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Lot 991
Dampier, William, A Voyage to New Holland, &c. in the year 1699, where in are described The Canary Islands, Isles of Mayo, and St Jago, The Bay of All Saints, etc, Vol III, First Edition. 162 numbered pages, followed by index and five pages of publishers' ads. Folding map at frontispiece, plus Dedication and Preface, natural history plates throughout. this being Vol. III in Captain William Dampier's adventure series stands alone, though a continuation of this work was published London, printed for James Knapton, Crown in St Pauls Church Yard, 1703, tooled boards
Lot 1026
First Edition 1677, The Antiquities of Nottinghamshire, Extracted Out of Records, Original Evidences, Leiger Books, other Manuscripts, and Authentick Authorities, Beautified with Maps, Prospects, and Portraictures. By Robert Thoroton, Printed by Robert White, for Henry Mortlock, at the Sign of the Phoenix in St. Paul¿s Church-Yard, and at the White-Hart in Westminster-Hall, 1677
Lot 1017
Modern Firsts and Editions - Dominic, R B, Murder Out of Commission, Published for Crime Club by Doubleday & Company, New York, 1976, first edition, dust jacket; Anthony Price, Colonel Butler's Wolf, Victor Gollancz, 1972; O'Donnell, Peter, Pieces of Modesty, first edition, signed by the author, no. 214/250, slip case; others, etc
Lot 909
A folio of Old Master and later pictures and prints, including Johann Ignaz Zimbal (1722-1795), St. John the Evangelist Writing the Apocalypse on Patmos, signed within the plate, s.l., n.d. [c. 1760-70], etching, 29.6 x 20.4cm; Nicolas Mignard (1606-1668), after Annibale Carracci (1560-1609), Anapias and Amphinomus saving their family from an Etna eruption, from Homer's Odyssey, [Avignon]: Pierre Mariette II, 1637, etching and engraving, chipped in places, et al., 26 x 43.5cm; Joseph Vernet (1714-1789), Retour de la Pêche, first state, signed within the plate, s.l., n.d. [18th century], etching, 32.7 x 25.3cm; thirteen early 19th century British portrait stipple engravings, including the artists James Northcote, Joseph Nollekens with his bust of Charles Fox, Benjamin West ,George Romney, James Barry, Joseph Farington, Thomas Stothard, David Wilkie, and other Royal Academicians; William Young Ottley (1771-1836), after Pieter/Peeter Boel (1622-1674), The Wild Boar Hunt, [London, 1828], etching, 19.1 x 32.9cm; India and the British Raj, a commemorative printed silk, to General Lord Wolseley of Cairo on his being awarded the Gold Casket of the Corporation of the City of London, dated April 1883, further British Army portraits; untraced lithograph, Battle of the Locks and Keys, s.l., s.n., n.d. [c. 1830], 30.5 x 40.5cm; 19th century hand-coloured etching of a butterfly, monogrammed RN; pen and ink study of a fisherman and harbour scene; a mid-19th century named-view etching of Cardigan Bay, [Wales], dated 1869; 19th century British and French portrait and landscape etchings, including Corot; proof lithographs printed on India paper, then rolled onto sheets; etc., early 19th century morocco-backed folio, rubbed and tired, (approx. 50)
Lot 613
Maritime History - Iconic Ship - a dinner menu, HMT Empire Windrush, Christmas Day 1950, signed to verso; another, Monday 6th November 1950, signed to verso (2)HMT Windrush is perhaps best known for a journey in 1948 which brought one the first large groups of post-war West Indian migrants to the United Kingdom, the name becoming synonymous with a generation.
Lot 981
Bicknell, W I, The Natural History of the Sacred Scriptures, and Guide to Zoology....The London Printing and Publishing Company (Limited), half-bound morocco; Boyd, Alexander, From Niger to the Nile, first edition, Edward Arnold, London 1907; various volumes relating to David Livingstone; etc (qty)
Lot 739
Juvenalia & Memories of Childhood - a stained pine motor tipping wagon, constructed in the 'Folk Art' manner, shaped rectangular red label to sides 'THE FINBAT MOTOR TIP WAGON, BRITISH MANUFACTURE. "FINBAT" REGD', the underside of the base inscribed in pencil with the name 'TOM', 40cm long, first-half 20th century
Lot 979
Bates, H. E. - hardback first editions, including Spella Ho, 1938; Fair Stood The Wind For France, 1944; The Purple Plain, 1947; The Jacaranda Tree, 1949; Love for Lydia, 1952; A Moment in Time, 1964; the Yeallow Meads of Asphodel, 1976, some duplicates, some dust jackets; another, Chalmers, Patrick R. Green Fields and fantasy, first edition, 1934 (28)
Lot 426
A Victorian turret clock and bell by Gillett & Johnston, Croydon, dated 1895, the twin-barrel movement, signed to the frame 'Gillett & Co.', and to the silvered setting dial, 'Gillett & Johnston, Croydon',54.5cm wide 34cm deep45cm highsetting dial 8.5cm diameter,with a patinated copper dial,with Roman numerals, with raised shamrocks to the spandrels, 76.5cm square,with nine cast iron weights, 18 to 20cm diameter,an ash pendulum, with a weight,125.5cm long,a cast bell, numbered '1503' and 'Gillett & Johnston, Croydon, 1895',top bar 68cm wide 38.5cm diameter34cm high,a crank handle, four pulleys, a wood cradle and a cast iron wheel, cast '1ft 9in RG', anda collection of rods (qty.)Provenance: Elveden Hall Stables.The original inventory from Gillett & Johnston, dated 7 May 1898, shows that William Young - the architect Lord Iveagh had commissioned to make alterations at Elveden Hall and stables - placed the order which reads: 'Lord Iveagh Elveden Stables Elveden Hall Thetford '8637' / No 1 striking 3 Bell & Hangings / Two 3'6" sq copper black and gold with cast brass shamrock in each corner / Carriage / Fixing / Must go check with once winding / Not carpenters work or scaffold / Net 130 / July 19 / 4 1/4 Bell - Extra 7.10 / Extra Weight for larger bell 2.10'.The firm of Gillett & Johnston can trace its roots back to the clockmaker William Gillett who moved from Hadlow, Kent, to Clerkenwell in 1837. In 1844 he relocated again, this time to Union Road, Thornton Heath, Croydon. Charles Bland became a partner in 1854 and the company subsequently traded as Gillett & Bland. In 1877, Arthur A Johnston (c.1851-1916) bought a partnership, and shortly afterward, extended the company's output by establishing a bell foundry. The business became known as Gillett, Bland & Co. until Bland's death in c.1884 when the name was changed to Gillett & Co. The name Gillett & Johnston seems to have been used from around 1887. Arthur Johnston's son, Cyril Frederick Johnston (1884-1950), joined the company in 1902, became a partner in 1907, and took over the firm following his father's death in 1916. He developed an interest in the theory of bell tuning, and greatly expanded the bell founding side of the business. During the First World War, the factory suspended its regular business and became involved in the manufacture of munitions, employing over 1,250 men and women. The firm became a limited liability company in 1925, initially trading as the Croydon Bell Foundry Ltd. (although the name 'Gillett & Johnston' still appeared on bells). It reverted to the name Gillett & Johnston Ltd. in 1930. After going into receivership in 1957, the company was subsequently reborn and still trades today as clockmakers specialising in the maintenance and restoration of turret clocks.Condition ReportWorn, all pieces with wear and no hands for the clock. In need of restoration.
Lot 180
Sir Thomas Farrell RHA PHRA (Irish, 1827-1900),Sir Arthur Edward Guinness Bt, 1st Baron Ardilaun (1840-1915),a marble portrait bust, carved wearing fur-trimmed robes, a tasselled jacket and a lace neckerchief, on a socle plinth, inscribed to the reverse 'Sir Arthur Edward Guinness Bt, Baron Ardilaun, born 1 Nov 1840' and 'Thomas Farr',89cm high,together with a Siena marble column,with white marble bands, grey marble octagonal top and base,41cm diameter110cm high (2)Provenance: The Guinness Brewery.Sir Thomas Farrell (1827-1900) was the third son of Terence Farrell and the most successful sculptor in Ireland in the second half of the 19th century. Thomas studied first in his father's studio and then at the modelling school of the Royal Dublin Society from 1842. He exhibited at the Royal Hibernian Academy for over fifty years and was elected its President in 1893. Farrell was responsible for many public statues in Dublin, including a bronze statue of Sir Arthur in 1891, placed at St Stephen’s Green, Dublin, on which this appears to be based.Condition ReportCrack to the back. Plinth with chips to top and base edges.
Lot 439
2011 Bentley Continental GTC Speed A Registration Number: AU11 AKV Chassis Number: SCBDJ23WXBC070426 Engine Number: CKH004131In 2010, the Bentley Continental GT saw its first significant redesign since its initial launch in 2003. New technology, greater efficiency, state-of-the-art materials, a sleek new silhouette, and a sportier feel distinguished the new from the old.Equipped with a 6.0 litre, twin-turbocharged W12 engine, the GTC Speed produces 603bhp with a staggering top speed of 200 mph. FlexFuel compatible, the car will run both on standard pump fuel or E85 bioethanol and has a Torsen-based permanent four-wheel drive system as standard.This is an extremely low-mileage example which at the time of cataloguing shows a recorded 9,982 miles from new. Finished in Onyx Black with cream leather interior, it has been with the current vendor since 21 November 2012.The service handbook records the pre-delivery inspection in April 2011 by Bentley Norwich, then six subsequent services by Bentley Cambridge to September 2017. Two keys are present and paperwork includes the Continental GTC Speed handbook and service handbook. Original Bentley wind deflectors are present in their fitted case.With an extremely low mileage from new, this is a powerful, opulent, stunningly pretty, engineering tour de force. MoT-tested until 11 June 2024, it is ULEZ compliant.Condition ReportImages of the service book are attached, which is all the service history available.There is no mechanical report available, however the car starts, drives and stops as it should and has a current MOT test.We strongly recommend that all prospective buyers view the car to satisfy themselves of condition, despite the extremely low miles.There are some v ery small marks to the wheels and corroded wheel nut coversA scratch on the nearside front bumper and scuff marks on the inside of the drivers door
Lot 345
J T Wilson (19th century)‘The Golden Lion’, Romford;‘The Bull Inn', Dagenhamthe first signed 'J. T Wilson' l.r., the second signed ‘Wilson’ l.l. (obscured by mount), pencil and watercolour heightened with white18 x 27cm,together with:‘The Sun Inn and The Compasses’, Romford; ‘The King’s Head’, Romford;‘The Coach and Bell’, Romford; ‘The White Hart’, Romford’; ‘The Cross Keys’, Dagenham (7)Condition Reportoverall: 41 x 50cmFoxing and time staining with light cockling to the paper. The ‘King’s Head ‘ and ‘The Sun Inn’ are the worst affected, please see images. Not viewed out of glazed frames.
Lot 337
William Ward, after George Morland'Blind Man's Bluff'coloured mezzotint43 x 54cm, andfour others:'The Country Stable'47 x 59cm;'The Turnpike Gate'46 x 61cm;'The First of September - Evening'49 x 62cm;'Inside a Country Alehouse'49 x 61cm all in verre églomisé mounts and gilt frames (5)Condition Reportoverall: 'Blind Man's Bluff', 64.5 x 74cm; 'The Country Stable', 66 x 76cm; 'The Turnpike Gate', 56 x 78.5cm; 'The First of September - Evening', 69.5 x 82.5cm; Inside a Country Alehouse', 69.5 x 82cm.Paper discolouration with foxing and staining and some dirty marks. The glazing of 'The First of September-Evening' is cracked. Not viewed out of glazed frames.
Lot 334
A TRI-ANG DOLL'S HOUSE the mock-Tudor, gabled, side-hinged front elevation opening to reveal an interior arrangement of four principal rooms, with an (undivided) first-floor side room, beneath a tile-effect pitched roof, and with integral garage, overall 41cm high, 67.5cm wide, 27cm deep (inclusive of base); together with a quantity of plastic furniture.
Lot 91
Twelve volumes of "Woman's Institute of Domestic Arts & Sciences" - First Steps in Dressmaking - Harmony in Dress - Cutting and Fitting - Dressmaking, Trimming, Finishing - Underwear and lingerie - Decorative Stitches and Trimmings - Children's and Maternity Garments - Principles of Tailoring - Tailored Garments - Pattern Designing - Designing and Planning Clothes - Sewing for Profit - c1940s (12)
Lot 220
One 1894-P twenty dollar gold coin featuring on the obverse the bust of Lady Liberty encircled by 13 stars with the year below her head. The reverse depicts a spread-winged eagle with a halo of stars that surrounded "IN GOD WE TRUST" and further surrounded by "UNITED STATES OF AMERICA TWENTY DOLLARS".Designed by James Barton Longacre (American, 1794-1869). Longacre was the fourth Chief Engraver of the United States Mint until his death. His design and the production of the first double eagle coins coincided with the 1849 California Gold Rush. This design was the precursor for the $20 Saint-Gaudens double eagle.Diameter: 34 mm. Weight: 33.40 grams.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 435
Sam Francis (American, 1923-1994). Monotype on handmade paper titled "Chariot," 1985. This print depicts an abstract composition of amorphous forms in various colors such as red, blue, yellow, black, and green. Signed in pencil along the lower right. Original artist pencil inventory number on the lower edge of the verso "GTW-VF-VB. 03-#2-1985." With detached gallery labels.Provenance: Pamela Auchincloss Gallery, Santa Barbara, California; Flanders, Minneapolis, Minnesota; Private Minnesota Collection.Lot Essay:Sam Francis came to be an artist under unlikely circumstances. After serving the Air Force during World War II, Francis was injured during flight test maneuvers and subsequently hospitalized. It was while he was recovering that he first began to paint. Francis went on to graduate from the University of California, Berkeley in 1950 with a degree in art and began his European travels. His first stop was Paris, where he studied Monet’s “Water Lilies†and developed a relationship with the Matisse family and artists such as Al Held, Joan Mitchell, and Jean-Paul Riopelle. He went on to develop and maintain studios in Bern, Paris, Tokyo, Mexico City, New York and Northern and Southern California.Sam Francis was considered a revolutionary master of color, space, and light. His works call to various art movements - New York Abstract Expressionism, Impressionism, Art Informel, and color field painting. They are characterized by bright, vibrant splashes of color against a luminous white background. Francis took great interest in the creative process, but his understanding of the relationship between color and light set him apart from contemporaries such as Jackson Pollock and solidified him as a key player in contemporary art history.Height: 30 in x width: 25 1/2 inCondition: The sheet is in excellent condition with no tears, rips, losses, or restorations. The colors are bold and bright. Along the verso there are two areas of framer's tape along the top left and right edge. There are two rectangular areas of skimming to the sheet along the upper left and right corners of the verso. Each measure 1 inch x 1.5 inches. Purple and red spots along the verso original to the artistic process. It is possible that there is very light wear along the deckled edges. There are natural areas of unevenness to the paper due to the handmade nature of the material. Not framed.
Lot 354
Nicholas Richard Brewer (1857-1949). Oil on canvas titled "The Toilet," depicting a young woman preparing her hair in a mirror, ca. 1906.Lot Essay:Born in a log cabin in Minnesota in 1857, Nicholas Brewer’s work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel’s daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching.In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt.The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.Unframed; height: 30 1/4 in x width: 26 in. Framed; height: 34 3/4 in x width: 30 3/4 in.Condition: The artwork is in generally good condition. The surface is stable and the colors are bold and bright. There is craquelure throughout the work. When inspected under UV there are areas of restoration along the extreme edges, most concentrated along the upper right corner. There are minor losses to the extreme edges of the work, most noticeable along the upper right corner. Wear to the edges of the artwork. The keys have been replaced and are newer, likely within the past 10 years. Some wear to the frame.
Lot 557
After Sirio Tofanari (Italian, 1886-1969). Large cast bronze panther sculpture. Depicting the snarling big cat sitting and looking downwards. Incised signature along the base. Brown and verdigris patination throughout.Sirio Tofanari was born into a family of sculptors and artists. He attended the Florence Academy of Art from 1902-1907. At the age of 18 he fell in love and eloped to Paris before moving to London. While there he devoted himself to the study of animals, visiting the zoo and Natural History Museum often. Throughout the first two decades of the 20th century he exhibited his work around Europe including the 1909 Venice Biennale.Sadly, his home, studio, and its contents in Milan were destroyed during an Allied bombing raid in 1942 during World War II. He spent much of the remainder of his life creating reliefs of religious scenes, but animals remained ever in his focus.Height: 24 in x width: 14 1/2 in x depth: 24 1/2 in.Condition: There are no major dents, breaks, losses, or restorations. Wear and weathering throughout and signs of exposure to the elements. Verdigris patination throughout. Some accretions along the lower areas of the sculpture. Some dirt/dust collected in the recessed areas of the work. Dirt/dust collected along the underside and interior of the work.
Lot 267
Royal Copenhagen, Denmark. Set of 66 "Blue Fluted Plain" porcelain service. First designed in 1775, this was Royal Copenhagen's first pattern, making the blue floral design iconic of the brand. It was revised by Arnold Krog in 1885 and items in this pattern are still sold today. Each marked along the underside.This set includes: seven serving trays, two serving bowls, one round teapot, two high-necked teapots, 11 teacups in varying sizes with 11 accompanying saucers, one egg cup, a pair of salt and pepper shakers, one creamer, one lidded sugar bowl, ten dinner plates, six salad plates, one bowl, four shallow soup bowls, six small plates.Height ranges from 1 1/2 in to 9 1/2 in; width ranges from 2 in to 12 1/2 in; depth ranges from 2 in to 16 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 456
Cesar Legaspi (Filipino, 1917-1994) and Hernando R. "HR" Ocampo (Filipino, 1911-1978). Oil on board painting from the "Interaction" series, 1972. Depicting interlocking forms in muted reds and blues that are iconic of Ocampo's "visual melody" period. The highly textured painting shows the signature look of Ocampo's paintings, who meticulously applied paint to his canvases with a small palette knife in methodical, small increments, changing from shade to shade with patience and care. Signed by both artists and dated by Legaspi along the lower right. With a label from the Cultural Center of the Philippines affixed along the verso.Exhibition: Cultural Center of the Philippines, "Interaction 1973," May 25 - June 24, 1973.Lot Essay:Both Legaspi and Ocampo were a part of the influential group known as the "Thirteen Moderns" who ushered in a modern style of painting to the Philippines. The group included Botong Francisco, Galo Ocampo, Lorenzo, Vicente Manansala, HR Ocampo, Anita Magasaysay-Ho, Cesar Legaspi, Demetrio Diego, Ricarte Purugganan, Jose Pardo, Bonifacio Cristobal and Arsenio Capili. This group interacted with each other often, collaborating to produce greater and greater works of art.Cesar Legaspi was a Filipino National Artist in painting. His early works often depicted cubist figures often described as showing the anguish and dehumanizing of the beggars and laborers in the city. In his early works he worked to refine Cubism and place it within a distinctly Filipino context, utilizing it to show the struggles his country faced in the wake of World War II. His focus on the human condition never faded even as he moved to a brighter palette and more abstract, geometric forms.He studied at the University of the Philippines and under the tutelage of Pablo C. Amorsolo before exhibiting his works at the Manila Hotel with other neo-realists in 1950. He held his first one-man show in 1963 at the Luz Gallery after studying for several years in Madrid and Paris. Until 1968 he split his time between working in advertising and painting before finally devoting his career to his artistic endeavors. He eventually became the head of the Saturday Group of Artists from 1978 until his death in 1994.Together with Legaspi and Vicente Manansala, Hernando Ruiz Ocampo (better known as HR Ocampo) was one of the three most significant figures who brought neo-realism to the Philippines. Ocampo was a self-taught artist whose works were noted for their unity and coherence throughout his career. As he shifted from neo-realism to abstract works in the 1960s, he began using more vivid paints and his paintings were sometimes likened to paint-by-number artworks. His works are self-defined by five distinct periods: the Amorsolo period from 1929-1934, the proletarian period from 1934-1945; the transitional period from 1945-1963; the mutants period from 1963-1968; and the visual melody period from 1968-1978.In addition to his inventive paintings, he was also a writer, playwright, and editor. He combined his love of art and writing for the creation of the monumental "Genesis" curtains in the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo. In his signature undulating forms of red, orange, and yellow, these curtains define his style and personality.Sight; height: 23 1/2 in x width: 17 1/2 in. Framed; height: 25 in x width: 19 in.Condition: The colors are bold and bright and the surface is stable. There are no visible losses or restorations when inspected under UV light. There is a network of white accretions along the right side of the painting. Light wear to the frame.
Lot 413
Fritz William Scholder V (American/La Jolla Band of Luiseno Indian, 1937-2005). Color lithograph titled "Indian Portrait No. 2," First state, depicting a portrait of a Native American man against a vibrant red background. Pencil signed along the lower right; editioned 78/100 along the lower left.Sight; height: 13 in x width: 7 1/2 in. Framed; height: 23 in x width: 17 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. The color is bold and bright, the surface appears to be stable. The sheet is lightly toned as shown in the listing image. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Lot 389
Le Pho (Vietnamese, 1907-2001). Oil on canvas painting titled "Fleurs" depicting a still life of a white vase overflowing with brightly blooming flowers. Signed along the lower right. With a label from Wally Findlay Galleries along the verso.Provenance: Wally Findlay Galleries, September 2, 1977; Private Minnesota Collection.Lot Essay:Le Pho was born in Vietnam in 1907. As a child, he was constantly finding opportunities to make art. As the son of the Viceroy of Tonkin, he had the opportunity to study art at the newly established Ecole des Beaux-Arts in Hanoi under Victor Tardieu (1870-1937), a well-respected French painter. In 1931, he traveled to France with Tardieu, where he studied at the Ecole des Beaux-Arts in Paris on a scholarship. He then traveled to Italy to do research, also visiting the Netherlands and Belgium in his tour of Europe.After returning to Vietnam, Le Pho became a professor at the Ecole des Beaux-Arts in Hanoi. During his professorship, he decided to continue his education by making trips to China to study and make art. While in China, he studied traditional Chinese sculpture, visited museums, and even had the opportunity to paint the Emperor and Empress.In 1937, he was sent to Paris to work on the Indochina Pavilion at the International Exposition of Art and Technology in Modern Life. He stayed in France after the Exposition, where he found great success as an artist. His first solo exhibition was in 1938, and soon after, his work began getting international exposure. His works were widely distributed, particularly in the United States because of an exclusive contract he signed in 1964 with Wally Findlay Galleries, an American company.Despite his expatriate status, Le Pho kept close ties to his homeland. He was active in the Vietnamese community in Paris, and worked with Vietnamese dignitaries and intellectuals to advocate for better treatment of the colonized Vietnamese people. His ties to his homeland are also evident in his subject matter. His paintings featured women and flowers, which he depicted in ways influenced by Vietnamese traditions and aesthetics.Sight; height: 19 in x width: 23 1/2 in. Framed; height: 28 in x width: 31 in.Condition: The colors are bold and bright. There are no creases, rips, or restorations. Along the darkest green areas of the bouquet there is craquelure and some cupping. There a few small losses to the paint layer, exposing the white canvas underneath. This is localized only to the darkest areas of green leaves. Some light wear along the extreme edges of the painting where the canvas and rabbet meet. Clean verso. Light wear to the frame with some small losses to the gilt plaster along the extreme edges; visible in the lot listing.
Lot 442
Sam Gilliam (American, 1933-2022). Small acrylic on birch plywood titled "Mark Squared" depicting a colorful abstract composition, 2000. With a three-dimensional element in the form of an irregular-shaped wedge projecting from the lower half of the artwork. Signed, titled, and dated along the verso.Provenance: Private Minnesota collection.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career.From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Height: 12 in x width: 12 in x depth: 4 in.Condition: The artwork is structurally sound. All pieces are firmly attached. There are no splits, losses, or repairs to the wooden components. Natural bubbles to the paint surface original to the artistic process. Along the lower right of the red panel there are three small spots (the largest measuring 3/4 inch x 3/4 inch) that fluoresce under UV light and appear uneven when compared to the rest of the work which is quite smooth, save for the aforementioned bubbles. This is likely an area of pooled varnish. There is some slight yellow discoloration to the varnish throughout. Some scratches to the metal along the verso of the work.
Lot 385
Ivon Hitchens (English, 1893-1979). Oil on canvas still life painting titled "Poppies on a White Ground" depicting flowers in a vase, 1973-75. Signed along the lower right. Painted in the artist's characteristic style with vibrant and bright colors. With a label from Waddington and Tooth Galleries along the verso. Included is an exhibition poster from the artist's Retrospective exhibition at the Royal Academy of Arts in London which ran from March 21 to April 25, 1979.Provenance: Roger Sherman, Esq.; Waddington and Tooth Galleries, Ltd., London; Private Minnesota Collection.Lot Essay:Ivon Hitchens was the son of landscape painter Alfred Hitchens. He studied at St. John's Wood School of Art and the Royal Academy in London during World War I. In 1922 he became the founding member of the Seven and Five Society and began exhibiting his work that same year. He subsequently became a part of the "London Group" in the 1930s. This group included Barbara Hepworth, Henry Moore, Naum Gabo, Paul Nash, Ben Nicholson, and Leon Kossoff. His work during this period was often painted with natural earth-tones such as muted greens and browns.In 1940 during World War II, his home and studio in Hampstead was destroyed during a bombing, forcing the artist to relocate. He and his wife Mollie settled in Sussex where they lived first out of a caravan which he then gradually supplemented with additional buildings. The six acres of woodland that they moved to became his home and muse for the next 40 years.The muted tones that characterize his early works were replaced with a brighter palette. Landscapes became his forte, utilizing abbreviated fields of color perceived from a landscape instead of exact renderings. His work changed little after his move to the countryside and he remained consistent in his style until his death in August of 1979. The present work is an excellent example of his countryside paintings. His palette includes energetic reds to represent the poppies, bright blue for their vessel, and vibrant yellow and green as the background. The white ground allows the colors to pop forward, engaging the viewer.His work was part of the 1956 Venice Biennale and his paintings are now in the collections of the Tate Gallery in London, the National Galleries of Scotland in Edinburgh, and the Courtauld Institute in London. His work has been exhibited through the United Kingdom through the years including a 1979 Retrospective exhibition at the Royal Academy of Arts to as recent as 2019.Unframed; height: 17 1/4 in x width: 41 3/4 in. Framed; height: 27 in x width: 51 1/4 in.Condition: The colors are bold and bright and the surface is stable. When inspected under UV light there does not appear to be any signs of restoration. Clean verso. Framed under a linen mat and glass; some light stains to the mat that does not appear to affect the artwork. Not inspected out of frame. Some wear to the frame.
Lot 344
After Hans Holbein (German, 1497-1543). Oil on panel portrait of Margaret Roper. Inscribed "Margaret Rooper (sic), Daughter unto Sir Thomas More" along the upper right.Provenance: Possibly Galerie Moderne, Brussels, Belgium in the 1970s; Private Collection, Minnesota.Lot Essay:Margaret Roper (1505-1544) was the eldest and favorite daughter of Sir Thomas More. Extremely well educated for a woman of her time, she was particularly well-known for her knowledge of Latin and Greek. Her translation into English of "Precatio Dominica" by the Dutch humanist Desiderius Erasmus, a close family friend, was one of the earliest translations ever published by a British woman, and was very well-received. She was her father’s closest confidante in his later years, and his writings about her make it clear that he saw her as an intellectual equal. After his execution in 1535 for his refusal to accept Henry VIII’s departure from Catholicism, she and her lawyer husband, William Roper, were the people who ensured that his story did not die with him. Along with rescuing and preserving his head, Margaret carefully collected and protected More’s writings, particularly his letters from prison. Her diligence ensured the survival of the narrative of More’s martyrdom, likely leading to his eventual sainthood, conferred in 1933.This portrait is a copy by a well-trained artist of part of an original portrait by Hans Holbein the Younger. Holbein, often seen as the greatest portrait painter of his generation, first came to England in 1526 with a letter of recommendation to Sir Thomas More from Erasmus, who he had painted previously. Along with painting his now-famous portrait of More, Holbein also painted a group portrait of More with his family. This painting was destroyed by a fire in the 18th century, and now survives only through copies. Copying paintings was a common practice in the 16th century, and Holbein’s works were in high demand. His portraits were extremely popular during his lifetime, and after he died, no other portrait painters initially stepped up to take his place. As a result, the market for copies of his portraits boomed in the century after his death, as collectors clamored for Holbeins of their own. The majority of these were created within a century of his death, a fact backed up for several pieces by dendrochronology. Research even suggests that many copies were created using Holbein’s own drawings and patterns, which had come into the possession of Henry VIII following Holbein’s death. This portrait is most likely one of those early copies.There was evidently some desire to own portraits of Margaret, since multiple portraits of her alone copied from Holbein’s Sir Thomas More with his Family and Household are extant, including one in the National Trust in Knole, Kent. This was likely due to her influential status and fame as a model woman of letters. This painting is generally consistent with the other surviving copies; however, Roper’s bodice is here depicted as solid black and does not include a red panel as in other versions. The details of her costume are carefully rendered, with layers of mordant creating a low relief forming the gold decorations and chains in her garments. This painting includes Margaret Roper’s arms, which consist of her husband’s impaling her own, made up of Thomas More’s quartering her mother’s.Unframed; height: 26 1/2 in x width: 19 3/4. Framed; height: 34 in x 27 1/2 in.Condition: The panel has slightly warped, notably along the left and right edges, which are slightly convex. The surface is in good condition; some light cracks along the figure’s face, with a thick varnish layer. There are two straight vertical lines visible on the surface, due to a repair to straighten the panel. There is inpainting visible under UV light along these lines. Under UV, it is difficult to discern other areas that have been restored due to the thick layer of varnish. The verso has some inset glued joints with buttons. The frame likely early 20th century, and exhibits some wear.
Lot 513
Vu Cao Dam (Vietnamese/French, 1908-2000). Color lithograph on paper titled "Saint-Paul-de-Vence" depicting the hilltop commune in Southeastern France, 1971. Pencil signed and dated along the lower right; numbered 103/150 along the lower left.Lot Essay:Born in Hanoi in 1908 to a well-to-do family, Vu Cao Dam displayed an early interest in the arts. His father, a well-educated Catholic, brought him up in a home surrounded by traditional Chinese calligraphy and a wide range of cultural influences. In 1926, he began his formal artistic education at the painter Victor Tardieu’s École des Beaux-Arts de l'Indochine, now the Vietnam University of Fine Arts. Tardieu and his instructors taught academic European painting to his students as well as decoration, architecture, anatomy, and sculpture. It was at sculpture that young Vu Cao Dam most excelled, and he joined the newly minted sculpture program at the École des Beaux-Arts, where he created several bronze busts that won him early acclaim.In 1931, following his graduation from the École des Beaux-Arts de l'Indochine, Vu Cao Dam received a scholarship to continue his art education in Paris. He began his Parisian studies at the Cité Internationale Universitaire de Paris. During his first year there, Vu Cao Dam received the prestigious honor of an invitation to display his works in the Exposition Coloniale Internationale. He then continued his studies at the École du Louvre, where he was able to view the works of the great European academic masters he had been trained to emulate. However, he was most compelled by more recent works of the impressionists and post-impressionists, as well as great sculptors such as Auguste Rodin and Alberto Giacometti.Vu Cao Dam’s career took off following the completion of his education. He and fellow Vietnamese expatriate Le Pho, a dear friend with whom he had studied in Hanoi, found success and popularity on the Paris art scene. Vu Cao Dam began sculpting what would become his most famous subject matter: elegant Vietnamese ladies. He continued to paint as well as sculpting, often painting on silk, a form of painting taught at the École des Beaux-Arts de l'Indochine. He also began to put down personal roots in France, marrying and having two children.When World War II broke out, Paris became a dangerous place to live and work; Vu Cao Dam sent his family to the countryside to escape the Nazi-occupied city. However, he stayed in Paris, frantically creating art out of any material available under strict rationing, and bicycling the 100-km distance to see his family whenever he could. During this time, he executed several of what are now seen as his finest works out of terracotta, demonstrating his resourcefulness and commitment to his art.In 1949, plagued by ill health, Vu Cao Dam moved to the south of France with his family, to a villa named Les Heures Claires. The bright, airy atmosphere of southern France had a large impact on his painting, as did the work of his new neighbor, Marc Chagall. His works take on a sunny, pastel air at this point. Throughout the 1950s and into the early 1960s, Vu Cao Dam gained international success, exhibiting throughout France, particularly in Nice, as well as in Sweden, Belgium, and the UK. In the early 1960s, Vu Cao Dam signed an exclusive contract with Wally Findlay Galleries in the United States. This brought his work notoriety in the United States, and there are many fine examples of his work in the United States that originate from this partnership. Vu Cao Dam remained in France for the rest of his life, continuing to create art until his death in 2000.Sight; height: 20 1/2 in x width: 26 1/2 in. Framed; height: 30 1/2 in x width: 36 3/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 493
Jenny Holzer (American, b. 1950). Group of 14 offset lithographs on paper from "Inflammatory Essays," 1979-82. Published in various colors. Generally shortened in title to the first line, this group includes the following: "Only My Brother Men...," "A Cruel but Ancient Law...," "You Get So You Don't Even Notice...," "Ruin Your Fucking Self Before...," "Shriek When the Pain Hits...," "People Must Pay for What They...," "Snakes are Evil Incarnate...," two prints of "Sentimentality Delays the Removal Of...," "Don't Talk Down to Me...," "It's Mostly Love That Makes...," "Destroy Superabundance. Starve The...," "Child Molestation is Abhorrent...," and "Thou Art That Kind of Privelaged..."Height ranges from 17 in to 17 1/4 in; width ranges from 16 3/4 in to 17 in.Condition: All sheets have a slight undulation. There are small handling marks and creases along the edges throughout the sheets. Several have light soiling along the edges. There are a few with a small creases on the corners. One of the essays "Sentimentality Delays the Removal Of..." has a small tear along the lower left edge. No other major rips or losses. None are framed.
Lot 492
Exhibition poster depicting the work "The Advantages of Being a Woman Artist" detailing thirteen ironic comments on women in the art world, commenting on the misogyny present. This poster from an exhibition titled "What Does She Want? Current Feminist Art from the First Bank Collection" that was on view at Carleton College from January 7 to March 12, 1989 and at W.A.R.M. Gallery in Minneapolis from April 8 to May 13, 1989.Height: 38 in x width: 22 1/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 512
Marc Chagall (Russian/French, 1887-1985). Lithograph on Arches paper titled "Paris of Dream" depicting a dream-like depiction of Paris, 1969-1970. Pencil signed along the lower right; numbered 12/75 along the lower left. With a certificate of authenticity from Cass Publishing. As the artist described these works, "Visions of Paris which are perhaps the same and also different. Paris, reflection of my heart. I'd like to fade into it, not be alone with myself."Literature: Mourlot 600.Provenance: Cass Publishing, Minnetonka, Minnesota; Private Collection, Minnesota.Lot Essay:Marc Chagall (born Moishe Shagal) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opera.Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".Sight; height: 40 1/2 in x width: 28 in. Framed; height: 57 1/4 in x width: 45 in.Condition: The artwork is in good condition overall. There are no rips, major creases, or restorations. No issues when inspected under UV light. The artwork is hinged along the upper edge in three spots (corners and center). It is floated in the frame. The sheet is very lightly toned and there is a very slight undulation to the sheet. There is an approx. 7 inch long crease along the lower right margin. Several handling marks throughout the margins. Some wear to the deckled edge; possibly original to the artistic process. The work is titled with pencil along the lower margin of the verso. There is some light wear to the mat. Some light wear to the frame; framed under glass.
Lot 256
Dale Chihuly (American, b. 1941). Set of eight "Persian Forms" handblown glass. With a spiderweb design in turquoise blue along one side and a variation from orange to black along the other. Rimmed in bright red. The forms range from large open bowls in resembling shells to curling floral vessels. They are able to be nested together in a variety of unique ways.Provenance: Savage Art Resources, Portland, OR; Distinguished Corporate Collection.Lot Essay:Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly first fostered the collaborative method of glassblowing he had witnessed in Italy at Pilchuck, something that would become a hallmark of his artistic process.Height ranges from 1 3/4 in to 15 1/2 in; width ranges from 4 in to 21 in; depth ranges from 1 1/2 in to 15 in.Condition: Throughout all of the pieces there are no major cracks, losses, or restorations. There are some accretions and dust collected throughout. Along one of the large bowls there is a minute chip near the edge of the interior of the bowl, approximately 1/4 inch. There are no other notable scratches or chips.
Lot 443
Sam Gilliam (American, 1933-2022). Lithograph and etching in colors on handmade paper titled "Lattice III" depicting a bloom of bright colors with an overlay of crisscrossing lines in dark blue, 1982. Pencil signed, dated, and titled along the lower edge.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career. From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Sight; height: 32 x width: 44 1/4 in. Framed; height: 39 1/2 x width: 50 1/4 in.Condition: The artwork is in good overall condition. There are no areas of restoration visible under UV light. The colors are bold and bright. Due to the nature of the paper, it is difficult to determine whether or not there are minor losses along the edge. The print is hinged with framer's tape. There is wear to the frame.
Lot 257
Dale Chihuly (b. 1941). Large handblown undulating glass bowl, 1993. The interior in hot pink and the exterior in turquoise blue. With a green rim. Signed and dated along the underside.Lot Essay:Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly first fostered the collaborative method of glassblowing he had witnessed in Italy at Pilchuck, something that would become a hallmark of his artistic process.Height: 16 1/2 in x width: 26 in x depth: 20 in.Condition: Along the pontil there is a small area that could possibly be a chip, however, it may be original to production. There are no other chips, cracks, losses, or restorations. Some accretions and dust accumulated throughout; some areas with museum wax.
Lot 92
Omega. A rare stainless steel automatic calendar chronograph bracelet watchModel: Speedmaster Automatic 'Holy Grail'Reference: ST 376.0822Date: Circa 1987Movement: 17-jewel Cal.1045 automatic, No.48233702Dial: Black, luminous baton hour markers, white outer 1/5th second divisions, subsidiary dials at 6, 9 and 12 for seconds, 12 hour recording and 24 hour indication, day and date apertures at 3, white pointed baton hands with luminous inserts, centre chronograph hand, further jet tipped hand for minute recordingCase: Brushed and polished tonneau form, screw down back stamped C.R.S, twisted lugs, crown flanked by twin chronograph pushers, black tachymetre insert to bezelStrap/Bracelet: Brushed 1479 Omega linkBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 41mmFootnotes:The Omega ST376.0822 is one of the rarest Speedmasters ever produced. Nicknamed Holy Grail, the model was the first automatic Speedmaster and had a very short production span with approximately only 2000 watches made.The Holy Grail had a case that was very similar to the Moonwatch with a black tachymetre bezel, twisted lugs and shouldered crown and pushers. The watch also features day and date apertures as well as 24 hour indication.The present lot represents an excellent opportunity to acquire one of the most sought after Speedmasters.For further information on this lot please visit Bonhams.com
Lot 195
IWC. A stainless steel automatic calendar wristwatch with 7 day power reserveModel: PortugueseDate: Circa 2010Movement: 44-jewel Cal.51011 automatic, adjusted to 5 positions, No.3596927Dial: Silvered, applied blued Arabic numerals, black outer minute track with 5 minute markers, subsidiary dials at 3 and 9 for seconds and seven day power reserve, date aperture at 6, blued steel leaf handsCase: Brushed and polished round, screw down exhibition backStrap/Bracelet: Blue IWC alligator leatherBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 42mmFootnotes:The design of the Portugieser, although not the name, was first introduced in the 1930s and was so named due to the supposed influence of a Portuguese retailer for IWC, thought to be Messrs. Rodrigues and Antonio Teixera. Surprisingly the first dispatch of the now well known Portuguese design did not make its way to Portugal until 1942, selling initially in Eastern Europe.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 182
IWC. An 18K white gold automatic chronograph wristwatchModel: PortugueseReference: 3714Date: Circa 2000Movement: 31-jewel Cal.79350 automatic, adjusted to 5 positions, No.3061261Dial: Sunburst grey, applied polished Arabic numeral hour markers, outer polished dot minute divisions, raised outer 1/5th second divisions, subsidiary dials at 12 and 6 for seconds and 30 minute recording, polished leaf hands, centre chronograph handCase: Brushed and polished round, back secured by 4 screws, crown flanked by twin chronograph pushers, No.3350549Strap/Bracelet: Brown IWC alligator leatherBuckle/Clasp: Signed 18K white gold buckleSigned: Case, dial & movementSize: 41mmFootnotes:The design of the Portugieser, although not the name, was first introduced in the 1930s and was so named due to the supposed influence of a Portuguese retailer for IWC, thought to be Messrs. Rodrigues and Antonio Teixera. Surprisingly the first dispatch of the now well known Portuguese design did not make its way to Portugal until 1942, selling initially in Eastern Europe.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 203
Patek Philippe. An 18K gold manual wind chronograph wristwatchReference: 5170J-001Date: Purchased 12th September 2012Movement: 33-jewel Cal.29-535 manual wind, adjusted to heat, cold, isochronism & 6 positions, Gyromax balance, No.5664586Dial: Silvered, applied gilt baton hour markers with Roman numeral 12 and 6, black outer 1/5th second track with Arabic 5 minute markers, black pulsations scale, subsidiary dials at 3 and 9 for seconds and 30 minute recording, gilt pointed baton hands, centre chronograph handCase: Polished round, screw down exhibition back, crown flanked by twin rectangular chronograph buttons, No.4579903Strap/Bracelet: Brown Patek Philippe alligator leatherBuckle/Clasp: Signed 18K gold folding claspSigned: Case, dial & movementSize: 39mm Accompaniments: Certificate of OriginFootnotes:The reference 5170 was launched in 2010 and notably housed Patek Philippe's first in house chronograph, calibre 29-535. At the time it was introduced it was only available in yellow gold and was created to replace the reference 5070. Since then, the model has been made available in several different metals and dial configurations.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 539
ZOLA EMILE: (1840-1902) French novelist, journalist and playwright. A.L.S., Emile Zola, one page, 8vo, Medan, 6th September 1878, to [Aurelien Scholl] 'Mon cher confrere', in French. Zola asks if his correspondent would be kind enough to publish in Le Voltaire 'la courte preface que j'ai mis en tete de mon Theatre, dont je me suis fait un plaisir de vous adresser un exemplaire' (Translation: 'the short preface that I put at the head of my Theatre, of which I had the pleasure of sending you a copy'), adding that the reproduction should be requested from Aurelien Scholl. With blank integral leaf. VGAurelien Scholl (1833-1902) French author and journalist who was the founding editor of Le Voltaire, a French daily newspaper which first appeared in July 1878 and ceased publication in the 1930s.
Lot 781
BEATON DAVID: (c.1494-1546) Scottish Cardinal who served as Archbishop of St. Andrews 1539-46. Beaton was the last Scottish Cardinal prior to the Reformation. An extremely rare L.S., d[avid] Card[ina]lis S[anc]ti Andree, one page, folio, Paris, 17th July 1542, to Cardinal Alessandro Farnese, in Latin. Beaton writes to Farnese in relation to Alfonso Salmeron and Paschase Broet, the Apostolic nuncios to Ireland and the disturbances they have witnessed there, commenting that there is 'still so much cruelty from the English and the barbarian people themselves, and fierceness, from whom I have saved [them] and they have escaped unscathed. [It is] astounding all that I have been able to see' and adding that he will continue to write with reports to Farnese. With integral address leaf. Some very light, minor water staining to the right edge, only very slightly affecting a few words of text, which remain perfectly legible. About VG Alessandro Farnese (1520-1589) Italian Cardinal and Diplomat. Grandson of Pope Paul III and appointed as his principal secretary in 1538, managing most of the papal business until 1549. Alfonso Salmeron (1515-1585) Spanish Biblical Scholar, a Catholic Priest, and one of the first Jesuits. Paschase Broet (1500?-1562) French Catholic Priest, one of the first Jesuits. In late 1538 King Henry VIII of England was excommunicated by Pope Paul III and the constitutional position of the lordship of Ireland remained uncertain. In the autumn of 1541 Pope Paul III sent Salmeron and Broet as Apostolic nuncios to Ireland. Before leaving they met with Cardinal Beaton at Lyon who discouraged them from going to Ireland with stories of the dire state of the Church there. After leaving France they reached Edinburgh on 3rd December 1541. Although warmly received by King James V, he, and everyone else they met agreed with Beaton and also discouraged them from going to Ireland. Nevertheless, Salmeron and Broet made the short crossing on 23rd February 1542. The title of King of Ireland had been re-created in 1542 by King Henry VIII and the English began establishing control over the island. The situation in Ireland proved to be worse than previously thought and Broet wrote 'in a short while we found matters just as we had been told, if not worse'. Bishops who remained faithful were turned out of their dioceses and went on the run. Monasteries and friaries were all in ruins. Pope Paul III's original instructions had stated that if their lives were in danger then they were return and therefore in the summer of 1542 they travelled back to Scotland where the people there were surprised to see them return alive.
![[MOLIERE]: (1622-1673) Jean-Baptiste Poquelin. Known by his stage name Moliere. French playwright, Actor and Poet, widely reg](https://cdn.globalauctionplatform.com/727ecde7-c280-4e4e-abc9-b06100c717d7/40a34de3-a0c4-4e7e-b175-b0610129a035/468x382.jpg)
Lot 522
[MOLIERE]: (1622-1673) Jean-Baptiste Poquelin. Known by his stage name Moliere. French playwright, Actor and Poet, widely regarded as one of the greatest writers in the French language and universal literature. His plays have been translated into every major living language. His influence is such that the French language itself is often referred to as the "language of Molière". Very rare document signed by Moliere´s wife ARMANDE BÉJART (1640-1700) French Actress, one of the most famous French stage actors of the 17th century. Her mother co-founded with Moliere the theatre company Illustre Theatre. D.S., `Armande Gresinde Claire Eslisabet Bejart´, one page, oblong small 4to, vellum, Paris, 1st of March 1681, in French. The partially printed document being an annuity receipt issued by the Town Hall of Paris, stating that in presence of the Secretary Counselor of the King, House of the Crown of France, and collector of the Paris Chancellery, they acknowledge the payment of "Twenty eight pounds and fifteen sols" corresponding to the first quarter of the year paid by `Damoiselle Armande Gresinde Claire Elizabeth Bejart, widow of Jean Baptiste Pocquelin S. de Moliere´. Countersigned by a Town Hall official. Overall age wear and toning. Creasing and staining. The signature remains in fine and bold ink condition. F
Lot 352
JOHN XXIII: (1881-1963) Pope of the Roman Catholic Church 1958-1963. Beatified in 2000 and Canonized in 2014. A highly unusual D.S., + Ange Roncalli, twice, as Apostolic Nuncio to France, two pages, 4to, Ankara, 26th December 1944. The partially printed document, completed in typescript, is an United States Air Transport Command Priority Identification Certificate in which authority is requested for Roncalli to travel on an Air Transport Command aircraft from Ankara to Cairo on 27th December 1944, detailing the reason for travel as 'To take up post as Papal Nuncio at Paris'. The document is also signed by various officials, one of whom certifies that 'the movement of this passenger is necessary and essential to the successful prosecution of the war, and that the mission of this passenger is of such urgency that transportation by air is necessary' and also provides details of Roncalli's permanent address at the Vatican City and records his personal weight as being 95kg and an authorised baggage allowance of 50kg. The second page of the document is a release declaration signed by Roncalli stating that the flight will be made at his own risk and responsibility, and in consideration of the permission extended to him by the United States he discharges the American government and its officers and agents 'from any and all claims, demands, action or causes of action, on account of my death or on account of any injury to me which may occur by reasons of the said flight….', further stating that the Vatican City should be notified in case of an emergency. A rare document relating to what is understood to be the first flight to have been made by a Pope, and a Saint. Some very light, extremely minor age wear, VG On 22nd December 1944, during World War II, Pope Pius XII named Roncalli to be the new Apostolic Nuncio to the recently liberated France. In this capacity he would negotiate the retirement of bishops who had collaborated with the German occupying power. Roncalli left Ankara on 27th December 1944 and made a series of short haul flights taking him to Cairo, Beirut and Naples. On 28th December 1944 he arrived in Rome and the next day left for France to begin his new role.
Lot 463
GAUGUIN PAUL: (1848-1903) French Post-Impressionist artist. A very fine A.L.S., P Gauguin, two pages, 8vo, Lutece (Lutetia, i.e. Paris), 20 Fructidor an 91 (7th September 1883), to his wife, Mette-Sophie Gad ('Chere Madame'), in French. Gauguin writes an affectionate love letter on his wife's birthday, at a time when the artist's marriage was strained and his wife expecting their fifth child, 'Il est important que vous sachiez si le 7 septembre est un jour de fête; peut-être l'avez-vous oublié, vos amis se souviennent et vous félicitent. Vous regardez d'un oeil humide les feuilles tomber sur la terre vous pensez au printemps passé, songez que tout s'en va mais que tout renaît. Vos enfants sont les jeunes pousses qu'un rayon de soleil ranime et fortifie, vous avez une année de moins mais un enfant de plus. Si la vie a quelquefois ses revers à côté de ce grognon de Paul en revanche le bonheur est là où on aime; chez l'époux il y a la sévérité, interrogez son coeur il vous répondra (I elske) [ j'aime, en danois]. Je le connais votre chenapan de mari, il n'ose vous dire aujourd'hui que le 17 Sept. lui rappelle une heureuse naissance; c'est un sceptique d'apparence mais n'en croyez rien je vous réponds de lui. Il me charge de vous l'écrire en peu de mots, la meilleure éloquence c'est la vérité et j'espère chère madame que vous avez confiance dans ma sincérité' (Translation: 'It is important that you know if 7th September is a day of celebration; maybe you forgot it, your friends remember and congratulate you. You watch with a tearful eye the leaves falling on the earth, you think of the past spring, think that everything is going away but that everything is reborn. Your children are young shoots that a ray of sunshine revives and strengthens, you are one year younger but a child older. If life sometimes has its setbacks next to that grumpy Paul, on the other hand happiness is where one loves; in the husband there is severity, ask his heart he will answer you (I elske) ('I love you' in Danish) I know your rascal of a husband, he doesn't dare tell you today that the 17th September reminds him of a happy birth; he looks like a sceptic, but don't believe it, I can vouch for him. He asks me to write it to you in a few words, the best eloquence is the truth and I hope, dear Madame, that you have confidence in my sincerity'). With blank integral leaf. A remarkable and extremely rare letter. Some very light, extremely minor staining and age wear, VG Mette-Sophie Gad (1850-1920) Danis translator, wife of Paul Gauguin from 1873-94. Gad gave birth to their fifth child, Paul Rollon Gauguin (known as Pola), three months after the present letter, on 6th December 1883. Pola Gauguin was to have little interaction with his father, and no direct content after 1890. At the time of the present letter relations between Gauguin and his wife were particularly tense. They had met in 1872 when Gauguin was working as a stockbroker and earning a very considerable amount of money, however in 1882 the Paris stock market crashed, and Gauguin's income deteriorated sharply. He announced to Mette that he was going to pursue painting full-time, although the family quickly fell into poverty which led to them taking refuge in Denmark with Mette's parents. The mention of 17th September in the present letter remains something of a mystery, although clearly had a certain significance between Gauguin and his wife. Could it be a reference to their first romantic encounter? The Institut national d'histoire de l'art (INHA) hold some eighty letters by Gauguin, although the earliest to Mette dates from May 1885. The tone of the present letter, in which Gauguin speaks of himself in the third person, is unusual, and as public collections do not contain any letters to Mette from a similar period, it is difficult to establish whether the artist frequently adopted this falsely light and playful tone, most likely adopted to charm his wife and seek 'forgiveness' on her birthday. It is tempting to feel here the presence, or at least the positive bonhomie influence, of Gauguin's best friend and intimate adviser, Emile Shuffenecker, under whose dictation it may have been written.
Lot 550
COCTEAU JEAN: (1889-1963) French poet, playwright, novelist, artist, filmmaker and critic. A.L.S., Cocteau, one page, oblong 4to, n.p., n.d. (June 1916), to [Gaston de] Pawlowski, in French. Cocteau writes a brief, upbeat letter, in full, 'J'ai hate de vous voir - Plus de Coxyde. Si j'avais eu comoedia pour parade!' (Translation: 'I can't wait to see you - No more Koksijde. If I had had Comoedia for parade!'). Some very light, extremely minor age wear, VGGaston de Pawlowski (1874-1933) French writer of the prophetic novel of science fiction Voyage to the Land of the Fourth Dimension (1911), first published in Comoedia, of which Pawlowski was editor-in-chief. Comoedia was a French literary and artistic journal founded in 1907 and to which Cocteau was a regular contributor. The monthly publication provides one of the most complete sources of cultural history in France just prior to World War I.From late December 1915 until late June 1916 Cocteau served with the Red Cross as an ambulance driver at the Belgian town of Koksijde, taking leave between 1st and 10th June (at which time the present letter was most likely penned).
![[LES MISERABLES] HUGO VICTOR: (1802-1885) French novelist, poet and dramatist. A significant original page of manuscript in t](https://cdn.globalauctionplatform.com/727ecde7-c280-4e4e-abc9-b06100c717d7/344344c1-71a6-47ef-8a12-b0610129ab3c/468x382.jpg)
Lot 533
[LES MISERABLES] HUGO VICTOR: (1802-1885) French novelist, poet and dramatist. A significant original page of manuscript in the hand of Hugo, unsigned, one page, 8vo, n.p., n.d. (late 1840s?), in French. The manuscript represents the novelist's working draft of one of the most important parts of the historical novel Les Misérables (1862), considered one of the greatest works of literature of the 19th century, and varies in parts to the final published text. Hugo heads the page with the word Forteresse ('Fortress') and continues to write, in part, 'C'etait l'acropole des va-nu-pieds.....Il arrive quelques fois que......meme contre l'egalite et la fraternite, meme contre les principes…… Ce sont la, des journees lugubres car il y a toujours une certaine quantite de droits meme dans cette demence, il y a du suicide dans ce duel; et ces mots qui veulent etre des injures, gueux, canaille…..' (Translation: 'It was the acropolis of the tramps…..Sometimes it happens that…..even against equality and fraternity, even against principles…..These are gloomy days for there are always a certain amount of rights even in this madness, there is suicide in this duel and these words that want to be insults, beggar, scoundrel…..'). An exceptional page of manuscript in which the embryo of one of the most famous pieces of French prose is set down on paper by Hugo for the first time. Some light overall age wear and minor creasing and a few small tears and insignificant areas of paper loss to the edges, GIn 1848 a new wave of revolution swept across Europe, triggered by the political unrest of bourgeois liberals and nationalists, crop failures several years in a row, and economic troubles. In France, Louis Philippe was driven from his throne. After a bloody struggle between the working-class and the middle-class provisional government in Paris, the Second Republic was established, with a mainly middle-class national assembly and Louis Napoleon, who was related to Napoleon I, as president.Hugo was sympathetic to the 1848 revolution, became a representative in the assembly, and initially supported Louis Napoleon. However, in 1851 the president assumed control of France in a military coup d'etat, and in 1852 the population voted to disband the republic and re-establish the empire. Hugo was disillusioned with both the French people who were willing to exchange freedom for stability and with Napoleon III, who had traded in his republican opinions to become a dictator. Criticizing the government and Louis Napoleon publicly, he was forced to leave France, first for Belgium and then for the Channel Islands. Les Misérables, which Hugo composed from the late 1840s to 1862 during his exile, integrated his feelings about the political situation, his memories of the barricades of 1848, and his republican ideals. The novel denounces the degradation of the urban working-class and society's mistreatment and neglect of the poor, especially women and children. (From: Les Misérables - A Historical Perspective).
Lot 688
BADEN-POWELL ROBERT: (1857-1941) British Lieutenant-General, the founder and first Chief Scout of the world-wide Scout Movement. An interesting, lengthy A.L.S., Robert Baden-Powell, four pages, 8vo, n.p., 1st April 1927, to Lieutenant-Colonel [Edwin] Smedley Williams, on the printed stationery of the Union-Castle Line R.M.M.V. Carnarvon Castle. Baden-Powell informs his correspondent that he has sent Mansergh a final appeal 'to reconsider his view against decentralisation in the distant ports of the Cape Province and against the making (of) a Central Coordinating executive for the Union', adding that Mansergh responded with a further definite refusal, and continuing 'I have pointed out in letters and conversations and, in what his executive committee termed "homilies", to them how essential such reorganisation is to progress and how it is asked for by the four other Provinces and by the three northern districts of the Cape Province. I explained that if the Scout spirit prevailed at Cape Hd. Qrs. they would as members of our team sink their own local prejudices or even interests for the good of the whole. All they did was to move a resolution not quite complimentary to me. I could not help thinking new Scouters would laugh if they saw it! At any rate I did - as I felt inclined to explain to them that our brotherhood is not a Parish Council and we don't move resolutions against people - least of all against "poor bloody old me" as General Tucker would say', further adding 'I am glad however to have seen for myself the entire absence of the Scout spirit at C P. H Q. and thus, if the Union Council ask Imperial Hd. Qrs. in England for powers to alter the Constitution so as to admit of decentralisation and coordinating executive we shall know how to act', concluding by remarking that he is pushed for time as the ship is departing and that he wishes for Strickland and Raftery at Kimberley to see his letter 'to show them how matters stand and that I am entirely in sympathy with your desire to go ahead and expand this movement to do big work for the country, under personal touch of leaders through a completed organisation of compact districts under Dist. Commissrs'. Some light foxing to the upper edges of the page and with a couple of paperclip rust stains to the upper left corner, otherwise about VG In September 1926 Baden-Powell had travelled to South Africa, where he was to remain for six months, in an effort to iron out the radical tensions in the fledgling scouting movement there, Originally, it was proposed that Indians be allowed to become Scouts, but in segregated troops. If this worked, then blacks and 'coloureds' would be formed into troops. However, this was unacceptable to Scouts in the Transvaal, where a separate movement for non-whites, called 'Pathfinders', had been instituted. For some, Scouting was to be a whites-only privilege. In 1927, Natal refused to start a 'Pathfinder' group and began to register Indians as Boy Scouts. Similarly, the provincial commissioner for Cape Colony, C. L. Mansergh, decided to ignore a separate organisation for 'coloureds' called 'Paladins' on the grounds that if he recognised them, the Boy Scouts would remain an all-white preserve. Clearly, Baden-Powell faced a difficult situation with each side lobbying for his support. The Chief Scouts efforts at compromise proved futile as, in 1931, the South African government created a youth movement for boys of Dutch descent - the Voortrekkers.
Lot 809
HUSAK GUSTAV: (1913-1991) Czechoslovak politician who served as First Secretary of the Communist Party of Czechoslovakia 1969-87 and as President of Czechoslovakia 1975-89. Black ink signature ('G Husak') to the foot of a 4 x 5.5 stiff cream card, with a photograph of Husak seated in a three-quarter length pose neatly corner mounted (possibly as issued) directly above the signature. Very slightly irregularly trimmed to the lower edge, just affecting the signature, otherwise VG
Lot 393
PEIERLS RUDOLF: (1907-1995) German-born British Physicist. Peierls played a major role in the Manhattan Project. His co-authored 1940 memorandum with Otto Frisch set out the first step to the atomic bomb construction.Interesting autograph signed thoughts by Peierls about himself and his works, one page, folio, stating in part `I have never done any one great piece of work, but mainly small (but I hope useful) contributions to several branches of quantum theory.´ To the heading bearing the collector´s annotations with questions Peierls responds to, also indicating the date this statement was obtained, 23rd April 1950. VG
Lot 523
SADE MARQUIS DE: (1740-1814) Donatien Alphonse François de Sade. French Writer and Philosopher. Rare A.L.S., `Sade´, one page, small 4to, Charenton, 14th August 1809, in French. Sade acknowledges receipt stating `Je reconnais avoir reçu de Monsieur de Coulmier directeur de la maison de Charenton, Cinq Cordes de bois à moi fournies en detail dans l´hiver de mil huit cent huit à mil huit cent neuf à Charenton ce 14 août mil huit cent neuf´ ("I acknowledge having received from Mr. de Coulmier, director of the house of Charenton, five bags of wood provided to me in the winter of one thousand eight hundred and eight to one thousand eight hundred and nine at Charenton, August 14th, one thousand eight hundred and nine") Small overall minor age wear, with a small hole to the lower border, not affecting the text or signature. G François-Simonet des Coulmiers (1741-1818) Des Coulmiers was the last abbot of the French National Constituent Assembly and the first Director of the national house, or nursing house, of Charenton. He had a very good and friendly relationship with Sade. Sade always expressed a boundless passion for the theatre, and Des Coulmiers built a theatre in the nursing home. The bleachers were intended to receive about forty mental patients, chosen among the least agitated. The rest of the room could accommodate about two hundred spectators, exclusively recruited by invitation. Sade wrote plays for the theatre and directed rehearsals.
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