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Lot 119
dating: 1910 - 1920 provenance: Ceylon, Flat and thin silver blade. Solid silver hilt with langets between two small arches ending in a dragon's head. Quillons decorated en suite, curved guard ending in a dragon's head. Large pommel shaped as a dragon's head with open jaws and tongue. Light blue, faceted hilt (one facet missing), finely pierced. All finely engraved with floral and geometric motifs. Silver scabbard engraved and richly pierced with floral motifs. Smooth cap with four suspension rings and borders with intertwined decorations. Chape with a dragon's head (rare). Hilt and scabbard decorated with many semi-precious stones (missing parts) especially pink, some white; a large, a dark red stone on the guard and two large smoke-grey and yellow stones on the dragon's head on the chape of the scabbard. Such a fine and rare kastane has not been seen on the world market for a long time. See a very similar item at the Hermitage Museum, illustrated in Obrtztsov (2015, page 124). length 46 cm.
Lot 225
dating: End of 19th beginning of 20th Century provenance: Sumatra, Straight, single-and false-edged blade made of very fine dark pamor with light metal longitudinal lines. Carved with gilded floral motifs on background at the base and at the back. Horn grip, pommel carved with a stylized mouth and engraved with geometrical motifs, the base worked en suite with the blade and decorated with gilded scales. Wooden scabbard with engraved horn cap and engraved, silver-inlaid mounts. Number of collection '192'. Rare. length 39.7 cm.
Lot 235
dating: Late 19th Century provenance: Sumbawa, Straight, single-edged, pamor blade. Silver ring nut decorated with racemes in relief (missing parts). Light horn grip, carved and pierced. Wooden scabbard completely covered with silver foil (small restoration), also this richly decorated with racemes in relief. Two loops. length 52 cm.
Lot 340
dating: about 1870 provenance: Yogyakarta, Undulated, double-edged blade made of very fine pamor, carved base with short fuller. Wooden ukiran, tipically sculpted. Brass Mendak. Light-wood mendak with brass-inlaid pendok engraved with floral motifs. The ensemble of blade, ukiran and warangka is very fine. length 46.4 cm.
Lot 441
dating: 19th Century provenance: Madura Island, Undulated, double-edged blade made of fine pamor, carved base with light fuller; sculpted, wooden ukiran with pommel shaped as a stylized parrot's head, brass mendak decorated with filigree. Sculpted, wooden warangka with smooth gandar. length 47 cm.
Lot 446
dating: 17th/19th Century provenance: Madura Island, Straight, double-edged blade of lenticular section, made of fine pamor (16th/17th century) with a light fuller at the base. Beautiful ukiran and scabbard (the latter worked in one piece and with an old collection number inside the butt) made of late-19th-century wood, richly carved with floral motifs. Brass Mendak decorated with very small beads. length 42 cm.
Lot 7512
Bas van Pelt (1900-1945),An oak dining suite, ca. 1938-40,Comprising an oak dining table and a set of six oak dining chairs, the table with a rectangular top above a pair of H-shaped supports joined by a plank stretcher, the throne chairs each with a high backrest with round wooden uprights, above a square cushion covered in light green silk, on four tapering plank legs joined by an H-shaped stretcher, the table and chairs marked 'bas van pelt'.These pieces are part of a dining room suite (comprising an oak table, six dining chairs and a sideboard [see lot 7513]), which was the last set of furniture Bas van Pelt designed before the arrival of World War II in the Netherlands. The striking play of vertical lines in the high backrests of the dining chairs are emblematic of the influence of the American architect and designer Frank Lloyd Wright. Wright's oeuvre impacted the work of a great number of The Hague designers such as Henk Wouda, Frits Spanjaard, Cor Alons and Jan Wils. Moreover, in Van Pelt’s choice for the warm and humble quality of wood we can also recognize the influence of Dutch Arts and Crafts tendencies, such as the work of Alexander Kropholler. It is this mindset that led Van Pelt to convert the simple steel tubular frame into a wooden equivalent. However, one key element that sets Van Pelt's designs apart from his colleagues is the element of doubt, as characterized by art historian Timo de Rijk. Van Pelt alternated modern influences with more traditional European forms and techniques, such as wicker seats and curved armrests. In these experiments, Van Pelt's work approaches much more the curvaceous style of designer Sybold van Ravesteijn, which deviated from the functionalist tendencies in the world of architecture and design during the 1920s and 1930s.This exact dining room suite was included in an exhibition of the Haagse Kunstkring (The Hague Art Circle) in the Gemeentemuseum, The Hague (the current Kunstmuseum) in 1941. While this exhibition was primarily organized to celebrate the 50th anniversary of the Kunstkring, it also facilitated the handover of the Kunstkring's building on the Lange Houtstraat to the German occupier. Moreover, the exhibition was also an opportunity to fill the empty rooms of the museum, a void that was a result of the removal and storage of undesirable art by the nazis. In 1949, the dining room suite was bought by the father of the current owner as a wedding gift for his wife, and has stayed in the family since.,Table: 75x180x99 cm, chairs: 117x55x62 cm,,Literature: This exact set was discussed and illustrated in the exhibition catalogue Jubileum Haagsche Kunstkring 1891-1941 (Gemeentemuseum, The Hague, 1941), and in P. Koomen, Binnenhuis: karakter en sfeer: het werk van Bas van Pelt (The Hague 1943).Provenance: Exhibition: Gemeentemuseum, The Hague, 1941, on the occasion of the 50th anniversary of the Haagse Kunstkring.Bought from the shop of Bas van Pelt in 1949 by the father of the current owner.With thanks to Karel Bodegom, Bas van Pelt, The Hague.
Lot 86
Squadron Leader Geoffrey Wellum Signed Snippet of a Photo Attached on inside page of Wellum's Own Book Titled First Light. Published in 2002. 338 Pages. Spine and Dust-Jacket in Fair 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
Lot 50
Heuer. A square stainless steel automatic calendar chronograph bracelet watchModel: Silverstone SmokeReference: 110.213FDate: Circa 1974Movement: 17-jewel Cal.12 automaticDial: Fumeburst brown, raised outer luminous baton hour markers, white outer 1/5th second divisions, subsidiary dials at 3 and 9 for 30 minute and 12 hour recording, date aperture at 6, white pointed baton hands with luminous inserts, white centre chronograph handCase: Brushed and polished cushion form, screw down back, signed crown at 9 and twin pushers at 2 and 4, No.307367Strap/Bracelet: Fitted brushed linkBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 42mm Accompaniments: Heuer box, spare linkFootnotes:The Silverstone was meant to be an iconic design successor for the square shaped Monaco and the brown Silverstone first appeared in the 1974 Heuer catalogue showcasing its amazing starburst dial. The indexes and hands have a beautiful matching patina adding additional charm to the light reactive dial. The product life cycle of the Silverstone was rather short and after three years production ceased, it was last shown in the 1977 catalogue.For further information on this lot please visit Bonhams.com
Lot 57
Heuer. A rare working stainless steel quartz digital bracelet watchModel: ChronosplitReference: R102.703-2Date: Circa 1977Movement: Jewelled quartzDial: Dual LCD digital displays with matt black surroundCase: Brushed cushion form, snap on back, pushers at 2, 3, 4 and 9 for start/stop, display/date, reset/lap and cycle, small pusher for light at 7, quick set button at 10, No.350495Strap/Bracelet: Fitted brushed linkBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 40mm Accompaniments: Heuer boxFootnotes:Introduced at a time when quartz movements were viewed as a more accurate companion to high end mechanical pieces and not the near death blow that they became, the Chronosplit represented the first digital, fully electronic watch in the world to also include a chronograph, when it arrived in 1975. The current example is from the second version of the model which arrived in 1977. The model was famously worn by Canadian driver Gilles Villeneuve and featured a second LCD panel in place of the former LED display.For further information on this lot please visit Bonhams.com
Lot 118
TARKA THE OTTER: FIRST & SECOND REVISED PROOFS: the first and second revised proof copies of Tarka the Otter, the first with numerous marginalia and amendments in blue ink in the author's hand, intermittently stamped 'this marked proof to be returned', the second with title page supplied in green ink in Williamson's hand and notes to initial few leaves, the pair uniformly bound in contemporary blue half crushed morocco, spines gilt lettered direct, with original watercolour designs to the boards depicting otters amongst plants, light wear to extremities, both 8vo. (2)
Lot 120
THE PATHWAY: FIRST PROOF DRAFT, ANNOTATED: the first proof draft of The Pathway, fourth in the 'Flax of Dream' series, specially bound and with Williamson's annotations throughout, inscribed in his hand to front FE 'Dedication on two planes: to Zoroaster, Jesus, Paul, Blake, Shelley, Thompson, Jefferies, Hardy, Shaw (G B & T E) and many others. To the son and the mother, in the hope that there be a pathway to the light in the sun...Henry Williamson, Georgeham North Devon, 1 December 1928', his owl monogram beside, printed label opposite reading 'This is No.1 for Henry Williamson - of the cradle edition of The Pathway', numerous annotations in red/green ink and pencil throughout, specially bound in contemporary brown quarter morocco, gilt lettered direct, Williamson's monogram blocked to the boards, with 2 side ALS to Williamson from Gwendoline Rondle (Williamson's first love), plus a privately produced greetings card from her loosely inserted, 8vo. (1)
Lot 123
WILLIAMSON (Henry): 'The Gold Falcon or The Haggard of Love..' printed for the author, 1933: one of 8 copies specially printed and bound, this copy with unique printed dedication to ILW (Ida Letitia Williamson), 'most magnanimous and natural of women whose essence is in the character of Ann': original full vellum gilt, teg, remainder untrimmed, light marks else VG. (1)
Lot 147
ASSOCIATION COPIES: THOMAS (Helen): 'As It Was', London, Heinemann 1926: inscribed to front FE 'ILW from HWW at Xmas 1926...the poet of this story...was Edward Thomas, who was killed under Vimy Ridge in April 1917 during the attack...': sm.8vo, publishers orange cloth with dustjacket, spine darkened and chipped: 'World Without End': Heinemann, 1931: inscribed from Helen Thomas to Henry Williamson, with his notes and amendments to several pages: PAINTER (George D) 'The Road to Sinodun..', London, 1951: front FE inscribed 'for my admired friend Henry Williamson, George D Painter election day 1951: publishers cloth with dustjacket, light wear and marking: with 16 others, mostly literature, all inscribed by/to Williamson or with related letters inserted and tipped in. (19)
Lot 16
BROWNE (Richard, 1674-94): 'Medicina Musica: or, a mechanical essay of the effects of singing, musick, and dancing, on human bodies...' London, printed for John Cooke, 1729: contemporary calf, front board detached and upper endpapers removed, late 18thc ink ownership to front pastedown and head of title, some light toning and foxing but a good copy, small 8vo. (1)
Lot 188
MUMMERY (A F): 'My Climbs in the Alps and Caucasus..', London, Fisher Unwin, 1895: FIRST EDITION: publishers plain buckram, black morocco labels to spine, teg, black ink initials of GH Morse, President of Alpine Club, to upper pastedown, a little rubbed and marked: RUTTLEDGE (Hugh) 'Everest 1933', London, Hodder & Stoughton, 1934: FIRST EDITION: publishers blue cloth with dustjacket, light wear else VG: with one other, early 20th century mountaineering. (3)
Lot 21
MINIATURE ALMANAC: a miniature almanac for 1818, pub. London, Company of Stationers: engraved view of Custom House London across 4 pages, ornate red and black morocco gilt binding and slipcase, aeg, minor wear and a few light marks, slipcase with some abrasion to edges but a good example, approx 5.7 x 3.2cm. (1)
Lot 25
SILVER & PLATE, INVENTORY & VALUATION: Widdowsons & Veale (Valuers): 'Inventory and Valuation for Insurance of Silver and Plated Goods, May 27th 1913 (and June 1919)': detailed inventory and valuation of substantial collection of silver and plate, manuscript inventory in large 4to ledger, contemporary black morocco gilt lettered to upper board, aeg, 300pp with approx 47pp used, some light wear externally else VG. By repute this ledger came from Aspreys: the most valuable item noted is an epergne by Thomas Powell, 1783, valued at £450. (1)
Lot 51
GEOLOGICAL SURVEY: JUKES-BROWNE (A J): 'The Cretaceous Rocks of Britain...' London, HMSO, 1900-1904: 3 vols. publishers blind stamped blue cloth gilt, light wear, large 8vo: GUIDEBOOK: 'The Illustrated Guide to Weymouth, the island of Portland, and the adjacent neighbourhood..' Weymouth, Sherren & Son, n.d (c1880): publishers cloth-backed printed boards, 12mo: with 17 other vols over one shelf misc. antiquarian, largely 18th-19thc, various sizes and condition. (One shelf)
Lot 62
FRESHFIELD (Douglas): 'Travels in the Central Caucasus and Bashan, including visits to Ararat and Tabreez...', London, Longmans, Green & Co, 1869: FIRST EDITION. With frontispiece, 4 plates and 3 folding maps: publishers brown cloth gilt blocked in black, some light wear else a very good crisp copy, 8vo: together with James Bryce's 'Transcaucasia and Ararat', 3rd edition 1878 in publishers green cloth. (2)
Lot 63
LIVINGSTONE (David & Charles): 'Narrative of an expedition to the Zambesi and its tributaries...' London, John Murray, 1865: FIRST EDITION. With folding frontis and folding map: publishers plum cloth, blind stamped and gilt lettered, a little bumped and stained to corners, light wear and sunning else a good copy. (1)
Lot 8
(IRELAND) WILLIS (N P & STIRLING COYNE, J):'The Scenery and Antiquities of Ireland, illustrated from drawings by W H Bartlett...' London, Virtue, n.d (c.1841): 2 vols in one, 118 steel engraved plates, a few light waterstains to corners and some spotting, contemporary black half morocco gilt, rubbed, 4to. (1)
Lot 1203
British School, late 20th/early 21st century- Muckish from Glenveigh National Park; oil on canvas, signed 'Winter' (lower right), 40.7 x 50.8 cm (unframed) (ARR) The canvas is taut on the stretcher and the paint surface is stable on the support. Light marks and surface dirt generally. Light abrasions in areas, particularly towards the edges. Otherwise in good condition overall.
Lot 1204
British School, late 20th/early 21st century- Muckish from Ballymore; oil on canvas, signed 'Winter' (lower right), 40.8 x 50.8 cm (unframed) (ARR) The canvas is taut on the stretcher, and the paint surface is stable on the support. Areas of impasto are well-preserved. Light marks and surface dirt generally. Some abrasions to the surface in areas, particularly towards the edges. Otherwise in good condition overall.
Lot 1208
Paul Gaisford, British b.1941- Summer near Chasleton, Gloucester; oil on board, signed lower left, 23.2 x 28.7 cm. (ARR) Framed, and unexamined out of frame. General marks and scuffs to the frame. The paint surface is stable on the support. Fine and settled craquelure in areas. Areas of impasto are well-preserved. Light surface dirt generally. Otherwise in good condition overall.
Lot 1211
European School, late 19th century- Figures promenading in a park; black and coloured chalk on brown paper, 24 x 36.5 cm Framed and glazed. Unexamined out of the frame. Evidence of light cockling, creasing, and folding to the sheet, consistent with age and handling. Some marks, surface dirt, and possible spots of foxing to the sheet. Otherwise in good condition overall.
Lot 1229
B.J. Pont, British school, late 20th/early 21st century- Coastal scene with cliffs; pencil and watercolour heightened with scratching out on paper, signed 'B J Pont' (lower left), 13 x 18.2 cm. Framed, mounted, and glazed. Unexamined out of frame. General marks and scuffs to the frame. The sheet lies flat in the mount. A noticeable scratch to the centre of the sheet, which may or may not be the artist's original intention. Possible light marks of surface dirt in areas. Otherwise in good condition overall.
Lot 1241
James Taylor, British 1925-2000- Landscape in the Ile-de-France; oil on board, signed and dated 'Taylor 1961' (centre right), 71.4 x 98.5 cm. (ARR) Provenance: with The Lefevre Gallery, London, according to the label attached to the reverse. Framed, and unexamined out of frame. General marks and scuffs to the frame. Light chips, abrasions, and marks to the surface. General surface dirt. Areas of impasto are well-preserved. Otherwise in good condition overall.
Lot 1242
British School, early/mid 20th century- View of a landscape with cypresses; oil on canvas, bears inscribed label for C.D. Soar & Son, Kensington, to the reverse of the stretcher, 23 x 33.2 cm. Framed, and unexamined out of frame. General dirty marks and scuffs to the frame. The canvas is taut on the stretcher, and is slightly loose within the frame. Relined. The paint surface is stable on the support. General dirty marks and light abrasions to the canvas. Areas of impasto are well-preserved. Otherwise in good condition overall.
Lot 1272
Adrian Maurice Daintrey RWA, British 1902-1988- Seated female nude, c.1939; pen and black ink on paper, signed and dated 'Adrian Daintrey / c.1939' in red pencil (lower right), 36 x 29.3 cm. (ARR) Framed, mounted, and glazed. Unexamined out of frame. General marks and scuffs to the frame. Significant discolouration/browning to the sheet. Possible minor spots of foxing in areas. Light marks and creases to the sheet generally, consistent with handling. Some marks of a substance to the sheet, which may be original to the work. Otherwise in fair condition overall.
Lot 1291
Hellmuth Weissenborn, German/British 1898-1982- Isle of Dogs, East London; charcoal, pastel, and oil on paper, signed 'H. Weissenborn' (lower left), 36.3 x 53.7 cm (ARR) Framed, mounted, and glazed. Unexamined out of frame. The sheet lies flat in the mount. There appears to be a lack of pigment towards the corners of the work, but this may be original to the piece. A small pin hole visible in the lower left corner. Some marks to the sheet in areas, possible light surface dirt. Otherwise in very good condition overall.
Lot 1299
Guy Seradour, French 1922-2007- Lady reading; oil on canvas, signed 'Guy Seradour' (lower right), 59.7 x 73 cm (ARR) The canvas is taut on the stretcher and sits well within the frame. Unexamined out of frame. The paint surface is stable on the support. General light abrasions, marks and surface dirt. Otherwise in very good condition overall.
Lot 1301
Guy Seradour, French 1922-2007- Le boudoir; oil on canvas, signed lower right, titled to the reverse of the stretcher, 44.5 x 53.5 cm (ARR)The canvas is secure on the stretcher and sits well within the frame. Unexamined out of frame. Light scuffs and marks to the frame. The paint surface is stable on the support. Some marks, surface dirt, and light abrasions generally. Otherwise in good condition overall.
Lot 1309
Brenda Holtam RWS, British b.1960- Flowers in a vase, 1991; watercolour and gouache on paper, signed and dated lower right, 24.8 x 19.7 cm: British School, late 20th century- Flowers in a vase; oil on card, bearing a painting of rooftops verso, 13.4 x 11.7 cm: together with further watercolours of flowers by different artists (11) (ARR) (unframed/part mounted)Light creases, folds, and pinholes to some of the sheets. General dirty marks and possible spots of foxing to some of the sheets. Otherwise in fair to good condition overall.
Lot 1317
European School, mid/late 20th century- Figure seated outside cottages; oil on canvasboard, 20 x 28 cm. Framed, unexamined out of frame. General marks and scuffs to the frame. Light abrasions to the paint surface in areas, alongside marks of surface dirt generally. Otherwise in good condition overall.
Lot 1320
Leforte, French, mid-20th century- Parisian street scene; oil on canvas, signed 'Leforte' (lower left), 51 x 61 cm The canvas is secure on the stretcher and sits well within the frame. Unexamined out of frame. The paint surface is stable on the support. Fine and settled craquelure in areas. Some slightly more heightened and visible craquelure towards the centre and the left edge of the canvas. Some light abrasions to the work, resulting in small chips and areas paint loss in places. Possible discolouration to the paint towards the centre. Further marks and surface dirt generally. Otherwise in fair condition overall.
Lot 1321
Taylor, British school, mid-late 20th century- London street scene, 1998; oil on canvas, signed and dated lower left, 45.5 x 61 cm The canvas is taut on the stretcher, and sits well within the frame. Unexamined out of the frame. The paint surface is stable on the support. Light marks and surface dirt in areas. Otherwise in very good condition overall.
Lot 1325
Walter Beauvais, British 1942-1998- Three girls at the beach; oil on canvas board, signed lower left, 24.2 x 19.1 cm (ARR)The board sits well within the frame. Unexamined out of frame. Light chips and marks to the frame generally. The paint surface is stable on the support. Areas of impasto are well-preserved. Light marks and surface dirt generally. Otherwise in good condition overall.
Lot 1326
Walter Beauvais, British 1942-1998- Two girls at the beach; oil on canvas board, signed lower left, 24.3 x 19.1 cm (ARR) The board is secure within the frame. Unexamined out of frame. Damage to the frame, with a significant loss upper right. The paint surface is stable on the support. Areas of impasto are well-preserved. Light marks and surface dirt generally. Otherwise in good condition overall.
Lot 1327
M. Pellet, European school, 20th century- Venetian scene; oil on canvas, signed 'M. Pellet' (lower right), bears label to the reverse of the frame, 60.5 x 92 cm The canvas is secure on the stretcher and sits well within the frame. Unexamined out of frame. General marks and scuffs to the frame. The paint surface is stable on the support. Areas of impasto are well-preserved. Some light marks, surface dirt, and abrasions generally. Otherwise in very good condition overall.
Lot 1328
R. Faber, British school, late 20th century- St Mark's, Venice; oil on canvas, signed lower right, bears label for J. Davey & Sons attached to the reverse of the frame, 61 x 81 cm The canvas is secure on the stretcher and sits well within the frame. Unexamined out of the frame. General marks and scuffs to the frame. The paint surface is stable on the support. Areas of impasto are well-preserved. Light dents to the canvas in areas. General marks, surface dirt, and light abrasions to the canvas. Otherwise in good condition overall.
Lot 1367
Frances Broomfield, British b.1951- Adam and Eve; oil on panel, bears initials lower right, 24.5 x 19.8 cm. (ARR) Framed, unexamined out of frame. General scuffs and marks to the frame. The paint surface is stable on the support. Very fine and settled craquelure in areas. Minor marks and possible light abrasions to the surface generally. Otherwise in very good condition overall.
Lot 1434
Bonnie Brown, British b.1952- Memoires; oil on canvas, signed 'BONNIE BROWN' to the reverse of the canvas and signed and titled to the reverse of the stretcher, 51 x 51 cm. (ARR) Provenance: with Alpha House Gallery, Dorset, according to the label attached to the reverse of the canvas. Framed, unexamined out of frame. General marks and scuffs to the frame. Possible light abrasions and surface dirt generally. Otherwise in very good condition overall.
Lot 1437
Bert Kitchen, British b.1940- Triptych; oil on panel with hinged doors, signed 'B. KITCHEN' and titled on the reverse, 91 x 60.2 cm. (closed), 91 x 120.5 cm. (open) (ARR) The paint surface is stable on the support. Light abrasions and marks across the work. General surface dirt throughout. Otherwise in fair to good condition overall.
Lot 1438
Bert Kitchen, British b.1940- The Generator, 1955; oil on board, signed 'H Kitchen', titled, and dated 'Nov 1955' on the reverse, 73.5 x 122 cm. (ARR)The frame is separate from the painting. Light chips, scuffs and abrasions to the paint surface generally, alongside light dirty marks. Otherwise in good condition overall.
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