WW2 multiple signed book Dust Clouds in the Middle East the Air War for East Africa, Iraq, Syria, Iran and Madagascar, 1940 42 hardback book in very good condition by Christopher Shores. Signed by 24 Pilots Including Flt Lt Jack Biggs, Sqd Ldr Ian Blair, F/O Ken Cockram, F/O Paddy Byrne, W/O E Carter, Flt Lt L Davies, W/O D Denchfield, Air Cdr J Ellacombe DFC, Flt Sgt R Farnborough, W/O J Hodges DFC, Sqn Ldr Stanslaw Jozafiak, W/O T Kelly, Flt Lt A McInnes, Sqn Ldr Jureck Mencel DFC KM** AFM*** Flying with the French Air Force he fought in the Battle of France but was hospitalised after breaking his back in a crash in mid-1940. Returning to operations with 317 Polish Sqn, his first mission was on Spitfires escorting the RAF Bombers taking part in the engagement that lead to the German 'Channel Dash'. He flew Spitfires throughout the Normandy Invasion also flying Hurricanes and Mustangs with 308 and 309 Sqn's scoring victories against Me109's and Me108's and on the 9th April 1945 he shot down an Me262 Jet over Hamburg, W/O E Moore, F/O Bill Mould, Wg Cdr Tom Neil DFC* AFC, Flt Lt H Parry, Sqn Ldr O Parry DFC, P/O S Rhyll AFM, Sqn Ldr Nigel Rose, W/O Ray Stebbings, Sqn Ldr M Wainwright, F/O Frank Wheeler DFC. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
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Manchester United Sir Matt Busby 2009 Dawn Official Football First Day Cover Signed By Son Sandy Busby. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Jacques Cousteau signed 5x3 album page. Jacques-Yves Cousteau, AC was a French naval officer, oceanographer, filmmaker and author. He co-invented the first successful Aqua-Lung, open-circuit SCUBA, (self-contained underwater breathing apparatus). The apparatus assisted him in producing some of the first underwater documentaries. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
WW2 Multi Signed Geoff Simpson Book Titled History of the Battle of Britain Fighters Association- Commemorating the Few. Signed on a Bookplate by Battle of Britain Veterans including, Geoffrey Wellum, John Ellacombe, Bob Foster, Len Davies, Ken Williamson, Nigel Rose, Tom Neil, Tony Iveson, Tony Pickering and 2 others. First Edition Hardback Book with 176 pages. Good Used Condition. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Original BF109 Werner Molders Nicholas Trudgian pencil drawing signed by him mounted with a Werner Molders autograph to overall size 16 x 19 inches. Superb image over the White Cliffs. Leading German fighter ace in the Spanish Civil War. He became the first pilot in aviation history to shoot down 100 enemy aircraft and was highly decorated for his achievements. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Original Attacking the Eder Dam Nicholas Trudgian pencil drawing signed by him and WW2 Dambuster raid veterans G Johnson, Ken Brown, Les Munro, Grant McDonald and George Chalmers. Professionally framed and mounted to overall size 24 x 20 inches. Superb image over the White Cliffs. Leading German fighter ace in the Spanish Civil War. He became the first pilot in aviation history to shoot down 100 enemy aircraft and was highly decorated for his achievements. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Heywood Hardy (British, 1843-1933). Oil on canvas painting titled "The Fresh Team," depicting a rural inn with two teams of horses. Signed along the lower left.Hardy was well known for his equestrian paintings and depictions of animals as well as landscapes. While originally a musician, Hardy eventually decided to leave that career behind to become a painter. Stemming from a family of artists, his first two paintings were accepted for exhibition at The Royal Academy in 1864. He studied at the Ecole des Beaux-Arts in Paris before returning to London and beginning his long career of studying wildlife and horses. He was a founder of the Royal Society of Portrait Painters and the Royal Society of Painter-Etchers as well as a member of the Royal Institute of Oil painters and an associate of the Royal Watercolour Society.Unframed; height: 20 in x width: 30 in. Framed; height: 27 1/2 in x width: 37 1/2 in.
Mark King (British, 1931-2014). Group of six framed serigraphs.The first titled "Pulse of the City," depicting an abstract street scene. Pencil signed along the lower right; numbered 87/325 along the lower left.The second depicting a herd of elephants. Pencil signed along the lower right; numbered 1/255 along the lower left.The third titled "La Terrace," depicting a streetside cafe terrace. Pencil signed along the lower right; numbered 106/325 along the lower left.The fourth depicting an orchestra. Pencil signed along the lower right; numbered 179/325 along the lower left.The fifth depicting an orchestra. Signed in plate along the lower right.The sixth titled "Summer Rose Garden," depicting a lush blooming garden. Pencil signed along the lower right; numbered in Roman numerals 22/100 along the lower left.Provenance: Distinguished corporate collection, Minnesota.(Sight) height ranges from 20 in to 51 in; width ranges from 29 in to 48 in. (Framed) height ranges from 32 in to 63 in; width ranges from 41 in to 59 in.
Arthur Secunda (American, b. 1927). Group of two framed serigraphs.The first titled "Rodos," depicting an abstract sunset; pencil signed along the lower right; titled and numbered 81/125 along the lower left.The second titled "Gageron," depicting an abstract landscape; pencil signed along the lower right; titled and numbered 52/100 along the lower left.Provenance: Distinguished corporate collection, Minnesota.(Rodos) Sight; height: 40 in x width: 26 in. Framed; height: 48 in x width: 34 in. (Notte Luganese) Sight; height: 18 in x width: 32 in. Framed; height: 27 1/2 in x width: 41 in.
Arthur Secunda (American, b. 1927). Group of three framed serigraphs.The first titled "Deja Vu," depicting an abstract mountain or pyramid. Pencil signed along the lower left; titled and inscribed "AP" for artist's proof along the lower right.The second titled "Egypt," depicting a group of abstracted pyramids and a crescent moon; pencil signed along the lower right; numbered 7/20 along the lower left.The third also titled "Egypt," depicting a single abstract pyramid and a crescent moon; pencil signed along the lower right; inscribed "AP" for artist's proof along the lower left.Provenance: Distinguished corporate collection, Minnesota.(Sight) height ranges from 21 1/2 in to 23 1/2 in; width ranges from 17 in to 23 1/2 in. (Framed) height ranges from 30 1/2 in to 32 in; width ranges from 26 in to 34 in.
Thomas McKnight (American, b. 1941). Group of two framed serigraphs.The first titled "Constitution," depicting a lakeside porch with an American flag. Pencil signed along the lower right; numbered 119/225 along the lower left.The second titled "Flower Couch," depicting an interior scene with a lake in the background. Pencil signed along the lower right; numbered in Roman numerals IV/C (4/100) along the lower left.Provenance: Distinguished corporate collection, Minnesota.(Flower Couch) Sight; height: 27 in x width: 28 in. Framed; height: 37 in x width: 38 in. (Constitution) Sight; height: 35 in x width: 39 1/2 in. Framed; height: 45 in x width: 49 in.
Thomas McKnight (American, b. 1941). Group of two framed serigraphs.The first titled "St. Paul de Vence," depicting a courtyard. Pencil signed along the lower right; numbered in Roman numerals CLXV/CC (165/200) along the lower left.The second titled "Ravello Gardens," depicting an archway with a lush garden in the background. Pencil signed along the lower right; numbered in Roman numerals LXIV/CL (64/150) along the lower left.Provenance: Distinguished corporate collection, Minnesota.(Each) Sight; height: 17 1/2 in x width: 18 1/2 in. Framed; height: 25 in x width: 26 in.
Robert Cumming (American, 1945-2021). Nine hand-colored etchings from the suite "Nine Works: The First Three Minutes, Etc. 1987," 1987. Each pencil signed and dated along the lower left; numbered 22/24 along the lower center.Provenance: Distinguished corporate collection, Minnesota.(Each) Sight; height: 14 in x width: 13 in. Framed; height: 16 in x width: 15 1/2 in.
Louise Nevelson (American, 1899-1988). Screenprint on acetate over serigraph on glossy white wove paper titled "I Do Like To Be Beside the Seaside," from the portfolio "Facade," 1966. Faintly pencil signed and dated along the lower right; inscribed "Artist's Proof" along the lower left. Titled and with a poem by British poet Edith Sitwell printed along the verso. This work depicting an abstract collage of Nevelson's own sculptures inspired by Sitwell's poetry.Lot Essay: Louise Nevelson was a powerhouse of modernist sculpture. Her bold constructions using found objects shook the art world, as did her often scandalous, larger-than-life persona. Her work was cutting-edge during her lifetime and remains relevant, her unique approach to storytelling and her breathtaking, gothic silhouettes as fascinating to modern viewers as they were to her contemporaries.Louise Nevelson was born to a poor Jewish family in Kiev in what was then the Russian Empire in 1899, but immigrated to the United States with her family in 1901. The family settled in Rockland, Maine, where her father ran a lumber yard. She often played with the scraps as a child, taking an early interest in sculpture. In school, she had no aptitude for academics, but excelled in her art classes, and enjoyed creating whimsical clothing for herself, constructing hats and other items. When she was eighteen, she was introduced to Charles Nevelson, a wealthy New Yorker, by his brother Bernard, with whom she had become friends when his work in the shipping business had taken him to Rockland. They married in 1918, and she moved to New York City. She was immediately enraptured by the city, and took full advantage of the opportunities it offered to a young woman with a thirst to learn: she took acting and music classes, attended concerts and lectures, and visited museums. Despite her love for her new home, Nevelson found herself very unhappy in her marriage, particularly after the birth of her son. She found escape in visiting museums, where she was inspired by things as diverse as Japanese Noh theater costumes and cubist artworks, and by attending art classes at the Art Students League. Finally, in 1931, she left her husband and traveled to Munich to study with Hans Hofmann. Cubism as he taught it resonated with Nevelson, and had a major effect on shaping her later work. In her words, “[i]f you read my work, no matter what it is, it still has that stamp. The box is a cube.†After traveling for a few more months, she returned to the United States to be with her family, but soon returned to Europe, eager to learn more in the art schools of Paris. After a brief stay there, she returned to the United States and the Art Students League. She soon met Diego Rivera, and began working as an assistant to him. She continued to take every opportunity to expand her art horizons, even taking up modern dance as part of her ongoing fascination with space and how space is occupied. In 1941, Nevelson had her first show at Nierendorf Gallery, marking her breakthrough in the fine art world. She displayed sculptures created from boxes, leveraging her Cubist roots and obsession with space into something entirely new. She began receiving critical recognition, and continued expanding her work, moving literally outside the box. Around this time, Nevelson first began working with found objects. She felt that found objects already had stories of their own to tell, and assembling them as she was allowed her to contribute to those stories, and to keep the stories of discarded objects alive in a powerful way. While the way she manipulated these objects in her sculptures varied significantly throughout her career, their presence remained a constant. In the mid-1940s, she began exhibiting her work regularly, and her success continued from there. Throughout the 1950s and 1960s, her work was purchased by major museums, and she began receiving commissions to create the kinds of found-object sculptures for which she had become well known. These iconic sculptures were dark, monochromatic spires, disguising and making majestic the most mundane of objects. She was often grouped in exhibitions with the most influential artists of her time. Through the 1970s and 1980s, she received numerous honorary degrees and even had several books published on her. She continued working and experimenting until her death in 1988, pushing the boundaries of color, texture, and form. She continued to try new sculptural media—though always admitting that wood was her favorite—along with making prints, designing costumes, and writing poetry.Sight; height: 22 3/4 in x width: 17 1/4 in. Framed; height: 23 1/2 in x width: 18 in.
Louise Nevelson (Ukrainian/American, 1899-1988). Black plaster abstract sculpture depicting a figure on a marble base, ca. 1935.Exhibitions: Washburn Gallery, New York, "Louise Nevelson: Sculpture and Drawings from the 1930s," March 21 - April 19, 1997.Provenance: Estate of the Artist; Private Florida Collection; Washburn Gallery; Private Massachusetts Collection; Private Minnesota Collection.Lot Essay: Louise Nevelson was a powerhouse of modernist sculpture. Her bold constructions using found objects shook the art world, as did her often scandalous, larger than life persona. Her work was cutting-edge during her lifetime and remains relevant, her unique approach to storytelling and her breathtaking, gothic silhouettes as fascinating to modern viewers as they were to her contemporaries.Louise Nevelson was born to a poor Jewish family in Kiev in what was then the Russian Empire in 1899, but immigrated to the United States with her family in 1901. The family settled in Rockland, Maine, where her father ran a lumberyard. She often played with the scraps as a child, taking an early interest in sculpture. In school, she had no aptitude for academics, but excelled in her art classes, and enjoyed creating whimsical clothing for herself, constructing hats and other items.When she was eighteen, she was introduced to Charles Nevelson, a wealthy New Yorker, by his brother Bernard, with whom she had become friends when his work in the shipping business had taken him to Rockland. They married in 1918, and she moved to New York City. She was immediately enraptured by the city, and took full advantage of the opportunities it offered to a young woman with a thirst to learn: she took acting and music classes, attended concerts and lectures, and visited museums. Despite her love for her new home, Nevelson found herself very unhappy in her marriage, particularly after the birth of her son. She found escape in visiting museums, where she was inspired by things as diverse as Japanese Noh theater costumes and cubist artworks, and by attending art classes at the Art Students League.Finally, in 1931, she left her husband and traveled to Munich to study with Hans Hofmann. Cubism as he taught it resonated with Nevelson, and had a major effect on shaping her later work. In her words, “[i]f you read my work, no matter what it is, it still has that stamp. The box is a cube.†After traveling for a few more months, she returned to the United States to be with her family, but soon returned to Europe, eager to learn more in the art schools of Paris. After a brief stay there, she returned to the United States and the Art Students League. She soon met Diego Rivera, and began working as an assistant to him. She continued to take every opportunity to expand her art horizons, even taking up modern dance as part of her ongoing fascination with space and how space is occupied.In 1941, Nevelson had her first show at Nierendorf Gallery, marking her breakthrough in the fine art world. She displayed sculptures created from boxes, leveraging her Cubist roots and obsession with space into something entirely new. She began receiving critical recognition, and continued expanding her work, moving literally outside the box. Around this time, Nevelson first began working with found objects. She felt that found objects already had stories of their own to tell, and assembling them as she was allowed her to contribute to those stories, and to keep the stories of discarded objects alive in a powerful way. While the way she manipulated these objects in her sculptures varied significantly throughout her career, their presence remained a constant.In the mid-1940s, she began exhibiting her work regularly, and her success continued from there. Throughout the 1950s and 1960s, her work was purchased by major museums, and she began receiving commissions to create the kinds of found-object sculptures for which she had become well known. These iconic sculptures were dark, monochromatic spires, disguising and making majestic the most mundane of objects. She was often grouped in exhibitions with the most influential artists of her time. Through the 1970s and 1980s, she received numerous honorary degrees and even had several books published on her.She continued working and experimenting until her death in 1988, pushing the boundaries of color, texture, and form. She continued to try new sculptural media—though always admitting that wood was her favorite—along with making prints, designing costumes, and writing poetry. The present work is an impressive example of her early sculptural work. Its bold, boxy silhouette in striking black foreshadows her iconic monochromatic constructions, while showing her early cubist influences.Height: 19 1/4 in x width: 15 in x depth: 22 in.
Group of three Russian sterling silver cigarette cases including:One rectangular case with a Soviet-era Artel mark, Moscow. The lid with the seal of OSOAVIAKHIM and the underside with a silhouette of a bi-place with an engraved Cyrillic inscription; with a red cabochon clasp. Marked along the interior.One rectangular with a maker's mark "O.V.," first half of he 20th century. The case lid with 14k gold signatures and a monogram. Marked "875" along the interior.One rectangular case inscribed along the interior and a Soviet-era Artel mark, Moscow. Monogrammed along the case lid with red enamel decoration; with the date 1902 along with floral etching along the underside. Marked along the interior.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height ranges from 1/4 in to 3/4 in; width ranges from 3 3/4 in to 4 1/2 in; depth ranges from 3 in to 3 1/2 in.
Group of 23 carved seals with a seal book by Chinese artist Fei Gongxing born in 1880 and active in the Republic of China. The seal book is dated winter of 1933, prefaced and commented by several scholars. A number of seals match the prints in the book. These seals were carved by the artist for his own use. The calligraphy and paintings within the book are colophons. The title slip and first inscription are by a friend of the artist, Zhu Dianyi, and is dated 1934.(Seals) Height ranges from 1/4 in to 1 1/2 in; width ranges from 1/2 in to 1 1/2 in; depth ranges from 1/4 in to 1 1/2 in.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph depicting a figure carrying a load up a curving path in the mountains. Silver gelatin print. Hand-signed along the backing to the lower right of the photograph.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 14 3/8 in x width: 10 in. Matted; height: 20 in x width: 16 in.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "A Pair of Cranes," depicting two cranes beneath a tree. Silver gelatin print. Hand signed to the mat along the lower right.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 13 1/2 in x width: 10 1/2 in. Matted; height: 20 in x width: 16 in.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "Zhang Daqian (Cypress Trees)," executed in 1963, depicting the painter Zhang Daqian (1899-1983), a close friend of Chin San Long's, seated on a stone with a staff under the superimposed image of cypress trees. Silver gelatin print. Hand signed along the backing.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 13 1/4 in x width: 10 1/2 in. Matted; height: 20 in x width: 16 in.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph depicting a procession of priests. Silver gelatin print. Hand signed along the lower right.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 14 3/4 in x width: 11 1/2 in. Matted; height: 20 1/4 in x width: 16 1/2 in.
Lewis Hine (American, 1874-1940). Photograph depicting two young workers, John Lewis and Morris Small, from the Springstein Mill in Chester, South Carolina, ca. 1908. Silver gelatin print. Stamped along the verso.Lewis Hine was an American sociologist and muckraker photographer whose photographs were instrumental in bringing about the passage of the first child labor laws in the United States.Height: 4 3/4 in x width: 6 3/4 in.
Lynn Geesaman (American, b. 1938). Group of two photographs from the "Longwood Garden" series. Silver gelatin prints. Each in a cast iron frame designed by Irve Dell; signed, dated, and numbered along the edge.The first titled "Love Temple," depicting a gazebo by a pond. The frame numbered 18/33.The second titled "Italian Fountain," depicting a dramatically lit marble fountain in a garden. The frame numbered 10/33.Provenance: Distinguished corporate collection, Minnesota.(Each) Sight; height: 19 in x width: 19 in. Framed; height: 26 1/2 in x width: 24 1/2 in.
Signed photograph of Will Rogers (American, 1879-1935). Also included is a letter, ca. 1934-35, inscribed from both Rogers and Roland Young (British, 1887-1953):"Dear young John,What am I doing in this wonderful Book,?, Well I'll tell you.All these celebrated actors in this Who's-Who played with your Dad, Back in the days when there was a thing called "Show Business" you've heard your Parents speak of it. oh it was Wonderful. But we were all sold down the River to a Mechanical Contrivance, called the "Talkies".Well I played with your Father in his first Scene in one of these Gee Gaws.I remember it for it was just this week, Nov 20th 32. There was your Dad me, and a "Boar Hog" togeather in this Scene, The Hog was the Star, his name was "Blue Boy" "Blue Boy" and I grew to love your father, as retakes drifted on. and "Blue Boy" and your Father used to play Golf together, and your Father grew to love "Blue Boy" as he found he could beat him.Sot thats why I am in the BookWill Rogers"The verso with a drawing of a penguin and inscribed:"Dear JohnThis is a penguinAnd I begThat you will noticeHow oval EggThis is a SignAs the poet SedThat she is a ladyAnd - probably - wedYoursRoland Young"Sight; (Photo) height: 9 in x width: 7 1/4 in. (Letter) height: 11 in x width: 8 1/4 in. Framed; height: 22 3/4 in x width: 36 1/4 in.
2019-W 1 oz. gold eagle $50 first strike coin, part of the Reagan Legacy Series, designed by sculptor Augustus Saint-Gaudens (American, 1848-1907) and Miley Busiek (American, 20th/21st c). Graded PCGS as SP70. The obverse featuring a design by Saint-Gaudens depicting a personification of Liberty on the obverse walking toward the viewer. The obverse with a design by Busiek depicting a family of American bald eagles nestled amongst olive branches.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Diameter: 32.7 mm.
A German porcelain tea and coffee service by Hutschenrewther 1814 CM HOHENBERG, in white colour with a gold and blue rim, mid 20th century, comprising of:13 tea cups diam 10.5cm (one with hairline crack),14 coffee cups diam.9.5cm,29 saucers diam.14.5cm,15 cake plates diam.20cm,2 round cake serving platters with handles W30cm,1 round cake serving platter with handles W32cm,1 oval bowl W31.5cm,2 oblong cake platters L31cm,1 coffee pot H23cm with 1 lid,1 tea pot H17cm with 1 lid,2 sugar bowls with 2 lids with hole for a spoon W13cm,2 sugar bowls with 2 lids without a hole W13cm,1 round bowl with 1 lid W19cm,1 creamer jar H7cm,1 milk pitcher H18cm.Total: (103 pcs).Hutschenreuther German Porcelain China. The pattern name is Hohenberg which is also the city where the company was started in 1814 by Carols Magnus Hutschenreuther. It was the first privately owned china factory in Germany. For more than 200 years, Hutschenreuther has been known for its quality production. The company is now owned by Rosenthal.
A German porcelain dinner service by Hutschenrewther 1814 CM HOHENBERG, in ivory colour with a gold and black rim, mid 20th century, comprising of:1 soup tureen W35cm and 1 cover, and 1 round platter,10 oblong serving platters - two x W42cm, two x W39cm, two x W28.5cm, four x W21cm,1 round flat serving platter diam.33cm,1 round salad bowl diam.32cm,1 round salad bowl diam.25.5cm,2 round salad bowls diam. 23.5cm,1 round salad bowl diam.22cm,15 twin handled soup bowls W17cm,15 soup saucers diam.17cm,15 bread plates diam.16cm,23 dessert plates diam. 20cm,23 1st course plates diam.25cm,24 2nd course plates diam.27.5cm,15 soup plates diam.22.5cm,1 sugar bowl with 1 lid W11.5cm,1 sauce boat with attached plate L20cm (chip to the rim of the plate),1 salt and pepper dish L15cm,10 Espresso coffee cups (one with chip to the rim),13 saucers for the coffee cups.Total: (176pcs).Hutschenreuther German Porcelain China. The pattern name is Hohenberg which is also the city where the company was started in 1814 by Carols Magnus Hutschenreuther. It was the first privately owned china factory in Germany. For more than 200 years, Hutschenreuther has been known for its quality production. The company is now owned by Rosenthal.
Mary Martin (British, 1907-1969)Opposition signed, titled and dated 'Mary Martin '56/'Opposition'' (verso)oil with plaster relief and gouache on panel61 x 122.1 cm. (24 x 48 in.)(unframed)Footnotes:ProvenanceThe Artist, from whom acquired by John Weeks, 1962, thence by descent to the present ownerPrivate Collection, U.K.Mary Martin was an innovative Constructivist artist, part of an avant-garde group which included Victor Pasmore, Robert Adams, Adrian Heath, Anthony Hill and her husband Kenneth Martin, who she had met while studying at the Royal College of Art. Martin explored the possibilities of making constructed abstract art, often using the medium of the relief and three-dimensional shapes to do this, starting from the late 1940s and early 1950s. She is best known for her complex reliefs which used square and rectangular shapes organised in different permutations and often to dazzling effect, exploring the many combinations she could create from the repetition of one simple element, which later centred around the cube. As she herself wrote in 1957, 'the end is always to achieve simplicity'. Mary and Kenneth had two children, John and Paul, born in 1944 and 1946 respectively, and caring for their sons limited the output of Mary's work at this time. In the late 1940s her work was still quite representational and richly coloured, including Still Life with Fruit from 1948 (Private Collection), which glows with orange and yellow tones. Her first abstract work was made shortly after, and she moved quickly to a palette of mostly grey, white and black, using almost no colour at all between 1949 and 1956. Opposition, painted in 1956, is an extremely rare work by Martin. Not only is the medium very experimental – oil with plaster relief and gouache – but it shows an unexpected foray into colour too. In 1957 she commented: 'At first, in an abstract work, colour is eliminated or severely restricted in order to free it from association. Once that has been achieved and colour becomes free, one can again use as wide a range as the form demands.' (M. Martin, 'The End is Always to Achieve Simplicity', 1957, quoted in A. Grieve, Constructed Abstract Art in England After the Second World War: A Neglected Avant-Garde, Yale University Press, New Haven, 2005, p.92). In 1956 she began to experiment with colour more fully, which we can see in the present work. This makes Opposition all the more refreshing and shows an increasing confidence in this new mode of working. White still forms the basis for the work, but is joined by black, pink, red, green, brown, turquoise and pale blue. Not only does Martin's use of colour mark this work as very significant, but the medium is a departure from many of the materials she was using at that time too. Previously her constructed reliefs used mostly plywood, Perspex and stainless steel cut into square or rectangular shapes, so the shift to painting as well as soft, modelled plaster and curving lines shows a facet of her working practice that is very little-known. Opposition is therefore an unusual but important work, perhaps even unique in its medium and use of colour for this date, using a complex palette, painting and curved forms when most of her work of this time was characterised by hard-edged geometry, a slim range of colours and materials which could be cut or cast.The present lot was acquired directly from the artist by the architect John Weeks in 1962, whom Martin collaborated with on a number of occasions, including on a pavilion at the seminal This is Tomorrow exhibition in 1956 at the Whitechapel Gallery in London. The exhibition evolved from an initial idea from architect and writer Theo Crosby for an exhibition involving architects, artists, designers and theorists and was a collaboration with members of the Independent Group. The thirty-eight participants formed twelve groups, which worked towards producing one artwork, and the result was a series of interactive installations, with Mary Martin, Kenneth Martin and John Weeks forming group 9. Mary Martin also collaborated with Weeks in 1957 for a relief for Musgrave Park Hospital, Belfast. She used similar proportions for the work, titled The Waterfall, as Weeks and his partner Richard Llewelyn Davies used in the design of the hospital, also incorporating materials used in the construction of the building – including warm grey brick, white painted cement and satin-finished stainless steel. In thanks for this commission, the artist gave Weeks a relief from 1954, White Relief with Black. Weeks and Martin shared many things, not just a common aesthetic, but also a concern for art and architecture that had a social relevance, with Weeks devoting much of his architectural practice to hospitals.With unique provenance and extremely rare in its use of materials and colour, Opposition presents a fascinating insight into Martin's working practice in the mid-1950s, when she was an active member of the nearly all-male Constructivist movement. An avant-garde artist but also a working mother, not only are pieces from this period scarce but it is even more unusual to find one in this experimental style. It is an honour to present this very special work to the market.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Dame Elizabeth Blackadder O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (British, 1931-2021)Lilies and Mixed Flowers signed 'Elizabeth V. Blackadder' (lower left)pencil and watercolour80.7 x 59 cm. (31 3/4 x 23 1/4 in.)Painted in 2010Footnotes:ProvenanceThe ArtistWith The Scottish Gallery, EdinburghPrivate Collection, U.K.Elizabeth Blackadder, born and raised in Falkirk, Scotland, is perhaps best known for her delicate paintings and drawings of flowers and still life, usually brimming with blooms of various shapes and hues. This may in part be due to her childhood fascination with flowers, when she began collecting local flora, and compiling her specimens by pressing them and labelling them with their full Latin names. Here, the lily stems arch and weave above a sea of reds and purples, their pink flutes raised triumphantly towards all corners of the composition. Her artistic approach broaches the scientific, with her precise and analytical attention to detail, and the simple white background, coming together to create something wholly harmonious, soft, and lyrical.As the first woman to become an academician of both the Royal Academy of Arts in London and the Royal Scottish Academy, Blackadder was a trailblazer for women in the arts. Through her work as a teacher at Edinburgh College of Art, and fundamentally as an artist, she forged a path into the predominantly male-centric world of art of the 20th Century, where she garnered respect and high acclaim for her output. Blackadder went on to be appointed an Order of the British Empire in 1982, before being made the very first female Artist Limner by the Queen, a position within the Royal Household which is unique to Scotland.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Anne Redpath O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (British, 1895-1965)St Paul de Vence signed 'Anne Redpath' (lower right) and titled 'St Paul de Vence' (on a label attached to the stretcher)oil on canvas85 x 110.5 cm. (33 3/8 x 43 1/2 in.)Footnotes:ProvenanceWith The Lefevre Gallery, LondonPrivate Collection, U.S.A.Anne Redpath studied art in Edinburgh in the 1910s, before spending much time on the Continent from 1919 to 1934. This painting depicts the town of St Paul de Vence, in Southern France, where the artist lived for several years. Today, the commune counts as one of the most fascinating medieval centres of the Riviera, accommodating several modern and contemporary art museums within its borders. After a period in Saint-Raphaël, in the Var département, she eventually found her way back to Scotland, where she became the president of the Scottish Society of Women Artists, a member of the Royal Sottish Academy, and the first woman painter Academician. Yet, her love for the South never extinguished, and she kept painting in Spain, Corsica, Venice and elsewhere throughout the 1950s and early 60s.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
Anna Zinkeisen (British, 1901-1976)These Laid the World Away signed with initials 'AZ' (lower right); further signed, dated and inscribed ''These Laid the World Away'/1939-45/Anna Zinkeisen' (on a label attached to the frame)oil on canvas59.1 x 77.2 cm. (23 1/4 x 30 3/8 in.)Footnotes:ProvenanceSale; Christie's, London, 12 December 1989, lot 219Private Collection, U.K.Born in Scotland but raised in Middlesex, Anna Zinkeisen was to become one of the most well-known and highly regarded names of the 1920s and 30s, both for her artwork and her presence as a London socialite. Talented from childhood, Zinkeisen and her sister Doris were awarded scholarships to the Royal Academy Schools. Anna studied there between 1916 and 1921, where she received numerous prestigious accolades such as the Landseer award, and in her final year exhibited two works in the Summer Exhibition. The inclusion of her work and that of fellow female artists upset many of the older established male artists, who thought that the output of these young women had no place in the exhibition. An article printed in the Sunday Express that year homed in on Anna and Doris in particular, and suggested that many of the traditional artistic elite were angered by the hanging committee's decision to give these women a prominent position within the exhibition. The consequent controversy surrounding the exhibition propelled the Zinkeisen's into the public eye.Whilst continuing their studies, the sisters volunteered as St John's Ambulance Voluntary Aid Detachment nurses, caring for convalescing soldiers who had been injured on the frontline. During the Second World War, they both served as auxiliary nurses with the Order of St John at St Mary's Hospital, Paddington, where they nursed wounded air raid victims injured during the Blitz. These experiences afforded Anna a first-hand understanding of the destruction and devastation that the two wars inflicted.The war changed Anna profoundly. Her work in the 1940s took on a darker and more Surrealist form. This change in approach coincided with a commission from Imperial Chemicals Industries, for whom she produced several works for their Aspects of Industry series, which celebrated various elements of invention and progress. In contrast however, the present work was not a commissioned work and is evidently a much more personal piece. The title of the painting is taken from the fourth line of War Sonnet III: The Dead, from Rupert Brooke's 1914: Five Sonnets. The poem references the great waste of life that the war saw; young men's lives becoming 'rarer gifts than gold'. Her experience as a wartime nurse no doubt influenced her artwork of the period, with this painting in particular capturing the brutal loss of life that she saw daily, and the continued suffering afflicting all those who fought.We are grateful to Philip Kelleway for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Granada School; late 17th century."Virgen de las Angustias".Oil on canvas.It presents slight faults on the pictorial surface.Measurements: 63 x 51,5 cm.The Virgin of Anguish shows the body of her son on the altar to the faithful. This image is framed by the cross from which a shroud hangs. The representation of Our Lady of Sorrows is similar to that of the Pieta, but in the case of the patron saint of Granada, her image does not follow the moment in which Mary receives the body of her son. Given the importance given to religious images in the Hispanic world, during the 17th and 18th centuries ambitious pictorial series and extensive iconographic programmes were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or medium, these images fulfilled the aim of sacralising everyday life beyond the altars.The 17th century saw the arrival of the Baroque in the Andalusian school, with the triumph of naturalism over Mannerist idealism, loose workmanship and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of its works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
Italian school; 16th century."Crucified Christ".Carved and polychrome wood.It presents faults in the carving and loss of the arms.Measurements: 97 x 23 x 22 cm.Wooden Christ with remains of polychromy, characterised by a deep dramatism that combines with the formal beauty and the sobriety of the treatment. The emotional intensity of this expiring Christ can be seen in the half-open lips and the expression of pain. The anatomy is carefully studied and well worked, and reflects the suffering of the body with naturalism, but without emphasising the pathetic. Following the models of classical statuary, the anatomy is beautiful and balanced, tending towards symmetry, but realistic.The representation of the crucifixion has undergone an evolution parallel to the liturgical and theological variations of Catholic doctrine in which we would like to point out three milestones: at first early Christian art omitted the representation of the human figure of Christ and the crucifixion was represented by means of the "Agnus Dei", the mystical lamb carrying the cross of martyrdom. Until the 11th century Christ was represented crucified but alive and triumphant, with his eyes open, in accordance with the Byzantine rite, which did not consider the possibility of the existence of Christ's corpse. Later, under the theological consideration that the death of the Saviour was not due to an organic process but to an act of divine will, Christ is represented, as in our work, already dead with his eyes closed and his head fallen on his right shoulder, showing the sufferings of the passion, provoking commiseration.
Spanish school following Dutch models; late 18th - early 19th century."Landscapes".Oil on canvas.Measurements: 50 x 62 cm (x,2); 57 x 70 cm (frames,x2).Pair of landscapes that present the same aesthetics of realistic character and a similar composition in spite of the fact that the main motives of each scene are different. In both cases the images are enveloped in a golden light that bathes a lake and contrasts with the shadows in the foreground. Both pieces show the presence of figures engaged in everyday activities, although their size in relation to the landscape shows the artist's interest in capturing the landscape realistically, so that the two scenes seem to be a chronicle drawn from the social reality of the time.Of all the contributions made by northern European countries to the history of art, none has achieved the enduring importance and popularity of 17th-century Dutch landscape painting. The works of Avercamp, Van Goyen and Ruysdael, among many others, evoke the outlines, terrains and atmospheres of the Netherlands more vividly than any other place, large or small, has ever been depicted. Within this tradition, the most revolutionary and enduring Dutch landscape contribution has surely been its naturalism. Seventeenth-century Dutch painters were the first to create a perceptually real and seemingly comprehensive image of their land and people. Although landscape as an independent genre appeared in Flanders in the 16th century, there is no doubt that this type of painting only reached its full development among Dutch artists. It can be said that it was practically the Dutch who invented the naturalistic landscape, which they affirmed as an exclusively central feature of their artistic heritage. There is no doubt that the Dutch painter, filled with pride in his homeland, was able to show in his paintings the beauty of its vast plains and skies.
Spanish or French school of the 17th century. Follower of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640)."The Descent from the Cross".Oil on panel. Engatillado.Size: 63 x 46 cm; 80 x 63.5 cm (frame).The present panel is a faithful reproduction of the painting of the same subject, "The Descent from the Cross", painted by Peter Paul Rubens in 1612. It is the central part of a triptych, which also shows the Visitation of the Virgin and the Presentation of Jesus in the Temple. It is kept in Antwerp Cathedral, Belgium. The author of the present work may have become acquainted with Rubens' painting through a contemporary engraving by Lucas Emil Vorsterman, as is attested by an engraving identical to the present work in the Rijks Museum.Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, as his influence was also key to other schools, such as the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family was originally from. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci. During his visit to Mantua he was impressed by Mantegna, especially by his "Triumphs of Caesar", which influenced his later "Triumph of the Eucharist", where we see the same classical theatrical sense of Mantegna. It was also in Mantua that he would see at first hand the giants of Giulio Romano's Tea Palace. He visited Rome on several occasions, and also studied the art of Classical Antiquity, which influenced his early sculptural and monumental style, which evolved over time towards a more pictorial language. In the Italian capital Rubens also became acquainted with Italian Renaissance painting and the works of Michelangelo, Raphael and Leonardo. On his tour of Italy he also visited Florence and Parma, where he came into contact with the work of Correggio. In Venice he learned the sense of ostentation of Veronese and the dramatism of Tintoretto, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from drawings by his own hand and under his supervision. During these years he produced important commissions such as "The Elevation from the Cross" (1610) and "The Descent from the Cross" (1611-14), both for Antwerp Cathedral. By this time Rubens was already the leading painter in Flanders and it was in his workshop that outstanding masters such as Anton van Dyck and Jacob Jordaens were trained. Today works by Rubens are to be found in the most important collections throughout the world, including the Prado Museum, the Hermitage in Saint Petersburg, the Louvre in Paris, the Mauritshuis Gallery in The Hague, the Metropolitan Museum in New York, the National Gallery in London and the Rijksmuseum in Amsterdam.
Transitional Romanesque-Gothic Christ, 13th century.Bronze.On upholstered wood.Measurements: 17 x 10 cm. (figure); 22,5 x 22,5 cm.(support).Figure in bronze, representing a Christ with four nails, with the head inclined on the right arm. The body lacks naturalistic pretensions, as was usual in devotional art of the Romanesque period. The four nails (later reduced to three) and the long cloth (the cloth of purity is reduced by half, leaving the thighs uncovered) are also fully Romanesque solutions. Despite the fact that the period could be a Gothic piece, it remains faithful to Romanesque solutions: the body is resolved in a synthetic manner, abstracting from the elemental, enlarging the hands and heads as these are the parts that are mainly intended to be shown. A profusion of incisions chisel the body, outlining the ribs, the details of the crown and the drapery, adding great richness to the bronze.During the Romanesque period, sculpture was most often conceived as part of the architecture, as in the Gothic period. However, there were also examples of free-standing sculpture, the most common themes being the Crucified Christ and the Virgin and Child (the pantheon of saints was still small). There were two models, the "colobium" and the "perizonium". The first is a Christ nailed to the cross, still alive, with a talar robe and four nails. It is a rare model, as it was only made in certain European territories (in Spain, only in the Crown of Aragon, especially in Catalonia, but always coexisting with the second model). The "perizonium" is also a Christ on the cross with four nails, dead or alive, but dressed in a cloth of purity.
Italian school; 17th century."The Tears of St. Peter".Oil on canvas.It presents restorations and repainting on the pictorial surface.Measurements: 74 x 59 cm.The artist of this work simulates an oval frame in the perimeter of the work, in such a way that the main subject is much more emphasized and theatricalized. In the centre of the image and in the foreground, strongly illuminated, is the bust of St. Peter against a dark, neutral background, which enhances the figure's corporeality and at the same time helps to focus attention on the figure. Saint Peter is weeping, looking up at the sky. In this image, the artist opts for a sober representation based on the sentiment and pathos of the protagonist's attitude. St. Peter is shown before the viewer without his iconographic attributes such as the keys, or even the presence of the cockerel, which is customary in the representation of the theme of St. Peter's tears, as it helps to establish a temporal context of the biblical story, in which St. Peter had already denied Christ three times. According to Professor Pérez Sánchez, it seems that El Greco was the first artist to give independent form to this iconographic type of The Tears of Saint Peter, which, due to its ability to express intensely two of the fundamental aspects of the Tridentine reform, repentance and penitence, was particularly popular in Baroque Spain. El Greco's work, painted in the 1580s and now in the Bowes Museum in England, combines the image of Saint Peter's repentance in the foreground, half-length and with his hands clasped, with a landscape background in which the Resurrection of Christ can be seen in the very distant foreground.Saint Peter (Bethsaida, c. 1 BC - Rome, 67) was, according to the New Testament, a fisherman, known as one of Jesus' twelve apostles. The Catholic Church identifies him through the apostolic succession as the first Pope, based among other things on Jesus' words to him: "You are Peter, and on this rock I will build my Church, and the power of Death shall not prevail against it. I will give you the keys of the Kingdom of Heaven. Whatever you bind on earth shall be bound in heaven, and whatever you loose on earth shall be loosed in heaven". St. Peter could be said to have been Jesus' confessor, his closest disciple, the two being united by a very special bond, as narrated in both the canonical and apocryphal Gospels.
Altarpiece. Renaissance. Italy, first half of the 16th century."Nativity".Carved, polychromed and gilded wood.Polychrome back.Good state of conservation, except for two frontal cracks.Measurements: 115 x 74 x 12 cm.Renaissance altarpiece in carved, polychromed and gilded wood. The back part also showed a scene, as can be seen by the remains of the polychromy. Renaissance artists of a certain prestige were commissioned to make an altarpiece at some point in their lives, whether it was an altarpiece or a chapel altarpiece. Here we have an altarpiece of architectural form, with the Nativity theme presiding over the front. Two pilasters frame the scene and the structure is crowned, above the entablature, by a circular tympanum that contains the figure of Christ blessing, mayestàtic, an iconography inherited from the medieval period. The Manger scene combines bas-relief and high-relief in order to represent different levels of depth that place the figures of Joseph and Mary, as well as the archangel Gabriel, around the newborn baby. An ox and a donkey poke their heads out of the stable. The town of Bethlehem and the mountainous terrain have also been carved with painstaking attention to detail, echoing Renaissance concerns for giving depth and atmosphere to the space. The carving is of high quality, as can be seen in the finish of the female figure, the Virgin, with her soft features and turned hands. Except for the flesh tones and some details of the landscape, the rest of the scene features gilded wood, as well as the vegetal work on the pilasters and the coping. The ornamentation is also characteristic of the Renaissance period, freely combining elements of Greco-Roman origin. Rockery motifs and foliated fretwork complete the decoration. Designed to be placed behind or above the altars of churches, altarpieces could consist of painted panels, sculptures or both. They were intended to astound the congregation with striking images from biblical history. Those consisting of folding panels were kept closed for most of the year and were only fully revealed on special occasions such as Easter and Christmas.
18th century Spanish school."Portrait of Fernando Escobedo".Oil on canvas.With information in the lower area on the gentleman.It shows slight deterioration.Measurements: 206 x 110 cm; 216 x 121 cm (frame).Juan de Escobedo, secretary of Juan de Austria, was born in Colindres (Cantabria) in 1530 and died in Madrid in 1578.Under the protection of Ruy Gómez de Silva, Prince of Eboli, he was appointed secretary to the Treasury Council by King Philip II, and in 1569 he was appointed warden of the castle of San Felipe and the Royal Houses of Santander.In 1574 he was recommended by Antonio Pérez, the king's secretary, to occupy the post of personal secretary to Don Juan de Austria. This choice, made initially with the intention of keeping an eye on Don Juan, proved unsuccessful as he became one of the most loyal supporters of the then governor of the Netherlands. During this period he gathered evidence of the illicit dealings and support for the Flemish rebels of Pérez and Ana de Mendoza de la Cerda, Princess of Eboli, and was denounced by the latter to the King as an instigator of Don Juan's political manoeuvres.When Escobedo threatened Antonio Pérez with divulging his conspiracy unless he supported the pretensions of Don Juan of Austria in the Low Countries, and fearing that he would be denounced, he ordered his assassination on 31 March 1578. Pérez was tried a year later, fleeing first to Aragon to take refuge in his own charter and then across the border to France, but his death sentence could not be carried out.This murky incident of intrigue and conspiracy, one of the darkest of the reign of Philip II and one which has subsequently come to involve the king himself, has been linked to the fact that Don Juan and Escobedo, once the major problems in the Low Countries had been resolved favourably, wrote to the king, telling him of their desire to return to Spain to take charge of the monarch's policy in view of his success. Antonio Pérez, fearful that his double-dealing would be discovered, and manipulating the monarch in his favour, took the opportunity of Juan de Escobedo's return to court to order his death by hired assassins just a few blocks from the old royal palace in Madrid.Today there is a plaque on the corner of what is now Calle de la Almudena and Calle Mayor, very close to Calle de Bailén, which commemorates this event and reads: "In this street they killed the secretary of Don Juan de Austria, Juan de Escobedo, on 31 March 1578, the night of Easter Monday".
A NEMA TD 626 CIPHER MACHINE, SWISS MID-20TH CENTURY,maker's plate numbered TD 626, the 10-wheel cipher machine used by the Swiss Army and Diplomatic Corp, complete with standard keyboard, corresponding light-up displays, remote display, wiring, in painted metal case, stencilled TD 626, the machine 11 1/2 in (29cm) wide12 3/4in x 5 3/4in x 14 1/2in (32.5cm x 14.5cm x 37cm) overall Footnotes:First deployed in 1947, the NEMA cipher machine shared numerous features with the commercial Enigma, including the lack of a plugboard. In contrast, the NEMA utilised 5 rotors for enciphering the alphabet, and an additional 5 paired rotors which give irregular stepping of the rotors. This configuration resolved a major vulnerability of the odometer-style stepping of the Enigma machine. The present machine is understood to have once been kept in war-reserve storage in the event of conflict.For further information on this lot please visit Bonhams.com
A RARE KRIEGSMARINE SIGNAL BOOK, GERMAN, 1940-1944,Signalbuch der Kriegsmarine, Berlin: Oberkommando der Kriegsmarine, 1940, Third Reich Naval High Command bound with Marineliste 1944 (Kriegsliste) zum Signalbuch, Aufgestellt im Juli, 1944. Folio (315 x 240 pp); 117 pp; containing hundreds of hand-coloured signals and flags in text, numerous annotations in red ink, manuscript and paper corrections throughout. Laminated tabs in first work; Some soiling to tabs of second work, commensurate with use. Original black leather over thick boards with metal studs and corners on both covers, spine titled Signalbuch 1940 (number obscured), 13in x 10in x 2 1/2in (33cm x 25.5cm x 6.5cm) Footnotes:Used widely within the German Kriegsmarine and during WWII, these Codebooks were used aboard submersible boats to communicate with surface vessels and their shore bases. Common phrases can be substituted by a series of number or letter codes which were then transmitted via Morse Code. The Allies were eventually able to locate E-boats by triangulating their signals, aided by numerous captured codebooks of this kind that would have been studied and used at Bletchley Park.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
AN ENIGMA ROTOR BOX WITH TWO ROTORS, GERMAN, DATED 1936,Rotor serial numbers: III (A00413/43E), V (A1727)Rotor V (A1727) of early manufacture. This is indicated by aluminium ratchet wheel and dot above Roman numeral. Marked WaA30. Rotor III (A00413/43E) produced by Ertel-Werk für Feinmechanik in Munich in 1943. Marked WaA900, the case 9 1/2in x 2 1/2in x 5in (24cm x 6.5cm x 12.5cm) Footnotes:Each Enigma rotor box holds two rotors, while the other three were in use within the actual Enigma machine. The Enigma system was used by a broad range of German forces including the Wehrmacht, Luftwaffe, navy, the SS and Abwehr. Although Enigma was used mostly in during the Second World War, it was first utilised by the German military in 1929.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE HEIMSOETH UND RINKE 3-ROTOR ENIGMA CIPHER MACHINE, BERLIN, 1938,serial number A 8904, inner front panel with 'Klappe schliessen' and 'ENIGMA' stamps, rotors I (A5042), II (A18219) Wa69, III (A8152) WaA316, and metal stamped Enigma label inside the lid, original, and D reflector serial no. A11389, standard QWERTZ keyboard of 26 keys, white on black backgrounds, battery switch, ebonite Steckerbrett [plugboard] with 8 stecker cables (6 plugged into the Steckerbrett and 2 spares stored in the top lid of case), battery casing, upper lid with 9 bulbs, contrast filter, and original 'Zur Beachtung' instructions inside the lid, in original stained oak box, with hinged front panel and leather carrying handle, 11in x 6in x 13 1/2in (28cm x 15.2cm x 34.5cm) overall Footnotes:The Enigma D reflector (Umkehrwalze D) in Enigma machine A8904 is of particular importance. It is a field re-wirable reflector introduced by the Luftwaffe in 1944 as a means to improve the cipher security of the Enigma. It was first observed on January 2, 1944 in Norwegian traffic. As the UKW-D was not distributed very widely and introduced late into the War, it is very rare. This factor also stopped it from causing as significant a headache for Allied codebreakers as it could have caused. More information about the Umkehrwalze D is available at: https://www.cryptomuseum.com/crypto/enigma/ukwd/index.htmThis example of the three rotor enigma machine 'Modell 1' was used principally by the army (Wehrmacht), and was their favoured enciphering device. British attempts to break the Enigma code were fruitless for years. The breakthrough eventually came after the creation of the famous British codebreaking centre Bletchley Park. Using the technology transferred to them from the brilliant Polish codebreaking team, as well as documents supplied by the French Intelligence from a German spy. Alan Turing, along with Knox, Foss and many others were able to break the Enigma code in 1941, shortening the war by an estimated two years, and saving countless lives.It is unknown exactly how many enigma machines were made, but we know that relatively few survived the war. Rather than have the machines fall into enemy hands, commanders were ordered to destroy these secret machines upon retreat, and documents pertaining to their manufacture were burned or in many cases simply lost. On top of this, Churchill announced that he had ordered all Enigma machines to be destroyed at the end of the war.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A ROSS COMPOUND MONOCULAR MICROSCOPE, ENGLISH, SECOND HALF 19TH CENTURY,base signed ROSS LONDON, 2084, the microscope stage with rack-and-pinion focusing, substage mirror, with three oculars marked A, B & C, three objectives in 1/4-inch, 1/2-ichn & 1-inch Ross London cases, in mahogany case with brass handle, the inside door with old object glasses/angular aperture' label, the microscope 17in (43cm) high7 3/4in x 17 1/4in x 7 1/2in (20cm x 44cm x 19cm) cased Footnotes:Andrew Ross first produced his design for the compound monocular microscope in the early 1840's. Innovations to microscope design by the Ross family included the characteristic Y-shaped stand for improved balance, and the weight reduction by Thomas Ross which improved portability.For further information on this lot please visit Bonhams.com
A RARE NIKON 1 CAMERA, JAPAN, 1948-1949,No. 609637, 24 x 32mm format, chrome, the baseplate engraved MADE IN OCCUPIED JAPAN externally, with Nippon Kogaku Tokyo Nikkor-H.C f/2 5cm lens, No. 811112, with maker's ever ready case, Footnotes:As the inaugural camera produced by Nikon, the Nikon 1 is an important part of the history of camera manufacturing. It was first announced in the October 1947 issue of Kouga Monthly, five months before its official release, simply named the 'Nikon Camera'. The model was later renamed the Nikon 1 to distinguish it from future iterations. The Nikon 1 received orders from across the globe, including exports to Hong Kong, Singapore, Europe, and the United States.According to Peter Braczko's Nikon Pocket Book (1996), the Nikon 1 had a limited production window of March 1948 to April 1949, with only a few hundred examples ever actually making it to market. The reason for its discontinuation and rarity was that the American slide cutting machines used the existing Leica format of 24 x 36mm, whereas the Nikon format was 24 x 32mm. In 2016, a Nikon 1 camera sold in Europe for 384,000 Euros, a record for any Nikon camera.Further details on the history and design of the Nikon 1 can be found at: https://imaging.nikon.com/history/chronicle/history_e/index.htmThis 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
A RARE COMPLETE SET OF JAMES MOXON GEOMETRICAL PLAYING CARDS, LONDON, 1690's,fifty two copper engraved playing cards, comprising 4 suits of 13, each with geometrical figures or scientific instruments, together with a facsimile copy of a Discourse of the Mechanick Powers. By Monsi. Des-Cartes. Translated from his own Manuscript Copy... Printed and Sold by J. Moxon at the Atlas in Warwick-Lane, 1697, each card 3 1/2in x 2 1/4in (8.9cm x 6.0cm) Footnotes:Literature:Derek Long, At the Sign of Atlas: The Life and Work of Joseph Moxon, a Restoration Polymath, 2013, p. 42.James Moxon (d.1708) was the son of Joseph Moxon (1627-1691), the second person to make printed globes. James is known to have collaborated with his father on several projects since at least the mid-1680's. Joseph Moxon first published engraved playing cards in November 1676 - an Astronomical set advertised as 'useful, pleasant and delightful for all lovers of ingenuity'.The following sets comprised Geographical cards, and Carving Cards produced by both Joseph and James Moxon. After Joseph's death in 1691, James Moxon published a set of Geometrical cards by the mid-1690's, of which the present Lot is a rare and complete example.For further information on this lot please visit Bonhams.com
A PAIR OF GABRIEL WRIGHT AND WILLIAM BARDIN TERRESTRIAL AND CELESTIAL TABLE GLOBES, ENGLISH, 1782-1785,the terrestrial globe with cartouche printed Ferguson's Terrestrial Globe Improved by G Wright Wherein all the New Discoveries of the late Capt. Cook & other eminent Navigators are correctly laid down to the present time and below Made & Sold by Wm Bardin No. 4 Hind Court Fleet St, the celestial globe with cartouche printed with Wright's cartouche, both spheres mounted in brass meridian engraved with degree scale, horizon ring applied with calendar and zodiac scales, raised on four mahogany brackets above column and tripod base, each 24in (61cm) high (2)Footnotes:Provenance:Purchased directly from Petworth House, West Sussex. The Stephen Edell CollectionThe first globes made by the partnership of Gabriel Wright and William Bardin were of 9 and 12 inch diameter and were published in 1782. As in this example, Wright claimed that the globes were 'Improved' and in his 1783 publication he describes how he printed hour circles onto the globes around the poles and to print hours around the equator. A small brass pointer was mounted on the meridian ring at the pole.For further information on this lot please visit Bonhams.com
A RADIO-CONTROLLED SCALE MODEL OF THE STEAM LAUNCH 'BAT', ENGLISH, 20TH CENTURY,Built by K.N. Townsend of Cumbria in 1985, to a scale of 1:8, serial number 0II, a small brass plaque to the stern reads Model No. OII 1987.Hull of timber, plank on frame, painted white to the waterline and red below with a dark green boot top, a varnished top strake with a gold leaf caveta. Fitted with a three blade brass propeller. Laid timber decks with notched king plank and wide mahogany covering boards.Engine: Specially developed twin cylinder double acting, with 3/8-inch stroke and four columns, the balanced web crank shaft with split big end bearings, five bearings, the outer two being miniature ball races. Copper vertical boiler, with mahogany cladding, incorporating a heat sink and low-profile gas burner, from special propane tank. Fitted with level glass, safety valve, pressure gauge, steam whistle and Windermere kettle. With a modernised type of low profile boiler handforce feed pump.Forward cockpit, lined with beaded panelling and fitted with slatted mahogany bench seats, central engine space, with removable laid decks for access to gas cylinder, engine and radio control gear for engine, steering and whistle. The cockpit fitted with slatted mahogany bench seats. There is a removable green surrey top on brass poles.Inventory includes radio control transmitter and charger, timber toolbox and leather folder containing documentation. Mounted on brass crutches on a slate base. 14in (35.5cm) tall on basethe model 40in (102cm) long Footnotes:A fine example of one of the finest model makers of the 20th century. Care of construction and painstaking attention to detail are evident throughout. The first example of this model was commissioned for the Windermere Steamboat Museum collection.The steam launch Bat was built by Brockbank of Windermere to the design of her owner, Alfred Sladen in 1891. In 1904 she was used by Isaac Story and Jack Kitchen to conduct experiments in early radio control on the Lake, where she was steamed around the northern end with only a stoker on board. It is believed the first example of a vessel being controlled by radio. Found derelict at Bowness in 1966, she was rebuilt and now can be found in the Windermere Jetty, Museum of Boats, Steam and Stories.For further information on this lot please visit Bonhams.com
A MODEL VERTICAL OVERHEAD CRANK STATIONARY STEAM ENGINE, 20TH CENTURY,the heavily cast and machined 6-spoke flywheel fitted to one end of the overhead crankshaft, supported by a pierced cast plate and four turned steel columns, the centrally mounted short stroke cylinder with slide valve chest eccentric-driven from the crankshaft above, finished in green and polished brightwork, all fixed to grey metal baseplate and wood tray stand, the model 7in x 11in x 6 3/4in (18cm x 28cm x 17cm)cased 11 1/2in x 18in x 9in (29cm x 45.5cm x 23cm) Footnotes:The present model is understood to have been designed by George F.G. Desvignes (d.1935), the celebrated model engineer best known for his steam launches and torpedo boats. The model was first built in 1927 after a forced draught torpedo fan engine, and exhibited that same year at the Model Engineer Exhibition. Desvignes is photographed beside the model in his workshop in 1926.Literature:cf. The Model Engineer and Light Machinery Review, Vol. 61, August 1929, p. 207.cf. The Model Enigneer and Practical Electrician, Vol. 73, July 1935, p. 11.For further information on this lot please visit Bonhams.com
Venetian School, c. 1620 Ottoman Honey Merchant Oil on unlined canvas Dimensions: 77 (H) x 103 cm. (L)  (30 3/8 x 40 ½ inches) This incredibly rare early depiction of an Eastern Mediterranean or North African honey merchant is thought have been painted circa 1620. It predates the Flemish-French painter Jean Baptiste Vanmour (1671-1737) by around 100 years. Vanmour has been considered, until the emergence of this painting, to be the earliest and most refined recorder of Ottoman secular life. In the present painting, the honey merchant sits in his carpeted tent in obvious control of the trade around him. His accountant sits in deference whilst the apiarists and their workers present their straw skeps, or hives. This fascinating scene of everyday life in the Ottoman world, an Empire which included the Eastern Mediterranean and North Africa, illustrates much more than at first glance. Such an early depiction executed in oil on canvas is exceptional. Aside from the two iconic painters Gentile Bellini (active about 1460; died 1507), with his portrait of the Sultan Mehmet II of 1480 in the National Gallery, London and the aforementioned Van Mour, there are scarce western depictions of Ottoman or North African existence.  The artist of Ottoman Honey Merchant was probably Venetian both on stylistic and cultural grounds. The artist seems to be aware of the Bassano family of artists, reflecting their same blocky figures. The book-keeper turned away from the viewer is also familiar stylistically tothe Bassano dynasty. Certainly the strong and particular narrative content suggests therecording of a first-hand experience, although the potential name of this itinerant artist is not currently known.  Venetians were still the largest foreign community in Istanbul during the sixteenth century and remained the Ottomans’ most important international trading partners well into the seventeenth century. This mutually beneficial relationship provided each partner with access to key ports and valuable goods. Though territorial wars intermittently interrupted their relationship, both empires relied on trade for their economic well-being. As a Venetian ambassador expressed, ‘being merchants, we cannot live without them.’  The Ottomans sold wheat, spices, raw silk, cotton and ash (for glass making) to the Venetians, while Venice provided the Ottomans with finished goods such as soap, paper and textiles. The same ships that transported these everyday goods and raw materials also carried luxury objects such as carpets, inlaid metalwork, illustrated manuscripts and glass.  Honey was a highly significant commodity in Ottoman Empire during the period 1200 to 1700.  It was produced in huge quantities in almost every non-arid coastal region, from the Black Sea all the way to modern day Morocco, although it was most abundantly harvested in Attica and Turkey. The honey was used as a sweetener but also as a preservative for fruitsand fresh produce like meat, the wax from the bees was a pleasant-smelling core source of lighting and the honey could also be used medicinally as a natural antiseptic. Unsurprisingly, the Ottoman rulers had their own tax code for honey, with the duty collected being one akcËeor two akcËes from each beehive, depending on the locality and custom. The painting is redolent with period detail:  the merchant sits on a flat weave rug; in front of him is a painted tray (possibly either metal or papier maché) with a brass coffee pot and a white, glazed cup and saucer.  He wears prayer beads on his wrist.  The blue and white tent has been erected close to a town gateway which can bee seen beyond.  The book-keeper wears what appears to be a black burnous with a white hood;  this garment derives from the Berber Nomadic tribes and therefore strongly suggests that the scene could be identified as being North African.  To the right are three black men, almost certainly enslaved (the middle of the three being heavily disguised in a dark hood).  There was an ancient slave trade across the Sahara to the Mediterranean coast and also up the East coast of Africa and the Red Sea As there were restrictions on the enslavement of Muslims, “pagan†areas further to the South became an important source of enslaved people.  Ottoman areas of Anatolia and Attica tended to enslave Christians from the Black Sea and the Balkans, often prisoners of war.  Therefore the existence of the three figures to the right emphasises the likely location of this picture as being North Africa.  A secular painting of such antiquity of any trade is profoundly rare.  But the fact that the trade illustrated is the buying and selling of honey and beeswax is even more enthralling, it being one of the most universal and ancient of foods, sources of light and medicine.  There is evidence of human harvesting of honey from over 8,000 years ago.  And the honeybee itself has become a symbol of the natural health of the planet: bees are vital for the preservation of ecological balance and biodiversity in nature. They provide one of the most recognisable ecosystem services, that being pollination, which makes production of food possible. By doing so, bees protect and maintain ecosystems as well as animal and plant species, and contribute to genetic and biotic diversity.  Bees also act as indicators of the state of the environment. Their presence, absence or quantity tells us when something is happening with the environment and when appropriate action is needed. Therefore, this painting is a uniquely complex and layered object, addressing the history of art, trade, culture, race, dress, custom, food and natural sciences.
![Four old books of religious interest: [a, b] two books of common prayer; [c] one book of psalms with musical notation; [d] on](https://cdn.globalauctionplatform.com/d722c9cf-c199-4211-9ff6-af0a0107dfb7/7a2f6c42-6952-48b7-ae46-af0b00c744d6/468x382.jpg)
Four old books of religious interest: [a, b] two books of common prayer; [c] one book of psalms with musical notation; [d] one book for children. In well-read condition. Property of a Lady [title-page; a, b] The BOOK of COMMON PRAYER, And Administration of the SACRAMENTS AND OTHER Rites and Ceremonies OF THE CHURCH, ACCORDING TO The Use of the Church of England: TOGETHER WITH The PSALTER, or PSALMS of DAVID, Pointed as they are to be sung or said in Churches. [title-page; c] [missing] [title-page; d] The Mosaic Creation: OR, Divine Wisdom displayed IN THE Works of the First Six Days
Henry Moore (1898-1986). Working Model for Figure: Arms Outstretched (1960). Conceived in 1960 and cast by the Fiorini Foundry, London in 1984 in a numbered edition of 9 plus 1 artist's proof Cast numbered 6/9 Casts: Cast 0/9 Henry Moore Foundation Cast 4/9 Montréal Museum of Fine Arts: David R. Morrice bequest 1981 Bronze Provenance: Private Collection, London. Property of a Distinguished Gentleman of Title. Dimensions: Height (including base): 62cm. Lot Essay: The human figure was Henry Moore’s abiding passion and the primary subject of his art. Working Model for Seated Figure: Arms Outstretched, conceived in 1960, belongs to a series of sculptures that Moore created in the 1960s that occupies a key position in his oeuvre. Paul Cézanne, Bather With Outstretched Arms, 1878, Oil on Canvas, Private Collection. The influence of Cézanne on Moore’s work is particularly apparent in the present sculpture. Reflecting on his lifelong passion for Cézanne’s work and its importance to him, Moore wrote with particular reference to Les Grandes baigneuses: “Cézanne’s figures had a monumentality about them that I liked. In his Bathers, the figures were very sculptural in the sense of being big blocks and not a lot of surface detail about them. They are indeed monumental but this doesn’t mean fat. It is difficult to explain this difference but you can recognise a kind of strength. This is a quality which you see only if you are sensitive to it. It’s to do with the full realisation of the three-dimensional form; colour change comes into that too, but not so importantly as human perspective. Bathers is an emotional painting but not in a sentimental way. Cézanne had an enormous influence on everyone in that period, there was a change in attitudes to art. People found him disturbing because they didn’t like their existing ideas being challenged and overturned. Cézanne was probably the key figure in my lifetime†(quoted in Alan Wilkinson, ed., Henry Moore, Writings and Conversations, Lund Humphries, 2002, pp. 150–51). In 1959, a year before the conception of the present work, Moore managed to acquire for himself one of Cézanne’s paintings of bathers, later declaring, "It's the only picture I ever wanted to own. It's...the joy of my life. I saw it [in 1959] in an exhibition and was stunned by it. I didn't sleep for two or three nights trying to decide whether to [buy it]...To me it's marvellous. Monumental." (quoted in Monitor, first broadcast in 1960). The figures in Moore's sculptures rarely engage in gestures of extrovert display. Mothers may embrace or cradle their children, but Moore's single figures, in their typically seated or reclining positions, usually hold their arms close to their sides, or angle them to support their bodies. This lack of gesture does not necessarily imply an emotional aloofness on the part of the sculptor, rather it relates to the significant structural difficulties in carving or casting a fully extended or raised arm as part of a sizeable sculpture--the arms, together with the ankles, are often the most fragile parts of a standing figure. Given the large, block-like mass of most Moore sculptures, which the sculptor related to landscape forms, a raised or extended arm should be a rarity, and so it is in Moore's oeuvre--the present Working Model for Seated Figure: Arms Outstretched is the only major Moore sculpture that exhibits this gesture. Without hands, the emotional context of the woman's gesticulation is ambiguous, and probably intentionally so. She may be engaged in an act of lamentation, or quite the opposite: she may be prepared to warmly greet and even embrace the approaching viewer, eager to engage in a spirited conversation while gesturing with her arms. Moore is known to have admired an Arawak Indian bird man from Jamaica in the collection of the British Museum, a figure with the body of a man and the head and beak of a bird, with outstretched arm that act as wings (fig. 1). "What I liked about this," he wrote, "is the way the sculpture was built up in divisions, lump upon lump, as though it were breathing in matter, up from the toes, along the arms from the fingers, into the great swelling chest" (quoted in D. Finn, Henry Moore at the British Museum, New York, 1981, p. 117). Although Seated Figure: Arms Outstretched does not actually exhibit the same "lump by lump" manner of construction, the alternate swellings and constrictions of form along the course of the figure generate a similarly powerful effect. The truncated legs take on more mass at the hips, then grow narrower at the waist, and finally expand most broadly at the upper body and arms to make them the most salient features of the sculpture. Moore extended the central horizontal axis of the arms across the ledge-like overhang of her breasts, more pronounced in this working model than in the smaller maquette done in 1960, which emphasises the rising gesture that characterises this sculpture, in contrast to the earthbound weightiness one ordinarily associates with Moore's figures. No less striking and unusual than the outstretched arms in this Seated Figure is the large hole in her head. Moore frequently defined the faces of his figures with a pair of small, shallow holes for eyes, or with a single sizeable concavity, as if the face were simply a mouth only. There is an opening under the beak of the Arawak Birdman. To pierce the head of the woman with such a large, gaping hole, making it like the huge eye of a needle, is an extreme but effective measure that opens up the sculpture, while adding a further note of uncertainty concerning the woman's emotional state and the nature of her expression. Moore wrote, "For me the hole is not just a round hole. It is the penetration though the front of the block to the back. This was for me a great revelation, a great mental effort... The hole as form--there is as much shape in a hole as in a lump...There's no doubt a deep psychological explanation of the fascination of the hole" (quoted in A. Wilkinson, ed., Henry Moore: Writings and Conversations, Berkeley 2002, pp. 206 and 207). Literature: Alan Bowness, ed., Henry Moore, Sculpture and Drawings, 1955-1964, vol. 3, London, 1986, no. 463a, illustration of another cast pp. 98-99 David Mitchinson, ed., Celebrating Henry Moore, Works from the Collection of the Henry Moore Foundation, London, 1998, no. 192, illustration of another cast n.p.
Robert Hunter (fl.1748-1780). Portrait of Owen O’Malley, of Spencer Park, Co. Mayo. Full length, standing, wearing a red coat and waistcoat and holding a shuttlecock and racket, his hat on the ground beside him. Oil on canvas, in a carved wood frame. Label’s verso: ‘Owen O’Malley/of Spencer Park/Castlebar./Eldest son of/ Andrew Blacke (?) O’Malley/of Newcastle (?)’. ’Owen O’Malley, of Spencer Park/Born. October … 1771’. Provenance: Property of Mrs M.K. Owen. Sotheby’s, London, British Paintings 1500-1850, 15th July 1988, Lot 39. Where acquired by the present owner. Property of a Distinguished Gentleman of Title. Dimensions: (Framed): 58 (H) x 48 in. (W) (Canvas): 49 (H) x 39.25 in. (W) Catalogue Note: Robert Hunter, a native of Ulster, was the principal portrait painter of his time in Ireland. By 1748, Hunter was creating portraits and was, for many years at the head of his profession as a portrait painter with a large and profitable practice. His portraits are known for their excellent likenesses, and are of the first rank in painting. Today, his works are held in the National Gallery of Ireland and numerous esteemed collections.
Wainwright (Alfred) 'A pictorial guide to the Lakeland Fells' volume one and six, and 'Fell Wanderer' (3)Volume one does not have it's dust jacket. Dust jackets are worn, stained and slightly torn. Some have dedication to endpaper. Overall smoke odour. Foxing in places. Believed to be first editions, unsigned.
Two pieces of Chinese blue and white porcelain the first a ginger jar decorated with flowers and foliage, without lid, unmarked, 14cm high and the other a blue and white Chinese bowl decorated with birds, seal mark to the base, 15cm across (2)Overall scratches, signs of age and use. Bowl restored.
UNITED KINGDOM. Elizabeth II, 1952-. Gold 200 pounds, 2020. Royal Mint. Proof. Issued to celebrate the new James Bond movie 'No Time to Die', its release delayed for nearly a year due to the Coronavirus pandemic. This is the first of a total three coins issued, depicting the Aston Martin DB5 sports car, used in the Bond movie Goldfinger in 1964 and since then known as 'the most famous car in the world'.Fifth, crowned head of Queen Elizabeth II right; JC below; ELIZABETH II · D · G REG · F · D · 200 POUNDS · 2020 ·. Design by Jody Clark. / Aston Martin DB5 left, overlayed by a large number 0 inscribed with the titles of the first 25 Bond movies in micro text; BOND JAMES BOND below. Design by Matt Dent and Christian Davies. Design by Matt Dent and Christian Davies. Edge milled.In secure plastic holder, graded PCGS PR70 DCAM, certification number 40458546. PCGS population in this grade: 33, equal-finest graded.Mintage: 250.Diameter: 40 mm.Weight: 62.42 g. (AGW=2 oz.)Composition: 999/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
UNITED KINGDOM. Elizabeth II, 1952-. Gold 200 pounds, 2021. Proof. The first coin in the series features the reverse of the Gothic Crown; this second coin is dedicated to Queen Victoria's Gothic portrait, which was on the obverse of the original crown. This release commemorates the Gothic Crown, an 1847 Queen Victoria design by former Royal Mint engraver William Wyon.Young portrait of HM Queen Elizabeth II in a Gothic style, facing right, crowned with the same crown that Queen Victoria has on her Gothic portrait, wearing a richly decorated gown, JC left, legend around in ornate Gothic script; Elizabeth dei gratia britanniar. reg: f:d; / Young crowned bust of Queen Victoria (widely known as her "Gothic Portrait"), facing left, monarch's legend around; Victoria dei gratia britanniar. reg: f: d. Design by William Wyon. Plain Edge. Comes with the original box as issued by the Mint and the certificate of authenticity (COA). In secure plastic holder, graded NGC PF 69 ULTRA CAMEO, certification number 2879805-001. NGC Census in this grade: 16.NGC Census in higher grade: 29Total NGC Census: 46Diameter: 38.610 mm.Weight: 62.20 g. (AGW=2 oz.)Composition: 999.9/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
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