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Click here to subscribeCharles I (1625-1649), Briot’s First Milled issue, Penny, no mm., signed b below bust, 0.45g/9h (SCBI Brooker 722, same dies; N 2303; S 2857). About extremely fine, toned £150-£200 --- Provenance: Silver Coins of Charles I from a Private Collection, Part II, DNW Auction 79, 24 September 2008, lot 3621
Charles I (1625-1649), Shrewsbury mint, Pound, 1642, no mm., small horseman trampling on pile of arms, plume behind, mark of value and three plumes above Declaration in two lines, date below, 121.53g/4h (Morr. B-3; SCBI Brooker 797; N 2362; S 2918). Numerous edge and surface marks and flaws, good fine but discoloured £2,000-£3,000 --- Provenance: Heidelberger Münzhandlung [H. Grün] Auktion 57 (Heidelberg), 14 November 2011, lot 269. The war between the King and Parliament began when the King raised his standard at Nottingham on 22 August 1642. On 21 September he made his headquarters at Shrewsbury and a week later he informed the gentlemen of the county that he had sent for a mint, the workers for which arrived a few days later from Aberystwyth, where a mint had been established in 1637 by letters patent to Thomas Bushell. On 21 October the first coins were issued. The period during which coins were struck however was very brief, barely three months, and at the end of December the King moved his headquarters to Oxford, the mint following him, reaching there on 3 January. The coins issued during this short period were the first of those known as the ‘Declaration’ type
THE BEATLES - A COLLECTION OF SIX LPS / RECORD SETSThe White Album 1968 *(first pressing) - stereo, No. 0495605 YEX710-1 / YEX709-1 with flyer, poster and four printsThe Beatles 1962-1966 - PCSP717 YEX908The Beatles 1967-1970 - PCSP718 YEX909Let It Be - stereo, PCS7096 YEX774Beatles For Sale - stereo, Odeon German pressing, SMO83790 YEX142Yeah! Yeah! Yeah! Hard Days Night - Odeon German pressing XEX481 083729
THE BEATLES - A COLLECTION OF SIX LPS / RECORD SETSHelp! - stereo Parlophone PCS3071, yellow and black label YEX168Please Please Me - PCS3042 black and silver label stereo Garrod & Lofthouse sleeve YEX94Revolver - stereo PCS7009 XEX606 (first pressing) black and yellow labelSgt Peppers Lonely Hearts Club Band - PCS7027 YEX638 black and yellow label1967-1970 - on blue vinyl1962-1966 - on red vinyl
AN 18TH CENTURY EBONY BRACKET CLOCK BY CHRISTOPHER PINCHBECK LONDON the brass eight day movement with a verge escapement and a pull-quarter repeat, striking on six bells, the backplate engraved with scrolling leaves, birds and baskets of fruit, the brass seven inch arched dial with a silvered chapter ring, with Roman and Arabic numerals, with pierced blued steel handles, the matted centre with a faux bob pendulum and date aperture, with a signature cartouche, inscribed 'Chr Pinchbeck London', with gilt spandrels and strike/silent dial to the arch, the moulded case with a bell top and a brass handle, together with a first edition copy of 'Christopher Pinchbeck and his Family' by Rita Shenton, no.467 (2); 45.5cm high, 27.3cm wide Provenance Acquired by the current vendor's father from Henry Hall Antique Clocks, Westenham, Kent on 13th November 1985. Catalogue Note The Pinchbeck Family started as clockmakers under Christopher Pinchbeck (1670-1732). The family took their name from a small village in Lincolnshire. He was famous for his complicated astronomical-musical clocks and automata. He also invented a metal with the appearance of gold, known today as 'Pinchbeck metal'. His elder son, also called Christopher (d.1783), continued on his own and supplied George III with an astronomical clock, which is still in the Royal Collection.
A BLACK FOREST CARVED WALNUT WALL MIRROR FIRST HALF 20TH CENTURY the bevelled crescent mirror plate grappled by an eagle, with glass eyes, the reverse with a hand-written paper label, inscribed 'This came from George Formby's house; there is a society which might be interested, if no-one likes it.' 45 x 44.5cm
A PAIR OF NEPHRITE JADE AND ORMOLU CANDLESTICKS PROBABLY RUSSIAN OR ITALIAN, FIRST HALF 19TH CENTURY each with an urn shape sconce relief decorated with Bacchanalian scenes, with a detachable nozzle, on a part spiral ribbed stem decorated with swags of flowers, the base decorated with ribbon tied laurel leaves (2) 18.2cm high Catalogue Note See Sotheby's, Paris, 14th September 2017, lot 27 for an identical pair.
A Royal Crown Derby part dinner service in the 'Green Derby Panel' pattern, late 20th century, comprising: a meat plate, a serving bowl and cover, a serving dish, a sauce boat and cover, six twin handled soup bowls and stands, five 18cm side plates, four 16cm side plates, thirteen salad plates, seven dinner plates, a coffee pot and cover, a cream jug, a sucrier, and ten teacups and saucers, each piece with printed maker's mark to base (Qty) CONDITION REPORT:All pieces show minor fine surface wear and fine surface scratches and rubbing to the gilt, but no visible chips, cracks or losses. All pieces appear to be first quality, apart from the sauce boat (scratched through mark). One dinner plate shows a small fault to the floral motif, but does not appear to be marked as a second.
Dante Alighieri, OPER'E DEL DIVINO POETA DANTHE CON SUOI COMENTI: RECORRECTI ET CON OCNE DILIGENTIA NOVAMENTE IN LITTERA CURSIVA IMPRESSE, [WORKS OF THE DIVINE POET DANTHE WITH HIS COMMENTS...], full leather, applied title label to spine, marbled endpapers, red edges to block, laid paper, black and red printed title page (loose) with wood cut prints of Saint Bernardino of Siena and Adam and Eve, full page wood cut print before first canto, further smaller woodcut prints throughout text, pp187-190 absent but replaced by bound-in hand-written copies on period laid paper, hand-written annotations to early pages, published by Bernardino Stagnino, Venice 1520
A Delft fluted bowl, 19th century, the scalloped rim hand painted with a polychrome floral border around a central panel depicting a prancing stag, painted 'G.B.S' mark to base, possibly for Jonge Moriaenshooft (Young Moor's Head - where the mark was first registered by Van der Strale in 1764), 33cm diameter, with a marbled lustre ware bowl with a central panel depicting 'Ship Sally', 26cm diameter (at fault) (2)
EIKON BASILIKE, THE POURTRAICTURE OF HIS SACRED MAJESTIE IN HIS SOLITUDES AND SUFFERINGS, full leather, bookplate to inside front cover, fold-out frontispiece depicting Charles at prayer, extensive inscription to front free endpapers by Henry Hunter of Bath dated 1865, laid paper, printed 1649, bound with A PERFECT COPIE OF PRAYERS, USED BY HIS MAJESTIE IN THE TIME OF HIS SUFFERINGS. DELIVERED TO DOCTOR JUXON BISHOP OF LONDON IMMEDIATELY BEFORE HIS DEATH. ALSO A COPIE OF A LETTER FROM THE PRINCE, printed 1649, with Nalson (J), AN IMPARTIAL COLLECTION OF THE GREAT AFFAIRS OF STATE, FROM THE BEGINNING OF THE SCOTCH REBELLION IN THE YEAR MDCXXXIX. TO THE MURTHER OF KING CHARLES I. WHEREIN THE FIRST OCCASIONS, AND THE WHOLE SERIES OF THE LATE TROUBLES IN ENGLAND, SCOTLAND, & IRELAND ARE FAITHFULLY REPRESENTED, vol I only, later 3/4 red leather, laid paper, poetic frontispiece, printed for S. Mearne, T. Dring, B. Tooke et al, London 1682 (2)
After John Boultbee (British, 1753-1812),'The Durham Ox',Engraving on paper by John Whessell (circa 1760-circa 1840), printed in colours with hand finished additions, published by John Day 1802,Printed inscription to lower margin reading 'To The Right Honorable Lord Somerville,This Print is with great respect humbly dedicated, by his Lordship's most obedt. humble Servant John Day. This wonderful Animal is now the property of Mr. John Day of Harmston, near Lincoln, and was March 20 1802, six years old. Subscriptions taken for this Print in the first Year, amounted to two thousand and upwards, from whence the Public opinion of this beautiful Animal may well be ascertained. This Ox is still in a growing and improving state, and weighs according to the computation of the best judges 30 Score pr. Quarter, which is 300 Stone 14 lb to the Stone',54.5cm x 67.5cm,Framed and glazed
Burton (R) [pseudonym for Nathaniel Crouch], THE WARS IN ENGLAND, SCOTLAND AND IRELAND. OR AN IMPARTIAL ACCOUNT OF ALL THE BATTELS, SIEGES, AND OTHER REMARKABLE TRANSACTIONS, REVOLTIONS AND ACCIDENTS, WHICH HAVE HAPPENED FROM THE BEGINNING OF THE REIGN OF KING CHARLES I IN 1625, TO HIS MAJESTIES HAPPY RESTAURATION, 1660, full leather, applied hand-written title label to spine, laid paper, engraved frontispiece, three further engraved plates, printed for Nathaniel Crouch and John How, London 1681, with Stewart (Sir James), THE INDEX OR ABRIDGEMENT, OF THE ACTS OF PARLIAMENT AND CONVENTION, FROM THE FIRST PARLIAMENT OF KING JAMES I. HOLDEN THE 26 MAII, ANNO 1424. TO THE FOURTH SESSION OF THE FIRST PARLIAMENT OF HER MAJESTY QUEEN ANNE, CONCLUDED THE 25 MARCH 1707, BEFORE THE UNION OF THE TWO KINGDOMS OF SCOTLAND AND ENGLAND: REVISED AND COMPLEATED, full leather, gilt embossed title and decoration to spine, bookplate to inside front cover, printed by George Mosman, Edinburgh 1707 (2)
A Victorian diamond, pearl and enamel mourning ring, the oval panel set with a central rose cut diamond (measuring 4mm x 3mm), within a surround of seventeen seed pearls, vacant glazed compartment verso, 13mm x 9mm, set to an unmarked gold coloured engraved shank with black enamel floral detail, ring size K, weight 3.3gms (at fault)CR; All stones are present and in tact. No chips or losses to any stones, though they do show general scratching and wear. There is is heavy glue repair around a few of the seed pearls on the border (this can be seen on the right of the ring in the first picture). The settings are very worn in some places, and while the stones current appear secure, future repair may be required. There appears to have been some solder repair to the sides of the head (see additional pictures). The cover of the compartment is slightly loose, and may need some repair to make it more stable. There is heavy scratching and wear to the black enamel flowers on the band, and some small areas of loss. No signs of splitting, resizing or repair to shank.
A Royal Crown Derby porcelain twin-handled vase and cover, 20th century, of inverted baluster form with knopped stem and spreading foot, decorated in the 'Autumnal Equinox - Vernal Equinox,' pattern by J. Morrison, printed maker's marks and painted artist's signature to base, 19.5cm high, with three Royal Crown Derby miniature garden pieces, comprising: a lawn roller, a watering can and a wheelbarrow, and a Royal Crown Derby Imari posy vase, 17.5cm high (5) CONDITION REPORT:All pieces show minor rubbing to the gilt highlights, but no chips, cracks or losses. The twin handled vase is marked second quality. All other pieces are first quality.
Conan Doyle (A), THE TRAGEDY OF THE KOROSKO, first edition, red cloth boards, gilt title and illustration to cover, gilt title to spine, monochrome lithographic frontispiece, further monochrome lithographic plates throughout, Smith, Elder & Co, London 1898, with Twain (M), A TRAMP ABROAD, UK first edition, gilt embossed titles and illustrations to cover and spine, engraved frontispiece, numerous engraved plates and illustrations throughout by W. Brown et al, Chatto & Windus, London 1880 (2)
A series of early 19th Century 'British Victories' tokens, contained within a tubular brass box, inscribed 'British Victories', the cover inset with a portrait of Wellington, the base marked 'First Battle Portugal Aug. 17. 1808 Last Battle France Ap. 10. 1814,' tube 4.8cm long, containing twenty four medalets, each with Winged Victory and inscription 'By The Mercy of God', the reverse naming the battle, each 15mm diameter (25)
LED ZEPPELIN: Led Zeppelin I vinyl LP, 1969 UK first pressing, Atlantic red/plum label, corrected matrixes 588171 A//1 and B//1 (with crossed and inscribed '8's), original inner sleeve, outer sleeve with orange title, silver stripe and 'UPTIGHT AN' OUTASIGHT' Atlantic Appreciation Society credit (untested) CONDITION REPORT:The vinyl playing surface appears to be in good overall condition with no visible scratches, however the record is untested, and visual inspection does NOT guarantee that it will play properly.
Die Cast Models, including Exclusive First Editions Plaxton Coach Ribble N.B.C 15702, Bristol Utility Maidstone & District 26501, Days Gone By Bristol Lodekka Bus Tate & Lyle Sugar, Dowty Seals, 1957 Bristol Lodekka Bus Tizer, 1957 Bristol LD6G White Label, 1957 Bristol LD6G Lodekka Bus Polo Mints, 1955 Anniversary Souvenir model, Promotional models including F. Dibnah Steeplejack x 2, Cotswold Dairy x 2; Days Gone Vanguards 1957 Bristol LD6G Dulux Paints and Weston's Biscuits and a Darling Buds of May Maidstone and District bus, all examples boxed.
Miscellaneous militaria, including three WWII 1939-45 medal (boxed), WWII George VI medal (boxed), bronze medallion, Royal Life Saving Society cross with ribbon and year bars with various brass buttons. This lot includes two RAF Pilot's Flying Log Books, fifteen embroidered Christmas postcards, Soldier's Release Book Wragg J.F 2390373 Class A Royal Signals, two Royal Air Force Flying Training Manual Vol I and Part I Landplanes, a copy of Royal Army Medical corps Training circa 1911, Royal Air Force Service and Release Book A. McMillan 536619, Training Manual - Signalling 1907, a photo album, small quantity of regimental photographs. RAF Pilot's Flying Log Books: Two log books belonging to Warrant Officer F. Pether, each month the log summary is signed off by the Commanding Officer and Squadron Leader. The first log book commences in 1938 training with the Intermediate Training Squadron No. 8 FTS, detailing pilots duties and manoeuvers. In 1940 he is serving with No. 249 Squadron flying a spitfire and then later in that year he is with OTU at Abingdon and Benson. In September 1940 he is flying with No. 88 Squardron Sydenham, Belfast. The second log book commences in February 1942 where he is serving with Communication Flight AHQ in the Western Desert - he crashed when making a forced landing and spent 3 days and nights walking in the desert 'Picked up by a Commando Patrol, had a hectic binge on rum - a wizzo crowd!' The log finishes with Communication Flight at Lydda in Palestine. Some water damage to the second but still readable. F. Pether must have survived the war as in the 1976 there is an entry from the Cotswold Aero Club at Staverton, Gloucestershire. The entries for the War years end in 1942.
Golfing Interest - including an early 20th century dry point etching entitled Royal & Ancient Golf Club, St Andrews, signed lower right in pencil approx 38 w x 23 h cms, Golf is a Scottish Game (series of vignettes of links and clubhouses) by S.Kellock, The Final Putt after Frank Reynolds, collection of framed cigarette cards of golfing characters, The Man who missed the ball on the First Tee at St Andrews cartoon by after JM Bateman, mounted print of Carnoustie golf course H.F. McGregor, Ant Ashley watercolours, all framed and glazed.
The Dandy Monster Comic 1951 with tbbt neatly completed and inscription, published by D.C. Thomson 127 pages, nice clean condition no writing or colouring. Light wear to spine see images. Together with Dandy Comics No. 479 (Jan. 27th 1951), 480, 486, 487, 731 (Nov. 26th 1955), 792 (Jan. 26 1957), 1530 (March 20th 1971), 1553 (Aug. 28th 1971), 2010 (May 31st 1980), 2014, and Beano No. 671 (May 28th 1955) small tears, 1462 July 25th 1970, 1466, 1949 (Nov. 24th 1979), 2 Editions of 2000 (Nov. 15th 1980) together with Dandy Beano the First 50 Years hardback book pub. 1987.
Corgi 1:76 die-cast scale models, Original Omnibus Company Bristol L6A Maidstone & District, Bristol K5G Tram, W.J Odds Ltd timber nr 5202/8100, Weyman Bodied B.E.T A.E.C Reliance Maidstone & District 24306, Harrington Cavalier Maidstone & District 12113, Bristol L6B Windover Thames Valley 20801, Corgi Leyland Tiger 97213, Morris Minor Convertible 96750, Original Omnibus nr 2088/5000, 1997 RAC British Rally Championship Mini 04415, AEC Regal Coach nr 97189, Corgi Guernsey Bus 1981-1991, Corgi Limited Edition nr 1397/3300, Corgi Classic Car Morris Minor 1000 1948-1969 Oxford Die-Cast Beamish Tramways Motor Service; together with Exclusive First Editions including Alexander Y Type Maidstone & District 22709, Plaxton Paramount 3500 Greenline Invicta 26604, Plaxton Paramount 3500 Shearings 26606, Plaxton Paramount 3500 Wallace Arnold 26605, all these models are boxed.
Two pairs of glazed cotton curtain panelsLate 18th century, English or FrenchDesigned with rows of carnation sprays, printed in red and blue on a cream ground, the first pair 224 cm. high, 109 cm. wide, the second pair 224 cm. high, 116 cm. wide (4)This lot is subject to the following lot symbols: TPTP Lot 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
1979 Rolls-Royce Silver Shadow IIRegistration no. AHM 544TChassis no. SRH36955*One-of-a-kind Silver Shadow II*Bespoke acrylic 'Brewster Green' paint scheme*Large history folder with main dealer service historyThe Silver Shadow one owner car is one of the most important and iconic vehicles ever produced by Rolls-Royce. The epitome of luxury at the time of its release. The Silver Shadow was in production for 15 years and proved extremely popular for a vehicle at this price point. Notable owners of the Silver Shadow include the likes of Frank Sinatra, Paul McCartney, Elton John, Mohammed Ali, Dean Martin, Johnny Cash, and many more. The car is renowned for bringing Rolls-Royce into the modern era, debuting unitary construction, disc brakes, independent rear suspension and automotive self-levellingThis 1979 Silver Shadow is an incredibly unique example that is presented in a bespoke colour scheme. The acrylic 'Brewster Green' was originally reserved for Bentleys at the time, however the owner preferred it to the Rolls-Royce equivalent and requested it for the car, with the company unusually then fulfilling this wish. The beige roof was also completely bespoke, and was designed to give the car a look similar to that of a convertible. To this day the combination of the green and beige still present very well. Inside, the tan interior is also in excellent condition, and the rear seats are completely unblemished. Throughout its life the car has been very well cared for with a Rolls-Royce specialist. There is also a very good history file with the car which includes the correspondence from when the car was ordered new, as well as colour samples. A new speedometer was also fitted at 78,809 miles on 23 January 1986, and this is all recorded in the history folder. Today the speedometer reads approximately 58,000 miles giving a rough total of 136,000 miles. This is a truly unique example of one of the most iconic Rolls-Royces ever produced.Footnotes:The buyers premium for this lot is as advertised in the front of the catalogue: 27.5% on the first £10,000, 25% of the hammer price from £10,001 and up to £450,000, plus VAT.Please note that this lot will have to be collected post sale from the Bonhams MPH office located in Bicester, Oxfordshire. The lot will enjoy 3 days of free storage post sale, after this a storage fee will be payable daily until the point of collection.For further information on this lot please visit Bonhams.com
An exceptional first quarter 16th Century mythological and allegorical TapestrySouth Netherlandish, probably woven between 1510-1520 Woven in rich wools and silks, the figures in typical Medieval dress, some labelled with a curious mix of Roman and Ancient Greek letters, the recurring figure of Aeneas wearing a blue draped cloak and red hat, the Sybil Diephobe (also recurring) wearing a beautiful medieval dress and girdle - an elaborate golden wimple on her head, the whole surrounded by a thin delicate flower-filled border, the main field depicting an intricate and complex rendition of ancient mythological episodes from the story of Aeneas, founder of Rome, first landing at Cumae in the top left corner of the main field and meeting the Sybil of Cumae, Diephobe, daughter of Glaucus, who shows him the temple of Apollo while his attendants search for water and firewood in the surrounding countryside. In the central field Diephobe shows Aeneas the doors of the temple which were crafted by the ancient craftsman Daedalus. The doors themselves show the story of Daedalus' winged escape from Crete on the right hand side and the conception of the infamous minotaur on the left hand side, the sculpture of Apollo, resplendent in golden armour, bears the wings which Daedalus used in his escape from Crete and which he then dedicated in thanks to Apollo when he arrived safely in Cumae. Aeneas is then shown all of the greatness of Rome to come and watches as, in the top right of the main field, a grief-stricken Augustus watches as his hoped-for successor Marcellus Marcus Claudius is buried, his wife Octavia standing by his side. Augustus was known to have wept when Virgil recited Book VI of the Aeneid to him, thus the viewer and Aeneas are one and the same - watching the great Emperor of Rome weep as an old man. Restorations, 340cm high x 490cm wideFootnotes:Provenance:Collection of Baron Gustave de Rothschild (1829-1911).Thence by descent, until soldEtude Couturier Nicolay, Hôtel Drouot, Paris, 4 December 1987, lot 187.'Provenant des Anciennes Collections du Baron Gustave Rothschild de Chateau Beychevelle et appurtenant a divers amateurs,'Precedents/comparatives:Patrons of Trojan Tapestry sets from the 15th and 16th century include: Federico da Montefeltro, Duke of Urbino, Henry VII and VIII of England, King Matthias Corvinus of Hungary, Charles VIII of France, Ferdinand I of Naples and Ludovico il Moro Duke of Milan. So while we do not know exactly who commissioned this tapestry (presumably part of a set) there is sufficient stylistic and iconographic evidence to suggest it was a noble or even Royal patron.Pasquier Grenier in Tournai: The 11 piece tapestry set depicting the story of Troy was given to Charles Bold by the City of Bruges when he married Margaret of York. The Trojan War Tapestries were supplied by Pasquier Grenier of Tournai to Charles the Bold of Burgandy in 1472 and another set to Henry VII of England in 1488. It is possible that a re-surge in enthusiasm for Troy as a subject became popular after the fall of Constantinople in 1453.The designs for these Trojan War tapestries were based more on literary references like Benoit de Sainte Maure's 'Roman de Troie (c.1180) rather than the better known Homer's Iliad or Virgil's Aeneid. Some Northern European Courts who had a set of tapestries showing the story of Troy claimed these had come directly from Aeneas. Some European Royal families even claimed Aeneas as a direct ancestor. This is understandable since Aeneas arguably exemplified not just a link between Troy and Rome but the leap from ancient paganism to imperial civilisation.Trojan War Series (La Guerra de Troya): This series comprised eleven tapestries -today there are four permanently at the Zamora Cathedral. These four were donated by Count Alba de Aliste and they arrived at the Cathedral in 1608. Count Alba was probably given these by the Count of Tendilla (their coat of arms are visible) This does not, however mean that they were the commissioners -their coat of arms were later added to the tapestry. Los Honores: Woven by Pieter van Aelst -they were completed in 1523. Pieter van Aelst however, had to mortgage the set to the Antwerp agents of the Fuggers -a family of merchant princes in Germany. Van Aelst in fact said to his creditors that they should offer the expensive tapestries for sale to Charles V -the person who they had been woven for in the first place. The Fuggers took up this suggestion and the central panel of the set was sent to Charles V as a sample. The Emperor only came to posses all of the tapestries in 1526 when he was in Seville. Sadly, no cartoons for this set survives but over the years a number of designers have been suggested -including Bernaert van Orley. The iconography of this set, much like the present lot present not just full of rich literary allusions but also the iconography of Royal ethics, namely Honour, Nobility and Fame. The tapestry of fame in terms of composition is not dissimilar to the composition of the present lot, with the central 'enshrined' figures surround by an active narrative to the top and bottom left and right (see illustration).Don Carlos tapestry sets: The eldest son of King Philip II of Spain, whose short life has fascinated historians for centuries, is less often remembered for being an avid art collector. His collection of tapestries is well documented and we know that in the mid 16th century he owned six figurative sets of tapestries including ten of the History of Aeneas, six of the History of Hercules, 12 of the Twelve Months, 11 of the History of the gods and nine of Creation and seen of the Battle of Pavia. We know that his father, Philip had bought a large amount of tapestries between 1549 and 1550 when he visited the Netherlands. The most well-known of these, still in the Royal Collection are the Moralides (again see illustration here for similarities with the intricate Brussels border and character labels previously mentioned). It is possible that other mythological pieces may have gone to Don Carlos. His series on the story of Aeneas was purchased at Medina del Campo -which was an important centre for the sale of Flemish tapestries. In England: Interestingly, we know that, like his father, Henry VIII was an enthusiastic art collector. Aeneas seems to have been a popular subject here too and 'Aeneas Relating his Adventures to Dido' woven in Brussels c.1530 formed part of his collection as well as 'Aeneas meeting his Mother Venus'. Five pieces of the Story of Aeneas remained at Whitehall until the late 17th century. The designer for this set is thought to be someone from the circle of Van Orley. Interestingly Mary Queen of Scots had 'one tapestrie of the sailing of Eneas contening aucht peces' at Holyrood House.Hapsburg Patronage:The patronage of the Hapsburgs and the influence of the Spanish Monarchy on artistic production in Northern Europe.After the Netherlands became part of the Spanish Kingdom, places like Oudenaarde and Brussels filled the Spanish court with pieces from their workshops.The Hapsburg/ Spanish monarchy were highly influential when it came to artistic production in the Low countries. The idea of the 'vida noble,' the noble life -was filled with jewels, carpets, relics and manuscripts etc. The two main artistic centres -Flanders and Italy were under Hapsburg control during this period. When it came to selecting subject ... This lot is subject to the following lot symbols: TPTP Lot 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
THREE ART NOUVEAU BROOCHES, one brooch (possibly a former central plaque for choker), of openwork foliate design, decorated with green enamel plique-a-jour, with baroque pearl highlights, mounted in silver, with maker’s mark for Karl Hermann or Levinger & Bissinger, length 4.5cm, width 8.3cmA second brooch of Egyptian revival design, the central carved scarab in greyish-green hardstone highlighted by two blue cabochons, the wings decorated with green and turquoise enamel plique-a-jour, mounted in silver, with unidentified mark, width 12.4cmA third brooch of Egyptian revival design, the central faceted purple stones (possibly glass) highlighted with two similar stones, the wings decorated with green and turquoise enamel plique-a-jour, mounted in silver, with unidentified mark, width 12cmThe designs of Art Nouveau jewellery first began to appeal to the masses during the period known as the Belle Époque (1890-1910), yet their popularity reached its zenith in the decade leading up to World War I. While the Edwardian sensibility was far more interested in stones than in their settings, an artier crowd during this time began to veer towards a more intricate type of jewellery with an increased focus on detailed craftsmanship. The work of Art Nouveau artists and jewellers was inspired by the natural world, which was exoticized in their creations to show curling lines and elaborate arabesques.Recurring motifs included dragonflies and peacocks, whose bold colours provided ideal grounds for beautiful enamel work and advanced metalworking techniques. Renowned jewellery designer and silversmith Heinrich Levinger was an early advocate of the Art Nouveau style from the town of Pforzheim in Southern-West Germany. Pforzheim was famous for its jewellery-making traditions from the mid-18th century, ensuring the small town was dubbed the “Golden City”. Levinger worked here during the latter part of the 19th century up and founded his workshop around the year 1881, when he was listed in a Pforzheim address book as a dealer in bijourterie wares. By 1893, Levinger’s workshop had become renowned for the creation of gold and silver wares and novelty items worked in silver and enamel, inspired by the waves of Art Nouveau and Japonisme trends which had spread throughout western Europe at the turn of the 20th century. The talented craftsman followed in the footsteps of emerging artists such as René Lalique, who was hugely influential in pushing the boundaries of acceptable themes and materials in the world of jewellery design towards the end of the Victorian era.Heinrich Levinger died in 1899 and left his workshop to Emil Levinger, who sought to lead the firm in a new direction by producing more modern silver jewellery. Wishing to expand the firm, Emil was joined in 1903 by jewellery designer Karl Bissinger, who worked as artistic partner of alongside Emil. Together, the two became known as Levinger & Bissinger from 1904 onwards. They executed their own designs as well as those of other artists. Collaborations included the creationof Art Nouveau pieces with Austrian designer Otto Ptrutscher (1880-1949) and German designer Goerg Kleemann (1863-1932). Bissinger eventually left the firm in 1909, and Emil decided to return to the name of his predecessor, Heinrich Levinger, under which the workshop had experienced its original success. The first creations by German jeweller Karl Hermann were recorded in 1898, under the mention of his workshop in Pforzheim, Germany, in the same local address book as his contemporary Heinrich Levinger. Here, the firm advertised itself as a factory for jewellery and enamelled silverware. By 1902, the workshop had expanded enough for Hermann to require a business partner and he recruited his former jewellery technician Albert Speck to join him in running the bourgeoning business. From this time onwards the company used the mark ‘HS’, continuing to work under the name of Karl Hermann, even after he left the business to the solecare of Albert Spec in 1906.By 1900, Karl Hermann’s workshop was well known in the area for creating pieces which were heavily influenced by the Art Nouveau stylistic approach which had taken the jewellery industry by storm at the turn of the 20th century.For another design by Karl Hermann from the same year, please see Chadour-Sampson, B. and Newell-Smith, S. (2021) Tadema Gallery London: Jewellery From the 1860s to 1960s, p. 135, no. 222.For a comparable brooch by Levinger & Bissinger, please see Chadour-Sampson, B. and Newell-Smith, S. (2021) Tadema Gallery London: Jewellery From the 1860s to 1960s, p. 134, no. 221.Condition Report: Brooch no1: Normal signs of wear, no damage observed on plique-a-jour, clasp on the reverse loose, total gross weight approx. 31gBrooch no2: some loss of colour/enamel on the wings, mark on the reverse unidentified, clasp loose, total gross weight approx. 18.9gBrooch n3: purple glass, main stone with obvious chips, some signs of repair on the enamel, clasp loose, total gross weight approx. 19.10g
Two rare 19th century Welsh folk art straw work and watercolour pictures of Conway, both depicting Conway Bridge, Tube and Castle, both inscribed in ink, with train entering the bridge and tube, both with ships and a paddle steamer, the first in oak frame, 44.5 by 60.5cms overall; the second rosewood frame with gilt slip, 43.3 by 53cms overall (2)Provenance: From The Hon. Sir William McAlpine Collection. The National Museum of Wales, St Fagans, Cardiff holds two similar pictures in its collection.Condition Report: First with water staining visible to margins- and also with vertical streak to centreSecond- looks to have air burn mark- visible to left of centre in vertical line, some lifting to straw work to both- sunlight fading and paper cocklingCondition Report Disclaimer
Edwin Thomas Rudd aka 'F Moore' (1861-1940) Locomotive 28 London and Birmingham, Overpainted photograph Signed 42 x 62.5cm (16½ x 24½ in.) Framed together with another picture by the same artist 'Locomotive Apollo, 361', 41 by 64cm (2)Provenance: From The Hon. Sir William McAlpine Collection Condition Report: First looks to have been framed before paint was dry, paint residue visible to reverse of glass, Some paint discolouration to both Condition Report Disclaimer
Y Two mid-19th century Welsh folk-art straw work and watercolour pictures depicting "The Menai Straits" and "Conway Castle and bridge", the former depicting the 1850 Britannia tubular bridge designed by Robert Stephenson, Thomas Telford's 1826 Menai suspension bridge, both glazed and in period maple frames, the first 54 by 66.5cm overall, the second 54 by 67cm overall; together with a rosewood framed lithographic print after Hugh Jones "West View of the Britannia tubular & Menai suspension bridge", Day & Son, publ. T Catherall, 55.5 by 73.5cm overall (3). Provenance: From The Hon. Sir William McAlpine Collection. See The Judkyn/Pratt Collection of British Folk Art, sold Christie's South Kensington, 8th November 1995, lot 65. The Menai Suspension Bridge is a suspension bridge designed to carry road traffic between the island of Anglesey and the mainland of Wales. The bridge was designed by Thomas Telford and completed in 1826. The Britannia Bridge was originally designed and built by the noted railway engineer Robert Stephenson as a tubular bridge of wrought iron rectangular box-section spans for carrying rail traffic. Its construction was important in that it allowed trains to directly travel between London and the port of Holyhead, thus facilitating a sea link to Dublin.Condition Report: Both with sunlight fading- and loose straw elements visible under glass. Both with losses and damage to frames notably margins and corners. some lifting to straw workPrint faded and scattered spotting- frame with veneer losses notably to marginsCondition Report Disclaimer
JER (Mid-19th century) Hastings from the ***" August 24th 1853,Pencil and watercolourSigned, inscribed and dated11.5 x 21cm (4½ x 8¼ in.)Together with two other pictures mid-19th century English school, "Maidenhead Bridge GWR 1838", 15 by 20.5cm; 19th century French School "Desastre du chemin du fer de Versailles 8 Mai 1842", 18 by 31.5cm (3)Provenance: From The Hon. Sir William McAlpine CollectionCondition Report: first - fadedthird- discoloured, mount stainedCondition Report Disclaimer
Ernest Sargieson (Contemporary British) Broad Street station April 1984,Pen and ink,40 by 64cmSigned and dated 1984and two aquatints by the same artist "Liverpool St Sweeping" and "I.K.B at Paddington" (3)Provenance: From The Hon. Sir William McAlpine CollectionCondition Report: First with sun bleaching and scattered spotting- - 2 joined pieces of paper- prints with fadingCondition Report Disclaimer
Charles Turner after James Northcote 'Mark Isambard Brunel Esqr', published March 30, 1815, by C. Turner, 50 Warren St., Fitzroy Square, framed image 44 by 35cm; and another print of the subject by J Carter after James Drummond; and a print after B Dixie "The Thames Tunnel. View of the Western Archway as it will appear when completed" (3)Provenance: From The Hon. Sir William McAlpine CollectionCondition Report: First- some paper cockling- plate mark visible but unexamined out of frame- which has losses.Second- fairly modern frame and mounts- unexamined out of frameThird- may be a later strike- slightly orange hueCondition Report Disclaimer
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![Burton (R) [pseudonym for Nathaniel Crouch], THE WARS IN ENGLAND, SCOTLAND AND IRELAND. OR AN IMPARTIAL ACCOUNT OF ALL THE BA](https://cdn.globalauctionplatform.com/0624afd2-b8ea-4444-a001-ad9b00eccd29/700c91e1-8450-4526-82ea-ad9d00d6d4fb/468x382.jpg)
