Boehme, Karl Theodor -- Steinige Bucht bei Taormina.Öl auf Leinwand, auf Platte aufgezogen. 41,8 x 51,5 cm. Signiert unten links "K. Boehme" und monogrammiert, datiert und bezeichnet unten rechts "Taormina [19]05 / K.B. 10/12".Das silbrige Licht der winterlichen Morgensonne leuchtet auf den Schaumkronen und Wolken und modelliert plastisch die rund geschliffenen Steine im Vordergrund. Karl Theodor Boehme war an der Akademie Karlsruhe Schüler Gustav Schönlebers. Auf seinen Reisen nach Rügen, Bornholm, Norwegen und Frankreich sammelte er erste Eindrücke für sein bevorzugtes Motiv, die Küste. Boehme verbrachte mehrere Jahre auf Capri und feierte insbesondere mit seinen Küstendarstellungen Italiens große Erfolge. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
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K-Guy (British b. 1968) Love / Hate, 2008 (Silver Edition) 3 Colour screen print on hand painted acrylic paint background on 300gsm ribbed craft paper Signed, dated and numbered 9/50 in pencil Framed and glazed 74 x 41 cm (29 x 16 in) K-Guy is a visual artist who lives and works in the epicentre of the street art scene, London. The artist is best known for his sharp analyses and off-the-mark responses to what goes on around him, politicians, religious leaders, fast food outlets and entire economic systems have all been examined in K-Guy’s work. His controversial and quirky works in the streets of London have received worldwide media attention several times, for example with his installation ‘In Loving Memory to the Boom Economy', which was created in front of The Bank of England and depicted the burial of the flourishing economy. Another example is his mural ‘Primate Pontificate’ as a reaction of the Pope’s visit to London. Renowned works from the artist include his collaboration with the Prodigy on a limited edition print which sold out instantly and his iconic best sellers ‘Coke Moss’, ‘Naomi Campbell’s, ‘Pepsi Cara and Linda EVANGELISTa’.
James Cauty (British b. 1956) Suicide Bunny 2 Giclee print Unsigned, numbered 29/321 with stamp Framed and glazed 41 x 30 cm (16.5 x 12 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.
James Cauty (British b. 1956) 5-11 A / B / C & Final Edition, 2005-06 Four giclee prints Each signed and numbered 2/150 in black pen Accompanied with certificate of authenticity Each framed and glazed Each 64 x 59 cm (25 x 59 in) Comes with the original triptych of Hanged, Drawn & Quarter Pop edition prints, also signed and numbered 2/150. Each 33 x 31 cm (13 x 12.5 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.
James Cauty (British b. 1956) Stop The War Giclee print Unsigned, numbered 3/30 and stamped 33 x 31 cm (13 x 12.5 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.
James Cauty (British b. 1956) Dead Dad 1, 2007 Lithograph poster, part of the Operation Magic Kingdom series Unsigned, open edition 70 x 48 cm (27 x 19 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recorded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.
A mixed lot of 9ct yellow gold, some hallmarked and some not, Jade brooch not hallmarked, 7cm x 1cm, tigers tooth jade pendant not hallmarked, 2cm x 1+1/2cm, clarit jug is unhallmarked, Jade circle pendant 1+1/2 cm x 2cm, pair of earrings no butterflies, large purple stone ring is a size N, signet ring with initials is a size K, gold and silver ring is a size O
An extremely rare and impressive early 19th century year duration striking longcase clockHardeman & Son, BridgeThe remarkable case with shaped cresting mounted by three ball and spire finials on reeded uprights, the arched cresting supported on tapering reeded brass-mounted free-standing Corinthian columns over a broken arched trunk door with flame veneer and moulded edge flanked by matching quarter columns over a base with applied moulded panel, further set on a separate double-apron with moulded bracket. The 16inch one-piece silvered dial with month subsidiary in the arch framed by engraved foliage, the corners similarly decorated so as to frame the minute band and Roman chapters, signed across the centre with blued steel hands (the minute counterpoised). The extremely substantial movement with plates measuring 28cms x 23.5cms (11ins x 9.25ins) united by six very heavy knopped pillars; the going train of six wheels and high count pinions, terminating in an anchor escapement to a pendulum with light brass flat strip rod and light brass bob; the strike train with outside countwheel mounted on the backplate and striking every hour on the bell. The squar-section lead weights weighing 49kgs(108lbs) and 46kgs (101lbs). 2.72m (8ft 11ins) high. Footnotes:Samuel Hardeman was likely born in Kent, to Stephen and Sarah Hardeman, the former of whom was a musical instrument maker. He had one sibling, a brother named Stephen. It is not known where Samuel served his apprenticeship, but he appears to have spent all of his working life in Canterbury. At some point he married Ann, and they had two children, Edwin (Samuel) and William. Both Edwin and William would become horologists. The family seems to have been quite prosperous, as Samuel owned several properties in Canterbury, including, his shop with living quarters above. Whether this largess was gained through inheritance (his father leaving the entirety of his estate to Samuel and his brother, after Sarah's death) or horological renown is unknown. It also appears that Samuel was a grocer, and owned a shop in this capacity, though whether this was inherited or simply a side interest is not clear.On Samuel's death in 1843, he left instructions that all his stock in trade as a grocer was to be left to Ann. He also indicated that Ann, Edwin, and a John Paren were to have full use of the building he lived in, presumably for the continuation of business. It is quite interesting to note that William Hardeman, is emphatically banned from using the premises in any capacity, especially as a clock and watch maker. It seems there was a falling out between father and son at some point, possibly over a debt owed by William to Samuel of £80, which is detailed in Samuel's will. This might also explain why the business was referred to as 'Hardeman and Son' despite both sons being horologists.Edwin Samuel Hardeman was advertising as a watchmaker in 1847, working out of 2 St. George's Street. He married Sarah, and they had two children: Sarah and Charlotte Elizabeth. Edwin died relatively soon after his father, in 1857, of a sudden illness. He left instructions that all the property and stock, presumably much of the property that he inherited, should be sold and the money to go to his wife and grown children. No mention is made of his mother or brother.William Hardeman was advertising as a watch and clock maker in 1855, working out of Bridge, Canterbury. By 1882, a William Henry Hardeman was advertising, also as a clock and watchmaker, and also working out of Bridge. It is possible that this is the same William Hardeman who was Edwin's brother, but it is also possible that this was William's son. There is no mention of any horological William Hardeman after 1903. It is interesting to note that a Canterbury resident was interviewed in 1946 by the Antiquarian Horological Society, regarding 'Hardeman and Son'. The only horological Hardeman she knew in the area was 'elderly Billy Hardeman who was a watch and clock-maker and repairer in the village 50 years ago and whose family had been in business there for many years'.One, possibly two, other year-going clocks are known by Hardeman and Son, both made around 1810. Both are around 9 feet tall and use a similar train layout to the current clock. They require driving weights of around 44 kg per train. It is unknown if these year-going clocks were made for a specific purpose or were simply offered in different sizes.The Hardemans are known to have made and repaired turret clocks as well, including one such clock with rack striking and dead-beat escapement. Several longcase clocks are also known from all three horologists.Heimann, P. (2004) 'Long-Running Clocks', Horological Journal, Vol. 146 (11), pg. 402.British Horological Industry (1946) 'Canterbury Clockmaker', Horological Journal, Vol. 88 (12), pg. 563.Shenton, K. (1993) 'Southern Section: 3 April', Antiquarian Horology, Vol. 21 (1), pgs. 29-30.Bundock, M. (1987) 'Turret Clock Group: 2nd-4th July', Antiquarian Horology, Vol. 17 (2), pg. 160Probate of Stephen Hardeman (1810). The National Archives: Public Record Office. Catalogue reference: IR 26/300/106Will of Samuel Hardeman (1843). The National Archives: Public Record Office. Catalogue reference: PROB 11/1979/189Will of Edwin Samuel Hardeman (1857). The National Archives: Public Record Office. Catalogue reference: PROB 11/2253/265University of Leicester (2022) Historical Directories of England & Wales: Kent 1824-1918. Available at: https://specialcollections.le.ac.uk/digital/collection/p16445coll4/search/searchterm/Kent/field/place/mode/exact/conn/and/order/period/ad/asc/page/1This 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
A fine and rare second quarter of the 19th century gilt brass carriage timepieceJames F. Cole, No. 1 Maddox St., Regent Street, LondonThe case surmounted by a stylised facetted Greek key handle with four ribbed mushroom finials above slender Doric columns to octagonal feet, the sides, top and front panels all engine turned, the rear panel patinated and with rotating winding shutter. The 1.75-inch engine-turned silvered Roman dial with subsidiary seconds and slender blued steel moon hands reading against the finely textured centre. The going barrel movement with underslung English lever platform escapement, cut and compensated bimetallic balance, the backplate signed James F. Cole No 1 Maddox Stt Regent Street. 13cms (5ins) highFootnotes:Based on the address on the backplate, this clock was likely made between about 1829-1835. James Ferguson Cole was born around 1798 in Nether Stowey, Somerset to Catherine and James Cole, the latter of whom was a clockmaker, and known throughout the village as 'Conjuror Cole'. It also seems that the family were personally acquainted with both William Wordsworth and Samuel Taylor Coleridge. The Coles had two more children after James, Thomas (born around 1800) and Elizabeth (born around 1808). Both James Ferguson and Thomas became clockmakers, presumably being apprenticed to their father, with evidence that at least James Ferguson began his apprenticeship at 11 years old. According to some sources, James Ferguson was named after the self-taught Scottish astronomer of the same name, who published books and travelled Britain explaining the concepts of Astronomy to lay people. He also made orreries and clocks, eventually becoming a Fellow of the Royal Society. James Ferguson Cole certainly lived up to his namesake and became renowned for his mechanical skill and dexterity; he took out his first patent, for a form of pivoted detent escapement, at the age of 23. Thomas Cole would be lauded for his fine cases and dials, though does not seem to have achieved the same mechanical superiority as his brother.The Cole family moved out of Nether Stowey in 1811, eventually settling in London by 1818. Clocks are known from James Ferguson beginning around 1821, when he seems to have established his own premises, seemingly working out of Hans Place, Chelsea. There is some confusion around this address, it is possible this was the family home. Later in 1821, though, Cole moved to 10 Park Lane, Piccadilly. It does also seem that both brothers were making clocks beginning in their mid-teens, though this was likely done as part of their apprenticeship.Beginning in 1823 the brothers formed a partnership at 3 New Bond Street and began making clocks together. They were responsible for producing some of the most complicated carriage clocks available, which included standard complications such as moon phase and days of the week, and more advanced complications such as perpetual calendar and daily times for sunrise and sunset. They also made watches and chronometers at this time. It is unclear when the partnership dissolved, or why, with the date of dissolution being variously given as 1829, up to 1832. James Ferguson's first shop, after Thomas Cole's departure, was located at 1 Maddox Street, Regent Street, where he stayed until about 1835, then moving to 9 Motcomb Street, Belgrave Sq. Throughout this period he advertised as a chronometer and clock maker. Around 1846, he moved again, this time to 30 Granville Square. At some point, possibly around the time of his move to Belgrave Sq. or a bit after, he married Charlotte Wyatt. The couple would have four children together: James Ferguson Cole Junior, Mortimer George Cole, Ada Martha Cole, and Jessie Cole. Both James Ferguson Junior and Mortimer would become horologists. Ada was a painter, miniaturist, and lithographer who exhibited her work at the Royal Academy. She also printed lithograph portraits, most well-known being of the chronometer maker William James Frodsham. It is unclear if she was or was related to the photographer Ada Cole, who was an early campaigner for animal rights. Cole continued to make high-quality, complicated pieces, relocating first to 20 Devonshire Street and then 11 Great James Street during the 1850's, while his place of residence remained 5 Queen Square Bloomsbury.James Ferguson became quite involved with the British Horological Institute from the beginning, becoming Vice President in 1859. Through his involvement, professional watchmakers began to share information with each other, when previously they had kept the most inconsequential of workshop procedure to themselves, fearing competition from others. For decades afterwards it would be said that 'he broke the ' Conspiracy ' of secrecy' amongst watchmakers. Despite this he relinquished the post in 1862, having become sick of the continual bickering and politicking at council meetings. Another BHI member, however, suggested that it was Cole's 'peculiarity of temperament' which caused the unrest during the meetings. Regardless, in 1875, Cole was commissioned by the BHI, for the sum of £100, to write a series of articles which, taken together, would form a Treatise on Isochronism. It was said that this was partially done to prevent the still new British Horological Institute from appearing antagonistic towards Cole; his possibly forced resignation was warned as being 'no compliment to such an eminent man and also bad taste'. The reviews of the Treatise, after it was published in 1877 were mixed with some members commenting it 'was difficult to criticise [the Treatise] because it contained more language than fact' and others protesting Cole's assertion that flat watchsprings demanded on overcoil if they were to keep accurate time. Some defended the Treatise, including a watchmaker named Joyce Murray, who had been practicing for over three decades. Murray claimed that Cole's Treatise was 'the most valuable work on the subject extant'. Murray further stated that 'Had it been published 30 or 40 years ago, when we began to adjust lever watches, the saving of time and mental labour would have been enormous.' This might suggest that politics and personality clashes biased some reviewers.Cole refused to debate the merits of his Treatise with the various BHI members. He died shortly after, in January 1880, though he continued to practice his horological skills until a few years before his death. James Ferguson Jr. moved into his house, Belvedere (later Tower) House, Bexley Heath, and lived there until 1935. In his obituary, James Ferguson Cole Snr.'s, it was noted that he was one of the foremost practical horologists of his time, and in his particular field of study (springing and timing) he was without equal. Paul M. Chamberlain was well-acquainted with James Ferguson Cole Junior, and his summary of James Ferguson Cole Snr. is probably the most apt: 'Exemplary in his private life, a devoted husband and father, brilliant as artist and scientist, he was in every way fitted to rank with the illustrious men of his time.'Good, R. (2001) 'James Ferguson Cole, Maker Extraordinaire', Horological Journal, Vol. 143(5), pgs. 166-170Murray, J. (1877) 'Letters to the Editor', The Horological Journal, Vol. 19 (6), p. 84Donovan, D. (1975) 'Thomas Cole, Clockmaker 1800-1864. Part 1: The Cole Family', Antiquarian Horology, Vol. 9 (2), pgs. 186-189.Cronin, K. (2016) The Ada Cole Story. Available at: https://unboundproject.org/the-ada-cole-story/British Horological Institute (1958) 'The Rumbustious Days when the Institute was Formed', Horological Journal, Vol. 100 (9), pgs. 566-568.Royal Collection Trust (2022) Astronomy explained upon Sir Isaac Newton's principles and made easy to those who have not studied mathematics / James Ferguson. 1756. Available at: https://www.rct.uk/collection/1090094/astronomy-explained-upon-sir-isaac-newtons-principle... For further information on this lot please visit Bonhams.com
Property of a lady English School Portrait of Charles II when a baby Later inscribed lower right: 'K. Charles II' Oil on canvas Provenance: Probably Robert Carey, 1st Earl of Monmouth (1560-1639);thence by descent to his granddaughter, Lady Martha Carey, who married Charles, 2nd Earl of Middleton;by descent to her daughter, Lady Elizabeth Middleton, wife of William Spelman (the picture is mentioned in her will dated 2nd November 1745);thence by descent until offered for sale, London, Sotheby's, 9th June 1998, lot 1;London, Sotheby's, 8th July 2010, Lot 222, Old Master and British Paintings Day Sale, bt. 85,250 GBPLiterature: K. Gibson, Best Belov'd Kings, The Iconography of Charles II, unpublished ph.D.Thesis, 1997, no. 2 Catalogue Note: Charles was born at St. James's Palace on 29th May, 1630, shortly before midday. On hearing that his wife, Queen Henrietta Maria, had given birth to a fine healthy son, the King mounted his horse and rode into the City to give thanks to God. Being given all the attention worthy of a future King, the baby flourished, leading the Queen to comment in a letter to her old governess, Madame St. George in Spetember 1630: 'He is so fat and so tall that he is taken for a year old and he is only four months; his teeth are already beginning to come'. She added: 'I will send you his portrait as soon as he is a little fairer, for at present he is so dark that I am ashamed of him'. Charles was, however, never to lose his dark complexion, earning himself the sobriquet 'the black boy'. Sir Robert Carey, from whom this painting probably descended, was closely involved with the Royal household. At the Court of James I his wife was appointed mistress of the Robes to the Queen and they both had the charge of the young Duke of York, later King Charles I, who was consequently brought up together with the Carey children. Upon the future Charles I becoming Prince of Wales Sir Robert was appointed his Chamberlain, and remained attached to him until his death in 1639. This sensitive portrait was painted in October when the young Prince was four months old. As with a similar version now in the National Portrait Gallery, the Prince is shown propped up on a cushion as if on his Chair of State. Dimensions: 49.75 in. (H) x 40.75 in. (W)
Rare and interesting early bisque head mystery Bebe doll for ‘AU NAIN BLEU’ of Paris, French circa 1880, beautiful pale bisque head with fixed light blue spiral paperweight glass eyes, finely painted lashes and brows, closed mouth with delicate painting to lips, pierced ears with red glass bead earrings, cork pate with blonde shoulder length wig, on a good wood and composition eight-ball jointed body with fixed wrists and rare white and gold ‘Au Nain Blue’ label to chest, wearing a white dress with lace velvet sash, underclothes, socks, brown leather shoes, bonnet and bag, indistinct incised marked to back of head, possibly J K or J H, 13” (33cm) tall, (condition: head perfect, body very good, one shoe with replaced sole).
Simon & Halbig/K&R bisque head doll, German circa 1905, with weighted brown glass eyes, painted features, open mouth with upper teeth, original blonde wig, on a fully jointed wood and composition body, wearing pink check cotton dress and underclothes, incised K*R, Simon & Halbig, 76, 30” (76cm) tall, (condition: head perfect, lacks one tooth, body some wear and needs re-stringing, dress a.f).
Heubach Koppelsdorf bisque head baby, German circa 1915, with weighted blue glass eyes, open mouth, upper teeth and brown wig, on a composition baby body and wearing a white cotton dress with pink ribbon and bonnet, 16” (41cm) tall, (condition: some repair to fingers and toes, together with a K&H 167 bisque head character baby, wearing a cream trouser suit, and a small Heubach toddler doll, (both good), (3 items)
Four bisque dolls heads, German circa 1915, including an A.M 390 with weighted blue glass eyes and brown wig, incised A5M, small Heubach Koppelsdorf baby head and two damaged heads, together with a reproduction K&R 117 wearing a blue velvet dress, 19” (48cm) tall, and a reproduction head, (6 items).
A large Simon & Halbig/K&R 126 bisque head baby doll, German circa 1910, with weighted blue glass eyes, painted features, open mouth with two upper teeth and tongue, original short brown wig, on a composition five-piece baby body, wearing white cotton dress, bonnet and underclothes 23” (59cm) tall, (condition: good).
A charming Simon & Halbig/K&R Holy Communion bisque head doll, German circa 1905, with weighted brown glass eyes, painted features, open mouth with upper teeth, original light brown wig, on a composition five-piece body jointed at shoulders and hips with painted white socks and gold shoes, wearing original Holy Communion clothing decorated with metallic threads, sequins and beads, underclothes with original paper shop label, 9” (23cm) tall, (condition: excellent).
Pair of reproduction K&R ‘Max’ character bisque head dolls, both with well modelled heads, glass brown eyes and water melon smile, short blonde wigs and on fully jointed composition bodies, wearing red knitted outfits, 11” (28cm), seated on wooden chairs, (in need of re-stringing), together with a ’Knightsbridge collection’ doll in box and modern baby doll, (4 items).
A pair of engraved opaque twist ale flutes and a wine glass, circa 1765The flutes with tall ogee bowls decorated with two flower sprays crossed at the stems, on double-series stems containing a fifteen-ply spiral band outside of a multi-ply corkscrew, over tall domed feet, 23cm high, the wine glass with an ogee bowl, decorated with a spray of spiky leaves, the double-series stem with a pair of opaque white spiral tapes around a central gauze column, over a conical foot, 15cm high (3)Footnotes:ProvenanceA K Sweeney Collection, Sotheby's 13 June 1977, lot 148 (part) (ale glasses)Sotheby's 13 June 1977, lot 99 (part) (wine glass)Stephen Pohlmann CollectionThis 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 fine platinum and diamond halo cluster ring, French hallmark to outside of shank, the principal brilliant cut diamond originally from an earlier, French piece of jewellery, weighing approx. 2.85ct, within a halo border of small single cut diamonds, the shoulders each set with eight brilliant cut diamonds, size G.* The principal diamond is an old mid-century French stone which has been re-set by the current owner. There is no damage to the stone - no chips, cracks or other faults. As an old stone, it does draw some colour - we would assess the colour as approx. K-L. Clarity approx. SI1 - there are a few small, scattered inclusions and a small patch of tiny carbon spots near to the culet, which are visible through a 10x lens, but not to the naked eye. The claws have some wear but are secure and there is some wear to the platinum around the outer circumference of the halo, but again the claws are all intact and the smaller diamonds secure and all present and original. The shank appears to have been sized in the past.
A mid-19th century apprentice piece miniature bowfront mahogany chest of drawers, made by the Master Carpenter Nicolas Martin of Guernsey (1757-1859), the back of the chest inscribed 'K Martin from Grandma Martin, made by Grandma's Father', the chest with four drawers with turned handles and boxwood and ebony stringing, the lower drawer with a lock (key missing), on short swept feet united by a wavy apron, 7½ x 5in. (19 x 12.7cm.), 8in. (20.3cm.) high. Good condition. Small chip to one front foot and small piece of veneer missing from above the other foot. Deceased owner's name in ink to underside.
Mining interest - An assorted collection of fifty Colliery and associated brass and white metal tokens and checks, Starting with 'H', 'I', 'J', 'K' or 'L', to include Highmoor Drift; Hilton Main; Hodroyd Coal Company; Holditch; Houghton; Houghton Main; Hucknall; Ireland; John Brown; Jubilee; Kellingley; Kiddsgrove; Kilmersdon; Kilnhurst; King Coal; Kingsbury; Kinneil; Kiveton Park; Lady Windsor. (50)
A collection of vintage cameras, to include a Ihagee Exakta SLR waist level, serial No. 137432, with Meritar 2.9/50 E. Ludwig Lens, 1373956; Argus C3, serial No. 234679, cased; Ross Ensign Selfix 12-20, k 8372, with 75mm Xpres F/3.5 Lens, No.253009; Yashica MG-1, No. 60900379, with Yashinon 45mm 1:2.8 Lens; Konica C35, serial No. 385422; Coronet Box camera with original card box and paperwork; Agfa Billy. (7) we are not experts in this field please satisfy yourself before bidding, Shutter functions, not fully tested, some wear, sold as is.
Vinyl Records – LP’s including Budgie - Impeckable - AMLH 64675; In For The Kill - MCF 2546; Frank Zappa - Chunga's Revenge - RSLP 2030; Family - Fearless - K 54003; Best Of Family - K 54023; Family Entertainment - RSLP 6340; It's Only A Movie - RA 58501; Anyway - RSX 9005; A Song For Me - RSLP 9001; Yes - Yesshows - K 60142; Asia - Asia - GEF 85577 (11)
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