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Lot 227
An early 20th Century Edwardian architectural hand drawn in pen and ink with coloured detailing building plans for St. Antony's Elementary Schools Lancaster Road, Forest Gate. The one off drawing was produced for Rev. Fr. George Payne. O.F.M. Signed and dated 1903 to the lower right by the architect. Framed and glazed. Measures approx; 80cm x 65cm.
Lot 600
Europa - Belgien und Frankreich - - Drei Alben mit montierten Genre- und wenigen Landschaftszeichnungen eines englischen Reisenden und Amateurkünstlers, jeweils betitelt. - 1. Through Belgium to Spa. In the Spring of 1866. Mit 18 Aquarellen und 1 lavierten Federzeichnung. - 2. Through France - From Boulogne to Biarritz and back to the Paris Exhibition. In the Spring of 1867. Mit 24 Aquarellen und 1 lavierten Federzeichnung. - 3. At Biarritz. February to April 1870. Mit 16 Aquarellen. Jeweils 13,5 x 18 cm, die Zeichnungen kleiner, wenige doppelblattgroß. Halblederbände der Zeit (berieben, Bindung teils angebrochen).In den Innendeckeln zeitgenössischer Besitz- oder Künstlervermerk "J. H. Bertram". Unter den vielfach karikaturistischen und ebenso betitelten Darstellungen z.B. "Spa - Brewer's Cart", "Bains des Eaux Minerales - À la mode de Spa", "Orleans Railway - (Female) Gate Keeper", "Soeurs de Charité", "From the Provinces - going to the Paris Exhibition", "Great Aquarium. Paris Exhibition 1867", "Fishing boats entering Harbour", "First Fishing Boat - disposing of Cargo of Anchovies - by auction", "Spanish Nurses - with young Carlist Grandess", "Sea bathing before Easter - Ces Anglais!!!". - Gut erhalten.
Lot 371
A collection of jewellery to include a 9ct gold and stone set earrings including pearl, sapphire and knot stud, a pair of base metal paste studs, 9ct gold gate bracelet, 9ct gold chain a/f snapped, together with a 9ctb gold and silver stone set eternity ring abrasions to stones, combined total gross weight approx 19.5gms
Lot 77
Nonda (Papadopoulos) (Greek, 1922-2005)Femme à la guitare signé 'NONDA (au revers); porte le cachet de l'artiste (sur le châssis)acrylique sur toile94 x 130cm (37 x 51 3/16in).Peint en 1968.signed (on the reverse); bearing the artist's stamp (on the stretcher)acrylic on canvasFootnotes:ExpositionsAthens, Melina Mercouri Cultural Centre, Nonda, Peintre Grec de l'Ecole de Paris - Œuvres des Années 1955-1975, September 2003 (illustrated in the exhibition catalogue, pp.13, 50).Nicosia, Cyprus, Famagusta Gate, Nonda, Peintre Grec de l'Ecole de Paris - Œuvres des Années 1955-1975, 2004 (illustrated in the exhibition catalogue, p. 50).Athens, Benaki Museum, Nonda, Six Decades of Art 1940-2000, retrospective exhibition, December 14, 2006 - February 18, 2007.An extraordinary picture imbued with bold colours and free brushstrokes, Femme à la guitare emanates the musical, colourful brio of Nonda's 1960s work. Tributed as one of Greece's most diverse and celebrated artists of the postwar Ecole de Paris,1 the artist travelled to the United States in 1968 to spend a six-month period in New York City with his young American fiancée. Inspired by his new love, he threw his energy and excitement into an outstanding and joyous, if limited, series of vivid canvases that explore the abstracted human form with a new emphasis on colour. Musical instruments are symbolic and reoccurring in all phases of the artist's career as an expression of joy.1 From 1947 onward, Nonda lived and worked in Paris, exhibiting primarily with the Galerie Charpentier. He also showed in the annual Grand Palais Salons alongside such towering figures as Braque, Picasso, Leger, Buffet, Chagall, de Chirico, and Dali.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
Lot 200
A Chinese flambé hu vase, xuantong mark and of the period, with a wide body tapering towards the quatrefoil mouth rim, the neck flanked with lug handles, covered overall with an unctuous glaze of dark red tone streaked with dark mauve, thinning to white at the rim, lobed edges and handles, the base unglazed and incised with the six-character xuantong mark, 30cm high, with carved hardwood stand Provenance:Gifted from the court of Emperor Xuantong (Puyi) in 1923 to Joseph B. Carson (died 1949) Tatiana Carson (née Staheyeff, died 1981) Peter Thomas Staheyeff Carson (1938-2013)by family descent Sold with an accompanying original letter, dated 27th June and the original envelope, addressed to Mr Joseph B. Carson, from the Imperial Ministry of the Household at the Forbidden City. The letter thanks Mr Carson, then secretary to H.B.M, Legation, Peking, for his assistance in fighting the fire at the Jianfu Palace Garden complex in the Forbidden City on the 27th June [1923]. At the time Mr and Mrs J Carson, recently married, were dancing at a party on the roof of the Grand Hotel when they saw a red glare light up the night sky to the north. The Carson's and Irene Staheyeff (Tatiana Carson's sister) hurried to the eastern gate of the palace and when access was eventually granted at about 2.50am were swept along with the fire engines into the Forbidden Palace. The fire raged and the Jianfu Palace garden complex was destroyed, and the area lay as rubble until a major restoration project was completed in 2005. In addition to his special thanks, the Emperor commanded that Mr Carson be presented with four porcelain vases and four bowls, detailed in an accompanying hand written list, of which this vase forms one of the original four vases described. Also, with various Republican period business cards; an invitation from the President of the Republic of China dated May 2nd and an ink inscribed printed fan signed, 'Henry, To Mrs Carson in recognition of her help at the Palace fire on June 26-7, 1923.' It is believed Mr and Mrs Carson knew Puyi as 'Henry', the name the Emperor chose as his given name, and he was known as Henry Puyi in the West.For a more detailed account of the fire, including a photograph of Tatiana Staheyeff (later Carson) and Lucy Alston in Peking, circa 1921-1922, see May Holdsworth, The Palace of Established Happiness: Restoring a Garden in the Forbidden City, 2008, pages 24-25.清宣统 "大清宣统年制"款窑变釉双耳壶（附内务府信函及溥仪签名折扇）拍品来源：英国驻民国二等参赞高尔森家族旧藏。1923年6月27日，高尔森先生及夫人于建福宫大火事件时于紫禁城附近参加一个聚会，发现紫禁城着火后便参与灭火，溥仪着内务府于火灾后作为谢礼，赠送高尔森家族四件瓷瓶及瓷盘（附内务府手书信函及清单），该瓷瓶便为当时的一件。Condition Report: Shallow chips to the foot rim, otherwise in very good conditionfine hair crack to one handle 2 cm long Condition Report Disclaimer
Lot 97
A silver gilt chain necklace in the style of a belt, stamped Italy 925 together with a silver gilt brooch of a bird with open wings, a yellow metal bar brooch with 2 swallows and a single pearl, a yellow metal ring with free flowing attachment of green and white beads, a Contemporary yellow coloured ring, a gold coloured safety chain and a silver gate-link bracelet, stamped silverLocation:
Lot 472
◆ JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893) EVENING IN KNOSTROP Signed and dated 1881, oil on board(34cm x 44cm (13.5in x 17.25in))Provenance: Thos Agnew & Sons Ltd, London, No.28603John Atkinson Grimshaw’s innovation was to apply Ruskin’s tenet of ‘truth-to-nature’ to scenes of Britain’s burgeoning industrial centres. Owing to his sensitive portrayal of the atmosphere and ‘feeling’ of urban life, he has been considered the artistic equivalent of the great Victorian novelists Charles Dickens and Elizabeth Gaskell. Lyon & Turnbull are delighted to be offering two paintings by one of the most accomplished British artists of the nineteenth century. Atkinson Grimshaw was born in Leeds in 1836. By 1860 he had left his position as a Northern Railway clerk to become a full-time painter, much to his parents’ dismay. His early artworks were generally landscapes and still lifes of fruit, flowers and birds rendered with a detailed intensity inspired by the Pre-Raphaelites. He also worked from photography, a relatively new medium, and is believed to have implemented camera obscura projections onto his canvases to refine his compositions. His career breakthrough came in 1867 when a painting of Whitby harbour at night was received to great acclaim. The urban nocturne dominated Atkinson Grimshaw’s output forthwith, as he pursued ever-more subtle and complex ways to illuminate his compositions. Contemporary urban audiences identified with his nighttime streetscapes lit by gas lamps, which effectively evoked the dynamism and isolation of the industrialised town. Atkinson Grimshaw travelled to various towns and harbours to study their architecture and imbibe their atmosphere. The locales he most frequently painted (Glasgow, Leeds, Liverpool, Whitby, Scarborough and London) reflect the distribution of his market. In the mid-nineteenth century innovative contemporary art was generally patronised by wealthy industrialists in the north of England and Scotland. Such was the case with the Pre-Raphaelites, whose aesthetic initially proved too challenging for traditional London tastes but flourished in northern industrial centres. Atkinson Grimshaw’s market developed along similar lines, and it was not until the 1870s that London collectors began to invest in his work in earnest. By 1870 he was successful enough to rent Knostrop Hall, a seventeenth-century mansion represented in Evening in Knostrop. The Hall was built for Adam Baynes (1622-1671), the first Member of Parliament for Leeds, and its Jacobean architecture would prove an enduring inspiration which Atkinson Grimshaw would continue to paint for the rest of his life. Evening in Knostrop depicts a solitary, fashionably-dressed figure waiting at the gate to the house. The shadowy landscape under the pale sky successfully evokes the ambience of Knostrop’s grounds in twilight. Between 1885 and 1887 Atkinson Grimshaw lived in Chelsea, London near the studio of the American artist James McNeill Whistler. The pair became good friends and bonded over their shared interest in painting city living, although Whistler implemented a more impressionistic technique. Whistler would later comment ‘I thought I had invented the nocturne, until I saw Grimmy’s moonlights’.
Lot 1047
A CHINESE BLUE AND WHITE GU-SHAPED VASE TRANSITIONAL PERIOD OR LATER The flared neck painted with birds and butterflies amidst flowering blossoms and bamboo sprays, the central band with ruyi-shaped scrolls, divided by incised anhua lines and borders, all above a band of stylised flames, 19.6cm. Cf. T Canepa and K Bulter, Leaping the Dragon Gate, The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain, p.536, no. IV.4a,b, for a similar gu-shaped vase, and with details regarding the dating of these vases.
Lot 1490
Britain trade mark, verschillende sets tinnen figuren, dieren en toebehoren Farm, ca. 1930. O.a. Tree and Gate no. 7f, Farmer's Gig 20f, vele figuren w.b. vossenjacht, scarecrow, vickers, boerderijdieren, voertuigen, sommige in originele doosjes. Hierbij zelfbouw berg. Provenance: Een vooroorlogse collectie speelgoed uit familiebezit [vhd]
Lot 74028
A French Silver-Plated Duck Press, circa 193018 x 12-1/4 x 7-1/2 inches (45.7 x 31.1 x 19.1 cm) (base 18 x 11-1/2 x 1-1/2 inches)Inscription: Jack and Charlie's '21' (with 21 Club insignia) A French silver-plated duck press possibly Christofle but unmarked, standing on a pair of flared legs with turned details at the base. The front and back of the press are hinged opening to a removeable pot with strainer, fitted with a spout. The press is a flat disk driven by a turn screw with a wheel at the top.The Duck Press bears the insignia of the renowned 21 Club, a popular New York City staple since its days as a prohibition-era speakeasy. Established by cousins Jack Kreindler and Charlie Berns in 1930, the club's name is derived from its prime location at 21 West 52nd Street where the famous façade featured its iconic wrought iron gate and ornamental jockeys. Thanks to a hidden wine cellar and the swankiest clientele in town, the club went on to store the private wine collections of Elizabeth Taylor, Frank Sinatra, Mae West, and Marilyn Monroe, and even the post-prohibition collections of John F. Kennedy, Richard Nixon, and Gerald Ford. The 21 Club enjoyed decades as the place to see and be seen by presidents, captains of industry, and celebrities until closing their doors permanently in 2020 due to New York City's shut down during the Covid Pandemic. Although American TV personality Steve Allen referenced the iconic club and restaurant in his song "This Could be the Start of Something Big" with the line, "You're lunchin' at Twenty-One and watching your diet, declining a charlotte russe, accepting a fig... this could be the start of something big," the 21 Club was celebrated for their decadent and scrumptious menu. The signature dish, the pressed duck, was a feast for the senses. After the duck was carved and its juices captured, what remained was cut into pieces and placed in the duck press, and the crank at the top turned, extracting all of the remaining juices. The ingredients were combined with butter and brandy and then flamed. The resulting sauce was poured over the sliced duck. Pressed duck is a slow meal of multiple courses, reflecting leisurely meals of a bygone era. The lot accompanied by a copy of The Iron Gate of Jack & Charlie's "21." Property from the Collection of Connie McNally, Rancho Santa Fe, California HID12701242017
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