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Lot 611
Led Zeppelin - their first rare and highly collectable album with the turquoise sleeve lettering, on red and maroon Atlantic label, superhype publishing credit, condition: side one has light scuff marks, side two the same, cover is slightly discoloured and some creasing to the front, edges are buffered, cover and vinyl appears vg plus.
Lot 1073
Große Sammlung von Illustrationen des18. Jahrhunderts in Bezug auf Augsburg und seine BürgerFolio, ca. 185 x 310 mm.Eine bemerkenswerte und einzigartig umfangreiche Sammlung von Illustrationen, die einen faszinierenden Einblick in die deutsche Universitätsstadt Augsburg während der zweiten Hälfte des 18. Jahrhunderts geben, alle in Kolorit der Zeit. Die Illustrationen umfassen solch vielfältige Themen wie Volkstracht & Militärtracht, heimische Szenen, Bibelszenen, Stadtpläne, Gymnastik, Jongleure, Kleinwüchsige, Narren, Bauernhochzeiten, Kinderspiele, Tiere und allegorische Darstellungen (Hahn und Henne).Ein Sammelband bestehend aus 71 doppelseitigen Tafeln mit Holzstichen bzw. Radierungen, alle zeitgenössisch handkoloriert, die erste Tafel ist am Falz teilweise gespalten, die zweite ist in zwei Teile gespalten mit der ersten Hälfte an der ersten Platte anhaftend, die achte Tafel mit Ausbesserungen, welches zu geringfügigem Verlust des Bildes führt, drei weitere Tafeln mit Ausbesserungen auf der Rückseite, einige geringfügige Spaltungen und Risse ohne Materialverluste um die Falze, ein paar Tafeln sind leicht beschnitten mit geringfügigen Verlusten, einige Verunreinigungen und Markierungen, meist leicht doch stellenweise stark, einige alte Kritzeleien und Markierungen, aber insgesamt intakt und in gutem Zustand, zeitgenössisches Halbpergament, stark abgenutzt.Provenienz:Exlibris Scheler v. Lorenz M. Rheude.Literatur:A. Schmidt, Erben (54), Nbg., Endter (8), Augsburg, Endress (4), und andere(5), [Augsburg, c. 1740-80]. (13013220) (10)A large collection of 18th century illustrations relating to Augsburg and its peopleFolio, ca.185 x 310 mm.A remarkable and uniquely comprehensive collection of illustrations, providing a fascinating insight into life in the German University Town of Augsburg during the second half of the eighteenth century, all with attractive contemporary colouring. The illustrations cover such diverse subjects as traditional & military costume, domestic scenes, biblical scenes, town plans, gymnastics, jugglers, dwarves, fools, farmers' weddings, children's games, animals and allegorical images (a rooster and a hen).A sammelband comprising 71 double-page wood-engraved or etched plates, all with contemporary hand-colouring, first plate partly split at fold, second split in half with first half adhering to first plate, eighth plate with repair causing some minor loss to picture, 3 other plates with repairs to reverse, a few minor splits and closed tears around folds, a few plates trimmed slightly with minor loss, some soiling and marking, mostly light but heavy in places, a few old doodles or markings, but overall intact and in good order, contemporary half vellum, badly worn.Provenance:Exlibris Scheler v. Lorenz M. Rheude.Literature:A. Schmidt, Erben (54), Nbg., Endter (8), Augsburg, Endress (4), and others (5), [Augsburg, c. 1740-80].
Lot 234
Pietro Maurizio Bolckman, 1640 Gorinchem – 1710 TurinMaritime Vedute von Nizza, um 1685Öl auf Leinwand. Doubliert.100 x 105 cm.In profiliertem Holzrahmen.Beigegeben eine Expertise von Prof. Dr. Arabella Cifani, Turin, ohne Datum, in Kopie. In annähernd quadratischem Format baut Bolckman ähnlich einer Bühnenarchitektur eine diagonal getrennte Komposition auf, wobei das Dreieck links unten den Aspekt des Warenverkaufs beleuchtet, während im oberen rechten Dreieck der Umschlag von Waren von Schiff zu Land bzw. das Löschen der Ladung thematisiert wird, sodass eine umfassende Darstellung der martimen Handelstätigkeit vermutlich der Stadt Nizza thematisiert wird. In der Narodna Galerija in Ljubiljana wird ein 1709 datiertes Gemälde von Bolckman verwahrt, dessen Komposition Ähnlichkeiten aufweist (Inv.Nr. 77).Bolckman war viel gereist und war seit 1668 Mitglied der Bentvueghels in Rom. Bevor er nach Turin zog reiste er vermutlich nach Neapel und 1674 nach Genua, bevor er vermutlich schon im gleichen Jahr in Turin ansässig war. Er lebte auf der Isola di San Carlo, wo er 1710 verschied.Literatur:Vgl. Franco Monetti, Arabella Cifani, I Piaceri e le grazie. Collezionismo, pittura di genere e di paesaggio fra Sei e Settecento in Piemonte, Turin 1993, Bd. I und II, S. 71-104 und S. 516-519.Vgl. La Maison de Savoie a Nice (1388-1860), Ausstellung im Palais Lascaris, 28. September - 11. Dezember 1988, Nizza 1988, S. 64-65 und S. 74-76.Vgl. Arabella Cifani, Franco Monetti, Pietro Maurizio Bolckman, in: La pittura di paesaggio in Italia. Il Seicento, Mailand 2004, S. 241-243.Vgl. Guus Sluiter, New Light on Peter Bolckman (Gorinchem 1638-Turin 1710), in: Oud Holland 116, 2003, S. 100-110. (13300583) (2) (13)Pietro Maurizio Bolckman, 1640 Gorinchem – 1710 TurinMARITIME VEDUTA OF NICE, ca. 1685Oil on canvas. Relined.100 x 105 cm.Accompanied by an expert’s report by Prof Dr Arabella Cifani, Turin is enclosed in copy. A painting by Bolckman dated 1709 held at the Narodna Galerija in Ljubljana, shows similarities in composition (inv. no. 77).
Lot 366
David Teniers d. J., 1610 Antwerpen – 1690 Brüssel Weite hügelige Landschaft mit Pan und SyrinxÖl auf Leinwand.83,5 x 121 cm.In vergoldetem mit Blattfries verziertem Rahmen.Beigegeben ein Gutachen im Original von Margret Klinge, Düsseldorf, 12. Juli 1981. Klinge weist darauf hin, dass die Schloss – und Gartenanlage auf dem Gemälde „Odysseus auf der Insel der Phaiaken“ im Palazzo Pitti in Florenz fußt und von Teniers ziemlich genau übernommen wurde, während die umliegende Landschaft jedoch ganz seiner eigenen Bildidee entstammt, sodass sich Teniers lediglich weniger Versatzstücke bei Rubens bediente. Hier ist besonders das Kolorit des Himmels typisch für Teniers, ebenso die Figurenstaffage und die Viehherde. Klinge datiert das vorliegende Gemälde auf das Ende der 1650er-, Anfang der 1660er-Jahre.Es ist eine von nur wenigen größerformatigen Landschaften, die uns von Teniers überliefert sind, und das mit einer besonders reizvollen Szene: Pan und Syrinx inmitten eines mit Schilf bestandenen Ufers zeigend. Ein neben ihnen stehendes Baumgefüge überfängt diese Szene und dient zeitgleich als kompositioneller Ausgleich für die sich im lichten Blaugrün bis an den Horizont erstreckende felsige Landschaft mit einem Schloss, dem ein französischer Garten vorgelagert ist.Provenienz:Privatsammlung Münsterland.Anmerkung:Bekanntlich war Teniers einer der bedeutendsten Erneuerer der Genremalerei seiner Zeit. Neben Genreszenen und religiösen Historien malte er auch Dorflandschaften, beeinflusst von Paul Brill (um 1553/54- 1626) und in seinen Berglandschaften vor allem von Joos de Momper d. J. (1564-1635). Vielfältig bis weit ins 18. Jahrhundert durch die Druckgrafik verbreitet lassen die Kompositionen Teniers ihn als einen der populärsten Künstler des 17. Jahrhunderts erscheinen, der eine Vielzahl von Nachfolgern fand. Als Schüler seines Vaters ließ er sich später von Adriaen Brouwer (1605/06-1638) beeinflussen, wurde 1633 in die Antwerpener Lukasgilde aufgenommen und war 1645 bereits Dekan der Gilde. Als er 1637 Anna, Tochter von Jan Brueghel d. Ä., heiratete, war Peter Paul Rubens ihr Zeuge. (1331061) (13)David Teniers the Younger,1610 Antwerp – 1690 BrusselsVAST HILLY LANDSCAPE WITH PAN AND SYRINX Oil on canvas.83.5 x 121 cm.Accompanied by the original certificate of authenticity by Margret Klinge, Düsseldorf, 12 July 1981. She points out that the palace and gardens are based on the painting Odysseus on the Island of the Phaecians held at the Palazzo Pitti in Florence and was copied by Teniers very accurately, while the surrounding landscape is based completely on his imagination and he only borrowed a few set motifs from Rubens. Here the colouration of the sky is particularly typical of Teniers, as are the figures and the herd of cows. Klinge dates the present painting to the late 1650s, early 1660s. This is one of only a few large-format landscapes that are known by Teniers.It shows a particularly attractive scene with Pan and Syrinx among a reed-covered bank. Next to the couple and arching across the scene is a group of trees, which also acts as a compositional balance to the rocky landscape with a castle with a French garden in front that stretches to the horizon in light blueish-green hues.Provenance: Private collection, Münster region, Germany.
Lot 384
Giuseppe Zocchi, 1711 Florenz – 1767 ebendaBlick auf MantuaÖl auf Leinwand. Doubliert.50 x 72,5 cm.Verso diverse Aufkleber sowie zwei italienische Ausfuhr-Gummistempel.Entgegen der bisherigen Meinung, es handle sich bei dem vorliegenden Gemälde lediglich um ein „Capriccio mit Brücke“, darf festgestellt werden, dass der Maler hier eine Vedute von Mantua geschaffen hat. Das mittelalterliche, in Ziegelmauerwerk aufgeführte Kastell mit vier quadratischen Ecktürmen, von denen einer höher zieht, beherrscht das Bildzentrum. Links davon die im 18. Jahrhundert noch bestehenden Bauten des Areals des Palazzo Ducale, das sich heute in veränderter Weise präsentiert. Bei dem Gewässer, über das die weitgespannte Bogenbrücke zieht, dürfte es sich um die ehemalige schützende Wassergrabenanlage des Kastells handeln; alternativ ist anzunehmen, dass der Maler den Fluss Mincio bewusst schmaler dargestellt hat, um einen belebten Vordergrund zu schaffen. Die Überbrückung existiert in erneuter Weise bis heute. Zusätzlich belebt wird die Vedute durch Steindenkmale, einen großen Pfeiler am linken Bildrand, dem eine Löwenfigur aufsitzt, sowie die Figurenstaffage mit Pferdekarren, Figuren auf der Brücke sowie zwei Kähnen darunter. Lichtführung und Malqualität entsprechen völlig den bekannten Werken Zocchis.Zocchi hat sich bekanntlich weitgehend mit Veduten von Florenz und oberitalienischer Städte beschäftigt. Seine Capricci spielen zahlenmäßig eine eher untergeordnete Rolle. So ist nicht verwunderlich, dass es sich auch hier eine Vedute handelt, wobei Ansichten von Mantua aus dieser Zeit ausgesprochen selten sind. (†)Anmerkung:Der Künstler war ein italienischer Maler und Zeichner, der in Florenz lebte und für seine Florentiner Veduten bekannt wurde. Er fertigte unter anderem Zeichnungen von bekannten Ansichten von Florenz an, die von anderen gestochen und 1744 gedruckt wurden. Zudem arbeitete er für den Wiener Hof der Habsburger sowie den Berliner Hof der Hohenzollern.Literatur:Das Gemälde publiziert von Charles Beddington. (1330517) (11)Giuseppe Zocchi, 1711 Florence – 1767 ibid.VIEW OF MANTUAOil on canvas. Relined.50 x 72.5 cm.Verso various labels and two Italian export rubber stamps. Contrary to the previous opinion that the present painting is merely a Capriccio with a Bridge, it was discovered that the painter created a veduta of Mantua here. The centre of the picture is dominated by the medieval brick fort with four square corner towers, one of which rises higher. To the left of this are the buildings of the Palazzo Ducale, which still existed in the 18th century but now looks differently. The body of water over which the long-span arched bridge stretches is probably the former protective moat of the fort; alternatively, it can be assumed that the painter intentionally made the Mincio River narrower to create a busy foreground. Today the bridge still exists in a renewed form. In addition, the veduta is enlivened by stone monuments, a large pillar on the left edge of the picture with a seated lion figure and figural staffage with horse-drawn carts, people on the bridge with two boats beneath it. The use of light and the quality of the painting correspond entirely with Zocchi’s well-known works. Famously, Zocchi mostly painted vedutas of Florence and northern Italian cities. In terms of numbers his capricci play a rather minor part. Unsurprisingly the present painting is also a veduta, although views of Mantua from this period are extremely rare. (†)Literature:The painting published by Charles Beddington.
Lot 388
Michele Giovanni Marieschi, 1696/1710 Venedig – 1743 Campo dei Frari in VenedigÖl auf Leinwand.52,5 x 69 cm.Beigegeben Expertise von Dario Succi.Blick über den schmalen Seitenkanal, den eine Brücke mit Treppe überquert, auf den Campo mit der gotischen Fassade der Kirche Santa Maria Gloriosa dei Frari. Der Giebel der durch Pilaster gegliederten Backsteinfassade ist hier - im Gegensatz zum gegenwärtigen Zustand - noch mit fünf durchbrochenen, spitzen Aufsätzen in Form von Fialen gezeigt. Rechts der Anbau der Scuola Grande di San Rocco, in der sich die bedeutenden Werke Tintorettos befinden, wie überhaupt die Kirche selbst schon berühmteste Gemälde von Tizian beherbergt. Im linken Hintergrund der Campanile; zum linken Bildrand hin die Häuser- und Palastfassaden, die den Platz säumen. Im Gegensatz zum rötlichen Farbton der Fassade und dem verschatteten Anbau rechts, wird das Bild aufhellend belebt durch eine erstaunlich bewegte Figurenstaffage. Links hinten ist die Fassadenfront durch eine goldene Karosse bereichert. In hellem Licht steht eine Gruppe herrschaftlich gekleideter Figuren - ein Herr im Gespräch mit zwei Damen in bodenlangen Kleidern, dahinter eine Gondel, die soeben die Stufenbrücke durchschifft hat. Weitere Figuren bis in den Hintergrund locker verteilt. Besonders auffallend und höchst originell zwei Gestalten, die unglücklicherweise die Treppe herabgefallen sind, beobachtet von den nebenstehenden Passanten und einer Magd, die sich mit sichtlichem Interesse dem Vorfall widmet. Gerade diese figürlichen Bereicherungen verleihen dem Gemälde einen besonderen Reiz. Michele Marieschi war nur eine kurze Lebens- und Schaffenszeit gegönnt. Vom Maler, der sich in der Zeit um 1720 bzw. auch nach 1731 in Deutschland aufhielt, um hier als Bühnenmaler zu arbeiten, wissen wir, dass er sich 1735 nach Venedig zurückbegab, und dort alsbald Mitglied der venezianischen Malergilde Fraglia de´Pittori wurde. Der Kupferstecher und Maler Gaspare Diziani und der Sammler Freiherr Mathias von der Schulenburg, der damals als Generalfeldmarschall im Dienste Venedigs stand, unterstützten den Maler unseres Bildes. Letzterer erwarb 1738 zwei Veduten. Auch die Verehelichung mit Angela Fontana, einer Tochter des höchst bekannten Kunsthändlers der Stadt, dürfte zum Erfolg Marieschis beigetragen haben, insbesondere, als dessen Venedigmotive von Sammlern der Grand Tour begehrt waren. Ab 1743 hat Marieschi die Aufträge mehr und mehr seinem Schüler Francesco Albotto überlassen. 1741, also drei Jahre vor seinem Ableben, veröffentlichte Marieschi einen Satz von 21 Radierungen von Venedig unter dem Titel „Magnificentiores Selectioresque Urbis Venetiarum Prospectus“, wobei Angelo Trevisani das Portrait Marieschis als Titelbild schuf. Etliche Gemälde seiner Hand befinden sich in den öffentlichen Museen in Stockholm, Prag oder Warschau sowie im Niedersächsischen Landesmuseum Hannover. A.R. (†) (1330519) (11)Michele Giovanni Marieschi,1696/1710 Venice – 1743 CAMPO DEI FRARI IN VENICE Oil on canvas.52.5 x 69 cm.Accompanied by an expert’s report by Dario Succi. Vista across a narrow side canal, crossed by a bridge with stairs, to the Campo with the Gothic façade of the Church of Santa Maria Gloriosa dei Frari. In contrast to the current state, the gable of the brick façade, which is structured by pilasters, is shown here with five openwork, pointed pinnacles. On the right is the extension of the Scuola Grande di San Rocco, which holds Tintoretto’s important works and the church itself, which houses Titian’s most famous paintings. The campanile is shown in the background to the left and façades of houses and palaces line the square on the left margin. In contrast to the reddish shade of the façade and the shaded extension on the right, the picture is brightened up and enlivened by an astonishingly moving staffage of figures. In the background on the left, the front of the façade is highlighted by a gilt state coach. Standing in bright light is a group of stately dressed people – a gentleman in conversation with two women in floor-length dresses – with a gondola that has just crossed the stepped bridge behind them. There are further figures loosely scattered in the background. Particularly striking and highly original are two figures who have accidentally fallen down the stairs, observed by passers-by and a maid who is obviously interested in the incident. It is these figurative additions that add to the painting’s special charm. It is known that the painter Michele Marieschi, who stayed in Germany around 1720 and after 1731 to work as a stage painter, returned to Venice in 1735 and soon became a member of the Venetian painters’ guild Fraglia de’ Pittori. The copper engraver and painter Gaspare Diziani and the collector Freiherr Mathias von der Schulenburg, who at the time was Field Marshal in the service of Venice, were supporters of Marieschi. The latter acquired two vedute in 1738. The marriage to Angela Fontana, a daughter of the city’s famous art dealer, may also have contributed to Marieschi’s success, especially when his Venice motifs were coveted by collectors on the Grand Tour. From 1743 Marieschi increasingly left commissions to his pupil Francesco Albotto. In 1741, three years before his death, Marieschi published a set of 21 etchings from Venice entitled Magnificentiores Selectioresque Urbis Venetiarum Prospectus, with Angelo Trevisani creating Marieschi’s portrait as the title page. His paintings are held in public museums in Stockholm, Prague, and Warsaw, as well as the Niedersächsisches Landesmuseum in Hanover. (†)
Lot 515
Jan de Momper,wohl Antwerpen – 1684 RomLandschaft mit ReisendenÖl auf Leinwand.76 x 132 cm.In vergoldetem Louis XV-Stilrahmen.Beigegeben ein Gutachten von Prof. Giancarlo Sestieri vom 16. April 2004, in Kopie. Sich im breiten Format erstreckende Flusslandschaft mit Ruinen, Vieh und Reisenden im Abendlicht. (1331003) (2) (13)Jan de Momper,probably Antwerp – 1684 RomeLANDSCAPE WITH TRAVELLERSOil on canvas.76 x 132 cm.Accompanied by an expert’s report by Professor Giancarlo Sestieri dated 16 April 2004, in copy.River landscape in wide format with ruins, cattle, and travellers in the evening light.
Lot 707
Maurice de Vlaminck, 1876 Paris – 1958 Rueil-la-GadelièreBOUQUET DE FLEURSÖl auf Leinwand. Doubliert.81 x 65 cm.Rechts unten signiert. Rückwärtig auf dem Keilrahmen mit Nummerierung „29124“.In geschnitztem und vergoldetem Holzrahmen.In einem Tongefäß, das auf einem Regalbrett steht, ein Blütenstrauß in Manschette, welche den Blumenstrauß von hinten umfängt und somit das eintreffende Licht reflektiert und auch die tieferen Gründe des Blumenstraußes erhellt. Die Blüten meist in konzentrischen Farbringen in roten, weißen und gelben Tönen erstrahlend und gegen den dunkleren Hintergrund, der für de Vlaminck typisch ist, sich absetztend. Das Gemälde wegen der dünnen Leinwand doubliert. Nur sehr wenige, unter UV-Licht auszumachende Retuschen.Bedeutender französischer Maler der Moderne in dem Kreis französischer Künstler, der vor allem in enger Freundschaft mit André Derain (1880-1954) wirkte und die Entstehung des Fauvismus einleitete. Als Postimpressionist wurde er zeitweise von dem Galeristen Daniel-Henry Kahnweiler betreut. 1955 Teilnehmer der documenta 1 in Kassel. 2008 Würdigung seiner Werke durch eine Ausstellung im Musée du Luxembourg in Paris.Anmerkung:Anbei die original Rechnung der Galerie Drouant vom 19.09.1964, bei welcher das vorliegende Gemälde für 125.000 Franc erworben worden ist und auf ca. 1914 datiert wird. Des Weiteren liegt von der gleichen Galerie eine Schätzung für die Versicherung vor, welche den Wert des Gemäldes auf 150.000 Franc festlegte. (13306226) (10)Maurice de Vlaminck,1876 Paris – 1958 Ruell-la-GadelièreBOUQUET DE FLEURSOil on canvas. Relined.81 x 65 cm.Signed lower right. Numbered “29124” on reverse of stretcher.In carved and gilt wood frame.UV light reveals only very few retouches.Notes:Original invoice dated 19 September 1964 from Galerie Drouant enclosed, where the painting on offer for sale in this lot was purchased for 125,000.00 franc and is dated ca. 1914. The same gallery also provided an insurance quote estimating the painting’s value at 150,000.00 franc.
Lot 257
dating: first quarter of the 19th Century provenance: Swiss, Heavy, octagonal, rifled, 15.6 mm cal barrel, with small remains of browning, signed 'IO SCHERRER IM BUNDT', provided with a rear sight with a foldaway leaf. The tang with small folding diopter. Lock with watertight cap and anti-friction wheel. Working trigger and set trigger. Long, light wood stock with checkered handle. Iron mounts. Bone mouth. Wooden and mother-of-pearl inlays on the lower side Bone-tipped, wooden ramrod with base for a brass cartridge extractor. length 116 cm.
Lot 391
dating: third quarter of the 19th Century provenance: Kingdom of Italy, Round, rifled, 18 mm cal barrel (clean bore, visible rifling), with various marks and serial number '5603', provided with front sight and clutch for the bayonet, provided with folding rear sight. Sliding-revolving bolt, marked 'CG', 'LECCO', 'GG' and with various numbers and marks. Light wood full stock (in good condition, some woodworm holes) numbered 'P 3088'. Iron mounts with marks. Missing ramrod, iron socket bayonet. length 140 cm.
Lot 4
dating: Third quarter of the 19th Century provenance: USA, Round, rifled, 44 centerfire cal barrel (visible rifling, with light pitting), marked with the address and patent, provided with rear sight and front sight. Brass frame, serial number "84xxx" and marks "C" and "S" behind the lever. Wooden butt-stock (few woodworm holes) with brass mounts, an escutcheon with a crown without monogram under the butt. The rare Brass-tipped ramrod in three pieces inside the butt. Saddle ring. Rare. length 99.5 cm.
Lot 66
dating: about 1870 provenance: London, Octagonal, rifled, browned, 11 mm cal barrel (bore with light pitting, visible rifling) engraved at the ends, front sight; smooth, five-shot cylinder, engraved with floral motifs, 'GP' under crown and marks of the London test bench; frame with very fine floral engravings and serial number 'No.20495 T', frame signed 'PRITCHETT & SON POULTRY LONDON', magazine marked 'W. TRANTER'S PATENT', trigger 'W. TRANTER'S PATENT 1866'. Secure-lock. Engraved trigger guard with typical double trigger. Checkered wooden butt with engraved iron guard. In wooden case with brass mounts, lined with green cloth and with label 'William Tranter', complete with accessories and original 'Tranter's Lubricating Bullets' box and key. length 33.2 cm.
Lot 62
John Atkinson Grimshaw (British, 1836-1893)Eveleigh (Forge Valley, Scarboro) signed and dated 'Atkinson Grimshaw 1876' (lower left), inscribed with title, signed and dated 'Atkinson Grimshaw 1876' (on frame backing board)oil on board34.1 x 23.9cm (13 1/2 x 9 1/2in).Footnotes:ProvenanceWith Arthur Tooth, London.Private collection, UK.The location of Forge Valley near Scarborough was one often revisited by John Atkinson Grimshaw as he searched for countryside subjects around the coastal town to accompany his sea views and townscapes. It was in the years that this work was created that he rented his seaside home in Scarborough, Castle-by-the-Sea, and it is during this time that he honed his skills in capturing atmosphere and light, particularly under moonlit; the present work epitomises these two attributes that would become synonymous with his paintings from this point on in his career.We are grateful to Alexander Robertson for his assistance cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 65
Giovanni Boldini (Italian, 1842-1931)Al caffè signed and inscribed 'To Miss B. Pearce/with admiration/Boldini' (on the reverse)oil on card10.5 x 18.5cm (4 1/8 x 7 5/16in).Footnotes:ProvenancePrivate collection, Italy.Please note that this lot is accompanied by a digital certificate of authenticity issued by expert on the artist and author of his catalogue raisonné, Dr Francesca Dini.The son of an artist, Boldini undertook training in his hometown of Ferrara before moving to Florence where he lived for about a decade. Here, from 1864, he joined the Macchiaioli group of artists, now known as the greatest exponents of Realist art in Italy. The portraits painted by the young Boldini at this time - mainly of his artist friends and of some members of the Russian and English aristocracy residing in Tuscany - mark in Italy the renewal of this pictorial genre and they cemented the young Boldini's reputation. Subsequently, in 1871, he travelled to London where he sought patrons amongst English high society; however, in the same year, drawn by the light and glamour, he decided to settle in Paris. Here, he began producing small fanciful oils designed not only to capture the costumes and lifestyle found in the city's grand homes, but also to please the international clientele of the famous gallery, La Maison Goupil. During the 1880s, however, Boldini moved away from these somewhat staid subjects and instead devoted himself to the more faithful representation of his beloved Paris. Now, the French capital appears at its most vital with paintings depicting the squares and animated streets, the outdoor cafes, the transit of carriages and their horses' manes in the wind, the elegant bourgeoisie and street vendors, all characterised by a new freedom of brushstroke and modern spatiality. The present lot can be placed during this period of the artist's life.This work is an early example of his Parisian café sketches, a subject which he revisited several times. These studies seem to have been produced in preparation for one his masterworks, Scène de fête au Moulin Rouge, currently housed at the Musée d'Orsay in Paris. In the Musee d'Orsay painting, during one of the usual night sorties, Boldini stops in at the famous Parisian restaurant, made characteristic by the bright reds of the tapestries; he welcomes the clamour of the voices that mix with the sounds of music, of shimmering garlands of suspended lights that come down from the ceiling and make the glasses sparkle, illuminating the wonderful costumes; he has revelled in the attitudes of bystanders, with their desire to seduce and be seduced, as in the case of the seated gentleman to the right of the scene, who confidently perches in front of the cocotte that has approached his table, smiling at him, winking and amused. The atmosphere of this finished oil is captured in the present study, and this shows how the immediacy of these sketches could inform his more highly finished works. This painting can therefore be seen as an early idea on this theme, defined with quick brushstrokes with the characteristic Tiepolesque white lighting. The dedication placed on the back of the card brings us to the second half of the eighties, at which time Boldini - who was perfecting his new style of portraiture, highlighted by elegant figures painted on a large scale, with energetic and loose brushwork - befriended John Singer Sargent and the group of American painters active in Paris at the time, including Charles Sprague Pearce, a genre painter native to Boston who was distinguished by his gold medal at the Salon of 1883. Pearce married a French lady and remained in France for the rest of his life, so the Miss Pearce mentioned on the reverse of the card could be an American relative of the painter.We are grateful to Dr Francesca Dini for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 70
Sir Alfred James Munnings, PRA, RWS (British, 1878-1959)The River Dove signed and dated 'A.J.MUNNINGS 1911' (lower right)oil on canvas51 x 61cm (20 1/16 x 24in).Footnotes:ProvenanceAnon. sale, Sotheby's, New York, 1 February 2019, lot 460.Property of an Important Collector.This work will be included in Lorian Peralta-Ramos's forthcoming book Tradition and Modernity and the Works of Sir Alfred Munnings to be published by the National Sporting Library and Museum in Middleburg, Virginia.Munnings painted two scenes of this view of the River Dove, the present work and an earlier version dated 1909. The present work has stronger tonalities and greater luminosity in the water's reflections. It is likely that on one of Munnings' frequent forays up and down the rivers, the artist came across this quiet bend and was entranced by the blooming clover on the far shore depicted in the original painting. Returning to this quiet painting spot, the artist captures the sun's transitory reflections on the water with rich impasto and physically sculpts the ripples' animated undulations in creamy gradations of colour. The remaining sparkle of the unseen, dwindling sun, as it breaks through the cloud cover, casts pink tones on the water. The complimentary green hues accentuate the vibrancy of the pink reflections. The fluidity of the brushwork and the rich impasto in parts of the canvas in this and the previous two works, illustrate Munnings adaptation of impressionistic vigour and fascination with light effects even on a day with muted, grey evening light.The River Dove is an upstream tributary which flows into the Waveney near Hoxne and was another painting ground probably discovered when he ventured on river forays up and downstream from his family home in Mendham. '... The River Waveney, which divides Norfolk from Suffolk, and which was to be my painting ground for six years after leaving the artists' room in Norwich [Art School] ... our familiar view from the mills since childhood had been across the meadows to the village... these elms domed and shaped in mass beauty, changed as the summer days happened to be cloudy, clear, hot or cool. On such a day as this they would have appeared purple through the heat haze as they looked into the sun.'Munnings had grown up along a river in the mill house at Mendham so the sound of water churning had been a constant in his childhood. He indicated in his memoirs that the sound of the river was almost medicinal and that 'I often long for the river and the river scenes.' (The Englishman, page 61). This ingrained childhood love of water was a strong inspiration for years to come. The combination of his love of the river and the light's complexities and patterns of changing light on rippling water must have been irresistible.We are grateful to Lorian Peralta-Ramos for compiling this catalogue entry.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 69
Pair of French Napoleon III candlesticks, ca. 1860-70. After "CLODION" (Claude Michele, Nancy, 1738 - Paris, 1814).Patinated and gilded bronze.Marble base.Measurements: 120 cm (height) x 40 cm (diameter).Following the Louis XV style, characteristic of the renowned French sculptor Clodion, we are in front of a pair of bronze candelabra, each one of them with a body of lights with five curved arms, gilded and decorated with vegetal motifs. They have flaming lampshades. The light bodies are supported by round sculptures of patinated putti, whose grace and classicism are inspired by those of the prolific sculptor Clodion. They are a pair of curly-haired lovebirds, with carefully cared-for anatomies and soft, warm finishes. The naturalness of their gestures and postures is also remarkable. This type of candelabra was characteristic of the Paris of Napoleon III, when the Clodion style experienced a new boom.Claude Michel, known as Clodion, was born in Nancy, but in 1755 he moved to Paris to study in the workshop of his uncle, the sculptor Lambert Sigisbert Adam, with whom he remained for four years. After his uncle's death he became a pupil of Jean Baptiste Pigalle, Madame de Pompadour's favourite sculptor. His work soon began to be recognised and in 1759 he won the grand prize for sculpture at the Académie Royale. In 1761 he was awarded the first silver medal for studies on models, and a year later he was awarded the Grand Prix de l'Académie Royale, consisting of a pension to further his training in Italy. Clodion was very active in Rome between 1767 and 1771. On returning to Paris he set up his own studio, where he worked with his brothers depicting mythological scenes, groups of dancers, nymphs and bathers in a language somewhere between Rococo and Neoclassicism. His works were in great demand, from the Parisian salons to Catherine II of Russia. Clodion's works are held in the Louvre (Paris), the Metropolitan Museum of Art (New York), the Hermitage Museum (St. Petersburg), the Victoria & Albert Museum (London), the Art Institute of Chicago, the J. Paul Getty Museum (Los Angeles), the Frick Collection (New York) and the Kimbell Museum (Forth Worth, Texas), among many others.
Lot 10
Grand sabot d'hadrosaure Large Hadrosaurus HoofEdmontosaurus annectensCretaceousHell Creek Formation, South Dakota, USAThis large, extremely well-preserved, dinosaur toe bone (ungul) is from the famous duck-billed dinosaur Edmontosaurus. Light brown in color with excellent surface texture. It measures 10.2cm in length (4 in) and comes with a custom display stand. Measuring 9.5 x 11 cm. Height overall with stand: 12.3cm (2) Footnotes:Offered with a custom-fitted black metal stand. For further information on this lot please visit Bonhams.com
Lot 135
Bloc de labradorite polie Polished Labradorite Boulder Madagascar The brilliant play-of-color, known as labradorescence is due to twinning on a microscopic level when viewed from a variety of directions; this optical phenomenon produces flashes of blue, violet and green with an occasional orange and yellow. Labradorescence is an exclusive optical phenomenon seen only in this mineral labradorite, and this particular specimen is a fine example of its type. Having a contour polished face which reveals bright hues of blue it is characterized by an exceptional display of labradorescence, particularly on the face. With hues of light blue, dark blue, gold and orange this mid-sized specimen is a fine example of this phenomenal ornamental mineral. Weighing approximately 17.2 kilograms and measuring 42 x 24 x 10 cm For further information on this lot please visit Bonhams.com
Lot 174
Exceptionnelle sphère de willemite, calcite et franklinite fluorescente sur socle Large and Exceptional Fluorescent Willemite, Calcite and Franklinite Sphere on StandSterling Hill Mine, Ogdensburg, New Jersey Found only at the now closed zinc mines of Franklin, New Jersey. Polished into a sphere of very large diameter, the mineral appears speckled grey and brown in a white matrix by daylight. Under short-wave light the piece fluoresces a brilliant day-glow orangy-red and green. It also phosphoresces green. Created from fluorescent material mined at the famed Sterling Hill Mine, renowned for having the most vivid and the brightest fluorescent stones in the world. This sphere is one of only a very few spheres ever cut from this material and it certainly figures amongst the largest ever seen on the market. Fluorescing a bright neon green and bright red under shortwave UV light, this is an important collector's item not only for its vividness of color, but also for its size. Displayed on its metal stand, it is sure to form a novel conversation piece. Diameter 20.3 cm. Height 39.3 cm with the metal stand. (2) Footnotes:Accompanied by custom-fitted metal stand.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 53
Grande pépite d'ambre vert fluorescent Large, Fluorescent Green Amber NuggetHymanea mexicanaOligocene Chiapas, MexicoChiapas Amber is fossilized resin from the now extinct tree species, Hymanea mexicana which flourished some 23 to 30 million years ago. These giants of the forest released copious amounts of sap trapping insects, flowers and leaves in the sticky resin that flowed. Originally discovered by the Mayans, this amber was valued so much as to be included in their inventory scrolls. The Chiapas locality produced an amber that is actually harder than Baltic amber due to its direct proximity to volcanic earth, making it the hardest amber in the world and completely suitable for carving. The present offering is a classic cabinet-sized specimen capable of standing on its own having flow striations visible one side and plant matter visible to the interior. The nugget fluoresces green under UV light and displays with a slightly green body color in sunlight. Weighing approximately 467 grams and measuring 13 x 7 x 10 cm Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 64
Tranche de bois de palmier pétrifié Petrified Palm Wood SlabPalmoxylon sp.OligoceneBarisan Mountains, Sumatra, IndonesiaThis attractive slice of petrified palm wood was cut from a 30-million-year-old palm tree in the petrified forests of the Barisan Mountains on the island of Sumatra. The striking dark blue coloring at the center is streaked with gorgeous light blue patches of agate. It is bordered by a pale tan rim within a sandy corolla and bounded by a roughly textured natural bark crust. This sliced section perfectly displays the unusual inner anatomy of the original tree, with its coarse-grained structure of sclerenchyma bundles, groups of tubules that give the tall slender palm trunk its vertical strength. Brought to a highly polished finish on one side. Measuring 40 x 31 x 3 cm. Measuring 44 x 31 x 8 cm overall with stand (2) Footnotes:Offered with a custom-fitted black metal stand. For further information on this lot please visit Bonhams.com
Lot 96
Bloc de verre libyque Libyan Desert GlassLibyaTektites are silicated glass formations resulting from the violent impact of asteroids with Earth. The extraordinary heat and pressure of these collisions liquefies the impacted surface materials, which then fall back to Earth as glass. The higher the silica content of the material melted, the lighter the color; the 98 per cent silica content of Libyan Desert Glass renders it a delightful light yellow color. The present sample is an outstanding example of the smooth, green tektites found in the sands of the Sahara between Libya and Egypt. Often resembling translucent meteorites, with distinct scallops, and other ablation markings evident on the surface, this is a beautiful complete study of molten glass tumbling in flight. The present specimen is very large for its type and has great thickness, yet at the same time good transparency, particularly at the edges. Large and complete on all sides, with characteristic chartreuse green color and good translucency, particularly at the edges. Weighing approximately 322.18 grams and measuring 11.3 x 4 x 6.5 cm For further information on this lot please visit Bonhams.com
Lot 752
Ludwig MIES VAN DER ROHE (1886-1969) 'Barcelona Coffee Table' for Knoll. Steel frame with a glass top. Condition: Generally in good condition with use marks on the glass. There is some light surface grime forming on the steel base. There is one small chip at a corner of the glass top.Dimensions: (L: 100 x W: 100 x H: 46,5 cm)
Lot 761
Valenti ' COLMILLOS', a coffee table with elephant tusks and glass in Hollywood Regency style. Tusks made of resine and brass. Condition: Generally in good condition with some light use marks and some dents to the rim. There are some scratches in the glass plane. Dimensions: (L: 100 x W: 180 x H: 45,5 cm)
Lot 141
Karel APPEL (1921-2006) 'Femme' a lithograph, made in 125 pieces. Signed 'Bon A Tirer, Appel'. Bon a Tirer meaning the work has been approved by Karel Appel for print in this configuration. This print is the first of the series, not numbered. Printed in the atelier Pons, France. 1960A copy of the original invoice from Galerie 'Gabriel Van De Weghe' will be provided. Condition: The artwork is generally in good condition and can be hung directly on the wall in our opinion. There are a few light wrinkles in the paper around the lower rimThe work is framed in an acid-free frame behind Mirogard glass for good conservation.Dimensions: (W: 55 x H: 75 cm)
Lot 244
An antique 'Eternal Light', made of silver, Amsterdam, The Netherlands. 18th century. With date letter T (1753), makers mark FH or GFH. Gross weight: 1,222 kg. Condition: Generally in good condition with light bumps here and there. There are some minor restorations where the chains are connected. The chains have been replaced. The handles for chains on the eternal light are restored and marked with another maker's mark. Dimensions: (H: 85 x D: 22 cm)
Lot 124
A bespoke amethyst torque bangle, with a central oval cut amethyst weighing an estimated 8.00 carats, claw set in a wide concave, oval surround, on a three row, tapering gold bangle, hallmarked 9 ct, London, 1974, inside diameter 53mmCondition Report: Gross weight approximately 49.70 grams In very good condition, light wear, no notable damage or repair
Lot 125
A bespoke amethyst ring, with a central oval cut amethyst weighing an estimated 8.00 carats, claw set in a wide concave, oval surround, on a three row, tapering gold shank, hallmarked 9 ct, London, 1974, ring size LCondition Report: Gross weight approximately 15.29 gramsIn very good condition, light wear, no notable damage or repair
Lot 220
Diamond cluster ring, an oblong design with three round brilliant cut diamonds to the centre, with a further surround of ten round brilliant cut diamonds, estimated total diamond weight 1.95 carats, mounted in stamped 18 ct white gold, ring size OCondition Report: Gross weight 5.8 gramsEstimated colour H-I-JEstimated clarity SI/IAll stone weights are approximate and assessed in the mountOverall, in very good condition, claws all appear secure, very light wear to the metal
Lot 264
Fine 19th century vanity box in the form of mother of pearl chest, the gold mounts with chased decoration of C scrolls and human masks, the escutcheon with dogs heads, supported on four shell feet. The interior fitted with two glass scent bottles the gold caps with enamel figures of a dog and a salamander, a gold purse with enamelled flowers enclosing a mirror, ear spoon, tweezers and a folding spatula. The gold mounts and fittings are unmarked but test as gold (14ct) 6.5cm x 4.5cm x 6.5cm including swing handleCondition Report: Overall, in good condition for age. Mother of pearl is good with light surface scratches but no chips or losses, the gold decoration and feet are good, slight bending to the feet but sits well. Inside, the red velvet is worn and shows multiple marks, the gold stand has light surfaced scratches along with small chips and dents around the holes for the items, there is one significant dent. The scent bottles are good, 2-3 small chips to the glass, enamel is good, the lids do not fit snugly and would fall out if turned over. Spoon and spatula are good. Tweezers are tarnished. Gold purse compact opens and closes well, enamel is good, marks to the reverse due to snug fitting in the holder, mirror is fairly scratched and worn but not cracked or broken.
Lot 344A
Omega Speedmaster, stainless steel reference ST 105 003. 65, wristwatch, the signed black dial, set with luminous baton hour markers, minute track, three subsidiary dials arranged as running seconds at 3, 12-hour totalizer at 6 and 30-minute totalizer at 9, tachymeter bezel, fitted with a Calibre 321 Manual wind 17 jewel movement, numbered 24535009, the case back marked Speedmaster, and mounted on a signed stainless steel bracelet numbered 1170 and the end links 633, With original guarantee dated 13/12/67, service papers, original guarantee from JW Benson Ltd London, box, outer card box, and service pouch.Condition Report: The case has light surface scratches to the case sides .Light surface scratches to crystal.Movement functioning correctly at time of inspection.The movement has been opened for inspection and will need professionally resealing.This watch has recently been serviced Please note that the movement has not been tested for the accuracy of time and may need a service at the buyer's expense.Ewbanks does not guarantee the future working of the movement and we do not guarantee the authenticity of any individual component parts since subsequent repairs and restoration work may have resulted in the replacement of original parts
Lot 368
Omega a gentleman's reference 74001301 DeVille wristwatch, the signed white enamel dial with Roman numeral hour markers and steel hands, fitted with a calibre 1378 quartz movement, the case back with DeVille inset and numbered 55153874, and mounted on a brown leather strap, with box, outer box and papersCondition Report: The case back and sides have light surface scratches commensurate with ageRequires replacement batteryThe movement has been opened for inspection and will need professionally resealing.Please note that the movement has not been tested for the accuracy of time and may need a service at the buyer's expense.Ewbanks does not guarantee the future working of the movement and we do not guarantee the authenticity of any individual component parts since subsequent repairs and restoration work may have resulted in the replacement of original parts
Lot 69
Tanzanite and diamond ring, with central rectangular cut tanzanite, estimated weight 1.60 carats, with a double row halo of round brilliant cut diamonds, with diamond set shoulders, mounted in platinum, size SCondition Report: Gross weight 8.4 grams Overall, in very good condition, very light surface scratches to the metal consistent with use, no chips or significant scratches to the tanzanite
Lot 2022
A First World War Casualty Group, comprising British War Medal, Victory Medal and Memorial Plaque, awarded to 58058 PTE.S.(Sydney) J.(James) MAYES, K.O.Y.L.I., in a glazed display frame with Memorial scroll and George V Buckingham Palace message together with a portrait photograph, and modern photographs of his war grave.Footnote: - Sydney James Mayes of 5th Battalion King's Own Yorkshire Light Infantry died on Tuesday 27th August 1918 and is buried at Mory Abbey Military Cemetary, France.
Lot 2186
A Small Quantity of Second World War Militaria, comprising a German gas mask, the base stamped FE37 AM and dated 1940; two German aluminium water canteens covered in wool felt, one with screw top stamped EF36 and with leather strap, the other lacking screw top; a Japanese brown enamelled water canteen with webbing strap, lacks stopper; a silver plated and enamelled brass shield shaped plaque engraved with a presentation inscription to the Most Proficient Platoon of the Durham Light Infantry to No.6 Platoon dated 1943 and 1944; a 51st Highland Division embroidered cloth insignia; items relating to the 30th Corps, comprising a pair of Lance Corporal arm chevrons, an Alamein medallion, long service chevrons, printed cloth Divisional insignia and a booklet "30th Corps in Germany"
Lot 2219
Nine Pieces of Second World War Headgear, comprising two Civil Defence Composition Brodie Helmets, one with moulded mark under the brim PLASFORT, two Zuckerman helmets, one in light green stencilled SFP, the other in dark olive green, three ARP wool berets and two private purchase compressed fibre helmets, one with reinforced skull, and one with cushioned peak (9)
Lot 2251
A Second World War German Grey Painted Wood Ammunition Case, with later stencilled lettering Heeres-Munition Gesamtgew 8.9kg, containing two shell cases; six Light field Howitzer Shell Cases, stamped 6342St. LFH and with various dates 1939/40, in a wood crate; two German Shell Cases, each stamped 6350St. sFH18, one in steel dated 1940, the other in brass dated 1936 and with wehrmacht eagle, in wood crate stencilled F.H.18 (3)
Lot 2263
A Second World War German Ammunition Case for the Light Field Howitzer, containing three cardboard tubular boxes marked "Sonderkart. 6 der I.F.H. 18; three Other German Army Ammunition Cases, one in wood marked Hülsenkart 12,2cms FH396(r)-russ38", one for three shells marked "3SMI35", and one in stiff card marked "3,7cm Luftwaffen-Munition" (4)
Lot 2291
A Japanese Yari Blade, 14.5cm, of triangular section, the flat side with red lacquered narrow fuller, the signed tang with single mekugi ana, 38.5cm; an Indonesian Escrima (Fighting Stick), of light hardwood, one end slightly weighted, 60cm; a Japanese Kendo Stick, of polished dark hardwood, with a bone mekugi, signed on one side, 91cm; a Japanese Carved Hardwood Figure, as a man seated with his head and hands resting on his bent knees, 10cm (4)
Lot 2298
A Second World War Japanese Katana, the 66cm steel blade with undulating hamon, white metal one piece habaki and steel seppa, brass prunus decorated tsube, the brown braid bound same hilt with triple chrysanthemum head menuki, similarly decorated fuchi and kashira, with steel saya Very dirty condition. Unable to remove the hilt fittings to see the tang. A nick to the edge of the blade which has dirt and grease marks hardened on to the surface. The scabbard is deeply rust pitted but not dented. All the fittings have light pitting and surface dirt.
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