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Lot 2583
A 20th century tole painted wrought metal five-branch ceiling light of foliate form, height 43cm, width 50cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 165
Louis XV-Salongarnitur mit sechs Fauteuils und einem SofaLehnhöhe: 106,5 / 104 cm.Breite: 70 / 195 cm.Sitzhöhe: 45 cm. Frankreich, Mitte 18. Jahrhundert.Jeweils in Buche geschnitzt und mit Gros Point-Stickerei-Bezug. Die Bezüge zeigen Landschaftskartuschen mit Staffagefiguren und Tieren inmitten von Blumen auf hellem Fond. Die Zargen und die geschweiften Beine mit deutlicher Schnitzarbeit Muschelungen und Blattwerk zeigend. Minimal besch. rest. (†) (12901418) (13)Louis XV salon suitewith six fauteuils and a sofaHeight of backrest: 106.5 / 104 cm. Width: 70 / 195 cm. Height of seat: 45 cm.France, mid-18th century.The covers show landscape cartouches with staffage figures and animals amidst flowers on a light background. (†)
Lot 258
Melchior de Hondecoeter, 1636 Utrecht – 1695 Amsterdam HENNE MIT SIEBEN KÜKEN Öl auf Leinwand. Doubliert.51,5 x 56 cm. 1660er-Jahre. In teilvergoldetem Rahmen.Beigegeben eine Expertise von Dr. Klaus Ertz vom 18. April 2021. In weiter bergiger Landschaft, vor der trockenen Wurzel eines nach rechts sichtbaren Baumes sitzend, eine Henne mit weißem flauschigem schimmerndem Gefieder. Umgeben ist sie von ihren Küken, von denen sich eines in ihrem Gefieder versteckt hat. Im Hintergrund rechts der Blick auf einen dunklen Baum mit großem Baumstamm und davor eine Pflanze mit grünen, teils rötlich-braun vertrockneten Blättern, während linksseitig der Blick in die Ferne, unter blauem Himmel mit weißen Wolkenformationen reicht. Laut Ertz wirken die einzelnen, sehr realistisch dargestellten Tiere wie kleine Portraits ihrer Gattung. Die Komposition wirkt voller Dramatik durch das eingesetzte Licht und durch die gegeneinander gesetzten hellen und dunklen Federn des Geflügels. Kleine Retuschen. Anmerkung:Melchior de Hondecoeter gehört zu den Hauptmeistern der holländischen Geflügelmalerei des 17. Jahrhunderts durch seine Variationen in vielfacher Art und Weise, meist einheimischer Vögel, Hühner und Enten. Er konnte auf unvergleichliche Weise die Färbungen des teils schimmernden Gefieders seiner Tiere auf die Leinwand bringen. (1291123) (18)Melchior de Hondecoeter,1636 Utrecht – 1695 AmsterdamHEN WITH SEVEN CHICKSOil on canvas. Relined.51.5 x 56 cm.1660s.An expert’s report by Dr Klaus Ertz, dated 18 April 2021 is enclosed. According to Ertz, the individual, very realistically depicted animals look like miniature portraits of their species. The composition is full of drama due to his skilful composition of light and the contrasting light and dark feathers of the poultry. With minor retouching.
Lot 627
Eugène Boudin, 1824 Honfleur – 1898 DeauvilleMARKTTREIBEN VOR DER KATHEDRALE IN DIEPPE „LA PLACE NATIONALE À DIEPPE – UN JOUR DE MARCHÉ“Öl auf Mahagoni. 46 x 37,5 cm. Links unten signiert. Entstanden um 1892/96.Boudin gilt als bedeutender Vorläufer des Impressionismus und war einer der ersten Freilichtmaler. Der Sohn eines Hafenarbeiters und bereits zehnjährig als Schiffsjunge auf einer Fähre, zog mit seiner Familie 1835 nach Le Havre. Sein Vater betrieb dort einen Bilderrahmenladen, was dazu führte, dass er etliche Maler kennenlernen konnte, deren Gemälde er auch im Laden ausgestellt hat. Auf Anraten von Künstlers wie Jean Francois Millet, Eugen Isabey oder Constant Troyon, griff er selbst alsbald zum Pinsel, um schließlich 22-jährig als freischaffender Maler zu wirken und den Laden aufzugeben. 1851 konnte er in Paris studieren, unterstützt durch die Förderung der Stadt Le Havre. Ausgedehnte Reisen ließen mannigfache Landschafts- vor allem Strandmotive entstehen. In Ferme Saint-Simeón, nahe Honfleur, bildete er zudem einen Kreis mit den Malern Courbet, Jongkind oder vor allem Monet, die als seine Schüler nun auch der Freilichtmalerei zugewandt wurden. Im Pariser Salon war er bereits ab 1859 vertreten, zwanzig Jahre später kam es mit ihm zur ersten Impressionisten-Ausstellung im Studio Nadar. Einen Großteil seines Nachlasses besitzen das Musée Boudin in Honfleur sowie das Musée Malraux in Le Havre. Neben seinen vielen Strand- und Küstenlandschaften, für die er berühmt wurde, ist die kleinere Zahl der impressionistischen Stadtbilder nicht weniger bedeutend. So findet sich in seinem Werk etwa das „Strassenbild mit Kathedrale St. Volfran“ in Abbeville, aber auch das hier vorliegende Markttreiben vor der Kathedrale von Dieppe. Flirrendes Licht liegt über dem Marktplatz, die Figuren verschwimmen, was dem Treiben eine sonst kaum vermittelbare Bewegung gibt. A.R.Provenienz: Das Gemälde ist mit bedeutender, früh verbürgter Provenienz dokumentiert: Hôtel Drouot, Paris, 20./21. März 1899, „vente Atelier Boudin“, Kat.Nr. 5 (620 Fr.) Hôtel Drouot, Paris, 15. Dezember 1941, Saal 12, „vente Collection Delacre“ Kat.Nr. 34, m. Abb. Nr. 34. (82.000 Fr.). Auktion zusammen mit Skulpturen von Rodin (Collection Delacre). Anmerkung:Eugène Boudin gilt als einer der bedeutenden Vorläufer des Impressionismus. Zehnjährig zog Boudin mit seiner Familie nach Le Havre, wo er später Maler wie Constant Troyon (1810-1865), Jean François Millet (1814-1875) und Eugène Isabey (1804-1886) kennenlernte. Sie ermutigten ihn sich als Maler selbst zu verwirklichen, worauf er 22-jährig sein Ladengeschäft aufgab und sich ausschließlich als erfolgreicher Maler betätigte. 1851 studierte er in Paris, bevor er mehrere Studienreisen in Europa unternahm. Zu seinen Malerkollegen und Freunden gehörten Gustave Courbet (1819-1877) und Claude Monet (1840-1926).Literatur: Robert Schmit, Eugène Boudin. 1824-1898, 3 Bde., Paris 1973, Nr. 3056, Abb. S. 177. Anne-Marie Bergeret-Gourbin, mit Mitarbeit von Laurent Manouvre, Eugène Boudin. Paintings and drawings. Catalogue raisonné, Paris 1996. Jens Rosteck, Himmelskönig, Strandpoet. Wie Eugène Boudin in seinen Seestücken die Anfänge des Badetourismus in der Normandie festhielt. Erfinder des Strandbilds und Wegbereiter des Impressionismus, in: mare Nr. 98, Juni/Juli 2013, S. 98-109. Katalog Musée Eugène Boudin Honfleur, Honfleur 1983. Online-Katalog Musée Malraux in Le Havre, Ausstellung: Eugène Boudin, l’atelier de la lumière, 16. April - 26. September 2016. Laurent Salomé (hrsg.), A City for Impressionism. Monet, Pissarro and Gauguin in Rouen, Katalog zur Ausstellung im Museé des Beaux-Arts de Rouen, 4. Juni - 26. September 2010, Paris u.a. 2010. (1290881) (11)Eugène Boudin,1824 Honfleur – 1898 DeauvilleMARKET BUSTLE IN FRONT OF THE CATHEDRAL OF DIEPPE “LA PLACE NATIONALE À DIEPPE – UN JOUR DE MARCHÉ” Oil on mahogany.46 x 37.5 cm.Signed lower left. Created ca. 1892/96.The Musée Boudin in Honfleur and the Musée Malraux in Le Havre own a large part of the artist’s estate. In addition to his many beach- and coastal landscapes for which he became famous, the smaller number of Impressionist cityscapes is no less significant. Thus, his oeuvre includes a painting titled “Street view with the Cathedral of Saint Vulfran” in Abbeville, but also the market bustle in front of the Dieppe Cathedral in this lot. The market square is shown in shimmering light, the figures blurred, giving the hustle and bustle an otherwise hard to convey sense of motion.Provenance:The painting is recorded with an important, early proven provenance: Hôtel Drouot, Paris, 20/21 March 1899, “vente Atelier Boudin”, cat. no. 5 (620 Fr.)Hôtel Drouot, Paris, 15 December 1941, room 12, “vente Collection Delacre” cat. no. 34, m. ill. no. 34. (82.000 Fr.). Auction with sculptures by Rodin (Delacre Collection).Literature:Robert Schmit, Catalogue Raisonné, 3 vol., Bibliothèque Forney, no. 3056, ill. p. 177. Anne-Marie Bergeret-Gourbin, with the collaboration of Laurent Manouvre, Eugène Boudin. Paintings and drawings. Catalogue raisonné, Paris 1996.Jens Rosteck, Himmelskönig, Strandpoet. Wie Eugène Boudin in seinen Seestücken die Anfänge des Badetourismus in der Normandie festhielt. Erfinder des Strandbilds und Wegbereiter des Impressionismus, in: mare no. 98, June/July 2013, pp. 98-109.Catalogue Musée Eugène Boudin Honfleur, Honfleur 1983.Online catalogue Musée Malraux in Le Havre, exhibition: Eugène Boudin, l’atelier de la lumière, 16 April - 26 September 2016.Laurent Salomé (ed.), A City for Impressionism. Monet, Pissarro and Gauguin in Rouen, catalogue for the exhibition at the Museé des Beaux-Arts de Rouen, 4 June - 26 September 2010, Paris et al. 2010.
Lot 763
Charles Henri Joseph Leickert, 1816 Brüssel – 1907 MainzWINDMÜHLE AM KANAL BEI SONNENUNTERGANGÖl auf Leinwand. Doubliert.65 x 97 cm. Rechts unten signiert und datiert „(18)52“. Im Goldrahmen.Die hohe Malqualität zeigt sich auch in dem vorliegenden Bild, das in spätromantischer Auffassung eine weite holländische Kanallandschaft im Abendlicht präsentiert. Wirkungsvoll die Silhouette einer großen Windmühle vor einem lang sich hinziehenden Wolkenstreifen. Die Gebäude links am Bildrand sind bereits verschattet, während im rechten Bildteil das Kanalufer mit anliegenden Segelschiffen noch im Spätlicht steht. Der Bug eines voll besetzten Kahns, wohl eine Fähre, spiegelt sich auf der glatten Wasseroberfläche. Zweifellos zählt das Gemälde zu den hervorragenden Werken des Künstlers, dessen Bilder weltweit in privaten und öffentlichen Sammlungen zu finden sind. Der Maler zählt neben seinen Lehrern Andreas Schelfhout (1787-1870), Wijnand Jan Joseph Nuyen (1813-1839) oder Bartholomäus van Hove (1850-1914) zu den bekanntesten Landschaftsmalern Hollands im 19. Jahrhundert. Seine Küstenansichten, Straßenveduten oder Flusslandschaften, nicht selten mit Windmühlen, und reicher Figurenstaffage haben ihn weit über sein Wirkungsgebiet hinaus bekannt gemacht. Seine Feinmalerei gibt den Bildgegenstand jeweils minutiös wieder, was gerade im heutigen zeitlichen Abstand zur Entstehung der Gemälde als bedeutende Dokumentation gewürdigt werden muss. Neben seinen bekannten holländischen Winterlandschaften finden sich nicht wenig authentische Stadtansichten seiner Heimat, aber vor allem auch der Niederlande. In Den Haag lebte und arbeitete er in den Jahren 1841 und 1848, um danach seinen langen Aufenthalt von 1849 bis 1883 zu nehmen. 1856 wurde er mit der Mitgliedschaft der Königlichen Akademie von Amsterdam geehrt. In der Folge bereiste er Frankreich, Deutschland und Italien. A. R.Literatur: Harry J. Kraaij, Charles Leickert 1816-1907. Painter of the Dutch Landscape, Schiedam 2004. (1290711) (1) (11)Charles Henri Joseph Leickert,1816 Brussels – 1907 MainzWINDMILL ON CANAL AT SUNSET Oil on canvas. Relined.65 x 97 cm.Signed lower right and dated “(18)52”.The present high-quality painting shows a vast Dutch canal landscape in the evening light in Late Romantic style. The silhouette of a large windmill in front of a long stretch of cloud is effective. The buildings on the left edge of the picture are already shaded, while the canal bank and docked sailing ships in the right side of the painting are still illuminated by the late evening light. The bow of a fully occupied boat, probably a ferry, is reflected on the smooth surface of the water. This painting is undoubtedly one of the artist’s outstanding works and his paintings can be found in private and public collections around the world. Alongside his teachers Andreas Schelfhout (1787-1870), Wijnand Jan Joseph Nuyen (1813-1839) and Bartholomäus van Hove (1850-1914), the painter is considered one of the most famous landscape painters in Holland during the 19th century.Literature:Harry J. Kraaij, Charles Leickert 1816–1907. Painter of the Dutch Landscape, Schiedam 2004.
Lot 305
Vincenzo Chilone,1758 – 1839, zug.DER CANAL GRANDE MIT BLICK NACH NORDOSTEN VOM PALAZZO BALBI IN RICHTUNG DER RIALTO-BRÜCKE Öl auf Leinwand. 46 x 74 cm. Ungerahmt.Von seinen ersten Werken an widmete sich Chilone der Malerei venezianischer Ansichten nach den Lehren Canalettos (1697-1768). Sein Festhalten an der Manier des Meisters, insbesondere sein großes Geschick in der Perspektive, machte es zunächst schwierig, den Korpus seines eigenen Schaffens zu rekonstruieren. Es wird berichtet, dass er viele Kinder hatte und dass er, um seine Ausgaben zu bestreiten, lange Zeit als Bühnenbildner arbeitete. Das hier angebotene Werk ist von Canalettos Prototyp „Der Canal Grande mit Blick nach Nordosten“ vom Palazzo Balbi zur Rialto-Brücke inspiriert (insbesondere das in Constable links Nr. 212, Tafel 45 veröffentlichte Gemälde), von dem es sich im Detail und in der Anordnung und Anzahl der Boote, welche die Lagune bevölkern, sowie im persönlichen Stil der Palette mit ihren kühleren und kontrastreichen Farben unterscheidet. Viel Platz wird dem Himmel und der Bewegung der Wolken eingeräumt, auf denen der Künstler verweilt und die von einem dunklen Grau in der linken unteren Ecke nach rechts oben hin weiß werden. Die Gondeln und die Architektur werfen lange, deutliche Schatten auf die Lagune, die an einen Sommertag in den heißesten Stunden erinnern. Der Blick scheint wahrscheinlich vom Ca' Foscari aus aufgenommen worden zu sein. Ganz links im Bild ist der Palazzo Balbi zu erkennen, der sich durch seine palladianische Architektur auszeichnet, während rechts unter anderem die Paläste Contarini und Mocenigo zu sehen sind. Im Hintergrund kann man in der Ferne einen Teil der Rialto-Brücke erkennen. In diesem Werk zeigt sich die außerordentliche Meisterschaft des Malers in der geschickten Verwendung der Perspektive. Die Boote im Vordergrund verleihen der Szene Dynamik, da sie in verschiedenen Richtungen im Raum angeordnet sind, während sie in Richtung der Rialto-Brücke alle horizontal ausgerichtet sind, fast so, als ob sie dem Betrachter eine ruhige Atempause verschaffen sollen. Ungewöhnlich ist das Spiel der Schatten auf den Booten: Sie sind ziemlich scharf und kontrastieren mit dem hellen Wasser, was vielleicht auf die Tageszeit zurückzuführen ist, zu der das Motiv aufgenommen wurde. Der Himmel wird unten von blauen Wolken durchzogen, während sie oben leichte weiße Formen zeichnen. (1291402) (13)Vincenzo Chilone,1758 – 1839, attributedTHE GRAND CANAL WITH VIEW TO THE NORTH EAST FROM THE PALAZZO BALBI TO THE RIALTO BRIDGE Oil on canvas.46 x 74 cm.Chilone specialized in the painting of Venetian vedutas from his early works after the style of Canaletto (1697-1768). The work offered here is inspired by Canaletto’s prototype „The Canal Grande with a view to the northeast“ from the Palazzo Balbi to the Rialto Bridge (in particular the painting published in Constable Links no. 212, plate 45), from which it differs in detail and in its arrangement and number of boats populating the lagoon, as well as the personal style of the colour palette with its cooler and more contrasting shades. The play of shadows on the boats is unusual: they are quite sharp and contrast with the bright water, which may be due to the time of day when the subject was created. The sky is criss-crossed with blue clouds below while they draw light white shapes further up.
Lot 634
Albert Marquet, 1875 Bordeaux – 1947 Paris, zug./ Kreis desFRÜHLINGSLANDSCHAFT MIT FLUSS UND KASKADEN Öl auf Leinwand, seitlich beschnitten und die bemalte Leinwand ca. 2 – 2,5 cm umgeschlagen. 51 x 60,5 cm Unsigniert.Das Gemälde zeigt eine Landschaft mit breitem Fluss, der über Kaskaden von der Bildmitte bis zur gesamten Breite des Vordergrundes verläuft. Flankiert wird er von schmalen Wegen und großen, weißlich-grünen Bäumen, deren Baumkronen teils Wattebäuschen ähneln. Von rechts ragen einige Bäume über den Fluss und spiegeln sich malerisch im Wasser wieder. Auch die Farbgebung des türkisfarbenen Himmels mit violetten Farbtönen findet sich eindrucksvoll in den Wellen des Wassers wieder. Wie häufig bei Marquet ist der Pinselduktus locker und leicht. Leinwand neu aufgezogen. Kleinere Rahmenschäden.Provenienz: Seit den 1930er-Jahren in deutscher Privatsammlung. Anmerkung: Der französische Landschaftsmaler Albert Marquet nahm 1905 mit seinen Freunden Henri Matisse (1869-1954) und André Derain (1880-1954) an einer Ausstellung der „Fauves“ teil. Sein zentrales Thema ist der Zusammenhang von Farbigkeit und Licht sowie der Einfluss von Licht auf Farbe. 1939 ließ er sich bei La Frette an der Seine permanent nieder. (1290341) (18)Albert Marquet, 1875 Bordeaux – 1947 Paris, attributed/ circle ofSPRING LANDSCAPE WITH RIVER AND CASCADES Oil on canvas, trimmed on either side with the painted canvas folded over ca. 2 – 2.5 cm.51 x 60.5 cmUnsigned.Provenance: Private collection, Germany (since the 1930s).Notes:The French landscape painter Albert Marquet took part in an exhibition of the Fauves in 1905 with his friends Henri Matisse (1869-1954) and André Derain (1880-1954). His central theme is the relationship between colour and light as well as the influence of light on colour. He permanently settled at La Frette on the Seine in 1939.
Lot 376
Andrea Locatelli, 1695 Rom – 1741, zug.ARCHITEKTURCAPRICCIO MIT DEM TITUSBOGEN UND DEM PETERSDOM Öl auf Leinwand. Doubliert. 70 x 100 cm.Malerischer Blick auf den großen Titusbogen, daneben ein Rundbau und die in den Himmel ragende hohe Trajanssäule, vor weiteren Rundbögen auf der linken Seite, die den Blick auf das Meer freigeben mit einem großen Segelschiff. Durch den Titusbogen hindurch ist in der Ferne, im diesigen Licht der Sonne, die mächtige Kuppel des Petersdoms erkennbar. Im Vordergrund rechts die Reste einer beschädigten Brunnenanlage mit funktionierendem Wasserspeier, bei dem eine junge Frau in südländischer Kleidung Wasser geholt hat, welches sie in einem großen Krug auf ihrem Kopf trägt. Auf der Mitte auf einem Sockelstück kniend zwei Männer mit Zeichenblock, die dabei von einem alten Mann und einer Frau mit Kind beobachtet werden. Das Gemälde gibt somit auf interessante Weise das Interesse des 18. Jahrhunderts an den antikrömischen Artefakten wieder. Qualitätvolle Malerei mit besonderer Betonung von Licht- und Schattenverhältnissen in reduzierter Farbigkeit. (12901021) (18)Andrea Locatelli,1695 Rome – 1741, attributedARCHITECTURE CAPRICCIO WITH ARCH OF TITUS AND ST. PETER’S BASILICAOil on canvas. Relined.70 x 100 cm.Picturesque view of the large Arch of Titus with a circular building next to it and Trajan´s Column reaching high into the sky. High-quality painting that specially emphasizes light and shade in reduced chromaticity.
Lot 337
Schule von Parma, 17. JahrhundertMARIA MIT DEM KIND UND DEM JOHANNESKNABEN Öl auf Pappelholz. 72 x 53 cm. Ungerahmt.Die Dreiergruppe der Figuren eng zusammengefasst. Vor landschaftlichem Hintergrund mit einem felsigen Berg, der kegelförmig als Bildhintergrund nach oben zieht und eine dunkle Folie für das helle Inkarnat der Figuren bietet. Maria nach links sitzend, auf den Knien in leicht schräger Haltung das Jesuskind, das mit dem rechten Händchen den Kreuzstab des Johannesknaben ergreift. Unaufdringliche zarte Farbigkeit in den Textilpartien, die Konturen im Sfumato wiedergegeben, wogegen die Nimbusreifen bewusst härter gezogen sind. Die Höhenzüge des landschaftlichen Hintergrunds in blauer Luftperspektive. Die schlanken Stämme und das Laubwerk eines jungen Baumes rechts oben in betonter Silhouttenwirkung. (11506013) (11)School of Parma, early 17th centuryVIRGIN AND CHRIST CHILD WITH YOUNG SAINT JOHN THE BAPTISTOil on panel.72 x 53 cm.Unframed.The painting shows a close composition of a triangular group of figures against a landscape with a sturdy cone-shaped tree trunk rising in the background, providing a dark backdrop against the light flesh colours of the figures.
Lot 289
Jan van Kessel d. Ä., um 1626 Antwerpen – 1679 ebendaSCHMETTERLINGE, MUSCHELN, INSEKTEN UND BLÜTENZWEIG Öl auf Eichenholz. 18,5 x 24,5 cm. Mittig unten signiert „J. V. Kessel fecit A° 1661“.Beigegeben ein Gutachten von Dr. Klaus Ertz, Lingen, vom 19. Februar 2016. Dieses auch mit der kunsthistorischen Erinnerung daran, dass der Maler ab 1653 Miniaturräume vor hellem Grund schuf und das 1661 entstandene Bild sich damit in den stilistischen Zeitraum des Werkes problemlos einordnet. Zudem ist eine Farbpigmentanalyse von Prof. Dr. Schreiner, Wien, beigegeben. Die Objekte auf beigegrauem Untergrund gemalt, mit jeweiliger zarter Schattengebung, im Zentrum Strauchstängel mit Knospen und blauen Blüten einer Borretschpflanze, auch Gurkenkraut genannt, darauf ein Nachtfalter. Das farbige Zentrum überwiegend in den Farben Grün und Blau, kreisförmig umgeben von eher brauntonigen Insekten und Schmetterlingen sowie Seemuscheln und Wasserschnecken. Dazwischen kleinere Laufkäfer, eine zart gemalte Mücke sowie eine Libelle links oben. Die Farboberfläche weist feinstes Craquelé auf. (†) (12901429) (11)Jan van Kessel the Elder,ca. 1626 Antwerp – 1679 ibid.BUTTERFLIES, SHELLS, INSECTS AND BLOSSOM BRANCHOil on oak panel.18.5 x 24.5 cm.Signed “J. V. Kessel fecit A° 1661” at lower centre.Accompanied by an expert’s report by Dr Klaus Ertz, Lingen, dated 19 February 2016. The report explains that the artist had been painting miniature interiors set against light backgrounds since 1653 and that the work on offer here, created in 1661, easily fits into this stylistic period. A pigment analysis by Prof. Dr. Schreiner, Vienna, is enclosed. Very fine craquelure to the paint surface. (†)
Lot 16
William John Leech RHA (1881-1938) Grey Bridge, Regent's Park Oil on canvas, 77 x 97cm (30¼ x 38¼'') SignedProvenance: The Dawson Gallery where purchased by Mr James J. Stafford. Later with the Godolphin Gallery, Dublin July 1979 where purchased by Mr & Mrs Roth and thence from the estate of William Roth.Exhibited: The Royal Hibernian Academy Annual Exhibition 1959 Cat. No. 16Leech's Regents Park series was one of his longest comprising over twenty known works and stretching in time from 1935 over the following 25 years. The location was one the artist returned to many times when he could not travel to France. Just a short walk downhill from his studio at Steele's Studios Leech found subject matter he could sketch plein air and then work up into exhibition pieces back at the studio. In fact a nearly identical but much smaller work to this from the McClelland Collection had been exhibited a year earlier at the RHA and was included in the Leech retrospective An Irish Painter Abroad in The National Gallery of Ireland in 1997. Writing about that work in the catalogue Denise Ferran writes :- ' Grey Bridge, Regents Park is painted in a silverly light with York Bridge, a high horizon- band of subdued umber tones, merging into the soft blue-grey tones of the background. In the foreground, the river reflects the cool grey of a winter sky which mingles with the muddy browns and greens of the still water. All the edges of objects, solid or reflected, are blurred and softened; the top of the bridge is masked by the overhanging grey- green leaves of a weeping willow.'We acknowledge Denise Ferran whose writings on Leech formed the basis of this catalogue entry.
Lot 45
Daniel O'Neill (1920-1974)Looking WestwardOil on board, 41.5 x 61.5cm (16 x 24'')SignedProvenance: With The Waddington Galleries, mounted, label verso; sale, de Vere's.O’Neill returned many times to female subjects within west of Ireland landscapes, using a stylised and idiosyncratic format, and often placing them within deserted open spaces, sometimes standing on the roadside, or as in this instance overlooking the shoreline. While it is not typical of the artist to use such an array of bright colours, the palette chosen is made up of a striking variety of tones. O’Neill uses the colour as line in the work, separating off the different sections of the composition. From the green and purple tones of the flowers, the sandy beach leading to the clear blue of the sea dotted with patches of white to represent the light reflecting off the surface.The background is dominated by varying tones of blue, moving seamlessly from sea, to mountains to sky. O’Neill uses thick impastoed brushstrokes to capture the luscious vegetation, rendered in green and purple tones. The application of quick upright strokes creates a sense of movement in the image, we can imagine the heather and gorse bushes swaying in the wind. It is a harmonious and peaceful landscape that is somewhat unsettled by the presence of the figures. We are not given much insight into who they are or who they are waiting for. The young woman positioned in the foreground looks not directly at the viewer but off to the horizon on the left. She is mirrored by a second figure who stands in profile, possibly an older woman, with a white scarf around her head and shoulders also looking out across the bay. This imagery is reminiscent of other artworks by Irish painters focused on women waiting, possibly for the return of husbands and sons, or representing the desire to leave, looking westward across Atlantic.Niamh Corcoran, November 2021
Lot 51
Tony O'Malley HRHA (1913-2003)Bahamas Painting with White Shape, Oct/Nov 1987Oil on board, 64 x 76cm (25 x 30'')Signed with initials and dated; also signed, inscribed with title and dated verso and numbered 1908 in the artist's oeuvre. When Tony O’Malley and Jane Harris married in 1973, they settled into their home at Seal Cottage, St Ives, Cornwall and their communal studio, where they worked side by side. While they were happy and productive, Jane was always conscious that living permanently in a cool, damp climate was less than ideal for Tony, because he has survived TB and was prone to angina. At the same time, he drew inspiration from his environment and was especially attuned to the historical texture of place.At a family gathering following the death of her mother in 1974, Jane’s sister Clarice, who was living on Paradise Island in the Bahamas, suggested that they should all visit her there. It was beyond Tony and Janes financial means but here father generously paid for their flights (and for the following twelve winters, until her sister moved to Florida). The balmy environment was hugely beneficial to Tonys health. Less predictably, it proved to be profoundly inspiring for his work.With scant traces of the legacy of ancient history (just the remains of one monastery), and working in an outdoor studio set up in the idyllic garden, he became intensely alert to the living fabric of the place. Birds in flight, birdcalls, birdsong, fish darting in the water, breezes, currents, luminous flushes of colour, a pervasive brightness: all these things and more fed into a series of lively, lyrical evocations of a magical place. The Bahamas provided him with a whole new high-keyed palette. Even the warmth and light of the Scilly Isles had not provided a comparable sense of warmth and well-being. The paintings were a revelation when they were exhibited back in Ireland.Aidan Dunne
Lot 89
Colin Middleton RHA RUA MBE (1910-1983)How Many Miles to London Town (1945/50)Oil on canvas, 76 x 91cm (30 x 36")SignedInscribed with the oeuvre number '96' in the artist's hand versoExhibited: Dublin, Victor Waddington Galleries, 1950; Belfast, Arts Council of Northern Ireland, Colin Middleton Retrospective, 1976This powerful painting has a suitably mysterious history, as it appears that Colin Middleton exhibited it under two different titles and with different dates. It was first shown at his second solo exhibition at the Victor Waddington Gallery, which took place in the autumn of 1950, under the title Candle-light, and Middleton recorded it as having been painted between April and June 1950. It was then included in Middleton’s extensive 1976 retrospective under the title How Many Miles to London Town, and given the date 1945. Obviously the two titles are related and perhaps Middleton subsequently considered that the earlier title did not make its reference sufficiently clear. The dating is intriguing; Middleton’s move away from the more highly-finished manner of working associated with his earlier surrealist and symbolist work was slow and methodical, but by 1945 he had already completed paintings such as The Refugee and Sirens over Belfast, both of which demonstrated a looser and more expressive manner of painting which must have increasingly seemed to him more appropriate and effective to take on the challenges of painting in the post-war world, with its stark recent history and complex psychological and spiritual territory. It is possible that Middleton began this canvas in 1945 and then returned to it in 1950 at a point when he had had evolved the confident and ambitious expressionist style that had brought immediate recognition in Dublin. A number of paintings were abandoned and some left unfinished when Middleton left Belfast in 1947 to live in England. It is almost certainly the painting to which he referred in a letter to Waddington written in June 1950; ‘…yesterday the mood came upon me again and I have taken up a 30 x 36 commenced last April and abandoned’. While the title refers to a nursery rhyme, this is an undeniably serious painting which suggests a number of overlapping ideas. The buildings in the lower right corner, illuminated by flames, recall the horrors of the Blitz and the general destruction of war, while the suggestion of a journey and the figures in the painting are connected with the recurring depiction in Middleton’s post-war work of displaced wandering figures and refugees.This painting recalls two other major works included in the same 1950 exhibition, Isaiah:54 and The Power and the Glory, both of which reflect the significance of the Old Testament in much of his work in the post-war years. The prophet-like head and the angel beside him recall William Blake, one of Middleton’s enduring heroes, while the donkey emerging from flames, and its rider clothed in white, imply the presence of a powerful and enduring spiritual narrative presented within this more specific context of post-war Europe. The candle referred to in the nursery rhyme is placed centrally on the canvas; it lights the way for these journeying figures and from it also spring the flames that must have seemed so ambiguous at the time when this was painted, but which now carry a suggestion of redemption and salvation.The Dublin Magazine mentioned Candle-light in its review of the 1950 exhibition, while Daniel O’Neill wrote to Middleton that ‘To express the great depth of feeling and emotion I received on looking at the pictures in your show is quite impossible.’ Dickon Hall
Lot 57
John Sell Cotman (Norwich 1782-1842 London)The Eagle Tower, Caernarvon Castle, North Wales signed, dated and inscribed 'JS C**** 1802 / SWORD' (lower right)watercolour and pencil on paper42.7 x 32.1cm (16 13/16 x 12 5/8in).Footnotes:ProvenanceSale, Sotheby's, London, 1 April 1993, lot 59, where purchased by the present ownerExhibitedProbably London, Royal Academy, 1802, no. 460 as Caernarvon Castle, North WalesCotman made a tour of North Wales in 1800 travelling via Bristol to Caernarvon and reaching Conway in August, and it is possible he undertook a second trip in 1802 although no dated drawings exist to confirm this. (The present work, dated 1802, may be based on a sketch from the 1800 tour and worked up a later date).The landscape of Wales could not have been more different from the flat terrain of East Anglia to which Cotman was accustomed. The dramatic, craggy mountains he encountered and waterside castles were his first experience of 'sublime' landscape and will have left an indelible impression on him; it was in fact a turning point in his career. The central light source in this watercolour, appearing to radiate out from the base of the castle, was a device first pioneered by Girtin and it is used by Cotman to great dramatic effect in other works of this period (see The interior of a barn, possibly in Wales, Sotheby's, 9 July 2014, lot 190). The present piece is one of the most impressive of his views of Wales and was very probably the view of Caernarvon Castle exhibited at the Royal Academy in 1802.For further information on this lot please visit Bonhams.com
Lot 18
A Hermes-style Birkin 30 bag in chocolate brown leather, double handles, silver hardware, flap closure, lined interior, stamped 73A J to underside of strap, in good condition, light wear from ordinary use, 22 h x 30 w x 15 d cm, no dust bag, see extra photo for detail. Note: This bag is available for inspection at Wokingham, by appointment only, by calling 07446 802450
Lot 28
A mid-century single row of eighty-three cultured pearls, measuring from 5.62mm to 9.05mm on a white and yellow gold clasp, stamped 585 with twenty-six single-cut diamonds measuring approx. 1.2mm to 1.3mm. Pearls of light cream background, slight rose overtones, medium to thick nacre, medium lustre, slight surface blemishes. Gross weight 45.41g, 64 cm with SafeGuard insurance valuation dated 2010 for £1,750
Lot 32
An Art Deco-style single row of seventy-seven cultured pearls measuring 7.15mm to 7.40mm on a beaded yellow gold oblong clasp, stamped 9ct. Pearls with very light cream background, rose overtones, medium nacre/lustre, slight blemishes. Gross weight 41.12g, 60 cm with a SafeGuard insurance valuation dated 2006 for £825
Lot 96
A TAG Heuer Link 200 Meters ladies quartz watch, 27mm dial, face 19mm, date aperture, WJ1310, DR6142, baton makers, nighttime luminosity, sapphire crystal, stainless steel case and bracelet strap, rotating bezel, with original box and manual, light wear from ordinary use, in good working order
Lot 16
Registration No: AXG 992 Chassis No: 2802719HS0 MOT: ExemptCurrent ownership since 2009One of just c.3,500 80’s manufacturedAn older restoration with a large quantity of photographs accompanyingFitted with a SU pump and carburettor conversionIntroduced in June 1948, the Sunbeam-Talbot 80 was Rootes’ first new post-war design and the first Rootes car to be fitted with an overhead valve engine. Utilising an OHV version of Minx 1185cc engine (producing 47bhp), the separate chassis was derived from the 2-Litre and featured beam front axle and semi-elliptic springs. The ‘Streamstyle’ full-width body featured enclosed headlights, enclosed door hinges, ‘Opticurve’ curved windscreen and teardrop-shaped rear wheel spats. The four-speed gearbox was operated by fashionable ‘Synchromatic’ column gear change. The 80 was available as a four-door Sports Saloon and two-door Sports Convertible Coupe. Production ceased in 1950 after approximately 3500 had been built.This Sunbeam-Talbot 80 Saloon was manufactured in 1950 (the final production year) and was supplied new to the home market. Powered by the aforementioned 1185cc four-cylinder engine mated to the four-speed column change transmission. Finished in the attractive colour combination of Green with Brown leather interior trim upholstery. Entering into current ownership in 2009, the Sunbeam-Talbot is now offered from a deceased estate.An older restoration, ‘AXG 992’ has come from a period of dry-storage following the passing of the vendor (approximately six months previous) and while is running, may require some light recommissioning. Offered with a history file including an owners handbook, large quantity of restoration images and V5C document.Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Lot 27
Registration: YL05 YNJChassis No: SCFAC01A45GA03361MOT: January 2022Aston Martin DB9 presented in Titanium Silver with Falcon Grey and Obsidian Black interiorOffered with just c.25,000 miles from new and 4 former keepersBoasts specification including parking sensors, 19 inch 15 spoke wheels, desirable Michelin Pilot Sports 4S tyres and serviced in August this year First shown by Aston Martin at the 2003 Frankfurt Auto Show. Available both in coupé and a convertible bodystyles, the latter being known as the Volante, the DB9 was the successor of the DB7 and was the first car to be built in Aston Martin’s new factory at Gaydon in Warwickshire. The new car was considered to be such an advance on the old that Aston Martin had decided a straightforward sequential numbering would be considered inappropriate, hence why it was not titled DB8. Its bodyshell weighed 25 per cent less yet had twice the torsional rigidity, thanks to its aluminium bonnet, roof and rear wings and composite construction front wings and boot lid. The vehicle was powered by the 5.9-litre V12 used in the Vanquish, which generated 450hp, propelled the car from 0 to 60mph in 4.7 seconds and generated a top speed of 186mph. The engine largely sat behind the front-axle line to improve weight distribution, and its great handling resulted in the DB9 being adapted for use in sports car racing by Aston Martin Racing, a collaboration between Aston Martin and Prodrive. Called the DBR9, the car won in its debut at the 2005 12 Hours of Sebring, and has gone on to take wins in the American Le Mans Series, Le Mans Series, FIA GT Championship, as well as the 24 Hours of Le Mans. Indisputably one of the most beautiful cars ever designed, BBC Top Gear gave the DB9 its own section on their ‘Cool Wall’ after Jeremy Clarkson declared that it was too cool even to be classified as "Sub-Zero". Manufactured in 2005 and presented in the desirable Titanium Silver with Falcon Grey and Obsidian Black interior, YL05 YNJ is offered with just c.25,000 miles from new and shows 4 former keepers on the V5 document. Boasting factory options including piano black waterfall, heated front screen, parking sensors and 19 inch 15 spoke wheels, as well as desirable Michelin Pilot Sport 4S tyres, YL05 YNJ was recently subject to a healthcare check at HR Owen Aston Martin Cheltenham and comes accompanied with the original logbook containing 8 Aston Martin main dealer stamps, with the most recent in August 2021. The vehicle also comes accompanied with a number of receipts and invoices, as well as an MOT certificate valid until 17 January 2022. The vendor rates the condition of the vehicle as Very Good all round. PLEASE NOTE: This vehicle has a slight vibration under braking and is showing an emissions service light on the dashboard.Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762
Lot 56
Registration No: CEC 888DChassis No: GAN347147MOT: ExemptCurrent ownership since 2002Offered with a collection of invoices and old MOT'sRestored in the early 2000's with photographs includedRecently fitted with a new front bumper and windscreenFitted with Minilite style alloy wheel and hardtop includedBy the '60s, the MG Car Company had long since been absorbed into the giant British Motor Corporation (BMC). In an effort to fully capitalise on the many respected names in its care, the company embarked upon a programme of 'badge engineering' and the new MG Midget was essentially a MKII Austin-Healey Sprite in a slightly different suit of clothes. In christening its new small sports car 'Midget', BMC revived a name made famous by a range of pre-war MGs. Certainly, the Midgets, old and new, shared the same basic concept - i.e. they were two-seaters clothed in a simple, relatively light body and equipped with front-mounted engines driving the rear wheels. Moreover, they had suspension and brake components etc common to other cars, making them easy to replace or repair and cheap to service. The Midget MK I was introduced in 1961 and ran for a couple of years only with the 948cc engine. In 1962 it was upgraded and the 1098cc engine was fitted and this ran for three years, but surprisingly less examples were made. It was in essence an Austin Healey Sprite with a more attractive grille and side chrome trim; and from 1962 disk brakes were standard.Vendor Condition Ratings:Bodywork: 'Good'Engine: 'Good'Electrical Equipment: 'Good'Paintwork: 'Good'Gearbox: 'Good'Interior Trim: 'Good' Footnote: For more information, please contact:James McWilliamjames.mcwilliam@handh.co.uk07943 584760
Lot 58
Registration: Un-regChassis No: 40248MOT: ExemptDesirable Crossley 18/50 Tourer with the later 3.2 lite 6 cylinder engineOne of 12 cars manufactured for the Royal Tour of Australia, 1927, and just one of 4 surviving examplesPresented as a project for completion, with running engine, drivetrain and frame completed Previously a manufacturer of proprietary engines, Crossley Brothers Limited, of Manchester, built their first motor car in 1904. The first Crossley to make any impact was the A W Reeves-designed 20hp, introduced in 1910. The model was taken up by the military in World War I, seeing service as a staff car, ambulance, and light truck. In the post-war years the company continued to concentrate its efforts on transportation for the middle classes, a policy helped considerably by the marque's popularity with British royalty.Unlike many rival manufacturers of up-market cars, Crossley continued to favour four-cylinder sidevalve power units for all its models until the advent of the 18/50 in 1926. The 18/50 featured a 2.6-litre, six-cylinder, overhead-valve engine, which was stretched to 3.2 litres in 1928 for the broadly similar 20.9hp model. Mechanically akin to the smaller Crossley 2-Litre, the 20.9hp was built on a 125"-wheelbase chassis, and came with a right-hand change four-speed gearbox. Available in saloon, fabric saloon, and tourer variants, the model lasted until Crossley's demise as a motor manufacturer in 1937.In 1927, Prince Albert, Duke of York (later King George VI), and wife Elizabeth undertook a Royal Tour to Australia. Their journey by sea took them via Jamaica, the Panama Canal and they journeyed onto New Zealand afterwards. When they sailed into Sydney harbour on HMS Renown on 26 March, they attracted Australia's first gathering of more than one million people. The principal duty of the Prince on this visit was to open the provisional Parliament House in Canberra, on 9 May 1927. They spent twelve days in New South Wales, seven in Queensland, four in Tasmania, eleven in Victoria, six in South Australia, six in Western Australia and three in the Australian Capital Territory, with the remaining 10 for travelling and recreation. They departed the country on 23 May for New Zealand.The cars supplied for this Royal visit were made by Crossley Cars of Gorton, Manchester. They had a long standing connection with the Royal Family, have previously supplied cars for the Royal Family, with examples being supplied to the King George V, the Prince of Wales (later King Edward VII) and more. For the tour, 12 cars were built with a further 7 for the New Zealand leg in late 1926. These consisted of four limousines, two Landaulet’s and six open tourer’s. The cars were painted maroon with maroon upholstery and decorated with the royal seal on the rear doors. They also had metal seals on the bonnet front; and the cars featured the later 20.9 HP, 3.2 litre six cylinder engine and all had standards attached to the radiator cap to carry the Royal Standard.After much work cross-referencing the substantial existing records in the State Archives in Canberra, it is believed Chassis 40248 was a Tourer used on the Toowoomba, Victorian and Canberra legs of the tour, of which from an original group of 12, only four have survived, this example was exported to the UK in 1997. One is in the Australian National Museum in Canberra (a Landaulette), a Limousine body exists on a tourer chassis in Sydney, and the third car in Victoria with has survived with minimal remains of its tourer body. The car on offer today has been subject to mechanical overhaul and benefits from a running engine as well as a new frame. Now awaiting the final phase of its restoration, this vehicle presents a very interesting opportunity to acquire a historically important Royal Tour car of Australia. The vendor rates the condition of the bodywork, engine and transmission as ‘Good’ and comes accompanied with a detailed history file, as well as some spare parts.Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762
Lot 63
Registration No: IOM-Reg (previously 'AWM 5') Chassis No: GFT2 MOT: ExemptExhibited at the October 1931 Salon d’Automobiles in Paris’s magnificent Grand Palais, chassis GFT2 provided coachbuilder Barker with an opportunity to showcase its talents to a truly international audience. Thought to be unique, the Swept Tail Sports Saloon body that the London firm created for the occasion was a stylistic masterclass. The Rolls-Royce’s previous owner, Julian Bowen, was unaware of its significance when he took possession in May 2008. A renowned furniture designer, the car’s lines enchanted him so much that he rejected a host of other 20/25s and spent well over a year politely badgering his immediate predecessor to sell. Applying to the Rolls-Royce Enthusiasts’ Club for a set of copy build records revealed that GFT2 was a former ‘Paris Show Car’. Suitably enthused, he tracked down relevant copies of Motor and Autocar magazines which confirmed the 20/25 had originally sported a bold two-tone livery and wheel discs. Determined to return the Swept Tail Sports Saloon to its former glory, Mr Bowen embarked upon a meticulous restoration the story of which is recounted in his own words below: “We decided to start with the body repairs, keeping an eye for traces of the original colour scheme - Green and Cream! It took time to be satisfied with a hue match, but after weeks of experimentation we felt it was perfect. I was lucky to be using a small body shop outside Grantham whose approach was as fastidious and perfectionist as my own. The chromework was re-plated and the bonnet hinges remade in stainless steel. In removing the hinges, the original rivets had to be sacrificed. I purchased replacements but they stood too proud. A retired friend heard of the problem and offered to machine over 400 rivets to the correct profile! He also remade the Barker patented dipping system in stainless steel. At the same time all the dome headed coach bolts on the body were remade in stainless steel. A commercial supplier supplied new wheel discs. The original windscreen had delaminated so a new one was obtained. The chrome went back on, the locks were repaired, and the headlamps sent to Sheffield to be refurbished. It was time to tackle the trim. Around 1960 'Arabella' (as she is known) had been sold to America spending the next 25 years in Florida. Painted Copper Bronze, fitted with Buick bumpers and shorn of her wheel discs, she also suffered heat damage to the interior. Thankfully, the original but heavily cracked horsehide leather was covered over with vinyl rather than being discarded. A small tannery in Southern Spain, who tanned leather by hand, were able to colour match using cowhide. I already knew a trimmer whose work was of very high quality and was confident he would maintain the standards already achieved. The original stuffing of horsehair and latex was re-used. There were no carpets or headlining present, so we chose colours that suited the rest of the livery. Basically the engine and drivetrain were in good condition, but some ancillary equipment had gone missing over time. The most difficult items to source were the under trays and the starter solenoid. The engine had been worked on by the previous owner and already boasted an aluminium cylinder head and re-metalled bearings. The engine compartment was tidied, and all electrics re-wired using correct colours. After steam cleaning the chassis and re-painting, she was much admired by all who saw her. Over the course of the restoration, research into the car's history proved very interesting. The first owner, who saw it at the Paris Show in the Grand Palais was a well-known enthusiast for the marque, Captain JF Kruse MC. Born in 1892, Jack Kruse was the eldest son of a successful banker who, having survived a torpedo attack in WWI, left the Royal Navy with the rank of Captain. Following the war, he established successful business enterprises in England and The Netherlands, married an American hotel heiress, and cultivated various connections among British high society. By the end of the 1920s, Capt. Kruse maintained residences in London and the French Riviera. During this period, Capt. Kruse also developed a passion for elegant, high-performance motor cars. He owned some of the finest thoroughbreds of the era including an Alfa Romeo 6C 1750, Bentley 6 1/2 Litre, Bugatti Type 35, Mercedes-Benz SS, Low-Chassis Invicta, and Lancia Lambda, among others. Inspired by his close associate Lord Rothermere, the co-founder of the Daily Mail and an early patron of Rolls-Royce, Capt. Kruse became one of the firm’s most important customers, purchasing three Silver Ghosts, four 20 HPs, four Phantom Is, four Phantom IIs, and four 20/25s. Due to his friendship with Frank Manning, the showroom manager for Barker & Co., most of Capt. Kruse’s Rolls-Royce were bodied by this prestigious coachbuilder. The next owner, the Marquis de Portago, who bought the car in 1933, was a personal friend of Captain Kruse, the two having met on the polo pitch at the Hurlingham Club. In 1928, he had had an only son named Alfonso, whose mother used the car until it was disposed of just pre-WW2. Alfonso became a famous racing driver before his death in the 1957 Mille Miglia. The car spent World War Two in storage in Montpelier Square, London, emerging in the ownership of another Captain - Captain Drummond MC, a member of the banking family and a distant relative of the Queen Mother. Around 1960 she was sold to an American Serviceman based at Bicester and subsequently shipped to Florida. He registered her '1931 RR', and over 20 years allowed her to descend into dilapidation. She was spotted in Miami and brought back to the UK by Porters of Kensington and, shortly afterwards, c.1985, acquired by the retired motor engineer in Lincolnshire from whom I bought her in 2008. Built as a 'one off', she remains unique although rumours exist of a similar body built on a Phantom chassis. Since completion 'Arabella' has travelled c.16,000 miles. The first ride overseas was to the Classic Le Mans meeting, then a tour was made under the auspices of the ‘Club d'Auto’ around the Champagne vineyards of Epernay. We then attended the Circuit des Remparts at Angouleme before being invited to attend the British Car Club Meeting in St Moritz where we participated in the Rally, negotiating two Alpine Passes of seven and eight thousand feet before coming second in the Concours. She has made two trips to the Goodwood Revival and in 2012 she won Best in Class and Best in Show at the RREC Annual Rally at Rockingham. The achievement shortly afterwards of winning 'Best in Show' at the 2013 NEC Classic Car Show is a fitting testimonial to the craftsmen and friends who have helped to create the masterpiece that is the first Rolls-Royce to win this coveted award” Purchased by the vendor from Mr Bowen via our 2015 RREC Burghley House auction, GFT2 has continued its winning ways. Much appreciated wherever she goes, ‘Arabella’ was crowned 'Best in Show' at the 2018 RREC North of England Rally. Apart from this, ‘Arabella’ has been used for many local events on the Isle of Man since being acquired by the vendor. The last couple of months have seen the 20/25 treated to a new battery and full service. Worthy of close inspection, this decidedly special Rolls-Royce’s return to market has only been prompted by impending medical treatment. Offered for sale with large history file, handbook, car cover, hazard light kit (unfitted) and sundry tools.Footnote: For more information, please contact:Damian Jonesdamian.jones@handh.co.uk07855 493737
Lot 184
AN OFFICER~S SWORD OF THE 3RD MADRAS LIGHT CAVALRY, CIRCA 1840 AND AN OFFICER~S SWORD OF THE 3RD BENGAL OR BOMBAY CAVALRY, RETAILED BY J.R.GAUNT AND SON, LATE THURKLE, DENMARK STREET, LONDON, CIRCA 1901-10 the first with pipe-backed blade double-edged towards the point, etched with foliage, the regimental details, the retailer~s name and battle honours including Seringapatam and Mahidpoor (rubbed), iron triple-bar hilt, and wire-bound fishskin-covered grip (losses); the second with etched blade including the crowned Imperial cypher ~ER~, foliage, the retailers details and ~3BC~, iron triple-bar hilt, wire-bound leather-covered grip, in its iron scabbard with two suspension rings, complete with its sword knot the first: 89.5 cm; 35 1/4 in blade (2)
Lot 198
AN OFFICER~S MESS DRESS OF THE 17TH POONA HORSE, 1933 A blue jacket by Hawkes & Co, named to A.D. Drew Esq and dated 16/12/33, with light blue collar and cuffs. The jacket and cuffs edged with one-inch gold Vandyke lace. Gilt studs to left front, plaited gold chain gimp shoulder-cords, and gold Russia braid ornaments to backseams. Plain gilt buttons to sleeves. Companion waistcoat of light blue cloth, also with studs to front, edged with lace as on jacket, traced on the inner edge with plain gold Russia braid. Pocket openings also edged with Russia. Severe moth damage to left sleeve of jacket, minor damage to waistcoat (2)
Lot 210
AN ASSORTMENT OF ITEMS OF MILITARY INTEREST A large pewter beer mug engraved with devices of the 6th (Royal Warwickshire) Regiment, named to Major C Harding MC,TD and inscribed ~JUBILEE PARADE MAY 5TH 1935~, together with two small white metal teapots; a blue cloth stitched with braid to resemble a miniature sabretache; a larger cloth, embroidered with a quoit and scroll inscribed ~THE SIKH LIGHT INFANTRY~ (5)
Lot 214
A GEORGIAN SABRETACHE OF THE 15TH HUSSARS by Hawkes Moseley & Co., Piccadilly, with red leather pocket and large flap faced with scarlet cloth and edged with 2¼ inch gold |Austrian| pattern lace and Russia braid, bearing an embroidered GR cypher, reversed and intertwined, and scrolls inscribed ~EMSDORF, PENINSULA, VILLERS EN COUCHE~ and ~WATERLOO~, complete with its foul-weather cover (lace and embroidery dull); together with an associated Light Cavalry officer~s sword belt, possibly of the 7th Hussars, with two sword slings, complete with snake clasp (losses), and another (4) Provenance The Hon David McAlpine
Lot 218
A GUIDON OF THE N:X:D REGIMENTThe obverse side of a yellow silk guidon, with black and gold fringe edging, crimson centre edged with an embroidered wreath of oak and thistle, and inscribed ~N:X:D/REGIMENT~ above a three-part scroll bearing the motto ~SUSCIPERE ET FINERE~, four crimson silk cartouches, edged with plait embroidery, two with the Hanoverian Horse and two with Union sprays, in a silvered wooden frame; together with (presumably) the reverse side of the previous item, with similar devices but without the fringe edging, in a matching silvered frame(2)It has been suggested that this guidon may be for the 10th Prince of Wales's Own Light Dragoons.ProvenanceThe Hon David McAlpine
Lot 222
‡ THE LOWER PART OF A NORTH EUROPEAN COLLAR, PROBABLY BRUNSWICK, LATE 16TH CENTURY of large size, comprising its lowest front and rear lames connected to one another at the left by a modern screw (replacing an original rivet), and fastened at the right by a mushroom-shaped stud and keyhole-slot, the front lame deeper than the right one and descending at its centre to a rounded obtuse point, both lames decorated at their upper ends with pairs of incised lines, and at their lower ends with trios of incised lines formed as a series of cusps enclosed within a file-roped edge (bearing a light mottled patina and tarnishing overall) 13.5 cm; 5 3/8 in high
![[AP] A MINIATURE ETCHED FULL ARMOUR IN EARLY 16TH CENTURY STYLE, 20TH CENTURY of articulated steel, comprising visored helme](https://cdn.globalauctionplatform.com/5810e383-7ca3-4676-b7c8-ade200b9947a/03f18d5e-84dd-4598-89aa-ade200c3b7bc/468x382.jpg)
Lot 226
[AP] A MINIATURE ETCHED FULL ARMOUR IN EARLY 16TH CENTURY STYLE, 20TH CENTURY of articulated steel, comprising visored helmet, medially-ridged breastplate carrying a pair of tassets, backplate with culet, a pair of full arm defences including asymmetrical pauldrons, winged cowters and mitten gauntlets, a pair of full leg defences with winged poleyns and broad toed sabatons, on a wooden stand (light surface rust) 40.5 cm; 16 in high Part proceeds to benefit Westminster Abbey
Lot 235
A FLEMISH TARGET CROSSBOW, LATE 18TH CENTURY with robust steel bow retained by a pair of pierced robust irons with iron stirrup (string missing), figured hardwood tiller with brass-lined bolt channel on the top and characteristic rest beneath (light worm damage), iron string release, a pair of robust lugs for a windlass, iron back-sight, set trigger, and iron trigger-guard 80.0 cm; 31 1/2 in tiller
![[AP] A MILITARY SPONTOON, MID-18TH CENTURY of regulation type, with diamond-shaped blade, later etched with a coat-of-arms an](https://cdn.globalauctionplatform.com/5810e383-7ca3-4676-b7c8-ade200b9947a/826e6641-de7e-479d-9e30-ade200c3f35a/468x382.jpg)
Lot 288
[AP] A MILITARY SPONTOON, MID-18TH CENTURY of regulation type, with diamond-shaped blade, later etched with a coat-of-arms and motto on one face (light pitting) straight cross-piece with conical finials, tapering socket, and a pair of short straps, on a later wooden haft 48.5 cm; 19 in head Property from the David Jeffcoat Collection (1945-2020) Part proceeds to benefit Westminster Abbey
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