elected a Member of Parliament in 1614 and 1622. The present lot derives from a painting by Hans Holbein once at Hill Hall, Essex. A number of variants of Holbein's portrait exist, including one by Thomas Hudson in the Collection of Queen's College, Cambridge University and one from the Collection at Spains Hall, Finchingfield that was sold in these rooms on 24 October 2018 (lot 44).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)The Shipwreck of Aeneas. Enamel on copper, signed and dated, HBone/ Aug 1817, inscribed along the top edge, London, July 1817, Painted by Henry Bone R.A. Enamel painter in Ordinary to his Majesty and Enamel painter to H.R.H. the Prince Regent after the Original by Rubens in the Collection/ of Thomas Hope Esqr, pierced gilt-wood frame with rocaille and acunthus leaf detail. Rectangular, 231mm (9 1/8in) highProvenance: Bonhams London, 18 November 2003, lot 148;The Twinight CollectionFootnotes:The present lot is an unusual example of Bone's work in that it is not portrait based. Whilst he is recorded as having enamelled historical and mythological subjects, they are still predominantly figurative, whereas the present enamel is almost purely a landscape.The Shipwreck of Aeneas off the Carthaginian coast in 1176 BC forms the first book of Vigil's Aeneid. The original by Rubens, painted during his Italian stay circa 1605, is currently in the Berlin-Dahlem, Staatliche Museen. The landscape was identified in 1677 by Roger de Piles, secretary to the then owner, the Duke of Richlieu in Paris. It shows the Medieval Castle built by the Genoese in 1161, situated at the top of a point dominating the now called Grotto of Byron at Porto Venere. At the foot of the hill is the Church of San Lorenzo, built in 1116 in the Lombardian style. For an illustration of the prototype, cf. Michael Jaffé, Catalogo Completo Rubens, Milan, 1989, pp.92-3.This publication states that the painting was owned by a Lady Stuart, until 1841. However as the present lot indicates, the enamel was owned by Thomas Hope (1769-1831) by at least 1817. This is a good example of how important Nineteenth Century enamel copies, with their detailed inscriptions, are in confirming the ownership and provenance of Old Master paintings. After Thomas Hope, the Rubens painting (and presumably the present enamel) passed to Henry Thomas Hope (1808-1862) and thence to his nephew Lord Francis Pelham Clinton Hope (later 8th Duke of Newcastle under Lyne) (1866-1941) and then to Sir Alfred Beit Bart, who gave the painting to the Kaiser-Friedrich-Museums-Verein in 1899. Thomas Hope was in possession of a number of Old Master paintings belonging to his younger brother Henry Philip Hope (1774-1839), which had formed part of the Hope Collection, formed by their father John and great-uncle Adrian. However once the paintings had been inherited by Lord Francis, they were to leave the family as a result of his bankruptcy through gambling in 1894. At the same time, the famous 45.52 dark blue 'Hope' diamond (now in the Smithsonian Institute), which had also been passed down through two generations of the illustrious banking family, was sold. It is most probable that Francis owned the present lot in addition to his other heirlooms and that it too was sold to ease his debts.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)Charles Grey, 2nd Earl Grey, KG PC (1764-1845), facing left in blue coat, white waistcoat and tied cravat, powdered hair; red curtain, pillar and sky background. Enamel on copper, signed on the obverse, HBone and in full on the counter-enamel, Charles Grey Esq. M.P. Henry Bone pinxt Augst 1794, gilt-metal frame surmounted by a coronet. Oval, 92mm (3 5/8in) highProvenance: Christie's London, 10 December 2002, lot 38The Twinight CollectionFootnotes:Henry Bone's drawing for the present lot, inscribed Honble C. Grey/ 1794 is in the collection of the National Portrait Gallery (NPG D17551).Another version of this enamel, signed and dated September 1820, sold Christie's, London, 10 July 1991, lot 129, now forms part of the Draper Gift at Kenwood House (Miniatures at Kenwood. The Draper Gift, London, 1997, no. 67, illustrated p. 157). Both enamels are based on an oil portrait by Sir Thomas Lawrence known from a lithograph (Bridgeman Images no.XJF142407).Charles Grey was the eldest surviving son of General Sir Charles Grey, K.B. and Elizabeth, daughter of George Grey. In 1786 he was returned member for Northumberland. He was one of the managers of the impeachment of Warren Hastings and in 1792 he helped to found the Society of Friends of the People. He introduced the motion for the impeachment of Pitt and took a prominent part in the temporary session of the Whigs from parliament. He also denounced the union between England and Ireland. In 1806, he became First Lord of the Admirality and on the death of Fox, foreign secretary and leader of the House of Commons. He carried through the act abolishing the African slave trade. In 1831, he became Prime Minister and again in 1832-1834 when he successfully saw through the first Reform Act but dissensions sprang up and in consequence of his Irish difficulties he resigned in July 1834. He married Mary Elizabeth, daughter of William Brabazon Ponsonby, in 1794 and they had fifteen children but also had liasons with Georgiana, Duchess of Devonshire.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A rare pair of Berlin double-handled beakers from the Duke of Wellington Service, circa 1817Each with a burnished gold ground and interior, reserved with a tooled foliate scrollwork border below the rim and painted leaves at the base, the inside rim with a tooled foliate border, 7.7cm high, sceptre marks in underglaze-blue. impressed 18 to both (2)Footnotes:Provenance:The Twinight Collection (purchased from Seidel & Son in 2005)Literature:S. Wittwer, Raffinesse & Eleganz: Königliche Porzellane des frühen 19. Jahrhunderts aus der Twinight Collection, New York (2007), no. 132Exhibited:Berlin, Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Schloss Charlottenburg, Rafinesse & Eleganz - Königliche Porzellane des frühen 19. Jahrhunders aus einer amerikanischen Privatsammlung, 28 July-4 November 2007;Vienna, Liechtenstein Museum, Die Sammlung Cohen. Porzellane der grossen Manufakturen 1800-1840, 16 November 2007-11 February 2008;Paris, Musée national de la céramique à Sèvres, Sèvres - Vienne - Berlin, Ors et décors : 1800-1850, 26 March-13 July 2008;New York, Metropolitan Museum of Art, Refinement & Elegance - Early Nineteenth Century Royal porcelain from an American private collection, 9 September 2008-19 April 2009The service for the Duke of Wellington represents one of the greatest technical and artistic achievements of the Berlin manufactory in the first half of the 19th century. See W. & I. Baer, Das Tafelservice der KPM für den Herzog von Wellington (1988), for a comprehensive discussion of the service, most of which is still displayed at Apsley House in London. The service included 36 such golden beakers, which were intended for jelly or ice; see W. & I. Baer, op. cit., ill. 46 for other examples.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Johann Heinrich von Hurter (Swiss, 1734-1799)A Gentleman, head and shoulders facing right, wearing black doublet, white ruff, brown hair and moustache. Enamel on copper, signed and dated on the counter-enamel, JHHurter pinxit./ 1777., gilt-metal mount. Circular, 68mm (2 11/16in) highProvenance: Christie's London, 7 December 2004, lot 119;The Twinight CollectionFootnotes:Johann Heinrich Hurter, born in Schaffhausen, first pursued a career as a pastellist, enamel painter and miniaturist in Berne and Geneva. He moved to London circa 1777, subsequently exhibiting at the Royal Academy in the years 1779–1781. He received patronage from the royal family, as is revealed by enamel portraits by him of King George III, Queen Charlotte and some of their children in the Royal Collection (RCIN 421869, 421943, 421945, 421970 and 421972). From the mid 1780s he divided his time between England and the Continent. In 1789 he was ennobled by Karl Theodor, Prince-Elector of Bavaria, becoming a Reichsfreiherr.This enamel is based upon an oil painting by Sir Anthony van Dyck.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Sèvres ornithological plate, circa 1794-95Decorated with a fond jonquille oiseaux, white fond with polychrome bird in landscape after Buffon, titled on the reverse in blue script 'Manakin, orangé de C.', the rim in yellow with maroon frieze, 24.3cm diam., Sèvres.R.F. in blue over vv and painters mark ... for J.B. Tandard,Footnotes:The birds on this service were copied directly from François-Nicolas Martinet's illustrations for Georges Louis Leclerc, comte de Buffon's ornithological publication, Histoire Naturelle des Oiseaux, published in ten volumes between 1770-1786. These illustrations were frequently used at Sèvres as sources for decoration.This plate and the subsequent lot in this sale are related to three amalgamated services produced first in 1791 (see: D.Peters (2015), 92-2,) The maroon frieze was generally described at the factory as 'Etruscan' and the pattern appeared in production several times, two additional times as services, and several times as loose service wares. The last addition appears to have been a large service purchased by François Speelman (likely Franciscus Norbertus Speelman (1748-1817), a cotton merchant) in 1795.For further information on this lot please visit Bonhams.com
Follower of Noah Seaman (British, active 1721-1731)William Dolliffe, wearing lilac-coloured coat with white braiding over lace chemise and tied stock, powdered bag wig. Enamel on copper, turned wood frame, the reverse bearing paper label inscribed, Wm Dolliffe's/ Picture, for/ Wm Hanbury from/ the Honb Mrs Bateman. Oval, 42mm (1 5/8in) highProvenance:Bonhams London, 19 November 2008, lot 12; The Twinight CollectionFootnotes:The backing paper is inscribed in a later hand Mr Dolliffe's /Picture, for/ Wm Hanbury from/ the Honb Mrs Bateman. The three families were related: Anne Bateman (1692–1773), daughter of Sir James Bateman, married, as her second husband James Doliffe. Her daughter Sarah, from her first marriage to William Weston, married William Hanbury.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Sèvres pâte-sur-pâte vase and cover (vase Boizot), circa 1897Of flared form applied with gilt-edged goats head handles, on a circular foot and with a domed cover, gilt-edged rims, decorated with a winged female figure holding a bow and two birds on a base enclosed by folaite scrollwork. 37.5cm high, S.76 in an oval stencilled in green, RF monogram and 'DECORE A SEVRES 97' within concentric circles stencilled in red, A 9.76.3 in green, 3 in white enamel (cover flange restuck) (2)Footnotes:The 'pâte caméleon' or 'pâte changeante' was probably developed by Alphonse Salvétat and was first shown at the 1862 London Exhibition and reported in the Illustrated London News. This drew attention to 'chameleon ware', which changed from grey in daylight to pink in artificial light. Salvétat listed the names of Gély and Solon as the two artists responsible, while other artists mentioned were Hyacinthe Règnier, Pierre Adolphe Dammouse and Claude-Edouard Forgeot. see Bernard Bumpus, Pâte-sur-Pâte, colour plate VII.For further information on this lot please visit Bonhams.com
Christian Richter (Swedish, 1678-1732)John Lowther, 1st Viscount Lonsdale (1655–1700), head and shoulders facing right, in a blue day-gown, grey waistcoat, white chemise and cravat. Watercolour and bodycolour on vellum laid down on card, signed with cipher lower right, RC, the reverse signed, inscribed and dated, Lord Lonsdale/LCR (monogram)/ CR (cipher) 1700 (altered to 1710), later silver frame with scroll surmount. Oval, 73mm (2 7/8in) highProvenance: The Merchiston Collection of Fine Portrait Miniatures, The Property of Mrs Eleanor Hamilton, Bonhams London, lot 10;The Twinight CollectionExhibited: Portrait Miniatures from the Merchiston Collection, Scottish National Portrait Gallery, 23 September – 11 December 2005, no.10Literature: Stephen Lloyd, Exhibition Catalogue, 2005, p.58Footnotes:John Lowther, son of Col. John Lowther of Hackthorpe Hall, Lowther, was an English politician who at the time of the Glorious Revolution of 1688 assisted King William III in securing Cumberland and Westmorland. The following year he was appointed to the Privy Council and in 1690 First Lord of the Treasury. He was Lord Privy Seal from 1699 until his death the year after. In 1675 he inherited the baronetcy of his grandfather, Sir John Lowther, 1st Baronet (1605–1675), and in 1696 he was created viscount.This is a posthumous portrait. For the basic image Richter almost certainly referenced a portrait of the sitter by Hyacinthe Rigaud. formerly in the Lowther collection and now in the Government Art Collection (inv. no. 0/27). The painting technique employed, however, suggests he sought to emulate the work of Peter Cross - the soft sfumato closer to that used by Cross in his portrait of Lord Winchilsea (see example in this sale) than Richter's own more solid style seen in his portrait of Edward Bayly (see example in this sale).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A pair of framed miniatures by Josef Zächenberger, circa 1760Vellum laid on wood panel, the first depicting a lady playing at a keyboard attended by a gentleman, signed on the edge of the spinet 'Zæchenberger. Pinx', the second with a dancing couple and musicians in a garden setting, signed along the left edge 'I. Zæchenberger. Pinxit.', later gilt-metal frames, 7.4cm by 8.7cm (2)Footnotes:Provenance:Private collection, LondonJosef Zächenberger, who trained as a painter with his father and A. Ruffini, worked as a painter at the Nymphenburg porcelain manufactory between 1760 and 1770, where he is thought to have been responsible for the finest flower painting of the Hofservice. A Nymphenburg porcelain snuff box very finely painted with flowers by Josef Zächenberger, signed 'J. Zæchenberger Pictor', is published by A. Ziffer, Nymphenburger Porzellan Sammlung Bäuml (1997), no. 721. Between 1772 and 1779, he painted wall and ceiling panels for the Tattenbach Palais in Munich (now in the Bavarian National Museum, inv. no. 51/103.1-147. A painting by Zächenberger of a country fair of around 1780 is in the Munich Stadtmuseum, inv. no. GM-IIb/9.For further information on this lot please visit Bonhams.com
FOUR PORTRAIT MINIATURES, GEORGIAN AND LATER the earliest depicting a young lady with raised hairstyle, the remaining three likely Edwardian depicting a single girl, two girls and a gentleman respectively, all watercolour on ivory, along with an embellished photographic miniature, all in gilt metal framesThis lot contains elephant ivory material. Several countries, including in the EU and USA, prohibit the importation of ivory items unless under specific conditions. Prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.Ivory Act 2018 (2022) compliant with APHA group registration reference K9UB5HLZ. the first 6cm x 5cm
PAIR OF MILES MASON'S CHINOISERIE VASES, 19TH CENTURY each of baluster form with elongated trumpet neck and twin handles, decorated with dragons among foliage against gilt ground, psuedo-Chinese character marks to base29cm high Condition good to fair. The first has restoration to rim., ring handles, hairline to base. The second with restoration to rim, chips to glaze. Both with areas of glaze crazing.
FIRST PERIOD WORCESTER PORCELAIN CIRCULAR BOWL, LATE 18TH CENTURY with pierced lattice border and painted with floral reserves28cm wideCondition overall is good, there are some cracks present around some of the flowers, detailed in additional images now available, also some light surface wear present.
THREE PORTRAIT MINIATURES, LATE 19TH CENTURY comprising The Blue Boy after Thomas Gainsborough RA (British, 1727-1788), a portrait of a lady signed Fuger, and another portrait of a lady signed indistinctly, all watercolour on ivory, framed and under glass.This lot contains elephant ivory material. Several countries, including in the EU and USA, prohibit the importation of ivory items unless under specific conditions. Prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.Ivory Act 2018 (2022) compliant with APHA registration reference VBVMGGB3. the first 11cm x 10cm overall
An Egyptian carnelian gradiated spherical bead necklace New Kingdom, circa 1550-1069 B.C. and laterapprox 50cm longFootnotes:Provenance:Lord Grenfell collection (as stated on a paper label affixed to the piece).Walter Thomas Gaze Cooper (1895-1981) collection; and thence by descent to the present owner.Walter Gaze Cooper was a prolific composer and musician, writing his first serious piece, a piano concerto, in 1923. He studied at the Royal College of Music and his many compositions included piano concertos, eight symphonies and an opera. He was a piano and theory teacher throughout his life, teaching at the Midland Conservatoire of Music.His other great passion in life was collecting Egyptian, Chinese and Greek art and antiquities. His collection was impressive, indeed, the archaeologist, Sir Mortimer Wheeler often spoke of a rare artefact saying that 'there are only two of its kind, one in the British Museum and the other in the Gaze Cooper collection.'For further information on this lot please visit Bonhams.com
A group of Roman and later glass beads Roman-Islamic Periods, circa 1st Century B.C.-9th Century A.D.Including four Roman glass face beads, circa 1st Century B.C.-1st Century A.D.; ten geometric pattern Roman mosaic glass beads; an eye bead; six Islamic beads, twenty-two Roman-Islamic Egyptian glass beads, 8mm-3cm diam (43)Footnotes:Provenance:Walter Thomas Gaze Cooper (1895-1981) collection; and thence by descent to the present owner.Walter Gaze Cooper was a prolific composer and musician, writing his first serious piece, a piano concerto, in 1923. He studied at the Royal College of Music and his many compositions included piano concertos, eight symphonies and an opera. He was a piano and theory teacher throughout his life, teaching at the Midland Conservatoire of Music.His other great passion in life was collecting Egyptian, Chinese and Greek art and antiquities. His collection was impressive, indeed, the archaeologist, Sir Mortimer Wheeler often spoke of a rare artefact saying that 'there are only two of its kind, one in the British Museum and the other in the Gaze Cooper collection.'There is an example of a Roman glass bead of flattened doughnut form in the Metropolitan Museum of Art, New York, dated to 3rd-5th Century A.D. (acc. no. 17.194.405).For further information on this lot please visit Bonhams.com
A group of 48 Egyptian tubular gold alloy beads New Kingdom, circa 1550-1069 B.C.1.2-2.4cm long (48)Footnotes:Provenance:Dr. Jacques Schotte (1928-2007) collection, Leuven, Belgium.Dr. Jan Beekmans (1927-2008) collection, Borken, Germany.W. Arnold Meijer collection, the Netherlands, acquired from the above July 1999.Published:C.A.R. Andrews and J. van Dijk, Objects for Eternity, Egyptian Antiquities from the W. Arnold Meijer Collection, Mainz, 2006, no. 1.29, p. 47.Exhibited:Allard Pierson Museum, Archaeological Museum of the University of Amsterdam, Objecten voor de Eeuwigheid, 17 November 2006-25 March 2007.These beads were almost certainly once part of a broad decorative collar, a wesekh. The ensemble consists of 48 tubular bead elements gradually decreasing in length. In spite of the clear differences in colour it need not be assumed that different gold alloys were deliberately used. Egyptian gold is impure, containing up to 20% of silver and therefore can range in colour from deep yellow to pale yellowish white. However, the addition of up to 10% copper was employed to give the alloy a deeper yellow colour and is typical of the later New Kingdom. The 'red gold' that results from adding small quantities of iron is found first on objects belonging to Queen Tiye and no later than the earrings of Ramesses XI. Very few wesekh collars have survived which predate the Middle Kingdom, and many of the Middle Kingdom gold beads that survive are formed of gold foil over a plaster core and are shorter and thicker than the present lot (see the broad collar of Senebtisi at the Metropolitan Museum, New York, acc. no. 08.200.30). For these reasons, the ensemble is probably dated to the New Kingdom.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A group of hardstone Egyptian amulets Late Period, circa 664-332 B.C.Comprising a red stone sun-in-horizon; another of black stone; a sma, representing an animal's lungs and windpipe, the hieroglyph for 'unification'; a haematite set-square; five djed pillars; four heart amulets; a carnelian kneeling figure; a greenstone fist amulet; a double plume amulet; and a Predynastic lower half of a female peg figure, circa 3500-3100 B.C., 1.5cm-9cm (17)Footnotes:Provenance:Walter Thomas Gaze Cooper (1895-1981) collection; and thence by descent to the present owner.Walter Gaze Cooper was a prolific composer and musician, writing his first serious piece, a piano concerto, in 1923. He studied at the Royal College of Music and his many compositions included piano concertos, eight symphonies and an opera. He was a piano and theory teacher throughout his life, teaching at the Midland Conservatoire of Music.His other great passion in life was collecting Egyptian, Chinese and Greek art and antiquities. His collection was impressive, indeed, the archaeologist, Sir Mortimer Wheeler often spoke of a rare artefact saying that 'there are only two of its kind, one in the British Museum and the other in the Gaze Cooper collection.'For further information on this lot please visit Bonhams.com
An Egyptian flint and gold fishtail knife Predynastic Period, circa 3500-3100 B.C.8.4cm highFootnotes:Provenance:Frank Kovacs collection, San Francisco, 1970s.with Joel L. Malter & Co., Encino, California, 2001.The Harer Family Trust Collection.Ancient Egyptian Art form the Harer Family Trust Collection, Christie's, New York, 9 December 2005, lot 4.Property from a Princely Collection, acquired at the above sale.Published:W.B. Harer, Jr., 'Peseshkef: The First Special-Purpose Surgical Instrument', in Obstetrics & Gynecology, vol. 83, no. 6, June 1994, pp. 1-3.Exhibited:San Bernardino, Robert V. Fullerton Art Museum, periodically until August 2005.Though the specific function of fishtail knives is not known, their distinctive shape may suggest that they were a predecessor to the peseh-kef implements used during the 'Opening of the Mouth' ceremony. It has also been suggested that they were used for the cutting of the umbilical cord in childbirth. See Harer, op. cit. for more; cf. another example at the Cleveland Museum of Art, acc. no. 1914.673.For further information on this lot please visit Bonhams.com
A group of Egyptian steatite scarabs, plaques and scaraboids Second Intermediate Period-Late Period, circa 1700-332 B.C.Including three scarabs for Tuthmosis III; a double-sided plaque naming Ramesses II; a steatite scarab with hieroglphs for Amun; a double-sided plaque with an udjat eye; a plaque with a hunter and two lions; a cowroid with nefer: 'good'; a scarab with the goose of Amun; scarabs with mirorred patterns including, knot, lotus and nefer motifs; a scarab with a lion and cobra; and a scarab with an antelope, 8mm-18mm (23)Footnotes:Provenance:Walter Thomas Gaze Cooper (1895-1981) collection; and thence by descent to the present owner.Walter Gaze Cooper was a prolific composer and musician, writing his first serious piece, a piano concerto, in 1923. He studied at the Royal College of Music and his many compositions included piano concertos, eight symphonies and an opera. He was a piano and theory teacher throughout his life, teaching at the Midland Conservatoire of Music.His other great passion in life was collecting Egyptian, Chinese and Greek art and antiquities. His collection was impressive, indeed, the archaeologist, Sir Mortimer Wheeler often spoke of a rare artefact saying that 'there are only two of its kind, one in the British Museum and the other in the Gaze Cooper collection.'For further information on this lot please visit Bonhams.com
A group of Egyptian scarabs, cowroids and beads Middle Kingdom-Late Period, circa 2046-525 B.C.Comprising a glazed steatite scarab with Tuthmosis III cartouche, Menkheper[re]; a scarab reading: 'Khonsu is protection'; another with hieroglyphs for 'Hello'; two funerary button scarabs; a blue glazed scarab with Taweret holding an ankh; another reading Amun-Ra; another reading 'Thoth is possessor of goodness'; various scarabs with decorative patterns and hieroglyphs; a steatite scarab with a sphinx reading: 'Lord of Upper and Lower Egypt'; a damaged frog scaraboid; three cowroids with crocodile and hornet; another with an ankh; another with lotus flowers and vase; three plaques: reading 'Son of Ra is good'; another with an udjat eye; and two serrated beads, 8mm-16mm (26)Footnotes:Provenance:Walter Thomas Gaze Cooper (1895-1981) collection; and thence by descent to the present owner.Walter Gaze Cooper was a prolific composer and musician, writing his first serious piece, a piano concerto, in 1923. He studied at the Royal College of Music and his many compositions included piano concertos, eight symphonies and an opera. He was a piano and theory teacher throughout his life, teaching at the Midland Conservatoire of Music.His other great passion in life was collecting Egyptian, Chinese and Greek art and antiquities. His collection was impressive, indeed, the archaeologist, Sir Mortimer Wheeler often spoke of a rare artefact saying that 'there are only two of its kind, one in the British Museum and the other in the Gaze Cooper collection.'For further information on this lot please visit Bonhams.com
A fragmentary Urartian bronze helmet Circa 9th-8th Century B.C.The moulded raised lions head arches flanked by partially preserved incised friezes of offering bearers processing towards figures standing in front of a gated city, 13.5cm highFootnotes:Provenance:Kuizenga collection, the Netherlands, acquired in Cologne 10th September 1979.For an Urartian helmet with similar raised arches or crooks over the forehead with lion head terminals cf. R. Merhav (ed.), Urartu, A Metalworking Centre in the First Millennium B.C.E., The Israel Museum, Jerusalem, 1991, p.127, fig. 9. Soldiers wearing pointed helmets decorated with horizontal lines and raised arches such as the above lot are found on Assyrian palace reliefs at Nineveh (see for example nos. 16 and 20-22 in J.E. Curtis and J.E. Reade (eds.), Art and Empire, Treasures from Assyria in the British Museum). See also a warrior depicted wearing a decorated conical helmet such as the above, from a rock relief on a tomb facade at Eski Dogubayazit in eastern Turkey (ibid., fig. 6).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Byzantine green glass mould-blown jug for St Sabas Circa 5th-7th Century A.D.19.1cm high Footnotes:Provenance:Stephen Shalom collection, New York, 1977.Anonymous sale; Gorny & Mosch, Munich, 23 June 2010, lot 60.with Fortuna Fine Arts, New York 2010 (Timeless Treasures).The David G. Giles (1940-2022) collection, London, 2014.The Nico F. Bijnsdorp Collection (NFB 325), acquired from the above on the 10 November 2015.Exhibited:The National Museum of Antiquities, Leiden (NL), 'GLASS', 1 June 2020 – 28 February 2021.The body is decorated with four mould-blown panels: 1) first part of the Greek inscription in two registers; 2) second part of the Greek inscription in two registers; 3) lattice; 4) two confronting birds with a conical object inbetween. The dated inscription reads: 'Father St Sabas, be favourable'. St Sabas was one of the founders of Eastern monasticism. To date this is the only known example from this mould, which has led to the suggestion that this group of hexagonal and now square vessels with Christian symbols were blown into moulds made of fragile plaster rather than ceramic, so that only a few vessels could be created. The panels with a diagonal lattice design and the pair of confronting birds also occur on a hexagonal jug in the Shlomo Moussaieff collection (see M. Newby, Byzantine Mould-Blown Glass from the Holy Land with Jewish and Christian Symbols, London, 2008, pp. 226-7, no. 75). For a mould-blown trefoil-lipped jug for St Sabas with the same panels of decoration see E.M. Stern, The Toledo Museum of Art, Roman Mold-Blown Glass, Toledo, 1995, p.267, fig. 191.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Two Egyptian faience bead necklaces and a necklace of Egyptian faience amulets, glass and carnelian beads New Kingdom-Roman Period, circa 1550 B.C.-1st Century A.D.34cm-56cm long (3)Footnotes:Provenance:Walter Thomas Gaze Cooper (1895-1981) collection; and thence by descent to the present owner.Walter Gaze Cooper was a prolific composer and musician, writing his first serious piece, a piano concerto, in 1923. He studied at the Royal College of Music and his many compositions included piano concertos, eight symphonies and an opera. He was a piano and theory teacher throughout his life, teaching at the Midland Conservatoire of Music.His other great passion in life was collecting Egyptian, Chinese and Greek art and antiquities. His collection was impressive, indeed, the archaeologist, Sir Mortimer Wheeler often spoke of a rare artefact saying that 'there are only two of its kind, one in the British Museum and the other in the Gaze Cooper collection.'For further information on this lot please visit Bonhams.com
An Egyptian pink limestone jar inscribed for the Pharaoh Hor-Aha Early Dynastic, 1st Dynasty, circa 3050 B.C.with his Horus name, Hor-Aha, inscribed on the body, 21cm diam., 15cm highFootnotes:Provenance:with N. Tano, Cairo, 1963.Burchard (1892-1965) collection.Anonymous sale; Binoche et Giquello, Paris, 30 May 2012, lot 6.Property from a Princely Collection, acquired at the above sale.Published:P. Kaplony, Steingefässe mit Inschriften der Frühzeit und des Alten Reichs, dans Monumenta Aegyptiaca 1, Brussels, 1968, p. 19, no. 6, pl. 2 and 16.Hor-Aha is understood to have been the first king of the 1st Dynasty, and the name he took means 'Fighting Hawk', indicating his Upper Egyptian origin and rule. Hor-Aha's greatest acheivement was the founding of the capital city at Memphis, south of the apex of the Delta; Herodotus records that he dammed the Nile just south of the future site of the city, in order to divert it so he could build on the reclaimed land (Book 2, 99). For more on Hor-Aha, see P. Clayton, Chronicles of the Pharaohs, London, 1994, p. 19-22; see a jar sherd with the serekh of Aha in the British Museum, London, museum no. EA38010.For further information on this lot please visit Bonhams.com
A Sidonian opaque pale blue hexagonal glass bottle Eastern Mediterranean, circa mid-late 1st Century A.D.7.4cm highFootnotes:Provenance:Swiss art market.Anonymous sale; Bonhams, London, 7 November 2002, lot 145. Property from a Princely Collection, acquired at the above sale.E.M. Stern places this flask in the grouping known as the Fruit Type due to its decoration of pairs of pomegranates, grapes and cedar pinecones. For further discussion on these flasks and how they could be influenced by both the Jewish and polytheistic religions of the time see pp. 129-133, nos. 36-39 in Stern's book Roman Mold-Blown Glass. The First Through Sixth Centuries, Toledo, 1995.For further information on this lot please visit Bonhams.com
A group of Egyptian udjat eye amulets Late Period, circa 664-332 B.C.Including five plaques; six hard stone amulets; a dark blue and white faience eye and ten turquoise faience eye amulets, 8mm-4.7cm (23)Footnotes:Provenance:Walter Thomas Gaze Cooper (1895-1981) collection; and thence by descent to the present owner.Walter Gaze Cooper was a prolific composer and musician, writing his first serious piece, a piano concerto, in 1923. He studied at the Royal College of Music and his many compositions included piano concertos, eight symphonies and an opera. He was a piano and theory teacher throughout his life, teaching at the Midland Conservatoire of Music.His other great passion in life was collecting Egyptian, Chinese and Greek art and antiquities. His collection was impressive, indeed, the archaeologist, Sir Mortimer Wheeler often spoke of a rare artefact saying that 'there are only two of its kind, one in the British Museum and the other in the Gaze Cooper collection.'For further information on this lot please visit Bonhams.com
An Egyptian bright blue glazed faience shabti for Nes-ta-nebt-Isheru Third Intermediate Period, 21st Dynasty, circa 980-935 B.C.15cm highFootnotes:Provenance:Bodo Bleß (1940-2022) collection, Berlin, formed from ca. 1960 onwards.Nes-ta-nebt Isheru, the daughter of Pinudjem II and his first wife, Nesy-Khonsu, was named on her mother's decree text. Her mummy, coffins and shabtis were buried in tomb TT320, at Thebes, Deir el-Bahari, the Royal Cache, I. See A. Dodson, The Complete Royal Families of Ancient Egypt, London, 2004, p.208. For another worker shabti for Nes-ta-nebt-Isheru, cf. G. Janes, Shabtis, a Private View, Paris, 2002, p.107, no. 54.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Egyptian gold and lapis swivel ring, four hardstone scarabs and a serpentine scaraboid Middle Kingdom - early New Kingdom, circa 1900-1300 B.C.Including a haemetite funerary button scarab, two carnelian scarabs and a lapis scarab, 8mm-20mm and the ring: 22mm x 19mm; and two glass beads (8)Footnotes:Provenance:Walter Thomas Gaze Cooper (1895-1981) collection; and thence by descent to the present owner.Walter Gaze Cooper was a prolific composer and musician, writing his first serious piece, a piano concerto, in 1923. He studied at the Royal College of Music and his many compositions included piano concertos, eight symphonies and an opera. He was a piano and theory teacher throughout his life, teaching at the Midland Conservatoire of Music.His other great passion in life was collecting Egyptian, Chinese and Greek art and antiquities. His collection was impressive, indeed, the archaeologist, Sir Mortimer Wheeler often spoke of a rare artefact saying that 'there are only two of its kind, one in the British Museum and the other in the Gaze Cooper collection.'For further information on this lot please visit Bonhams.com
An Egyptian diorite cylindrical vase inscribed for the Pharaoh Narmer Early Dynastic, 1st Dynasty, circa 3150 B.C.one side with the Horus name of Narmer, 20.5cm highFootnotes:Provenance:Possibly Burchard (1892-1965) collection.Anonymous sale; Binoche et Giquello, Paris, 30 May 2012, lot 5.Property from a Princely Collection, acquired at the above sale.Narmer has been deemed to have belonged to 'Dynasty 0', i.e. kings thought to be earlier than the 1st Dynasty, though most modern scholars now consider him to be the first ruler of the 1st Dynasty. The 'Narmer Palette', discovered at Hierakonpolis and now in the Cairo Museum, is the earliest historical record from Egypt and shows the victorious king wearing the White Crown on one side, and the Red Crown on the other, indicating his lordship over both lands.For further information on this lot please visit Bonhams.com
Seven Egyptian hair rings New Kingdom, circa 1550-1069 B.C.Including jasper, alabaster, shell or bone and mid-blue glazed examples of penannular form, 1.2cm-3cm wide (7)Footnotes:Provenance:Walter Thomas Gaze Cooper (1895-1981) collection; and thence by descent to the present owner.Walter Gaze Cooper was a prolific composer and musician, writing his first serious piece, a piano concerto, in 1923. He studied at the Royal College of Music and his many compositions included piano concertos, eight symphonies and an opera. He was a piano and theory teacher throughout his life, teaching at the Midland Conservatoire of Music.His other great passion in life was collecting Egyptian, Chinese and Greek art and antiquities. His collection was impressive, indeed, the archaeologist, Sir Mortimer Wheeler often spoke of a rare artefact saying that 'there are only two of its kind, one in the British Museum and the other in the Gaze Cooper collection.'For examples in alabaster and jasper cf. Egypt's Golden Age. The Art of Living in the New Kingdom. 1558-1085 BC., Museum of Fine Arts Boston, 1982, p. 228, nos 290 and 291. There is a similar hair ring in the British Museum, described as being shell or bone, acc. no. EA87318, reg. no. 2016,1001.1234.For further information on this lot please visit Bonhams.com
Eight Egyptian faience rosette inlays New Kingdom, 19th-20th Dynasty, circa 1279-1152 B.C.6.8cm - 2.5cm diam. (8)Footnotes:Provenance:Walter Thomas Gaze Cooper (1895-1981) collection; and thence by descent to the present owner.Walter Gaze Cooper was a prolific composer and musician, writing his first serious piece, a piano concerto, in 1923. He studied at the Royal College of Music and his many compositions included piano concertos, eight symphonies and an opera. He was a piano and theory teacher throughout his life, teaching at the Midland Conservatoire of Music.His other great passion in life was collecting Egyptian, Chinese and Greek art and antiquities. His collection was impressive, indeed, the archaeologist, Sir Mortimer Wheeler often spoke of a rare artefact saying that 'there are only two of its kind, one in the British Museum and the other in the Gaze Cooper collection'.Such rosette tiles and ornaments as the present lot were used to decorate Ramesside palaces. Rosettes were found at the Delta site of Tell el-Yahudiya, where a small palace of Ramesses III was discovered: cf. F. Dunn Friedman (ed.), Gifts of the Nile. Ancient Egyptian Faience, Providence, 1998, pp. 87 and 197, nos 55-56. There are similar examples in the Metropolitan Museum of Art, New York, from the private apartments of the palace of Ramesses II, Qantir (Piramesse), Eastern Delta, acc. nos. 35.1.133 and 35.1.127.For further information on this lot please visit Bonhams.com
An Egyptian alabaster vase for Rekhit Early Dynastic, 1st Dynasty, probably reign of Hor-Aha, circa 3100 B.C.12.5cm highFootnotes:Provenance:Burchard (1892-1965) collection.Anonymous sale; Binoche et Giquello, Paris, 30 May 2012, lot 10.Property from a Princely Collection, acquired at the above sale.Published:P. Kaplony, Steingefässe mit Inschriften der Frühzeit und des Alten Reichs, dans Monumenta Aegyptiaca 1, Brussels, 1968, p. 54, no. 25, pl. 7 and 26.Das Tier in der Antike. 400 Werke ägyptischer, griechischer, etruskischer und rômischer Kunst aus privatem end öffentlichem Besitz, Zurich, 1974, pp. 8-9, no. 15, pl. 4, fig. 15 (catalogued as being part of a private Zurich collection).The three ducks engraved onto this vase represent the name of Rekhit; according to Kaplony, Rekhit was most likely a prince, and perhaps son of King Hor-Aha, the first ruler of the 1st Dynasty.For further information on this lot please visit Bonhams.com
An Egyptian limestone snake Late First Intermediate Period - early Middle Kingdom, circa 2134-1640 B.C.The oval base with text reading: 'A royal offering formula (to) [Os]iris, Lord of Busiris, Great [God], Lord of Abydos: Invocation-offerings of bread and beer, oxen and fowl', 10cm high, 19cm wideFootnotes:Provenance:Gustave Jéquier (1868-1946) collection, Switzerland; and thence by descent.The Collection of Gustave Jéquier; Christie's, New York, 4 June 2008, lot 2.Property from a Princely Collection, acquired at the above sale.There are over 30 known snake deities in the ancient Egyptian religion, attesting to the fascination, fear and reverence they inspired. Though snakes posed a potentially lethal threat, both to man and livestock, they could also be considered protective and, ultimately, powerful. The snake contained dualities in the Egyptian imagination; the cobra was revered as the sacred uraeus, divine protector of the pharaoh, while Apep was a monstrous serpent, or golden snake, who was the foe of the sun god, Ra. Nehebkau, the snake god who first appears in the Pyramid Texts, epitomises this contrast with his development from an evil spirit to a formidable protective deity. For more on snakes in Egyptian mythology, see P. Germond, An Egyptian Bestiary, London, 2001, p. 177-178.Gustave Jéquier, the renowned Swiss Egyptologist, studied under Gaston Maspero in Paris. Amongst his many achievements he discovered the 13th Dynasty pyramid of Khendjer and was the author of many Egyptian architecture reference books.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Egyptian wall painting fragment with a donkey and foal First Intermediate Period, circa 2123-2040 B.C.31cm x 36.5cmFootnotes:Provenance:Possibly from Schiaparelli's or Farina's excavations at El.Mo'alla or Gebelein.Private collection, Torino, Italy.Private collection, France, acquired ca. 1972.with Rupert Wace Ancient art Ltd., London, 2009. Property from a Princely Collection, acquired from the above on 24 June 2009. Scenes of donkeys walking the threshing floor are know from 5th Dynasty Old Kingdom tomb reliefs - see Egyptian Art in the Age of the Pyramids, Metropolitan Museum of Art, 1999, p. 402-3, no. 149 for an example. See also J. Baines, Atlas of Ancient Egypt, Oxford, 1980, p.82-83 for a donkey transporting grain within a granary scene in the Tomb of Iti at Gebelein, dating to the First Intermediate Period.For further information on this lot please visit Bonhams.com
A group of Egyptian steatite and faience scarabs and scaraboids Second Intermediate Period-Late Period, circa 1700-525 B.C.Including a green glazed scarab with Tuthmosis III cartouche and a goose; a steatite scarab with a Ramesside Pharaoh in front of a deity; a scarab inscribed 'Khonsu the favourite'; a scarab with good wishes; five cowroids including one with a lion; a funerary button scarab; a trussed goose scaraboid; an udjat eye scaraboid; and sixteen other scarabs and plaques, 7mm-18mm (28)Footnotes:Provenance:Walter Thomas Gaze Cooper (1895-1981) collection; and thence by descent to the present owner.Walter Gaze Cooper was a prolific composer and musician, writing his first serious piece, a piano concerto, in 1923. He studied at the Royal College of Music and his many compositions included piano concertos, eight symphonies and an opera. He was a piano and theory teacher throughout his life, teaching at the Midland Conservatoire of Music.His other great passion in life was collecting Egyptian, Chinese and Greek art and antiquities. His collection was impressive, indeed, the archaeologist, Sir Mortimer Wheeler often spoke of a rare artefact saying that 'there are only two of its kind, one in the British Museum and the other in the Gaze Cooper collection.'For further information on this lot please visit Bonhams.com
A group of twenty-four Egyptian steatite and faience scarabs, cowroids, plaques and beads Middle Kingdom-New Kingdom, circa 2046-1069 B.C.Including two scarabs with Tuthmosis III cartouches; a double-sided plaque with names of Ramesses II, the reverse with a king flanked by two gods; five cowroids; four double-sided plaques, two of them decorated with udjat eyes; ten other scarabs and two beads, 1.1cm-1.9cm (24)Footnotes:Provenance:Walter Thomas Gaze Cooper (1895-1981) collection; and thence by descent to the present owner.Walter Gaze Cooper was a prolific composer and musician, writing his first serious piece, a piano concerto, in 1923. He studied at the Royal College of Music and his many compositions included piano concertos, eight symphonies and an opera. He was a piano and theory teacher throughout his life, teaching at the Midland Conservatoire of Music.His other great passion in life was collecting Egyptian, Chinese and Greek art and antiquities. His collection was impressive, indeed, the archaeologist, Sir Mortimer Wheeler often spoke of a rare artefact saying that 'there are only two of its kind, one in the British Museum and the other in the Gaze Cooper collection.'For further information on this lot please visit Bonhams.com
An Egyptian alabaster two-part earplug and another Egyptian alabaster earplug New Kingdom, 18th Dynasty, circa 1478-1425 B.C.Both 2.3cm high, 2.1cm diam. max. (2)Footnotes:Provenance:Walter Thomas Gaze Cooper (1895-1981) collection; and thence by descent to the present owner.Walter Gaze Cooper was a prolific composer and musician, writing his first serious piece, a piano concerto, in 1923. He studied at the Royal College of Music and his many compositions included piano concertos, eight symphonies and an opera. He was a piano and theory teacher throughout his life, teaching at the Midland Conservatoire of Music.His other great passion in life was collecting Egyptian, Chinese and Greek art and antiquities. His collection was impressive, indeed, the archaeologist, Sir Mortimer Wheeler often spoke of a rare artefact saying that 'there are only two of its kind, one in the British Museum and the other in the Gaze Cooper collection.'There is a similar alabaster two-part earplug in the Brooklyn Museum, acc. no. 15.500a-b. Earrings became popular in the New Kingdom and were worn by high ranking men, women and children.For further information on this lot please visit Bonhams.com
A Roman marble bust of a patrician woman Julio-Claudian, circa mid 1st Century A.D.38.7cm high Footnotes:Provenance:Professor Elia Volpi (1858-1938) collection, Florence, prior to 1910.Vente de la Collection Elie Volpi; Hotel de Ventes Jandolo & Tavazzi, Florence, 25 April-3 May 1910, lot 53, pl. XCII (illustrated).Private collection, France, likely Château de Beaumesnil, near Rouen.Provenant du Château de Beaumesnil et du Château de T...Objets d'Art et de Bel Ameublement Principalement du XVIIIe, Palais des Congres, Rouen, 20 February 1983.Anonymous sale; Hindman, Chicago, 25 May 2023, lot 194.Acquired by the present owner at the above sale.Published:Illustrations du Catalogue des Précieuses Collections d'Objets d'Art Appartenant au Prof. Elie Volpi, exhibition catalogue, Florence, 1910, no. 53.La Gazette de L'Hôtel Drouot, edition 5 (Gazette), Paris, 4 February 1983, p. 36 (auction advertisement).B. Varkıvanç, Baki Öğün'e Armağan - Melanges offerts a Baki Öğün - CALBIS, Ankara, 2007, p. 97-108.This portrait of a patrican woman calls to mind portraits of Agrippina Minor, specifically the example in the NY Carlsberg Glyptotek, Copenhagen, acc. no. 755, placing this otherwise unknown sitter in the first half of the 1st Century A.D..Elia Volpi (1858-1938) is acknowledged as one of the greatest Italian antiquarians of the early 20th Century. Beginning his career as a restorer and assistant to fellow Florentine Stefano Bardini, he began selling antiques in the mid-1890s. Initiating such a business in Florence at this time was highly auspicious and lucrative, as the market for antiques was flourishing with new material after the renovation of the historic centre of the city, beginnning in 1866. Innumerable notable works passed through Volpi's ownership, including the Annunciation by Botticelli currently in the Metropolitan Museum in New York, acc. no. 1975.1.74, and the Portrait of Cardinal Pietro Bembo by Titian, in the National Gallery in Washington, acc. no. 1952.5.28 (both originally in the Barberini collection in Rome).For further information on this lot please visit Bonhams.com
British medal group awarded to Private Frederick Roberts, Dorset Regiment comprising; Queen's South Africa Medal, three clasps, Cape Colony, Orange Free State, Transvaal (5995 PTE. F. ROBERTS 2ND DORSET REGT.), King's South Africa Medal, two clasps, South Africa 1901 and 1902 (5995 CORPL. F. ROBERTS, DORSET REGT), First World War Trio, Long Service and Good Conduct Medal, Police Faithful Service Medal and Belgium Military DecorationLondon Gazette, eighth supplement of Friday 18th March 1919, 1st April 1919 - 'Decoration Militaire, 2nd Class'
British First World War family medal group comprising; trio to Private J.T. Jones, Royal Fusiliers (SR-9603 PTE. J.T. JONES. R.FUS.) and medal pair to Private E. Jones, Royal Berkshire Regiment (37683 PTE. E. JONES. R. BERKS. R.) and George V Coronation MedalJ.T. Jones was killed aged 20 on the 6th June 1915, son of Thomas Jones of 8 Sanders Square, Maidenhead
Six albums of GB postage stamps maids, Royal Mail presentation packs and Presentation Philatelic Services Sothebys Collection first day covers to include; ''Penny Black Anniversary', 'Europa 1990', 'Kew Gardens', 'The Queen's Awards', 'Thomas Hardy', 'Christmas', 'Dogs', 'Sport', 'Maps', 'Europe in Space', etc
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