There are 596780 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeTwo matching Royal Crown Derby "Old Imari " pattern (1128) two-handed urns and covers, one is marked as , a second and one is first quality 11 cm wide x 31 cm overall heightSmall chip to the interior rim of the underside of one vase (see image), and a strike-through mark on that vase to indicate 2nd quality. The other vase appears in good order, with no damage or repair. Decoration on both is good and clean.
Paar Régence-FauteuilsSitzhöhe: 48 cm.Lehnhöhe: 115 cm.Frankreich, um erstes Viertel 18. Jahrhundert.In Weißholz geschnitzt und vergoldet mit rotem Granatapfelbezug. Die Front mit geschnitzter Muschelung, die Armlehnen mit Régencereliefs. Obere Abschlüsse mit Tapeziernägeln. Fassung etwas berieben. (1371411) (13)A pair of Régence fauteuilsSeat height: 48 cm. Backrest height: 115 cm.France, ca. first quarter of the 18th century.
Pieter Coecke van Aelst d. Ä.,1502/07 – 1550, zug.DIE ANBETUNG DER HEILIGEN DREI KÖNIGEÖl auf Holz. Parkettiert.150 x 148 cm.Unterhalb einer Architektur mit breiter verzierter Mittelsäule die sitzende Maria in blau-braunem Gewand, auf ihrem rechten Oberschenkel den schlanken, blond gelockten, nackten Jesusknaben haltend, der seinen rechten Arm zum Segensgestus erhoben hat, und den ältesten der drei Heiligen Könige anblickt. Der kniende ältere König mit langem grau-weißen Bart trägt ein edles goldbesticktes Gewand und einen kurzen Hermelinumhang. Hinter ihm ein weiterer farbiger König mit Gaben sowie rechtsseitig der dritte halbkniende König. Im Hintergrund werden unterhalb eines Rundtempels zwei weitere Szenen aus dem Leben Jesu dargestellt: Linksseitig die Darbringung im Tempel und rechtsseitig Christus predigt den Schriftgelehrten. Feine qualitätvolle Malerei in der typischen Manier des Künstlers.Anmerkung:Eine vergleichbare Darstellung ist auf der Mitteltafel eines Triptychons des Künstlers zu finden, das am 29. Januar 2021 bei Sotheby‘s, New York, Lot 103 versteigert wurde. Vergleichbare Motive lassen sich auch im Werk des Joos van Cleeve (um 1485- um 1540) und bei Antwerpener Meistern der ersten Hälfte des 16. Jahrhunderts finden. (13713335) (18)Pieter Coecke van Aelst the Elder,1502/07 – 1550, attributedTHE ADORATION OF THE MAGI Oil on panel. Parquetted.150 x 148 cm.Notes:A similar depiction by the artist is shown on the central panel of a triptych, sold at auction at Sotheby’s, New York, lot 103 on 29 January 2021. Comparable motifs can also be found in the oeuvre of Joos van Cleeve and the Antwerp masters in the first half of the 16th century.
Flämischer Meister des 16. JahrhundertsANBETUNG DER HEILIGEN DREI KÖNIGEÖl auf Eichenholz.68,5 x 90 cm.Verso Festigungsklötzchen, kleiner roter Klebezettel, französisch beschriftet „flamand Adoration“.Im Renaissance-Rahmen.Die Darstellung der Bildtafel führt alle im Bild versammelten Figuren sehr nahe an den Betrachter heran. Dies ist als stilistisches Merkmal zu sehen, dass das Gemälde wohl erst etwas nach den Beispielen etwa des „Meisters der Antwerpener Anbetung“ (Museum der Schönen Künste Antwerpen) geschaffen wurde, der um 1520 tätig war. Auch die symmetrisch entwickelte Ruhe, die im Werk des „Meisters von 1518“ zu bemerken ist, steht im Gegensatz zu vorliegender Tafel. Dazu kommt, dass es sich hier wohl nicht um eine Altartafel handelt, die mehrere Szenen und Szenendetails etwa mit seitlichen Flügeln illustriert, wie die genannten Beispiele, sondern als Einzeldarstellung geschaffen wurde. Die Benennung von Meistern für die „Antwerpener Manieristen“ und deren Biografie hat sich als äußerst schwierig erwiesen. Erstmals 1915 hat der bedeutende Kunstwissenschaftler Max J. Friedländer sich der Aufgabe der Künstlerzuweisungen gewidmet (s. Lit.). Dabei wurden „Notnamen“ gebildet für Werke, deren Stil auf einen bestimmten Maler weist. In vorliegendem Fall kann gesagt werden, dass bereits italienische Einflüsse mitgeprägt haben. Man denke nur an Bilder desselben Themas von Bellini oder Mantegna. Es bestand gerade in diesem Zeitraum auch ein enger Gedanken- und Begegnungsaustausch, nach dem dennoch die Eigenart der flämischen Malerei erhalten blieb.Gezeigt ist die Bethlehem-Szene mit den Heiligen Drei Königen, die das Jesuskind mit Geschenken ehren. Die Komposition teilt den Bildraum: rechts die Gruppe mit Maria, dem Kind und Josef. Links, dicht gedrängt, die Halbfiguren der drei Könige und deren Gefolge, traditionsgemäß der Älteste mit langem Bart, dunkelhäutig Balthasar und Kaspar hier mit Kopfbedeckung. Links oben die Begleiter der Könige, wobei daran zu denken ist, dass die Physiognomie des aus der linken oberen Ecke möglicherweise an ein Portrait eines Auftraggebers denken ließe, was etwa auch für den bärtigen König gilt. Die Textilien, vor allem aber auch die goldenen Prunkgefäße als Gaben, verraten bereits die Kunst des reifen Renaissance-Stils. Die Malweise ist von sehr hoher Qualität. Natürlich ist auch in diesem Bild eine ikonografische, wie symbolische Besonderheit eingefügt: Das Kind blickt nicht auf die Pracht der Goldpokale, sondern auf einen Apfel, auf den auch die gefalteten Hände des Königs weisen. Wohl die bedeutendste Aussage des Bildes.Literatur: Vgl. Max J. Friedländer, Die Antwerpener Manieristen von 1520, in: Jahrbuch der königlich preußischen Kunstsammlungen 36 (1915), S. 65-91.Vgl. Max J. Friedländer Die altniederländische Malerei. Die Antwerpener Manieristen – Adriaen Ysenbrant, Bd. XI, Berlin 1933.Vgl. Peter van den Brink/ Maximiliaan P. J. Martens (Hrsg.), ExtravagAnt! A forgotten Chapter of Antwerp Painting 1500-1530, Koninklijk Museum vor Schone Kunsten Antwerpen, 15. Oktober - 31. Dezember 2005, Antwerpen 2005.Vgl. Ortrud Westheider (Hrsg.), Sturz in die Welt. Die Kunst des Manierismus in Europa, Ausstellungskat.: Hamburg Bucerius Kunstforum 2008/2009 München 2008. A.R. (1331312) (1) (11)Flemish School, 16th centuryTHE ADORATION OF THE MAGI Oil on oak panel.68.5 x 90 cm.Parquetting slats on the back, small red sticker, labeled in french "flamand Adoration".All the figures gathered in the painting are brought closely to the viewer. This can be considered as a stylistic feature and suggests that the painting was probably created somewhat after the example of the “Master of the Antwerp Adoration” (Antwerp Museum of Fine Arts), who was active around 1520. In contrast to works by the “Master of 1518”, the present symmetrical composition conveys tranquillity. Furthermore, it was probably not created as an altarpiece illustrating several scenes and details in side wings, as is the case in the mentioned examples, but was created as a standalone depiction. The identification of masters of the “Antwerp Mannerists” and their biographies has proven very difficult. The important art historian Max Jakob Friedländer first devoted himself to the task of attributing artists in 1915 (see ref.). “Notnamen” were invented names for works whose style points to a specific painter. The present painting shows that Italian influences have already had an impact if one thinks of paintings of the same subjects by Bellini or Mantegna for instance. During this period there was a close exchange of ideas and encounters, after which the uniqueness of Flemish painting was nevertheless preserved. The painting depicts the Bethlehem scene with the three Magi honouring the Christ Child with gifts. The painting style is of very high quality. Naturally the painting also includes iconographic and symbolic characteristics: the Christ Child is not looking at the splendour of the gold cups, but at an apple, to which the folded hands of one of the kings are also pointing. This is probably the painting"Ts most important message.Literature: cf. Max J. Friedländer, Die Antwerpener Manieristen von 1520, in: Jahrbuch der Königlich Preußischen Kunstsammlungen 36 (1915), pp. 65-91.cf. Max J. Friedländer, Die altniederländische Malerei, Die Antwerpener Manieristen – Adriaen Ysenbrant, vol. XI, Berlin 1933.cf. Peter van den Brink/Maximiliaan P. J. Martens (eds.), ExtravagAnt! A forgotten Chapter of Antwerp Painting 1500-1530, exhibition catalogue, Koninklijk Museum voor Schone Kunsten Antwerp, 15 October - 31 December 2005, Antwerp 2005.cf. Ortrud Westheider (ed.), Sturz in die Welt: Die Kunst des Manierismus in Europa, exhibition catalogue, Hamburg Bucerius Kunstforum 2008/2009.
Bedeutender römischer Caravaggist der ersten Hälfte des 17. JahrhundertsFRÜCHTEGIRLANDE MIT SATYRÖl auf Leinwand. Doubliert.136,5 x 107 cm.Vor dunklem Hintergrund prangen in einer Früchtegirlande zahlreiche Obst- und Gemüsestücke. Reife Pfirsiche, pralle Trauben, teils überreife Granatäpfel umringen einen spitzohrigen Satyr, der dunkle Trauben in seinen Händen hält und den Betrachter auffordernd anblickt. Caravaggios naturalistische Bildgestaltung und die kontrastreiche Malart des Chiaroscuro, die eine Tiefe und Schärfe in das Bild bringen, wie auch in unserem Gemälde deutlich zu bemerken, beeinflussten viele Künstler des 17. Jahrhunderts. (1370338) (19)Important Roman Caravaggist of the first half of the 17th centuryFRUIT GARLAND WITH SATYR Oil on canvas. Relined.136.5 x 107 cm.
Chinoise Vitrine211 x 82 x 37 cm.Venedig, erste Hälfte 18. Jahrhundert.In Holz gefertigt, gefasst, mit Pastiglia-Reliefs versehen und mit gefassten Drucken in Arte Povera-Technik gestalteten chinoisen Motiven dekoriert. Über vier elegant geschweiften Beinen der zweitürige Unterbau mit lambrequinartig bewegter Zarge und eingezogenen Seiten. Der Aufsatz eintürig und verglast mit gesprengtem Giebel und Pseudoziervase. Inneneinrichtung beige gefasst und mit gemuschelten Nischen, deren gewölbter Fond mit Ziervasen in Arte Povera-Technik dekoriert sind. Allseits in Seegrün und Türkis gefasst und mit chinoisen Szenen im Sinne der Famille Jaune dekoriert. Ein Schlüssel vorhanden. (13702313) (3) (13)Chinoiserie cabinet211 x 82 x 37 cm.Venice, first half of the 18th century.Wood structure, polychrome, with pastiglia reliefs and decorated with prints with chinoiserie motifs in arte povera technique.
Roy Lichtenstein, 1923 New York – 1997 ebendaCOW GOING ABSTRACT, 1982Serie von drei Farbserigrafien auf Papier, auf Holz.Sichtmaß: je 65 x 77 cm.Jeweils links unten Auflage 33/150. Das erste Blatt rechts unten, unterhalb der Darstellung signiert „R. Lichtenstein“.Jeweils hinter Glas gerahmt.Literatur: Vgl. Mary Lee Corlet und Roy Lichtenstein, The Prints of Roy Lichtenstein: A Catalogue Raisonne 1948-1993, New York 1994. (1371393) (18)Roy Lichtenstein, 1923 New York – 1997 ibid.COW GOING ABSTRACT, 1982Series of three colour silkscreens on paper, laid on panel.Sight size: 65 x 77 cm each.Each with edition no. 33/150 lower left. The first print signed “R. Lichtenstein” lower right, below the depiction.
Giovanni Battista Foggini,1652 – 1725, zug.FLORENTINER BAROCK-KOMMODEFlorentiner Barock-Kommode98 x 152 x 77 cm.Florenz, Großherzögliche Werkstätten, erste Hälfte 17. Jahrhundert.Beigegeben ein CITES-Dokument, Mailand, 27. Juni 2023.In ebonisiertem Holz gestaltet mit Einlagen in Pietra Dura, Perlmutt und Elfenbein. Über mit Blüten verzierten Füßen die getreppte Basis mit geschweifter Zarge. Darüber der mehrschübige Korpus mit Geheimfach und vergoldeten, fein ziselierten, wie auch rot gerandete Kartuschen mit floralen Inkrustationen. Überkragende ebonisierte Deckplatte. Seitlich Profilkartuschen mit Inkrustationen. Ein Schlüssel vorhanden. (1370791) (3) (13)Giovanni Battista Foggini, (1652 - 1725), attributed FLORENTINE BAROQUE COMMODE98 x 152 x 77 cm.Florence, Grand Ducal workshops, first half of the 17th century.Accompanied by a CITES document, Milan, dated 27 June 2023. Ebonized wood with inlays in pietra dura, mother-of-pearl, and ivory.
Paul Henry RHA (1877-1958) Menawn Cliffs and Dooega Head, Achill, and West of Ireland Landscape with Trees Oil on panel, Double sided, 30 x 38.5cm (11¾ x 15¼") Both signedProvenance: Private Collection, Co. DublinThe present work, a double-sided plywood panel, boasts two signed paintings by Paul Henry. Both works are largely complete, if sketchy, however in the case of the landscape with trees, it’s composition and treatment is more impressionistic than usual. The composition is typical with its diagonal axis, the towering mountains on two planes and the sketchy, almost misty treatment of the middle distance with its resonances of James Whistler, a strong influence on Henry. The two spindly trees which dominate the scene are elements that appeared in much of Henry’s work over the decades, ranging from his early Achill period to the 1940s. Despite their wiry form the thorn trees can be seen as a metaphor for the resilience of nature, and indeed all forms of life, in the west of Ireland – the lean trunks bowed by the prevailing winds but standing firm in the ground, surviving against so many odds.The painting on the reverse is a view of the Menawn Cliffs and Dooega Head from near Keel, on Achill Island. A similar view, Cliffs and Sea, (SBK, #323) was identified as Menawn Cliffs by the late S.B.Kennedy and sold in these rooms in 1980 and is dated to 1912 – 15. Not as monochromatic as some of his work of this period, the present work is imbued with rich colours, the pink and white sky, the hulking mass of the cliffs painted in hues of dark blue and umbers, and the white surf modelled with Henry’s signature translucent glazes. Both paintings in the present lot are likely to have been painted during the artist’s near ten year sojourn in Achill. The impact of Henry’s time in Achill cannot be overstated. It was to Dugort, on the north of the island and at the eastern foot of Slievemore, that Henry went when he first arrived on Achill in August 1910. But even then he found the village busy with tourists. ‘Every second house seemed to be an hotel or boarding house’, he later wrote, and so the morning after his arrival he set off for the much quieter village of Keel, itself positioned south of the mountain, where he subsequently established himself, taking rooms with John and Eliza Barrett who ran the post office in Keel.
Basil Blackshaw RUA HRHA (1932-2016) Seated Figure Oil on canvas, 183 x 122cm (72 x 48") Signed and inscribed verso Provenance: From the Artist's EstateTo some extent it’s true to say that, periodically throughout his life, Basil Blackshaw tended towards dramatically spare simplicity and understatement in his work. But then, first glances can be deceptive, and apparent understatement in his case was in fact a sure sense of not over-elaborating. Like Velasquez, he never used one brush-stroke too many. Once the picture was there, he stopped, something that takes great discipline when the temptation might be to show off in a more obvious way. His habitual model was Jude Stephens, and this elegant painting is in keeping with his later, radiantly lit compositions, often focused on windows or walls and nothing else, sometimes with words, or the evidence of words, inscribed on the surface. Here, the biscuity flesh tones float against an amorphous, cloudy space and it is as if the warmth of the figure radiates into that space.Born in Co Antrim, the son of a horse trainer, Blackshaw was thoroughly at home in a rural world of horses, dogs and farmyards. Feted as a young prodigy, he backed away from a conventional trajectory in his artistic career, quietly quitting a teaching job for example (he never returned after a cold snap temporarily closed the school) and moving from the city back to the country. His core subject matter included animals, the human figure, landscape and portrait subjects. He excelled in all these areas and built a wide, faithful following, as well as being greatly esteemed by his peers.Aidan Dunne, 2023
Gestische Komposition, Öl auf Leinwand, 110 cm x 80 cm Leinwandmaß, signiert, 1979/1980 datiert, leicht craqueliert, Kaufbeleg anbei, Provenienz: Auktionshaus Karl und Faber, Privatsammlung Königliche Akademie der Künste MünchenHelmut Sturm (1932 Furth im Wald - 2008 Pullach) (F)Gestural composition, oil on canvas, 110 cm x 80 cm, signed, dated 1979/1980, slight craquelure, with invoice, provenance: Karl & Faber, private collection ''I have certain ideas, then I begin to paint and through painting arrive upon other ideas. (...) A painted idea doesn't usually satisfy me. I would rather discover something, and that in turn comes into conflict with the original ideas.'' (Helmut Sturm in an interview from 2001, quoted by: Andreas Kühne on the website of the Helmut Sturm Archive). In 1952 Helmut Sturm passed the entrance examination for art education at the Academy of Fine Arts in Munich. In 1953 he changed to the painting class of Prof. Erich Glette. Together with the artists Helmut Sturm, HP Zimmer, Heimrad and Lothar Fischer he founded the group ''SPUR'' in 1957. One year later, the first SPUR manifesto and the SPUR graphic portfolio with works by Asger Jorn, Conrad Westphal and Hans Platschek are published. From 1959 to 1962 the group was a member of the ''Situationist International''. In 1980 Helmut Sturm began a two year guest professorship at the Hochschule der Künste in Berlin. In 1985 he took over the chair of Günter Fruhtrunk at the Academy of Fine Arts in Munich. In 1986 Helmut Sturm was awarded the Fritz Winter Prize. Since 1991 he has been a member of the Bavarian Academy of Fine Arts in Munich.
A very large fossilised squidSolnhofen, Germany, Jurassic 117cm wide by 42cm high Solnhofen in Germany is one of the most famous and important fossil localities in the world, and it is from here that the celebrated Archaeopteryx (the first known bird) was found. The quarries around Solnhofen were originally mined for the beautiful lithographic slate they contained and the process of lithography was invented using this stone. While digging, the quarrymen often came across the remains of a variety of different creatures perfectly preserved in the rock. Small dinosaurs, crocodiles, pterosaurs, plants, sea urchins, fish and sometimes - although very rarely – even insects, like the dragonfly offered here Fossils, Natural History
Akai Professional Roger Linn Midi Sequencer ASQ10. Modified with USB drive in place of floppy disc drive. Powers up, screen bright, backlight working. No further testing performed but from Dex Wright collection - he owned and used many upgraded Akai samplers in excellent order - so expected to be working well. No warranty implied. The AKAI ASQ10 (Advanced Sequencer) is a classic hardware MIDI sequencer that was first released in 1990. It was designed to provide a high level of sequencing control over external MIDI devices, such as synthesisers, drum machines, and sampler
KORG VCF FK-1 SYNTHE PEDAL & Foot Controller. This is the traveller filter section from the Korg 700 series synths in compact format... Effectively one of the first guitar synths, basically a low pass filter matrix controlled by input signal envelope, manual controls, and the foot pedal (switchable). Further information to follow.
Keio/Korg Doncamatic DE-11. Very early Japanese preset drum machine - the first model that Keio produced. Extremely rare. Assessed: safe, set to 120v. Needs full electrolytic recap as there are missing sounds + existing sounds have no bass. Unit sounds good though despite the obvious issues. Recapped PSU apart from 2 caps which are a large size. Replaced mains cable, introduced 2 P clips for safety. Earthed metal chassis inside unit. No guarantee or warranty implied. Operational status may change during shipping. See the main Buying Page for further important information. For UK bidders only this item will be subject to 20% VAT on the hammer price and on the Buyer’s Premium (this amount is included in the Total Fees percentage attached to this item). For all bidders outside the UK there will be no VAT on the hammer price but VAT is charged on the Buyer’s Premium.
Alfred William Hunt, RWS (British, 1830-1896)Thun, evening; Thun in Spring a pair, the first signed and dated 'AWHUNT/1870' (lower right)watercolour with scratching out each 38 x 27cm (14 15/16 x 10 5/8in). (2)Footnotes:ProvenanceWith Thos. Agnew & Sons. Ltd., London. (Thun, Evening).For further information on this lot please visit Bonhams.com
Nikola Masic (Yugoslavian, 1852-1902)Picking pumpkins signed, inscribed and dated 'NIKOLA MASIC/79- Munchen' (lower right)oil on canvas52 x 107cm (20 1/2 x 42 1/8in).Footnotes:ProvenancePrivate collection, USA.Nikola Mašić began his artistic education at the Academy of Fine Arts in Vienna in 1872, but having become dissatisfied with the programme, he decided to continue his studies at the Academy of Fine Arts in Munich. In Alexander Wagner's Komponierenklasse he acquired the necessary knowledge to work on large-scale figurative compositions, influenced by the historical work of Wilhelm von Liendenschmidt.In 1874, Mašić travelled to Italy and studied the ancient monuments in and around Rome which would help in his later figurative compositions. However, the sketches and studies he created at this time also show a fascination with the atmosphere and light of the south which was to be a hallmark of his later career. On his return to Croatia, he began to paint in the region of Posavina. In 1878, he attended the Paris World Fair and was influenced by the Japonisme of the painter Marià Fortuny i Marsal. The following year he took a studio in Munich but continued to travel around Europe attending various Fine Art fairs and events. Due to his deteriorating eyesight, he eventually returned to Zagreb in 1884, where he first worked as a drawing teacher at the School of Crafts; in 1894 he was appointed as director of the Strossmayer Gallery.Saleroom notices:Please note the work is oil on canvas laid down onto board, not as stated in the catalogue.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
Arthur John Elsley (British, 1860-1952)Won't You Try? signed and dated 'ArthurJ.Elsley/1905' (lower left)oil on canvas 66 x 91.4cm (26 x 36in).Footnotes:ProvenanceWith W. W. Sampson, London. Private collection, Ireland. ExhibitedLondon, Royal Academy, 1905, no. 524.LiteratureTerry Parker, Golden Hours: The Paintings of Arthur J. Elsley, Yeovil, 1998, p. 99, illustrated.Arthur John Elsley was born on 20 November 1860. The son of a coachman and sometime artist, Elsley joined the South Kensington School of Art at the age of fourteen and first exhibited at the Royal Academy in 1878, two years after being a probationer. Elsley's interest in painting animals had been heightened by regular visits as a boy to the Zoological Gardens in Regent's Park. His ability to paint animals, and in particular domestic breeds such as dogs and ponies, meant that his sentimental depiction of late Victorian and Edwardian genre scenes found a ready market amongst collectors.In 1894 the death of Charles Burton Barber, who had been considered the pre-eminent painter of animals and children, left this particular field open for Elsley. He was able to exploit the contemporary taste and although a bout of childhood measles had partially affected his eyesight, he was the undoubted master of this genre by the dawn of the new century. Well regarded amongst his peers, his reputation was enhanced by having shared a studio with the artist Fred Morgan in the mid to late 1890's. After the two artists fell out, Elsley continued to work in his studio on increasingly larger canvases depicting children and animals at play. His daughter Marjorie became one of his favourite models and he drew inspiration from the open countryside which he regularly visited on his bicycle. His popularity grew as many of his paintings were reproduced as prints and calendars. In addition some of his images were used by companies such as Bibby's Animal Feeds and Peak Frean Biscuits to promote their products.The outbreak of the First World War and the immediate post war years resulted in an understandable change in taste as the country tried to come to terms with the horror of the trenches and the loss of a generation and Elsley's sentimental compositions appeared somewhat anachronistic to a war embittered British public.Elsley continued to paint, mainly for pleasure, exhibiting a number of works at the Royal Academy until 1927. Increasingly poor eyesight meant that by 1931 he had ceased to paint almost entirely and spent most of his time gardening. He died in Tunbridge Wells in 1952 at the age of 91.Painted in 1905 and one of three works he exhibited at The Royal Academy the same year, Won't you try? is a quintessential work, featuring many of the elements that came to define Elsley's art. Like many of his paintings, the present lot was reproduced in various formats, in this instance as a photogravure, under the title A Passive Register (1906, Weldon's Bazaar of Children's Fashions), and by The Rotary Photo Co., as a black-and-white postcard, under the title Come Along, circa 1909.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
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)Study of a nude standing woman leaning against a rock with a flaming staff in her left hand for Venus in Venus Epithalamia signed with initials 'EBJ' (lower left)coloured chalk on paper43.8 x 30cm (17 1/4 x 11 13/16in).Footnotes:ProvenancePrivate collection, USA.The present work was made circa 1869 during a transitional period in which the artist underwent a serious reappraisal of his work. Moving from a medieval bias into a period more influenced by the later Italian Renaissance, he emerged from the more restricted Pre-Raphaelite circles and the inhibitions of family under the influence of his affair with Maria Zambaco. These new elements indicated his growing maturity as man and artist.Made at the height of the passionate relationship, this drawing reflects the intensity that the artist felt. It is one of the most sensual drawings that he made and portrays Venus in a rocky alcove, which was transformed in the final painting into an interior with her standing beside an altar. The figure holds a bridal torch which was associated with Hymen, the God of Weddings, which is later explained in the painting Venus Epithalamia, where Venus is by an altar upon which a figure of Cupid stands. A bridal procession is in the background. An epithalmium was a poem composed on the event of a wedding. The model was one that Burne-Jones had used throughout the 'Cupid and Psyche' series of illustrations to William Morris's The Earthly Paradise. There she is represented as sweetly innocent, in contrast to the eroticism contained in the present drawing. In the subsequent painting Maria's head has been super-imposed upon the body of the model.It is interesting to note that in the background of the painting of Venus Epithalamia is a procession of maidens descending stairs. It would appear therefore to be a precursor of the huge painting The Golden Stairs, begun two years later. First entitled The King's Wedding, the idea of the later work would seem to have arisen from this project. It postulates a depth of meaning for the artist not initially apparent to the viewer. Usually The Golden Stairs is seen as an aesthetic work without such debate regarding the quality of innocence. When compared, the two paintings reveal the all too obvious absence of Maria in the later work and the inter-relation suggests more significance for the painting than initially is evident.The are grateful to William Waters for compiling this catalogue entry. The work is listed in the Burne-Jones catalogue raisonné, www.eb-j.org.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
Sir Alfred James Munnings, PRA, RWS (British, 1878-1959)Jogging on signed and dated 'A. J. MUNNINGS/1912' (lower left)watercolour and bodycolour35.5 x 51cm (14 x 20 1/16in).Footnotes:Alfred Munnings arrived in Cornwall in late summer 1911, 'curious to see this country which attracted artists'1 eventually settling to live and work in the Lamorna Valley. Munnings was a great hunting enthusiast and upon arriving in Cornwall he began to ride with the Western Foxhounds. Led by Thomas Robins Bolitho, the Western was considered excellent hunting country with no wire and a plentiful supply of foxes. Hound bloodlines come from a number of the Leicestershire packs.2 Bolitho, the oldest huntsman in England at the time, having been master since 1864, was painted by Munnings on his favourite hunter, Barum, in 1920, on the occasion of his Golden Wedding Anniversary.Munnings enjoyed his days out hunting and often was inspired by what he saw, noting in his autobiography that 'Hunting became part of my life, and I saw many things on those days: bright winter sunlight on clipped horses and scarlet coats; on bare trees; stacks; on farmhouse gables; the riding out after a slight frost; the riding home with a frost beginning and a young moon in the sky; puddles already crisping over as I said good night to friends. Such were needed to freshen my mind and vision'3 This scene appears to depict hunt followers and the huntsman bringing the hounds to the meet prior to setting off. The principal rider is most likely Ned Osborne- 'simple soul, who grew into a useful combination of groom-model, and posed for many picture'4 and the scene is set in Lamorna, with the properties 'Riverside Cottage' and 'My Rosary' in the background. Munnings often used his own horses and groom as models and the central horse in the present composition was most probably the brown mare that the artist brought down from Norfolk with him when he settled in Lamorna in 1911. On this grey day, the artist used a subdued palette yet adds life and brightness by juxtaposing the scarlet of the huntsman's jacket with the close vivid hues of green making each colour more vibrant. As a result, the central figures of horse and rider, as they are also painted in sharper focus, emerge from the background. This use of optical effects was a hallmark of his style even early in his career. Although Munnings painted in watercolour during the first quarter of the 20th century, critics at the time noted his mastery of the medium. Munnings was a member of both the Royal Institute of Painters in Watercolour and the Royal Society of Watercolour Painters. A similar watercolour, The End of the Day depicting a head-on view of a huntsman returning home, was exhibited at National Museum of Racing and Hall of Fame, Saratoga, New York in 1999.1Sir Alfred Munnings, An Artist's Life – Autobiography, Museum Press, London, 1950, p. 270.2Sporting Life and Sportsmen, 1925 p. 123.3 An Artist's Life, p. 258.4Ibid, p. 273. We are grateful to Lorian Peralta-Ramos for compiling this catalogue entry. We are also grateful to David Tovey for supplying supplementary information regarding Munning's time in Cornwall.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
Dame Laura Knight, RA, RWS (British, 1877-1970)Mickey and his Moke signed and dated 'Laura Knight/1962' (lower left)oil on canvas96.5 x 83.8cm (38 x 33in).Footnotes:ProvenanceSotheby's, London, Artist's Estate Sale, July 1971, lot 85.With Phillips and Sons, Marlow.Private collection, UK.ExhibitedLondon, Upper Grosvenor Gallery, 1969, no. 2, owned by the artist.Nottingham, Nottingham Castle Museum, 1970, no. 37, owned by the artist.The present lot was painted in 1962, based on sketches held by the artist from her original work A Man from Mousehole which was painted in 1928, exhibited at The Leicester Galleries, London (cat. no. 25) and illustrated in the artist's first autobiography, Oil Paint and Grease Paint (p. 369); the work was also illustrated in The Sphere on 17th March 1928, just prior to the exhibition, but under the title of Stonebreaker.On 17th December 1929 the S.S. Manulka of the Union Steam Ship Company sank in darkness and heavy fog approximately 70 miles south of Dunedin on her way from Melbourne Australia to Wellington New Zealand. All the passengers were saved, but most of the cargo went down with the ship, including a consignment of the artist's pictures that included A Man from Mousehole.Differing in the background, both depict an almost identical scene of a Cornish farm worker sat with folded arms - subsequently identified as Mr Johns (Witt library) - together with his working beast of burden, a donkey. In the original work lost at sea, the background depicts the local Cornish landscape with a tin mine on top of a hill, whereas this picture has simply a door and brick wall as a background.We are grateful to John Croft for his assistance in cataloguing this lot. The present lot is listed in the online catalogue of Laura Knight's work, under cat. no. 0616.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
Edward Lear (British, 1812-1888)The Nile at Kasr-es-Saad inscribed 'Nile. Kasr es Saad' (lower left)watercolour and bodycolour17.5 x 37.5cm (6 7/8 x 14 3/4in).Footnotes:ProvenanceThe Honourable Eustace Henry Dawnay, 8 Belgrave Square, London.Thence by family descent to the present owner.Private collection, UK.'Last night, we arrived at one of the most beautiful places I ever saw - Casr el Saadd. I am quite bewildered when I think how little people talk of the scenery of the Nile - because they pass it while sleeping I believe. Imagine immense cliffs, quite perpendicular, about as high as St Paul's & of yellow stone - rising from the most exquisite meadows all along the river! While below them are villages almost hidden in palms... it is one of the most beautiful spots in the world'.(Edward Lear, letter to his sister Ann, 18 January, 1854)Lear encountered the subject of the present work (now known as Kasr-es-Saiyyad) early into his first journey down the Nile in 1854. He produced a number of pencil and watercolour studies on the spot (see for example Christie's, London, 21 November 2002, lot 66, and 2 July 208, lot 52.). As was his working practice, Lear later worked up his drawings into a series of large oils of the subject, one of which was shown at the Royal Academy in 1870.For further information on this lot please visit Bonhams.com
John Anster Fitzgerald (British, 1819-1906)The birth of a fairy signed with monogram (lower left)watercolour and bodycolour40 x 29.6cm (15 3/4 x 11 5/8in).Footnotes:ProvenancePrivate collection, UK.John Anster Fitzgerald, or 'Fairy Fitzgerald' as he became known, is one of the most celebrated exponents of Fairy Painting which captured the imagination of the Victorian public and continues to delight collectors today. Born in London in 1823, there were few signs in Fitzgerald's youth to indicate that he would go onto to become a prolific exhibitor at the Royal Academy and at the British Institution. Having had little or no formal training he first exhibited at the Royal Academy in 1845 at the age of twenty-two, and would continue to do so regularly until 1881, his final exhibit coming in 1902 after a long hiatus. Fitzgerald lived his whole life in a London where the public imagination was becoming increasingly gripped by ideas of the supernatural and the occult. The interest pervaded all parts of the arts, literature, opera, ballet and of course painting. The uniquely British tradition of fairy painting had begun in the late eighteenth century with artists such as William Blake and Henry Fuseli who imaginatively illustrated the work of Shakespeare, particularly his more fanciful plays, A Midsummer Night's Dream and The Tempest. This peculiarly Victorian contribution to the Romantic movement reached its height in the 1850s and 60s but while artists such as Sir Joseph Noel Paton continued to use literature as their source of inspiration, Fitzgerald did not limit himself in this way. Many of his works are the products of a fertile imagination in which he created his own fairy kingdom. Whether these scenes were induced by drug fuelled dreams is a matter of debate, opium was the recreational drug of the artistic and poetic and many great Victorian works of literature were produced under its influence. It is also likely that Fitzgerald was aware of and influenced by the works of Hieronymous Bosch whose prints were widely available in the mid nineteenth century and collected by artists. Fitzgerald was also a devotee of the stage, and from all these influences a colourful character is built up and the vibrancy of his art can come as no surprise. Indeed Harry Furniss, in his memoir My Bohemian Days (1919), writes of Fitzgerald: 'his life was one long Midsummer Night's Dream.'In the present lot the excitement and chaos so often seen in Fitzgerald's larger fairy paintings is centred around a new-born fairy emerging from a flower of pure white. She comes into the fairy domain shimmering and lighting the scene from the centre. The introduction of limelight into London's theatres in the mid-nineteenth century was well known to Fitzgerald, and we see its influence here. Gathered around to bear witness are all the denizens of the fairy world, rendered in Fitzgerald's exquisite and vibrant colours. The close relationship between the fairies and the natural world is clear as birds of all type perch and hover to catch a glimpse. In the foreground two larger birds carry sprites away to spread the news, one blowing a small wind instrument fashioned out of a pink petal. To the left of centre, a pair of large diaphanous wings are opened seemingly to shade our human eyes from the pure iridescent light of the new-born fairy, lest we be dazzled. All the characters are however apparently unaware of our intrusion, their focus is on the momentous event alone, and we are left with the impression of having been fortunate to have been a witness.For further information on this lot please visit Bonhams.com
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)Portrait of Daphne Gaskell coloured chalks65 x 53cm (25 9/16 x 20 7/8in).Footnotes:ProvenanceCollection of Helen Mary 'May' Gaskell, the sitter's mother.Anon. sale, Sotheby's, Belgravia, 23 March 1981, lot. 41.Listed in the online catalogue raisonne, www.eb-j.org.The present portrait depicts the daughter of May Gaskell, society hostess and member of the 'Souls', an artistic and intellectual group in which Burne-Jones also circulated. Recently discovered correspondence reveals that the artist was in love with May, and Burne-Jones produced one of his most arresting portraits of another of May's daughters, Amy, unusually picturing her dressed in black (1898, Collection of Lord Lloyd-Webber).As well as his frequent correspondence with May, the artist wrote many affectionate letters to Daphne, who was six when she first met the artist, letters written phonetically and populated by sketches of birds and animals.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
Edward Lear (British, 1812-1888)View from St. Jean towards Villefranche dated '1865' (lower left); numbered '37' (lower right); inscribed 'from/Ville St. Jean/(Villefranche) 15. February 1.PM.' (on a fragment of paper attached beneath the mount); extensively inscribed with colour notes throughoutwatercolour and pencil21.5 x 35cm (8 7/16 x 13 3/4in).Footnotes:ProvenanceWith Thomas Agnew & Sons, Ltd.With Squire Gallery, London.Private collection, UK (acquired by the grandfather of the present owner).Lear travelled to the south of France in November 1864, first lodging in Nice before embarking on a walking tour as far along the coast as Genoa. During this winter he executed a huge volume of sketches and watercolours. Writing to Holman Hunt, Lear noted 'One of my aims this winter was to 'get' all the Corniche or Riviera di Ponente; .. that I have done both ways - with 145 sketches & better health than before - also less abdomen'For further information on this lot please visit Bonhams.com
Giovanni Boldini (Italian, 1842-1931)Schizzo di balcone a Venezia signed 'Boldini' (in pencil lower left)watercolour and pencil 32 x 34cm (12 5/8 x 13 3/8in).Painted circa 1897.Footnotes:ProvenancePrivate collection, Rome.The present work is accompanied by a certificate of authenticity issued by Francesa Dini and included the first supplement to the catalogue raisonné under no. 2754.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 matched set of eight Regency and later caned mahogany dining chairs, first quarter 19th century, to include five period and three 20th century examples, the backs with rope top rail, on sabre legs (8)Condition Report: One later chair with restoration to top rail of back, one old chair with signs of old woodworm, all with scratches, stains and old gouges throughout, all structurally sound, overall good condition.
A set of ten English mahogany dining chairs, George III style, Chippendale design, first quarter 20th century, with pierced ladder backs, floral needle work upholstery, on channelled front legs, to include two carvers, two stamped J.T (10)Condition Report: All with scratches, stains and old gouges to wood, one chair with repair to top of back and a repair to the bottom bar of the back, another chair with a repair to the bottom bar of the back, another chair with a split to the top of the back, all structurally sound, overall good condition.
An Edwardian mahogany display cabinet on stand, Sheraton revival, first quarter 20th century, hand-painted with flowers, fruits, instruments and harebells, brass gallery top above two glazed doors and two drawers, on square tapering legs to spade feet, joined by lower shelf, 171cm high, 136cm wide, 40cm deep Condition Report: Scratches, knocks and stains to wood throughout, structurally sound, overall very good condition.
A Regency tortoiseshell tea caddy, first quarter 19th century, with pagoda top inset with a vacant brass cartouche, with white metal stringing, the fitted interior with twin subsidiary conforming covers and ivory banding, on ivory ball feet, 15cm high, 20.5cm wide; 13cm deepIvory submission reference: 71JU56KZ
An English walnut and oak feather banded chest on stand, first quarter 18th century and later, two short and three long graduated drawers over two short drawers to stand, on carved scrolling feet, 128cm high, 110cm wide, 58cm deepCondition Report: Signs of old woodworm, lifting to veneer and some veneer missing, the later plank top is warped, scratches and stains throughout, back right foot has a metal plate from an old repair, overall fair condition.
An English walnut inverted breakfront partners desk, Queen Anne style, first quarter 20th century, the top inset with tooled leather writing surface, above an arrangement of twelve drawers and two doors, on shell carved cabriole feet, 78cm high, 155cm wide, 123cm deepCondition Report: Leather with scratches, stains and old gouges, scratches and stains throughout, one handle missing, splits and lifting to veneer, structurally sound, overall good condition.
A pair of French gilt-bronze figural candlesticks, in the manner of Corneille van Clève (1646-1732), second half 19th century, one modelled with a seated and draped male figure holding a cornucopia, the other with female figure holding a foliate and ribbon-tied floral cornucopia, each with gadrooned spreading and foliate drip-pan and scaled nozzle, above a gadrooned spreading base with entrelac and rosette border, the underside of one marked H, 35cm high (2)Footnotes: Note: These candlesticks are a variant of the celebrated model by Corneille van Clève (1646-1732). The original drawings were once originally attributed to Charles Le Brun (1619-1690) but are now thought to be by van Clève and are held in the Staatliche Museen zu Berlin. These designs were first executed by Clevé's brother-in-law, the goldsmith Nicolas de Launay in 1702 in silver-gilt. The strapwork and entrelac bases of these candlesticks are identical to those on a pair of early 18th Century candlesticks in the Wallace Collection, illustrated in F.J.B. Watson, Wallace Collection Catalogues, Furniture, London, 1956, pl. 20, F22.Condition Report: Generally in good, ready to place condition. Inevitable wear in areas to the gilded surface, such as the knees, shoulders of the figures and the extremities overall to be expected with age and use. Dark dirt to the recesses of the casting. Both lacking drop-in drip pans.
A Regency rosewood chaise longue, first quarter 19th century, with double caned detachable arm, brass eagle mounts and scrolling ends, on scrolling feet to brass paw caps and castors, 80cm high, 175cm wide, 56cm deep Condition Report: Scratches, stains and old gouges throughout, signs of old woodworm, minor damage to cane on arm, rest of cane is good, one foot has been restored a long time ago, overall good condition.
A plaster relief of a Roman youth, his horse and a dog, after the Antique, late 20th century, cast after the original fragment found at Hadrian's villa, Tivoli, possibly produced by the British Museum casting service, London, 76 x 102.5cm; together with two modern British Museum Replica fibreglass reliefs after The Royal Lion Hunt of King Ashurbanipal, Assyrian, 645–640 BC, 61 x 151cm and 60 x 123cm (3)Footnotes: Note: The first relief described is after a Roman marble reputedly found at Hadrian's Villa at Tivoli by Gavin Hamilton and now at the British Museum.
A Regency mahogany triple pedestal D-end dining table, first quarter 19th century, the three pedestals with tilt-tops, on ring turned columns to four reeded splayed legs, brass caps and castors, with two extra leaves, 70cm high, 286cm wide, 120cm deepCondition Report: Scratches, stains and old gouges throughout, a small split to the top of two of the pedestals, a repair to top of the third pedestal, structurally sound with no repairs to the bases, overall very good condition.
A Victorian rosewood bracket timepiece, by Fisher, Bath, mid-19th century, the case with scrolling pediment above turned columns, on plinth base and bun feet, the arched silvered dial with Roman numerals, scrolling foliate and engraved urn decoration and signed Fisher / Old Bond St / BATH, with four-pillar single fusee movement, with pendulum, winder and case key, 40.7cm high, 29.8cm wide, 16cm deepPlease note that Roseberys do not guarantee the working order or time keeping of any timepiece. Footnotes: Note: Edwin Fisher is first recorded working in Bath in 1819; he is recorded as a watchmaker and a jeweller working at 13 Somerset buildings and subsequently relocating to 14 New Bond Street as noted in an 1833 directory. Nine years later Fisher moved again, this time to 13 Abbey Churchyard, and finally to his final location at 9 Old Bond Street in 1846. He stopped advertising in Bath in 1866, suggesting this is his retirement date.
A George III mahogany and line inlaid serpentine front chest, first quarter 19th century, with four graduated drawers, on splayed feet, 91cm high, 101cm wide, 56cm deepCondition Report: Scratches, stains and old gouges throughout, signs of old woodworm to back, small split to top of left side, three splits to top, water stain to top, small split to top of right side, some veneer missing, some lifting to veneer and inlay, structurally sound, overall fair-good condition.
A pair of Regency mahogany library bergere armchairs, in the manner of Gillows, first quarter 19th century, the arched top rail and arms centred by a roundel motif, on sabre legs to brass caps and castors (2) Footnotes: Note: A remarkably similar pair of chairs are present as part of the furnishings of Tatton Park, Cheshire. (see N.Goodison and J.Hardy, Gillows at Tatton Park,Furniture History, 1970, Plate 16A) . Gillows supplied five chairs of this model between 1811 and 1812 to Wilbraham Egerton for Tatton Park. For a similar pair of chairs see Christie's London, English Furniture, 28 November 2002, lot 83, (£20,315).
Amendment: please note that the original images were incorrect and have now been corrected. A large North West Persian Tabriz carpet, first quarter 20th century, the central diamond medallion with geometric motifs, within a plain beige field with two Arabic signatures, on a beige and terracotta ground, contained by floral border, 612 x 381cmCondition Report: Fringe cut on both ends, one end with three small rips, discoloured on one end, some stains, lots of wear and loss of pile, no visible repairs, overall fair-good condition.
A George I walnut side chair, first quarter 18th century, with floral tapestry upholstery, on cabriole front legs to hoof feetCondition Report: Scratches, stains and old gouges to wood, one section of the front left leg looks to have been replaced at some point, the back joints are slightly loose, overall good condition.
A Biedermeier marquetry walnut centre table, first quarter 19th century, inlaid with Neoclassical design, the shaped top above carved frieze, on octagonal baluster column to quadripartite base and block feet, 78cm high, 74cm wide, 74cm deepCondition Report: Scratches and stains throughout, piece of wood missing from frieze, repair to the bottom of the baluster column, signs of old woodworm, small piece of veneer missing from the edge of the top, structurally sound, overall good condition.
A Queen Anne walnut bureau, first quarter 18th century, the hinged fall front enclosing fitted interior, above two short and two long graduated drawers, raised on bun feet, 95cm high, 73cm wide, 45cm deepCondition Report: Knocks, marks and scratches all over, small splits to veneer all over, some dark stains and small gouges to all veneer, veneer is bubbling and lifting slightly in places, small corner of veneer missing from back left side of top, piece of moulding missing from back left corner, splits to moulding, splits to sides, small areas of possibly replaced veneer, drawers run smoothly and sit well, loss of veneer to lower left corner, veneer missing from border of base, back panels are split and cracked in places, all bun feet are split, large chunk of wood missing from inside of back left foot, dents and knocks to feet, small chunk missing from back right foot where split, splits to veneer inside fall front, marks and scratches to leather writing surface, some knocks and scratches to fitted interior, moulding of sliding door is split in places, the sliding mechanism itself sits slightly proud of its runner but functions as intended.
A Dutch marquetry mahogany secretaire abattant, first quarter 19th century, frieze drawer above fall front, enclosing fitted interior, over two doors, on square tapering feet, 148cm high, 92cm wide, 45cm deepCondition Report: Scratches, stains and old gouges throughout, large split to fall front, large split to both doors, split to bottom of right side, specs of white paint which can be removed, one door needs new hinges, structurally sound, overall good condition.
A George I inlaid oak chest, first quarter 18th century, walnut crossbanded, two short and three long drawers, on carved bracket feet, 94cm high, 97cm wide, 54cm deepCondition Report: 35cm split to top, some splits to veneer and some missing from top, large split to both left and right side panel, some moulding missing from the edge of the top left drawer, structurally sound, overall fair-good condition.
A William IV mahogany bracket clock, second quarter 19th century, the case with carved foliate, scrolling and fan decoration above glass aperture to front on plinth base with brass ball feet, having twin cornucopia and ring handles, the painted dial with Roman numerals and outer minute track, the two train fusee movement striking on a bell, signed to backplate Leplastriers LONDON, with key, winder and associated pendulum, 41cm high, 25.3cm wide, 17cm deepPlease note that Roseberys do not guarantee the working order or time keeping of any timepiece. Footnotes: Note: The Leplastrier (Le Plastrier) family of clockmakers were active in the City, East London and Kent during the first half of the nineteenth century.
A Regency triple plate gilt wood overmantel mirror, first quarter 19th century, the rectangular plates with reeded ebonised borders, carved shell cresting and moulded pediment and ribbed half columns, 68 x 156cm Condition Report: Minor repairs, some loss of gilt, overall very good condition.
A Regency rosewood side cabinet and a later copy, first quarter 19th century, the D-shaped top with guilloche cast brass mounted edge, above a cupboard door enclosing an adjustable shelf, the door and rounded sides lined with pleated pink silk and with brass grilles, on turned tapering legs; together with a later example made to match in the second half of the 20th century, fitted for a television set, 88cm high, 122 cm wide, 45cm deepAn Article 10 Licence, Certificate No 624139/01, has been issued for the later side cabinet.Provenance: The Property of Lord and Lady Weinstock Condition Report: Good condition overall. Structurally stable and ready to use. The Regency cabinet with inevitable minor surface scratches, marks, knocks, wear, abrasions and areas of discolouration, consistent with age and use. Some shrinkage splits and minor repairs to the veneers. The shelf has a split to the left hand side. The metalwork with rubbing, tarnishing and surface scratches. The pleated silk is replaced and likely dates to the same time as the creation of the modern cabinet. Some breakages to the wire at edges. The lock replaced and with one key. The modern cabinet somewhat faded and with numerous hairline cracks to the very thin veneers. The varnish discoloured and flaking in some areas. The legs are grained rosewood rather than solid. Lacking a central backboard and the bottom board with slats cut out for ventilation. One key.
Naval Interest: A George III vellum Letter of Marque, dated 1778, with blue stamp duty seal to left border, giving authority for Thomas Falliase "fitly qualified who hath equipped furnished and victualled a ship called the Surprise...of about 150 Tons...mounted with fourteen guns having shot of four pounds weight and sixteen swivel guns and navigated with 70 crew and belonging to the Island of Guernsey whereof to the said Thomas Fallaise is commander and Henry Le Mesurier and Andrew Bonamy of the said Island of Guernsey Merchants are the Principal Owners...to set forth in a warlike Manner the said Ship called the Surprise.....and therewith by force of arms to apprehend seize and take the Ships Vefsels and Goods belonging to the ffrourh (sic) King or his Vafsals and Subjects or others inhabiting within his Countries Territories or Dominions", given at London and with registrar's signature to the bottom right corner, large engraved initial portrait of George III and decorative border to head, held in a double glazed black frame with gold trim, the document 55 x 64.5cm Footnotes: Note: A letter of marque is a specialist licence issued by a state authorising a private person, known as a privateer, to attack and capture vessels and goods of a nation they were at war with, for their own profit. References to the Surprise and Thomas Falaise are to be found in the National Archives at Kew, including 'L'Esperance en Dieu formerly La Joyeuse (master Gabriel Conte), a French merchant ship (schooner, 140 tons, 4 guns, 19 men), bound from Bordeaux to Martinique, laden with wine, flour, beef, pork, hams, brandy, cheese and other merchandise; taken on 11 January 1779 in latitude 46°25'N, longitude 9°33'W from Paris by the privateer Surprise (Thomas Falaise commanding), and brought into Guernsey', - Court papers: 1-7; Ship's papers: 8-12, and 'North Star of Bilbao (master Francis Fawson), an American merchant ship (brig, 200 tons, 2 swivels and a barrel of powder, 9 men, 3 passengers, owned by John Emery of Bilbao [late of Newburyport, Massachusetts), bound from Bilbao to the first port in America, laden with warlike stores on the risk and account of the American Congress, namely the rigging and sails for a 74-gun ship being built in America, and 340 bales comprising sail cloth, blankets, shoes, stockings, and linen for shirts, by Messrs John & Joseph Gardoqui and Sons; taken on 23 January 1779 in latitude 45°N, off Cape Ortegal, Bay of Biscay by the privateer Surprise (Thomas Fallaise commanding), and brought into Guernsey', Court papers: 1-5; Ship's papers: 6-9.
A Regency mahogany bracket clock, first quarter 19th century, the break-arch case with brass swing handle to brass fillet moulded single pad top panel over moulded cornice, the hinged front panel with convex glass and cast brass bezel, with brass fish scale lower quadrant frets to front and corresponding arched frets to sides, on a moulded plinth base with brass ogee bracket feet, the painted circular dial with Roman numerals and outer minute track, signed NATHAN WEYMOUTH, the five-pillar two train fusee movement striking a bell, 40.5cm high (handle not extended), 32.3cm wide, 20cm deep Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.
A George IV Anglo-Indian padouk centre table, first quarter 19th century, the circular tilt-top with carved frieze and gadrooned border, on carved baluster column to quadripartite base and bun feet, 76cm high, 98cm diameter Condition Report: Scratches, stains and old gouges throughout, the base has a large split and has been repaired with a strap of wood, minor pieces of wood missing from the gadrooned edge, chunk of wood missing from the top of one foot, structurally sound, overall good condition.
A brass radius sextant, by Elliott, London, late 19th century, with index mirrors, filters, horizon mirror eyepieces, telescope and oxidised brass lattice frame with arc with with inset silvered scale divided to 150°, vernier with magnifier, arc engraved Elliott, London, with ebony handle, in mahogany case bearing a printed label to interior for LILLEY & REYNOLDS Ltd., sextant - 25.3cm wide, 23.6cm deep Please note that Roseberys do not guarantee the working order of any scientific instrument. Footnotes: Note: A sextant is a doubly reflecting navigation instrument used to measure the angle between any two visible objects. The principal of the instrument was first implemented around 1730 by John Hadley, 1682-1744, and Thomas Godfrey, 1704-1749, but it was also found later in the unpublished writings of Isaac Newton, 1643-1727.The firm of Elliott Brothers of London was founded by William Elliott (working 1807-53). In 1850 he formed a partnership with his sons, Frederick & Charles (Elliott & Sons) and the firm became Elliott Bros. from 1854. They became successors to Watkins & Hill by 1856. The firm much later became part of GEC after moving progressively into electrical equipment and automation. It is now part of BAE Systems.
A copper-gilt-mounted Meissen porcelain rectangular snuff-box and cover, c.1755-60, the mount probably circa 1800, the cover and base painted to simulate playing cards enriched with meandering flowering branches, the cover interior with three gentlemen and two ladies observing a comet with telescopes, the comet centred by a playing card, 8.5cm wide overall Footnotes: Note: A box with similar decoration is illustrated by Barbara Beaucamp-Markowsky, Boîtes en Porcelaine, Fribourg, 1985, p. 305, no. 252, where the author attributes it to Fürstenberg. The results of an X-Ray Florescence (XRF) test conducted on the present box in 2023 by Cranfield University are consistent with 18th century Meissen porcelain. Beaucamp-Markowsky notes that the decoration is probably inspired by the card game comet, which was highly fashionable in the 18th century. An old French card game, previously called Manille, it was renamed Comet after the appearance of Halley’s Comet in 1682. A version of the game appeared in 1752, in which the 9 of diamonds was one of the ‘comets’. Condition Report: Overall this box is in very good condition. The mount probably dates to the end of the 18th century or the first years of the 19th century, so in all probability the box originally had a gold mount, possibly with a jewelled thumbpiece, which was removed and sold (this was common practice in the 18th century).There are some areas of minute wear to the underside, particularly to the corners this is to be expected and is minor.
A Victorian oak horseshoe back chair, by Holland & Sons, third quarter 19th century, upholstered in a brown silk, on turned front legs to castors, stamped Holland & S to back left leg and Cope & Collinson patent to both front castors Footnotes: Note: Holland and Sons rose from their origins in the early 19th century to become, by the middle years of the century, a rival to Gillows and one of the greatest English furniture producers (they also worked successfully as undertakers and were responsible for the Duke of Wellington's funeral). Under William Holland the firm became cabinetmakers and upholsterers to the Queen, their first commission being for Osborne House in 1845, supplying furniture in the Queen's favoured Louis XVI style. They continued to supply furniture for Osborne until 1869 but gained further commissions for Windsor Castle, Balmoral and Marlborough House. Holland also worked for many leading institutions including the Reform and Athenaeum Clubs, the British Museum and the Royal Academy. Along with Gillows they shared the commission for the new Houses of Parliament. They participated in many of the important International Exhibitions including London in 1862, Paris in 1867 and 1872, and Vienna in 1873. The Holland's labelled day books are now housed in the National Archive of Art and Design in London and present a virtual 'who's who' of 19th century society.Condition Report: Two pieces of wood have been repaired on the back, scratches, stains and old gouges throughout, minor stains to upholstery, structurally sound, overall very good condition.
Loading...
