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Lot 215
Templum Fine Art Auctions is pleased to present to our clients one of the most exquisite representations of a New Spanish colonial Nativity scene ever to come to the market in the recent years, recently discovered and coming from a private Madrid family collection, this exquisite example of the most sublime art of Novohispanic carving, with delicate details, bright colors, fine gilding and dramatic expression, this complete set consists of four pieces, which are made up of: a carved and polychrome wooden Enfant Jesus with glass eyes measuring 8 x 5 x 2 cm, a Virgin in gilded, stewed and polychrome wood carving measuring 21 x 11 x 8 cm, a Saint Joseph with exquisite details measuring 21 x 10 x 9 cm and an Archangel measuring 15 x 8 x 6 cm. Anonymous Novohispanic, around 1700-1730. The work before which we find ourselves has vaporous volumes and a characteristic sweetness in faces and clothing that allows us to frame it clearly in the late Baroque of the Viceroyalty of New Spain, present-day Mexico. The soft detail of the lines in the eyes and extremities of the characters evoke the paintings of Miguel Cabrera and José de Páez. Popularized in the year 330 (other sources establish the year 345 under the influence of Saints John Chrysostom and Gregory of Nazianzen) when in the Christian calendar it was established as the birth of Jesus on December 25. On the other hand, Saint Francis of Assisi is credited with the creation of nativity scenes, when in a cave in Tuscany the saint arranged a manger with animals to celebrate Christmas in 1223. In the case of New Spain, the devotion to the birth of Christ began with the viceroyalty and dates back to the first voyage of Columbus (1492). Related works: a New Spanish Nativity scene in carved wood of similar size but lower quality and details than the one presented in our rooms preserved in the Amparo Museum, Mexico, inventory number: VS.ES.013. Provenance: formerly in a private family collection, Madrid, Spain.
Lot 254
Oil on canvas. Canvas measures: 127 x 98 cm. The eldest son of Vicente López and brother of Luis, also a painter, he was born in Valencia on August 20, 1799. Like his brother, he entered the Academy of San Fernando in 1825, and soon obtained, thanks to his father, several palatial works, such as that of Queen María Isabel de Braganza as founder of the Royal Museum, undoubtedly her best-known work, signed in 1829 (Museo del Prado). He was the most faithful imitator of his father's style, sharing work and clientele with him, reaching a certain reputation in his time as a portrait painter, especially in the pastel technique. Of his production, the series of portraits of wet nurses of the royal family painted for the Palace and portraits such as that of Isabel II as a girl, dressed as an Andalusian pestle, stand out. which he presented at the Paris Salon in 1855 together with the portrait of Prince Alfonso in the arms of his nurse (National Heritage), Director of Studies at the San Fernando Academy since 1844 and President of its Painting section from shortly after until his After his death, in 1843 he was appointed painter of the Chamber of Isabel II, working as a teacher for several members of the royal family as well as the sovereign herself, who would grant him the appointment of First Painter on February 17, 1858, from which he would cease ten years later , after the revolution of September 1868. He died in Madrid on August 1, 1874 (Díez, JL: Vicente López (1772-1850), 1999). Origin: old family collection from a mansion in southern Spain. Director of studies at the San Fernando Academy since 1844 and President of its Painting section from shortly after until his death, in 1843 he was appointed painter of the House of Isabel II, acting as a teacher for several members of the royal family as well as his own. sovereign, who would grant him the appointment of First Painter on February 17, 1858, from which he would cease ten years later, after the revolution of September 1868. He died in Madrid on August 1, 1874 (Díez, JL: Vicente López (1772 -1850), 1999). Origin: old family collection from a mansion in southern Spain. Director of studies at the San Fernando Academy since 1844 and President of its Painting section from shortly after until his death, in 1843 he was appointed painter of the House of Isabel II, acting as a teacher for several members of the royal family as well as his own. sovereign, who would grant him the appointment of First Painter on February 17, 1858, from which he would cease ten years later, after the revolution of September 1868. He died in Madrid on August 1, 1874 (Díez, JL: Vicente López (1772 -1850), 1999). Origin: old family collection from a mansion in southern Spain. who would grant him the appointment of First Painter on February 17, 1858, from which he would cease ten years later, after the revolution of September 1868. He died in Madrid on August 1, 1874 (Díez, JL: Vicente López (1772-1850 ), 1999). Origin: old family collection from a mansion in southern Spain. who would grant him the appointment of First Painter on February 17, 1858, from which he would cease ten years later, after the revolution of September 1868. He died in Madrid on August 1, 1874 (Díez, JL: Vicente López (1772-1850 ), 1999). Origin: old family collection from a noble Hacienda in southern Spain.
Lot 335
Oil on canvas, measures: 115 x 148 cm. Rare composition that captures the veneration of Saint Francis of Assisi in the New World. Well, after the Blessed Virgin Mary and Saint Joseph, Saint Francis of Assisi is the only saint who can free souls from Purgatory. A soul rescuer. There are three days of the year in which this great saint goes down to Purgatory to look for the souls of those souls that have first gone through purification before being taken to Paradise with the Lord. As recounted in several biographies and documents on the life and works of Saint Francis and his first Franciscan companions, after having received the gift of the sacred stigmata, Jesus Christ was the one who revealed to Saint Francis that he would grant him the gift of going down into purgatory. to rescue the souls of his devotees from pain and suffering. Same revelation that was published after his death, as he had requested. Provenance: Property of an important family collection, Spain.
Lot 454
Signed and dated in the lower right corner "F. Amorsolo, Manila, 1959", oil on canvas, measurements: 30 x 39 cm, framed measurements: 38 x 48 cm. Fernando Amorsolo Cueto (San Fernando de Paco, May 30, 1892 – Quezon City, April 24, 1972) is considered one of the most remarkable painters the Philippines has ever had, known for his virtuosity and mastery of light and who He specialized mainly in portraiture and in the rural landscape of his country. His brother Pablo Amorsolo was also a painter. Between the years 1909 and 1914 he attended the Liceo de Manila Art School and the year of his graduation he won the school's first prize with a painting of a young couple in a garden. After graduating from this institution, he entered the School of Fine Arts at the University of the Philippines, where his uncle Fabián de la Rosa worked. Among his early influences back then were the Spanish painter Diego Velázquez, John Singer Sargent, Anders Zorn, Claude Monet, Pierre-Auguste Renoir, but much more contemporary Spanish painters such as Joaquín Sorolla and Ignacio Zuloaga. In 1916, with a scholarship from Fernando Zobel, he traveled to Spain to study at the San Fernando School of Fine Arts in Madrid. Origin: Madrid private collection.
Lot 119
Black and white autographed photo of American actress (1922-1990). In 1941 she first signed a contract with Metro-Goldwyn-Mayer. Scene from "One Touch Of Venus," dated 1948. Appeared mainly in small roles during 1941-1986. Dimensions: 8"W x 10.25"HManufacturer: Deja Vu Galleries, Inc.Country of Origin: United StatesCondition: Age related wear.
Lot 228
Featuring autographed image of Puerto Rican baseball legend and humanitarian who played for the Pittsburgh Pirates from 1955 to 1972, becoming the first Latin American to reach 3,000 hits. Housed against board in protective plastic. Photo Series 1 Super Stars. Dimensions: 8"W x 10"HManufacturer: Major League Baseball Action PhotosCountry of Origin: United StatesCondition: Age related wear.
Lot 253
Represents the first ever attempt to explore the role of the movie stills photographer in all its different guises. Also, a tribute to a much neglected profession. Artist: Joel W. FinlerIssued: 1995Dimensions: 8.25"W x 11.75"HManufacturer: BT Batsford Ltd LondonCountry of Origin: EnglandCondition: Age related wear.
Lot 258
The Illustrated Biography. Written by film critic for The Times newspaper. First published in Great Britain in 1999. Printed in Italy. Includes book jacket. Contains 192 pages. Artist: James ChristopherIssued: 1999Dimensions: 9""W x 11.5""HManufacturer: Andre DeutschCountry of Origin: Great BritainCondition: Age related wear.
Lot 259
First American Edition. An abundantly illustrated volume offering a look at the artist, his calendar art, and photographs of models taken by the artist. Includes book jacket. Contains 202 pages. Artist: Max Allan Collins and Drake ElvgrenIssued: 1998Dimensions: 10.25"W x 12.25"HManufacturer: Collector's Press, Inc.Country of Origin: Portland, OR, United StatesCondition: Age related wear.
Lot 260
First published 1942, The Hearst Corporation. Featuring the eternal pinup: alluringly beautiful, yet simultaneously warm, innocent, and approachable. Includes book jacket. Printed in Spain. Contains 128 pages. Artist: Tom RobothamIssued: 1991Dimensions: 9.75"W x 13"HManufacturer: Barnes & Noble Books with Brompton Books CorporationCountry of Origin: New York and Greenwich, Connecticut, United StatesCondition: Age related wear.
Lot 263
First Edition. Classic images from Hollywood's Golden Age, collects art, drawings, paintings, retouched photos created for posters for promotion of Hollywood films. Still housed in protective plastic and never been opened. Contains 192 pages. Artist: Fred E. BastenIssued: 1996Dimensions: 9.5"W x 12.25"HManufacturer: Watson-GuptillCountry of Origin: United StatesCondition: Age related wear.
Lot 271
Photographer whose first love in photography was the female nude, and in his lifetime he photographed and published thousands of these pictures. Still sealed with protective plastic, never been opened. Contains 192 pages. Artist: Andre de Dienes (1913-1985)Issued: 2005Dimensions: 11.25"W x 14.25"HManufacturer: Twin Palms PublishingCountry of Origin: United StatesCondition: Age related wear.
Lot 284
20th Century Pin-Ups. First published in 1966. Includes monochrome and color images of ladies in various states of undress. Presents saucy mix of girl-next-door photography and British seaside-postcard humor. Contains nudity. Contains 299 pages. Artist: Ross GilfillanIssued: 2010Dimensions: 8.25""W x 8.25""HManufacturer: Ammonite PressCountry of Origin: UKCondition: Age related wear.
Lot 293
Brown, black, pink and white coloration; yellow trumpet.Daniel Louis " Satchmo" Armstrong (1900 - 1971) evolved from a self-taught cornet player to the first internationally famous soloist in jazz. He was well known for both his brilliant technique on the trumpet and for his deep throaty singing. Appearing in many live shows, Broadway musicals, and films, Armstrong's music had a lasting influence on jazz.Series: The Celebrity Collection. Royal Doulton backstamp. Artist: David B. BiggsIssued: 1984 - 1988Dimensions: 7.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 299
The Classic Pin-Up Color Gelatin Silver Photograph. Signed by Susan Bernard, daughter of artist. Rare image taken from their first professional session, The Discovery Series, which led to her first screen test and first motion picture contract. Photo details on back, including "this original work of art is estate-signed by Bruno's daughter, Susan Bernard." Package on cardstock material board with protective plastic encasing. Artist: Bruno Bernard (1912-1987)Dimensions: 7.5"W x 9.25"HManufacturer: Bernard of HollywoodCountry of Origin: United StatesCondition: Age related wear.
Lot 302
First Edition April 1993. Images By Hollywood's Great Glamour Photographer. Includes stunning color and monochrome images of the late beauty in various states of pose and delight. Contains 122 pages. Artist: Susan BernardIssued: 1993Dimensions: 9.5"W x 12.25"HManufacturer: St. Martin's PressCountry of Origin: New York, United StatesCondition: Age related wear.
Lot 305
First published by Parragon in 2008. Includes images of Marilyn Monroe, illustrated with many glossy monochrome photos. Features a collection of stunning pictures that tell the story of Marilyn's private and professional life. This is a large reformatted version of Parragon's earlier book, "Marilyn Monroe: Unseen Archives" by Marie Clayton. Printed in Indonesia. Contains 223 pages. Artist: Parragon PublishersIssued: 2008Dimensions: 10.5"W x 10.75"HManufacturer: Atlantic PublishingCountry of Origin: UKCondition: Age related wear.
Lot 306
First published in the U.S. 1999, Manufactured in Spain. Features a comprehensive and well researched must have book for every fan of Marilyn Monroe, and is profusely illustrated. This stunning visual compendium of Marilyn's life includes hundreds of rare photographs and access to all of the information on Marilyn's life and times. With complete information on Marilyn's films, including comprehensive credit listings, cross-referencing, a bibliography, and an extensive name index, this work surpasses everything that has come before it. Includes 352 pages. Includes plastic protective covering as has never been opened. Issued: 1999Dimensions: 8.5"W x 12"HManufacturer: The Overlook PressCountry of Origin: United StatesCondition: Age related wear.
Lot 308
Features photos from the highs and lows of the stars life. Includes moving personal images. First published in Great Britain in 2000. Includes book jacket. Printed in Hong Kong. Artist: James HaspielIssued: 2000Dimensions: 8.5""W x 11""HManufacturer: Mainstream PublishingCountry of Origin: Great BritainCondition: Age related wear.
Lot 379
First Edition softcover piece from brilliant renowned calendar girl artist whose work has a romantic feel. Filled with glossy full color images. Printed in Singapore. Artist: Max Allan CollinsIssued: 1997Dimensions: 10"W x 14"HManufacturer: Collector's Press, Inc.Country of Origin: Portland, OR, United StatesCondition: Age related wear.
Lot 420
Piece created by hand, featuring lady dressed in beige with green trim and wearing chocolate heels. Includes cobalt navy ribbon with First Award printed in black ink and bronze colored star attached. May 1941 handwritten with artists name. Housed in transparent protective sleeve. Artist: Kathryn RidgelyDimensions: 11.25"L x 6.5"WCountry of Origin: United StatesCondition: Age related wear.
Lot 446
First Edition of Elvgren: His Life And Art. Featuring a lively biography on American pin-up artist Gillette Elvgren, a commercial advertising artist of the WWII era. Told by the son of the artist, included are art techniques, pin-up paintings & a behind the scenes personal view of this legendary artist who inspired servicemen worldwide. 1998 Editor's Choice Award winner of the Independent Publishing Association. Contains 250 pages. Artist: Max Allan Collins and Drake ElvgrenIssued: 1998Dimensions: 10.25"W x 12.25"HManufacturer: Collector's Press, Inc.Country of Origin: United StatesCondition: Age related wear.
Lot 468
The Glamour Art of Rolf Armstrong. First printing. Showcases Armstrong's dream-girl images featuring 300 reproductions spanning 50 years in the artist's career. Contains 256 pages. Artist: Janet Dobson and Michael WooldridgeIssued: 2001Dimensions: 9""W x 12""HManufacturer: Watson-GuptillCountry of Origin: United StatesCondition: Age related wear.
Lot 11
A Rare Builder's Model Of The U-boat 'U-27', German, circa 1936,the grey/green painted bull with twin screws, the deck with simulated planking and gratings, silvered metal handrails and nettings, rapid fire deck and anti aircraft guns, conning tower with with navigation lamps and radar antennae, the hull raised on two silvered metal columns, in glazed oak case, the hull 125cm long, in glazed oak case and now on modern floor stand,the model approx. 51in (130cm) longthe case 55in x 21 1/4in x 12 1/2in (140cm x 54cm x 32cm)48 1/2in (143cm) high on standFootnotes:The type VII U-boats, designed between 1933 and 1934, were the first of a new generation of German attack submarines that were popular with their crews and they were very agile on the surface. They had 5 torpedo tubes and would carry 11 torpedoes onboard or 22 TMA mines. They also had the effective 88mm fast-firing deck gun with about 160 rounds of ammunition.U-27 was ordered by the Kriegsmarine on 1 April 1935 and her keel was laid down in the Weser shipyard in Bremen as yard number 908 on 11 November 1935. After about nine months of construction, she was launched on 24 June 1936 and commissioned into the Kriegsmarine as the second Type VIIA submarine in the fleet. U-27 had a very short war career. She left Wilhelmshaven on her first patrol on 23 August 1939. For a period of 24 days, she travelled down the coast of Germany and neutral Belgium and the Netherlands, through the English Channel and out into the Atlantic Ocean.After sinking a British trawler by gunfire and another by scuttling charges during the course of a week, she attacked British destroyers HMS Fortune and HMS Faulknor on 20 Sep 1939. The torpedoes exploded prematurely, and the destroyers counterattacked with depth charges, forcing U-27 to surface and surrender. All 38 crew aboard U-27 were captured, and the submarine became the second German submarine to be lost in the war.Please note that this Lot is available to view at the Bonhams Oxford gallery. Please contact the department for further details.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 12
A Fine William Doxford Shipbuilder's Model Of The Merchant Ship 'Eskbank', English, dated 1937,the maroon and black painted hull with gilt brass mounts throughout including single screw, ventilators, winches, dereks and handrails, raided bridge with navigation lights, radar antennae and fire buckets, emergency bridge and four life boats on davits, in glazed mahogany case with makers plaque, on matching mahogany stand,the model approx. 56in (142cm) longthe case 60 1/2in x 20in x 13 1/2in (154cm x 51cm x 34cm)60in (152.5cm) high on standFootnotes:On completion of the Eskbank in April 1937, the vessel's first port of register was Glasgow, for the Inver Transport & Trading Co and A. Weir & Co. By the mid-1960s she had changed to Singaporean and later Hong Kong-based ownership. Eskbank was eventually broken up in June 1967, after three decades of service.Please note that this Lot is available to view at the Bonhams Oxford gallery. Please contact the department for further details.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 45
Charles Napier Hemy, RA RWS (British, 1841-1917)The Riverside, Limehouse signed and dated 'C.N.H. 1914' (lower right)oil on canvas122.5 x 182.9cm (48 1/4 x 72in).Footnotes:ProvenanceWith the Fine Art Society.Anon. sale, Christie's, 17th May 1923, lot 155 for £157.10.0 (F.A.S vendor), acquired by Gooden and Fox.William Hesketh Lever, 1st Viscount Leverhulme (1851-1925), Lancashire.The Bungalow and Rivington Hall, Horwich, Lancashire sale, Knight, Frank & Rutley, London, 9-17 November 1925, lot 1105, p.68.Bolton Museum and Art Gallery (acquired from the above sale).Sale, Bonhams, 25th January 2012, lot 165, where acquired by the current owner. ExhibitedLondon, Royal Academy, Summer Exhibition, 1914, no. 369.London, Royal Academy, Winter Exhibition, 1922. LiteratureRoyal Academy Pictures and Sculpture 1914, illustrated p 82.The name Limehouse comes from the lime kilns established there in the 14th Century and was used to produce quick lime for building mortar. In 1660, Samuel Pepys visited a porcelain factory in Duke's Shore, Narrow Street, whilst the Limehouse Pottery, on the site of today's Limekiln Wharf, was established in the 1740s as England's first soft paste porcelain factory.Limehouse became a significant port in late medieval times, with extensive docks and industries such as shipbuilding (which was established in the 16th century and thrived well into the 19th century), ship chandlering and rope making. By the Elizabethan era many sailors had homes there and by early in the reign of James I about half of the population of 2000 were mariners. Limehouse Basin opened in 1820 as the Regent's Canal Dock. This was an important connection between the Thames and the canal system, where cargoes could be transferred from larger ships to the shallow-draught canal boats. As the age of steam led to bigger ships, the facilities at Limehouse became inadequate. However, local ingenuity found a highly successful alternative: many of the Royal National Lifeboat Institution's lifeboats were built in Limehouse between 1852 and 1890. Though no longer a working dock, Limehouse Basin with its marina remains a working facility. The wharf buildings that have survived, are now highly desirable residential properties. Taylor Walker began brewing at the site of today's 'Barley Mow' pub in 1830. This stretch of the Thames was known as Brewery Wharf, whilst from a little further along the embankment, the first voluntary passengers left for Australia.From the Tudor era until the 20th century, ships crews were employed on a casual basis and would be paid off at the end of their voyages. Inevitably, permanent communities of foreign sailors became established, including colonies of Lascars and Africans from the Guinea Coast. From about 1890 onwards, large Chinese communities at both Limehouse and Shadwell developed, established by the crews of merchantmen in the opium and tea trades, particularly Han Chinese, creating London's first and original Chinatown. The resulting opium and gambling dens soon attracted a wider clientele than visiting Chinese sailors, luridly described by, amongst others, Sir Arthur Conan Doyle and Oscar Wilde. Like much of the East End it remained a focus for immigration, but after the devastation of the Second World War many of the Chinese community relocated to Soho.The Hemy family set sail for Australia when he was 10 years old and, as he later recalled, 'I can remember it (the open sea) entered my soul, it was imprinted on my mind, and I never forgot it'. Hemy sketched and painted at locations on Narrow Street's river front and other notable artists who used Limehouse as a backdrop for their paintings included James McNeill Whistler (1834-1903) and James Jacques Joseph Tissot (1863-1902). Whistler was living near the docks in Wapping between 1859-1863 and produced a series of etchings known as 'The Thames Set', which must have been a great influence on Hemy. These concentrated on the picturesque wooden buildings of the lower Thames, the barges, wharfs, warehouses and inns of Wapping, Rotherhithe and Limehouse, together with the barge men and labourers who worked there. Whistler also produced a major oil painting titled Wapping, exhibited at the Royal Academy in 1864, no. 585, (collection National Gallery of Art, Washington). In 1869, Hemy was living in Fulham, not far from Whistler's studio in Chelsea. He may have been introduced to Whistler by his friend Tissot, whose work in the 1870s had a more direct influence on Hemy. Tissot painted scenes of beautiful ladies and sea captains on board ships and in interiors with the Thames and the black masts of ships seen through the windows in the background, e.g. An Interesting Story of c. 1872 (collection National Gallery of Victoria, Melbourne). An interested spectator of Hemy at work was a young Frank Brangwyn. As a boy in the 1870s, Brangwyn often wandered down among the old buildings of the Thames where he would watch 'a magnificent looking man in a velvet coat painting a big picture. I would sneak up and admire him.'The Thames estuary continued to draw Hemy and he painted a series of pictures of the busy mouth of the Thames i.e. The Shore at Limehouse (exh. R.A. 1871, no. 435), Blackwall (exh. R.A. 1872, no. 198), London River - the Limehouse barge-builders (exh. R.A. 1875, no. 108), The harbour master's home, Limehouse (exh. R.A. 1901, no. 1039), 1901, Home at last, 1909, Limehouse Hole, (exh. R.A. 1910, no. 862) and The barge, Limehouse, (exh. R.A. 1918, no. 356). London River, his 1904 R. A. exhibit (no. 236), an evocation of Hemy's favourite stretch of the Thames with Hawksmoor's famous St. Anne's church prominent on the skyline, was bought by the Chantrey Bequest for £1,000 and now hangs in Tate Britain.The old buildings on the banks of the river at Limehouse and Wapping provided excellent subjects and Hemy used the boatmen as models; his knowledge of the sea enabling him to establish an easy rapport with them. Of his RA exhibit Limehouse barge builders of 1875 (collection South Shields Museum and Art Gallery), Hemy wrote, 'I painted the picture altogether from nature sitting in a barge and talking with the workmen.'Hemy's memorial exhibition took place at the Fine Art Society in 1918 where 101 of his works were shown.For further information on this lot please visit Bonhams.com
Lot 63
Thomas Luny (British, 1759-1837)H.M.S. Bellerophon leaving Torbay with the defeated Emperor Napoleon aboard, 26th July 1815 signed and dated 'Luny 1826' (lower left)oil on panel20.3 x 27cm (8 x 10 5/8in).Footnotes:Despite a service career as illustrious as any fighting ship in the Royal Navy, Bellerophon is principally remembered as the vessel to whose captain Emperor Napoleon surrendered after Waterloo and which then conveyed him to Plymouth, via Torbay, on the first stage of his long journey into exile.One of the fourteen 'Arrogant' class 74-gun Third Rates designed by Surveyor Slade in 1758, Bellerophon was built in Edward Greaves' yard on the Medway at Frindsbury, near Rochester, where her keel was laid in May 1782. Launched on 17th October 1786, she was measured by her builder at 1,613 tons and was 168 feet in length with a 47 foot beam. Completed at Chatham in March 1787 at a total cost of £38,608, she was laid up for three years until fitted for sea in August 1790 and commissioned under Captain Thomas Pasley. By 1794 Pasley had been promoted to Rear-Admiral and Bellerophon acted as his flagship at the battle of the 'Glorious First of June' where she engaged the huge 110-gun Révolutionnaire alone for an hour-and-a-half before the Russell and the Marlborough came to her assistance. Because of the damage she had sustained aloft, Bellerophon had then to withdraw from the scene but her conduct at this opening fleet action of the War laid the foundations for what was to follow.By the time Nelson located the French fleet anchored in Aboukir Bay on 1st August 1798, Bellerophon was commanded by Captain Henry Derby and when he took his ship in to engage the enemy she found herself pitted against Admiral Bruey's 120-gun flagship L'Orient. In a fierce action exactly reminiscent of what had happened at the 'Glorious First of June', Bellerophon pounded her greatly superior adversary but was completely dismasted in so doing. Despite heavy casualties, including Captain Derby, she remained at her station and was the nearest vessel to L'Orient when the latter finally blew up during the night. Repaired and refitted, she was continually in action until Trafalgar where, under Captain John Cooke, she fought nobly, first against the combined fire of four enemy vessels, then in a spectacular duel with L'Aigle and, finally, with the Spanish Monarca which surrendered to her. Her gallant fight cost her the second highest casualty list at the battle and amongst the dead was Captain Cooke himself.After extensive repairs at Plymouth, she returned to sea and, by the War end, it was said that 'during the period 1793-1815, she saw more action than any other ship.' Her enduring claim to fame however came when, after fleeing the field at Waterloo, the defeated Emperor Napoleon made his way to Rochefort where, on 15th July [1815], he surrendered to Captain Maitland of the Bellerophon. Maitland had been sent to Rochefort when intelligence reached the Admiralty that Napoleon was planning to embark there for America; in the event, the Emperor chose to place himself under the protection of British law, whereupon Maitland sailed for England, Napoleon catching his final glimpse of the French coast (off Ushant) on 23rd July. The English coast was sighted the same evening and, early the next morning, Bellerophon anchored in Torbay where Maitland awaited his orders. As soon as news of the former Emperor's arrival became known, presumably by means of a careless word ashore from one of the ship's officers, large numbers of small craft packed with curious spectators made for the ship and provided a carnival atmosphere all around her. Two days later, on the 26th, Maitland weighed anchor for Plymouth where he and his celebrated passenger arrived within hours; Napoleon remained aboard Bellerophon for twelve days whilst the government decided what to do with him and, on 7th August, he transferred into H.M.S. Northumberland and embarked for St. Helena and exile. With the War over and the need for warships sharply decreased, Bellerophon was afterwards fitted out as a convict hulk and served thus for the remainder of her career, being renamed Captivity in 1824, until broken up in 1836.A larger work of the same subject and similar composition by Luny sold in these salerooms on 26 May 2020, lot 19.For further information on this lot please visit Bonhams.com
Lot 81
John Lynn (British, fl. 1826-1845)A Royal Yacht Squadron cutter running inshore out of the tide; and 'Smugglers landing', a set of two the first signed and dated 'J.Lynn./1830 (lower left); the second signed and dated 'J.Lynn./1829' (lower right); indistinctly titled and inscribed (on stretcher verso)oil on canvasthe first 30.5 x 46cm (12 x 18 1/8in); the second 30.8 x 45.7cm (12 1/8 x 18in). (2)For further information on this lot please visit Bonhams.com
Lot 84
Adolphus Knell (British, active 1860-1890)Sailing on a choppy sea; Ships on calm water, a set of two both signed 'Adolphus Knell' (lower right)oil on boardthe first 14 x 22.5cm (5 1/2 x 8 7/8in); the second 14 x 24.5 (5 1/2 x 9 5/8in). (2)Footnotes:ProvenanceWith Frost and Reed Ltd, London, 25th January 1965, no. R9650. Private collection, UK (acquired from the above).For further information on this lot please visit Bonhams.com
Lot 94
De Simone (Italian, 19th/20th Century)S.Y. Varuna flying the burgee of the New York Yacht Club; and S.Y. Oithona flying the colours of the Royal Victoria Yacht Club the first signed 'De simone' (lower right); inscribed 'S.Y. VARUNA' (lower left); the second signed and dated 'De Simone/1906' (lower right); inscribed 'S.Y. OITHONA' (lower left)gouache44.5 x 63.5cm (17 1/2 x 25in) and 43.5 x 63cm (17 1/8 x 24 13/16in) respectively. (2)For further information on this lot please visit Bonhams.com
Lot 99
Derek George Montague Gardner (British, 1914-2007)'First sight of England. The Torrens, in the Channel, 1893.' signed 'Derek G. M/GARDNER/' (lower left); titled (on canvas overleaf)oil on canvas50.8 x 91.4cm (20 x 36in).Footnotes:ProvenanceWith Polak Fine Art Dealers, London.Private collection, UK (purchased from the above), and thence by descent to the current owner. ExhibitedLondon, The Mall Galleries, The Royal Society of Marine Artists, 1997.A note from the artist reads as follows:'This famous passenger ship was built by James Laing at Sunderland and launched in 1875. She was composite-built with teak planking over iron frames and was designed with a poop almost ninety feet in length with two large skylights set fore and aft of the mizen mast, with seats down each side, all making a feature which must have been popular with her passengers. Named after Lake Torrens in South Australia, the ship was built for the run between London and Adelaide in which service she remained for the whole of her twenty seven years under the Red Ensign. Under Captain Angel, who commanded her for fifteen voyages and who was her principal owner and had supervised her building, the ship made a fine name for herself as a comfortable and fast clipper. Each year she left London late in October and after calling to pick up passengers in Plymouth she arrived at Adelaide usually in the following January. Basil Lubbock described her as the wonderful Torrens and went on to say she was probably the most perfect of all the composite shippers. She was a favourite ship of the famous Joseph Conrad who served as her Chief officer under Captain Cope for a voyage in 1893 and it was then that he made a literary friendship with John Galsworthy who was taking passage in the Torrens. She was one of the very last of the clippers to be given a full set of stun'sails and she appears to have retained her foretopmast stun'sails almost to the end of her career under the Elder house-flag. She took her final departure from London as a passenger ship for Adelaide in October 1902. Soon after this passage Captain Angel sold her to Italian interests and the fine old ship was eventually broken up at Genoa in 1910. The Torrens is seen off the south-west coast of England in 1893 inward bound for London towards the end of her 84-day passage from Adelaide.'This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 289
* JEKA KEMP (SCOTTISH 1876 - 1967), BELLAGIO watercolour on paper, signed, titled and dated 1908mounted, framed and under glassimage size 16cm x 23cm, overall size 31cm x 37cmNote: Jeka Kemp was born in Bellahouston, Glasgow where she began her artistic training before continuing in London and later at the Academie Julian in Paris between the years 1903-4. Kemp had her first solo exhibition in Scotland around the year 1907 and is known to have exhibited at the Macindoe’s Gallery in Glasgow regularly between 1910 to 1914. Kemp lived in Paris at 49 Boulevard Montparnasse and in 1922 her "La Liseuse" was catalogued as painting number 1 in Le Salon D'Automne and for a prolonged period, she was regularly exhibiting and socialising with many of the titans of European 20th-century art. La Liseuse was sold again at John Nicholson's (Surrey) lot 422 31.10.2018 for £1600 and in 2006 "French Harbour Scene" a small watercolour was sold at Lyon & Turnbull (Edinburgh) for £1900 (lot 1, 26.05.2006) Kemp's reputation was recognised internationally, and her work was bought by the French Government on several occasions and this interest encouraged the artist to exhibit at the Marcel Bernheim in Paris and the Galerie de la Librairie de la Press in Nantes. Kemp also continued to exhibit in her native Scotland throughout her career. Her work is held in a number of eminent private collections across Europe.
Lot 293
GEORGE SMITH RSA (SCOTTISH 1870 - 1934), A RURAL SCENE mixed media on board mounted, framed and under glassimage size 30cm x 39cm, overall size 49cm x 58cmLabel verso: Painted by George Smith RSA, Certified by Jessie Smith, his Sister, 1935.Note: George Smith was born on 2nd February 1870 in Mid Calder, a village formerly in the county of Midlothian. He attended George Watson's Boys College in Edinburgh from October 1882 and his formal training as an artist commenced at The Trustees Academy (Edinburgh) in 1885. At the age of nineteen Smith travelled to Antwerp to train under Verlat at Academie Royale des Beaux-Arts d'Anvers. After returning to Edinburgh he enrolled at the Royal Scottish Academy Life School where his fellow students included Samuel J Peploe and Robert Brough. Smith won the Keith Prize (1894) for the best painting by a student of the Life School at the RSA Annual Exhibition. George Smith had his first painting accepted for the RSA Annual Exhibition in 1888 when he was only eighteen years of age and probably uniquely had at least one painting accepted every year for the rest of his life. A total of 122 entries were accepted at the Royal Scottish Academy (RSA) until his death on 26th November 1934 and in 1935 a further five were exhibited. He also exhibited 87 paintings at the Royal Glasgow Institute (RGI) between 1892 and 1935. His work was also exhibited at Royal Academy (London), in Liverpool at The Walker Art Gallery, at Manchester and at the Royal Hibernian Academy in Dublin. He also exhibited abroad including at Rome (1911) and at The Munich International Exhibition in 1912. In an issue of "The Studio" in 1908 it stated "in every important art centre from St Petersburg to Paris his work is favourably known". George Smith's considerable commercial success was probably why his style and subject matter of horses or cattle in association with man in a rural environment changed little during his career.
Lot 5
δ Robert Adams (1917-1984); Stanley Jones (1933-2023)Screen 1; SarnTwo lithographs printed in colours, 1962 and 1978, the first signed and dated in pencil, numbered from the edition of 50, the second signed in pencil and numbered from the edition of 90, both printed and published by the Curwen Studio, London, on wove paper, with full margins, sheet 750 x 500mm (29 1/2 x 19 5/8in) and similar (2)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 2014
TWO GILT METAL TRAVEL CLOCKS the first with a circular white enamel dial signed 8 Days, with black Arabic index and outer minute track, luminous hands, plain case 65mm diameter, keyless movement signed Brevet 55236, Swiss Made, in a folding brown reptile skin case; the second with a circular white enamel dial with black Arabic index and outer minute track, blue steeled hands, plain case 63mm diameter, keyless movement, in a folding green leather case. (2)Not currently running, not assessed for timekeeping, wear to cases.
Lot 2214
TWO VICTORIAN SILVER OPEN FACED POCKET WATCHES the first with a circular white enamel dial signed Cahoon Bros, 16 & 18 Castle Place Belfast, with black Roman index and outer minute track, gilt hands, sub seconds dial at 6 o'clock position, plain case 50mm diameter with two hinged case backs, outer case internally hallmarked London 1882, inner case with presentation inscription, key wound fusee movement; the second with a circular white enamel dial with black Roman index and outer minute track, gilt hands, sub seconds dial at 6 o'clock position, plain case 50mm diameter with two hinged case backs, outer case internally hallmarked London 1882, key wound fusee movement. (2)Unsigned dial hairlined, both with general wear. Neither currently running, not assessed for time keeping. First watch marked Cahoon Bros inscription reads "Septimus Bech Sunnybrow Willington Durham 1910".
Lot 1
ROYAL CYPHER SEAL KEY FOB, LATE 18TH / EARLY 19TH CENTURYThe oval-cut citrine, engraved with the monogram, 'MA', beneath a crown for Marie Antoinette (1755–1793), Queen of France (1774-1792), in a rotating key mount chased with floral and foliate detail, mounted in bicoloured gold, length 8.0cmFootnotes:Provenance:D. S. Lavender (Antiques) Ltd, 139A New Bond Street, LondonA Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.For further information on this lot please visit Bonhams.com
Lot 10
SIX PORTRAIT MINIATURES OF THE BOURBON-ORLÉANS FAMILY, 19TH CENTURYDepicting Louis Philippe Joseph, Duc d'Orléans and Louise Marie Adélaïde de Bourbon, Duchesse d'Orléans with four of their five children: Louis Philippe, Duc de Chartres; Louis Antoine Philippe d'Orléans, Duc de Montpensier; Louise Marie Adélaïde Eugénie d'Orléans and Louis Charles Alphonse Léodgard d'Orléans, Comte de Beaujolais, watercolour on ivory, gilt-mounted and labelled within a square frame, frame with indistinct maker's mark and French assay mark, ivories all approximately 1.5cm in lengthFootnotes:Please note, the United States Government has banned the import of ivory into the USA. The item within this lot containing ivory has been registered in accordance with the Ivory Act (Section 10). Ref. KVE5NQDV.Provenance:By repute, Victoire, Duchesse de Nemours (1822-1857) A Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.Louis Philippe Joseph, Duc de Orléans (1747–1793), known as 'Philippe Égalité' and Louise Marie Adélaïde Penthièvre (1753-1821) were married at the Palace of Versailles in 1769. At the time of their marriage, Marie Adélaïde was the wealthiest heiress in France. The couple were much in love and had three sons and twin daughters but during the Reign of Terror, the couple were torn apart and the fate of their family was cast into peril. After a long period in exile, their eldest child, Louis Philippe (1773-1850) would eventually become the penultimate monarch of France (1830-1848), but not before his two younger brothers contracted tuberculosis while imprisoned with their father at Fort-Saint-Jean in Marseille. Their father was guillotined in 1793 and their mother exiled to Spain. Louis Antoine (1775-1807) and Louis Charles (1779–1808) later died of their condition within a year of each other - Louis Antoine while in exile in England and Louis Charles while visiting Malta.Their sister, Françoise, died in 1782, aged four and was survived by her younger twin, Louise Marie Adélaïde Eugénie (1777–1847). Once King, Louis Philippe came to rely heavily on his sister's intelligence, wisdom and loyalty, consulting her daily on both family matters and affairs of state. Raised a liberal by her governess, 'Madame Adélaïde' supported the idea of a constitutional monarchy and a representative government. Louis Philippe's reign, known as the 'July Monarchy', was dominated by wealthy industrialists and bankers. He promoted friendship with Great Britain and sponsored colonial expansion, notably the French conquest of Algeria. His popularity faded as economic conditions in France deteriorated. Madame Adélaïde died two months before his abdication on 24th February 1848. Louis Philippe spent the remainder of his life in exile in England. His supporters were known as Orléanists.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 103
EMERALD AND DIAMOND RING, FIRST HALF OF THE 20TH CENTURYThe step-cut emerald within a surround of pavé-set single-cut diamonds, emerald approximately 2.60 carats, ring size M½Footnotes:Accompanied by a report from The Gem & Pearl Laboratory stating that the emerald is found to be of Columbian origin, with minor clarity enhancement. Report number 22925, dated 21st March 2023.For further information on this lot please visit Bonhams.com
Lot 11
AFTER JOSEPH BOZE (FRENCH, 1746-1826): PORTRAIT MINIATURE OF KING LOUIS XVI, CIRCA 1900-10Portraying Louis XVI (1754-1793), King of France (1774-1792), wearing an embroidered coat and waistcoat with a blue and red sash over his white chemise, stock and lace cravat, his coat decorated with the breast star of the Order of Saint-Esprit, the badges of The Royal French Order of Saint-Louis and The Order of The Golden Fleece, his powdered wig worn en queue and his bicorn hat supported under his arm, watercolour on ivory, bearing signature 'Montpetit', gilt-metal frame with floral motifs and garlands of green guilloché enamel laurel leaves, the suspension loop of serpent form, ivory diameter 6.7cm, fitted leather travelling case with tooled exterior, bearing the coat of arms of the Royal House of Bourbon-Two SiciliesFootnotes:Please note, the United States Government has banned the import of ivory into the USA. The item within this lot containing ivory has been registered in accordance with the Ivory Act (Section 10). Ref. 6FZ843RR.A Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.This portrait miniature derives from a portrait of 1785, now at Versailles, by the French state painter and pastellist, Joseph Boze. It was engraved by Benoit Louis Henriquez, the court engraver, and in London by Thomas Curtis. It was used again by the court miniaturist, Pierre Violet, in a portrait showing 'The Unfortunate Louis 16th in the Dress he wore while confined in the Temple', which was engraved by Francesco Bartolozzi and published in London in February 1793, the month after King Louis was sent to the guillotine. This image of the King was therefore well-known and easily available to copyists. An earlier copy of circa 1785-1800 is held by the Royal Collection (inv.no. RCIN 420364).This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 12
SILVER AND ENAMEL CARD CASE, CIRCA 1900, PROBABLY AUSTRO-HUNGARIAN, AND AN ENAMEL DESK SEALThe case with hinged cover depicting a fête champêtre, with engine-turned base and sides, gilt interior; the desk seal engraved 'Daisy' below a flower, the handle painted with allegorical figures within gilt cartouches, case with import marks for H C Freeman Ltd., London, 1931 case length 7.5cm, seal length 7.3cm (2)Footnotes:A Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.For further information on this lot please visit Bonhams.com
Lot 13
JEAN-FRANCOIS-MARIE HUET-VILLIERS (FRENCH, 1772-1813) PORTRAIT MINIATURE OF LOUIS XVIIIPortraying Louis XVIII (1755-1824), King of France and Navarre (1814-1824) while in exile, wearing a white waistcoat, stock and chemise under his blue double-breasted coat, decorated with the breast star of the Order of Saint-Esprit and the red ribbon of The Royal French Order of Saint-Louis, watercolour on ivory, signed and dated Huet-Villiers 1810, gilt-mounted in a red leather travelling case between two glazed compartments, one set with gilt-initials, 'MJL', over plaited hair, the other with a handwritten label, 'la mort nous sépara, l'amitié nous rassemble' ('when death pulls us apart, friendship brings us together'), accompanied by a separate handwritten note, 'This case belonged to Charles X of France and originally contained the miniature etc. Given me by Mmes [sic] Tussauds. 1928.', ivory diameter 8.1cmFootnotes:Please note, the United States Government has banned the import of ivory into the USA. The item within this lot containing ivory has been registered in accordance with the Ivory Act (Section 10). Ref. VPXBBH3H.Provenance:D. S. Lavender (Antiques) Ltd, 139A New Bond Street, LondonA Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.In 1808, Louis XVIII brought his wife, Marie Joséphine (1753-1810), to join him in England where the couple settled at Hartwell House in Buckinghamshire with over one hundred courtiers. Louis paid £500 in rent each year to the owner of the estate, Sir George Lee. As Prince Regent, the Prince of Wales (later George IV) was very charitable and granted the exiled Bourbons permanent right of asylum with extremely generous allowances.Queen Marie Joséphine died on 13th November 1810. Her funeral was a magnificent occasion attended by the Bourbon court-in-exile. The funeral cortege was followed by the British royal family and Marie Joséphine was laid to rest in Westminster Abbey. Her body was removed a year later on Louis's orders and today Marie Joséphine rests in Cagliari Cathedral in Sardinia, her monument inscribed 'Galliarum Regina' (Queen of the Gauls).After a failed invasion of Russia by Napoleon I in 1812, Louis XVIII issued a declaration from Hartwell, asserting that anyone who had served Napoleon or the Republic would not suffer any repercussions. After allied troops entered Paris on 31st March 1814, the French Senate invited Louis to resume the throne of France and Napoleon I abdicated on 11th April 1814.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 145
LALAOUNIS: TWO FANCY-LINK NECKLACES, CIRCA 1975Each series of hollow beads on a single strand of spiga-linking, the first strung with fluted barrel-shaped beads alternating with spherical spacers, the second consisting of textured batons alternating with fluted rondels, interspersed with oval beads of an undulating finish, both with maker's marks, 1st signed Ilias Lalaounis, lengths: 1st 75.0cm, 2nd 76.5cm (2)Footnotes:Lalaounis created a number of jewels inspired by prehistoric artefacts in a series of jewels called, 'Minoans and Mycenaeans'. Gold, stone and glass beads from the Minoan-Mycenaean period are commonly found in Crete and Cyprus. Necklaces are sometimes discovered intact within tombs but more often the beads are found loose. For a necklace strung with a series of closely comparable beads with fluted and textured cylindrical forms and fluted rondels, see Lalaounis, I. 'Metamorphoses', 1984, ill.p.52, fig. 11.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 15
CARNELIAN SEAL FOB AND KEY CHAIN, CIRCA 1830The carnelian seals engraved with the Masonic square and compass and the initials and crest of William Howley (1766-1848), Archbishop of Canterbury (1828-1848), the surrounding fob and double-sided key both chased with floral and foliate detail, connected via four strands of curb-linking, set with a slider engraved with a hare on one side and a hound on the other, mounted in gold, length 33.7cmFootnotes:Provenance:D. S. Lavender (Antiques) Ltd, 139A New Bond Street, LondonA Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.William Howley was born in Ropley, Hampshire, where his father was a vicar. He was educated at Winchester College and later New College at Oxford. He was an active English Freemason, having joined Bristol's 'Royal York Lodge' in 1791. He became Chaplain to the Marquess of Abercorn in 1792, whose influence was critical in advancing his early career. William Howley married Mary Frances Belli in 1805 and the couple had two sons (neither reached adulthood) and three daughters. In 1809 he was appointed Regius Professor of Divinity at Oxford University. In October 1813, at Lambeth Palace, he was consecrated Bishop of London and became Archbishop of Canterbury in 1828. Howley was Archbishop of Canterbury during the repeal of the Test and Corporation Acts (1828), the Emancipation of the Catholics (1829) and the passing of the Great Reform Act (1832). He presided over the coronation of William IV and Queen Adelaide in 1831 and together with the Lord Chamberlain, he informed Princess Victoria of her accession to the throne in 1837.For further information on this lot please visit Bonhams.com
Lot 2
PIAT JOSEPH SAUVAGE (FRENCH, 1744-1818): PORTRAIT MINIATURE OF KING LOUIS XVI AND QUEEN MARIE ANTOINETTE OF FRANCEPainted en grisaille to depict the busts of Louis XVI (1754-1793) and Marie Antoinette (1755-1793), King and Queen of France (1774-1792), in profile, facing right, watercolour on ivory, signed Sauvage, gilt-metal frame with blue enamel border, ivory diameter 6.0cmFootnotes:Please note, the United States Government has banned the import of ivory into the USA. The item within this lot containing ivory has been registered in accordance with the Ivory Act (Section 10). Ref. JZJ9DHHY.Provenance:Jean Baptiste Pierre Antoine, Chevalier de Lamarck (1744-1829)D. S. Lavender (Antiques) Ltd, 26 Conduit Street, LondonA Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.By family repute, this portrait miniature was given by King Louis XVI to Jean Baptiste Pierre Antoine, Chevalier de Lamarck, an officer in the regiment of Beaujolais who abandoned his military career in favour of his passion for natural science. Lamarck's publications as a botanist were so impressive that he was admitted to the Academie des Sciences and later became a professor of zoology in 1794. He was later awarded the Order of the Légion d'Honneur.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 200
SPINEL AND DIAMOND RING, FIRST HALF OF THE 20TH CENTURYThe step-cut spinel within a surround of old single-cut diamonds, between trifurcated shoulders, spinel approximately 3.80 carats, numbered 32872, ring size NFootnotes:Accompanied by a report from the Gem & Pearl Laboratory stating that the spinel has no evidence of heat treatment. Report number 20542, dated 8th October 2021.For further information on this lot please visit Bonhams.com
Lot 223
BELLE ÉPOQUE SEED PEARL AND DIAMOND SAUTOIR, FIRST QUARTER OF THE 20TH CENTURY COMPOSITEThe latticework of seed pearl linking accented by buckle-shaped links and foliate spacers, suspending a seed pearl tassel from a pierced cap, via openwork rosettes, buckle-shaped links, and foliate links with garland detail, millegrain-set throughout with old brilliant, single and rose-cut diamonds, mounted in platinum, diamonds approximately 3.75 carats total, lengths: necklace 82.0cm, drop 15.0cmThis lot is subject to the following lot symbols: ††VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 25
PEARL NECKLACE, LATE 19TH CENTURY, AND A SEED PEARL NECKLACE, CIRCA 19001st: a single row with old brilliant and rose-cut diamond baton clasp, 2nd: a double row of seed pearls with half pearl quatrefoil clasp, lengths: 73.5cm, 42.0cmFootnotes:Accompanied by a report from GCS stating that the pearls in the first (single-row) necklace are natural, saltwater. Report number 5783-2111, dated 24th March 2023ProvenanceAudrey Tennyson (1854-1916)The Descendants of Alfred, Lord TennysonAccompanied by a letter from Hallam Tennyson, elder son of Alfred Tennyson, written in 1922 to The Hon. Margaret Cicely Tennyson (wife of his nephew, Alfred Browning Stanley Tennyson): '...I give you the necklace of pearls because she always wore them and would like you to have them. As you know, she was very fond of you. The pearls took years to collect and are carefully graded. I should like them to go to your son's wife or to Rachel....'In 1884 Hallam Tennyson married Audrey Boyle and after their marriage, the couple lived with his parents, Alfred and Emily Tennyson, at their home Farringford in Freshwater on the Isle of Wight. (The couple had met as early as 1882 when Audrey was a guest at the painter G.F.Watt's nearby home, The Briary). Hallam, acted as his father's secretary but Audrey was often the one who took dictation and who took down notes and longhand for Hallam's biography of the Poet. From 1899 until 1903, the couple and their sons lived in Australia (Adelaide, Melbourne and Sydney) where Hallam Tennyson was Governor of South Australia and then Australian Governor-General. Their time is recalled in 'Audrey Tennyson's Vice-Regal Days', (Canberra, 1978), a volume of Lady Tennyson's letters, edited by Dame Alexandra Hasluck. Lady Tennyson's role in the community in Australia was active, and she was most notably responsible for funding and patronising the building of a maternity hospital for women giving birth in the outback, which she named after Queen Victoria.Alfred Tennyson (1809-1892) was one of the most celebrated poets of the Victorian era, succeeding William Wordsworth as Poet Laureate in 1850. His most famous works include 'The Lady of Shalott', 'In Memoriam A.H.H.' and the 'Charge of the Light Brigade'. His poetry was a major influence on the Pre-Raphaelite Brotherhood, who considered him one of their 'immortals' and Queen Victoria was an admirer. In 1856, from the proceeds of 'Maud', Tennyson purchased Farringford, a manor house in Freshwater on the Isle of Wight. The estate remained in family until 1945.The Tennyson's circle was wide. Known as excellent hosts, they regularly entertained their numerous friends and acquaintances - artists, intellectuals, writers, statesmen, politicians, and thinkers of the day - including Prince Albert, Giuseppe Garibaldi, John Everett Millais, William Holman Hunt, George Frederic Watts, Christina Rossetti, Robert Browning, Julia Margaret Cameron, Henry Wadsworth Longfellow, Lewis Carroll, Edward Lear, Algernon Charles Swinburne, to name but a few. The photograph above, by Oscar Gustave Rejlander, circa 1862, shows Alfred Tennyson, 1st Baron Tennyson (1809-1892) with his wife Emily (1813-1896) and his sons Hallam (1852-1928) and Lionel (1854-1886) in the garden of Farringford on the Isle of Wight. This collection of jewels (lots 17 - 34) is offered for sale by direct descendants of Alfred, Lord Tennyson. Some pieces were worn by Audrey Tennyson, wife of Hallam Tennyson, the Poet's elder son and biographer, who served as the second Governor-General of Australia, and some were the property of Margaret Cicely Tennyson, daughter of the 10th Viscount Strathallan and wife of Alfred Browning Stanley Tennyson, son of Lionel Tennyson, the Poet's younger son.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
Lot 3
LOUIS AMI ARLAUD-JURINE (SWISS, 1751-1829): PORTRAIT MINIATURE OF A LADY IN WAITING TO QUEEN MARIE ANTOINETTE OF FRANCEA lady called, Madame Descartes, said to be a Lady-in-Waiting to Queen Marie Antoinette of France, wearing a white lace fichu over her blue dress, her powdered wig worn à la conseilleur beneath a blue and white hat dressed with flowers and ribbons, watercolour on ivory, signed L. Arlaud/ Pinxit, gilt-metal mount, ivory dimensions 5.4cm x 6.8cm Footnotes:Please note, the United States Government has banned the import of ivory into the USA. The item within this lot containing ivory has been registered in accordance with the Ivory Act (Section 10). Ref. B49427UM. Provenance:D. S. Lavender (Antiques) Ltd, 26 Conduit Street, LondonA Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 4
DOUBLE-SIDED 'VELOURS GREGOIRE' PORTRAIT MINIATURE BOX, EARLY 19TH CENTURYThe velvet portraits of Louis XVI (1754–1793), King of France (1774-1792) and the Dauphin, Louis Joseph Xavier François (1781-1789), gold mounted into the lid and base of the tortoiseshell box, box diameter 7.5cmFootnotes:The technique for producing images on velvet by painting the warp before weaving, known as 'Velours Grégoire', was developed by Gaspard Grégoire (1751-1846).A Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 5
AFTER JOSEPH BOZE (FRENCH, 1746-1826): PORTRAIT MINIATURE OF KING LOUIS XVI, LATE 19TH CENTURYPortraying Louis XVI (1754-1793), King of France (1774-1792), wearing an embroidered coat and waistcoat with a blue and red sash over his white chemise, stock and lace cravat, his coat decorated with the breast star of the Order of Saint-Esprit, the badges of The Royal French Order of Saint-Louis and The Order of The Golden Fleece, his powdered wig worn en queue and his bicorn hat supported under his arm, watercolour on ivory, bearing signature 'Boguet', gilt-mounted onto the lid of a tortoiseshell box, box with partially struck marks, ivory diameter 6.0cmFootnotes:Please note, the United States Government has banned the import of ivory into the USA. The item within this lot containing ivory has been registered in accordance with the Ivory Act (Section 10). Ref. 1F6F4K34.A Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.This portrait miniature derives from a portrait of 1785, now at Versailles, by the French state painter and pastellist, Joseph Boze. It was engraved by Benoit Louis Henriquez, the court engraver, and in London by Thomas Curtis. It was used again by the court miniaturist, Pierre Violet, in a portrait showing 'The Unfortunate Louis 16th in the Dress he wore while confined in the Temple', which was engraved by Francesco Bartolozzi and published in London in February 1793, the month after King Louis was sent to the guillotine. This image of the King was therefore well-known and easily available to copyists. An earlier copy of circa 1785-1800 is held by the Royal Collection (inv.no. RCIN 420364).This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 6
ATTRIBUTED TO PIERRE-SIMON-BENJAMIN DUVIVIER (1730-1819): PLASTER MEDALLION BOX AND WAX MEDALLION OF KING LOUIS XVThe tortoiseshell box with lacquer exterior, the lid set with a plaster medallion portraying the profile of the King's sister, accompanied by a green wax medallion of Louis XV (1710-1774), King of France (1715-1774), with a handwritten label verso supporting the provenance and the attribution for the plaster medallion in the lid of the box, wax medallion diameter 6.4cm, box diameter 7.6cm (2)Footnotes:A Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.By repute, this box and wax profile of Louis XV once belonged to Marie Thérèse Louise of Savoy, Princesse de Lamballe (1749-1792) Marie Thérèse Louise was a member of the Savoy-Carignano cadet branch of the House of Savoy. She was married at the age of 17 to Louis Alexandre de Bourbon-Penthièvre, Prince de Lamballe, the heir to the greatest fortune in France. After her marriage, which lasted a year, she went to the French Royal Court and became the confidante of Queen Marie Antoinette. She was killed in the massacres of September 1792 during the French Revolution.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 7
GOLD AND ENAMEL MEMORIAL RING, EARLY 19TH CENTURYThe textured tricoloured band applied with engraved floral and foliate motifs, the central oval plaque decorated in blue, white and green enamel, with a forget-me-not flower between the initials, M R, within a chased surround, opening to reveal a recess to the band that would have once contained strands of hair, ring size V½Footnotes:Provenance:D. S. Lavender (Antiques) Ltd, 139A New Bond Street, LondonA Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.For further information on this lot please visit Bonhams.com
Lot 8
CIRCLE OF SAMUEL COOPER (BRITISH, 1609-1672): PORTRAIT MINIATURE OF A NOBLEMANDepicting a nobleman wearing a Royal blue mantle with gold embroidery over a burnt orange coat and white lace jabot, watercolour on vellum, unsigned, gilt-mounted within a fishskin case studded on both sides with a monogram beneath a ducal coronet, vellum dimensions 4.1cm x 5.0cmFootnotes:A Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.For further information on this lot please visit Bonhams.com
Lot 83
CHARLOTTE DE SYLLAS: PAIR OF NEPHRITE, CORAL AND CULTURED PEARL EARRINGS, 2001Each carved Canadian nephrite plaque inlaid with coral corallium rubrum and a cultured pearl, mounted in 18 carat yellow gold, maker's mark CdeS, London hallmark, length 2.6cm, fitted wooden caseFootnotes:Exhibited:'Charlotte De Syllas: Sculpted Gemstones', The Goldsmiths' Hall, London, 27th April - 22nd July 2016Literature:Exhibition catalogue, 'Charlotte De Syllas: Jewellery in Carved Gemstones', 2016, ill. p.58Please note, this lot will be subject to US Fish and Wildlife inspection if imported into the USA.In 1963, at Hornsey College of Art, Charlotte De Syllas enrolled on a new and innovative jewellery making course, recently established by the pioneering and hugely influential jeweller, Gerda Flӧckinger, CBE (b.1927). One of the first students to graduate, De Syllas' jewellery caught the attention of Graham Hughes, who purchased her entire body of student work for The Worshipful Company of Goldsmiths Collection. Hughes served as Art Director of The Goldsmiths' Company between 1951-1981 and actively promoted the work of British avant-garde jewellers. The 'International Exhibition of Modern Jewellery, 1890-1960' held at Goldsmiths' Hall under his leadership in 1961, marked a watershed moment for British jewellery design and the industry at large. Each of the four De Syllas jewels presented in this sale (lots 83 - 86) were exhibited at a major retrospective exhibition of De Syllas' work, held by The Goldsmiths' Company at Goldsmiths' Hall in 2016. The exhibition featured 73 unique pieces, covering her student work from the 1960s to her latest commissions. Prior to this, De Syllas won the first ever Jerwood Prize for Jewellery in 1995 (jointly with Peter Chang). Since graduating in 1966, she has taught and exhibited internationally and her work can be found in the permanent collections of the V&A Museum, the Crafts Council in London and the Alice and Louis Koch Collection at the Swiss National Museum in Zurich.De Syllas designs a jewel around the form of the gemstone she carves, creating sculptural pieces that are tailored specifically to each client – their complexion, hair colour, personality and personal preferences are all considered. Sculpting gemstones requires a great depth of understanding, experience, patience and skill and the art is fraught with many challenges. While the metal settings are secondary to the gemstone itself, De Syllas carefully considers the metal used in order to best enhance and seamlessly support each carving. She employs unconventional methods traditionally used in other fields, such as gunsmithing and dentistry and embraces new technologies, such as digital design drawing and laser welding. Her work is truly exceptional for its technical brilliance and fearless ingenuity. Nearly all of her pieces are private commissions, and this is likely to be the first time her jewellery has ever been presented to a global audience at auction.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 84
CHARLOTTE DE SYLLAS: NEPHRITE AND CORAL 'LEAF' BROOCH, 1992The delicately carved Canadian nephrite 'leaf' inlaid with a carved coral stem, mounted in 18 carat gold, maker's mark CdeS, London hallmark, length 3.8cm, wooden boxFootnotes:Exhibited:'Charlotte De Syllas: Sculpted Gemstones', The Goldsmiths' Hall, London, 27th April - 22nd July 2016Literature:Exhibition catalogue, 'Charlotte De Syllas: Jewellery in Carved Gemstones', 2016, ill. p.56Please note, this lot will be subject to US Fish and Wildlife inspection if imported into the USA.In 1963, at Hornsey College of Art, Charlotte De Syllas enrolled on a new and innovative jewellery making course, recently established by the pioneering and hugely influential jeweller, Gerda Flӧckinger, CBE (b.1927). One of the first students to graduate, De Syllas' jewellery caught the attention of Graham Hughes, who purchased her entire body of student work for The Worshipful Company of Goldsmiths Collection. Hughes served as Art Director of The Goldsmiths' Company between 1951-1981 and actively promoted the work of British avant-garde jewellers. The 'International Exhibition of Modern Jewellery, 1890-1960' held at Goldsmiths' Hall under his leadership in 1961, marked a watershed moment for British jewellery design and the industry at large. Each of the four De Syllas jewels presented in this sale (lots 83 - 86) were exhibited at a major retrospective exhibition of De Syllas' work, held by The Goldsmiths' Company at Goldsmiths' Hall in 2016. The exhibition featured 73 unique pieces, covering her student work from the 1960s to her latest commissions. Prior to this, De Syllas won the first ever Jerwood Prize for Jewellery in 1995 (jointly with Peter Chang). Since graduating in 1966, she has taught and exhibited internationally and her work can be found in the permanent collections of the V&A Museum, the Crafts Council in London and the Alice and Louis Koch Collection at the Swiss National Museum in Zurich.De Syllas designs a jewel around the form of the gemstone she carves, creating sculptural pieces that are tailored specifically to each client – their complexion, hair colour, personality and personal preferences are all considered. Sculpting gemstones requires a great depth of understanding, experience, patience and skill and the art is fraught with many challenges. While the metal settings are secondary to the gemstone itself, De Syllas carefully considers the metal used in order to best enhance and seamlessly support each carving. She employs unconventional methods traditionally used in other fields, such as gunsmithing and dentistry and embraces new technologies, such as digital design drawing and laser welding. Her work is truly exceptional for its technical brilliance and fearless ingenuity. Nearly all of her pieces are private commissions, and this is likely to be the first time her jewellery has ever been presented to a global audience at auction.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
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