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Lot 2861
"Lady Dior" blanc cassé, Christian Dior. Henkeltasche aus schwarzem Lackleder bzw. weißem Segeltuch. Silberfarbene Hardware, gem. "CD", zwei kurze Henkel, schmaler, verstellbarer Schulterriemen mit Karabinerverschluss, D-I-O-R-Buchstabenanhänger aus Metall. Sechs Metallstandfüße. Reißverschluss. Innenmaterial schwarze Baumwolle mit CD-Schriftzug. Innen je ein großes Haupt- bzw. seitliches Einsteckfach mit Reißverschluss und Logo-Patch "Christian Dior PARIS". Tragespuren. Modell-Nr. MA 0929. Ca. 33x 25x 12 cm.
Lot 3112
"Regola Delli Cinque Ordini d'Archittetura Di M. Iacomo Barozzio da Vignola". Zwei Bände in einem Band. 40 (von 50) gestochene Tafeln, sowie ein weiteres Titelblatt: "Nuova et ultima aggiunta delle porte d'Architettura di Michel Angelo Buonaoti Fiore(n)tino Pittore et Architetto Eccell., Pietro Marchetti". Verlag: Pietro Marchetti, o. J., Siena, 1635. Deckblatt besch. und aufgezogen, Gebräunt und ab Tafel 41 mit teils starken Flecken. Neuerer marmorierter Pappband mit Lederrücken.
Lot 3545
Götz, Karl Otto (1914 Aachen - Wolfenacker 2017) Zwei Arbeiten bzw. Zeichnungen: a) Schnellzeichen, bunte Faserstifte, u. sign. PP. 21x 29 cm und b) Buch "Ausstellung K. O. Götz und Rissa, 2000-2001", auf Deckblatt beide Künstlersign. sowie Innenseite sign. von Götz mit Widmung, dat. 3.12.2000 und weitere Zeichnung und sign. Ca. 29,5x 20,6 cm.
Lot 3765
Dolk (geb. 1979 Bergen/Norwegen), eigentlich Dolk Lundgren "OFFICER DOWN", so li. o. betitelt. Spraypaint (Sprühfarbe) auf Kacheln. Abnahme als Stacco, verso bez. "GRAFFITI VON DOLK LUNDGREN ENTSTANDEN IN DER AKTIENBRAUEREI FRIEDRICHSHÖHE VORM. PATZENHOFER, BERLIN 2005 ABNAHME ALS STACCO UND RESTAURIERUNG 2010". Aufwendig in einem Metallrahmen eingebettet. 203x 110x 6 cm. Prov.: 2008 nach der Messe "Urban Affairs: Streetart and Urban Art Exhibition", legal abgenommen durch die Eigentümer des Geländes in Berlin.
Lot 3798
Helbing, Margarete (1888 Hannover - Hamburg 1956) "Spiräen, Garten i. Hochkamp 1950", so verso betitelt. Öl/Lwd. (l. Altersspuren), li. o. sign., verso Nachlass-Stempel. Ca. 71,5x 71,5 cm. Prov.: Das Gemälde wurde unter Katalog-Nr. 6 in der Ausstellung im Kunstamt Berlin 1971 ausgestellt. Schülerin von F. Mackensen, Mitglied der Kunstgemeinschaft GEDOK.
Lot 424
Vincent Sellaer und Werkstatt, um 1515 Mechelen – um 1589Der Heilige HieronymusÖl auf Holz. Parkettiert.82 x 63 cm.Beigegeben ein Gutachten von Prof. Dr. Dr. hc. Jan de Maere, Rambrouch, vom 25. Mai 2022, mit dem o. g. Künstler und der Datierung in Antwerpen um 1560/70 sieht.Großformatiges Tafelbild mit Darstellung des Heiligen in Dreiviertelansicht. In Sitzhaltung nach links, der langbärtige Kopf leicht geneigt, mit Blick dem Betrachter entgegen. Die rechte Hand mit betont schmalen Fingern ist auf die Brust gelegt, die Linke hält ein Buch, einige Finger in den Seiten, so dass Anfangsbuchstaben des Textes zu erkennen sind. Trotz des ergrauten Alters ist der Körper muskulös gezeigt, was auf italienische Einflüsse weist. Dies gilt auch für die im dunklen Hintergrund links erkennbaren Steingesimse. Auffallend ist das leichte Sfumato, wobei jedoch im Gesicht eine deutlichere Pinselführung zu beobachten ist. Bemerkenswert ist überdies der braune Gewandbausch zwischen Unterarm und Buch, der auf den ersten Blick einen Schädel assoziieren lässt, als typisches Attribut des Heiligen, worauf der Maler jedoch wohl bewusst verzichtet hat.Laut Prof. de Maere wurde Sellaer im Falle des Heiligen Hieronymus stilistisch und kompositorisch vom Heiligen Hieronymus von Willem Key (1560-68) beeinflusst. Sellaer ist in seinem Ausdruck weniger realistisch als Willein und dessen Nachfolger und Familienmitglied Thomas Key. Ihr Heiliger Hieronymus drückt in seiner halblangen, nach vorne gerichteten Figur eine kalte und skulpturale Monumentalität aus, die typisch für Sellaer ist. Auch der Typus der Gesichtszüge und die gerade Nase sind typisch für ihn in seinem späteren Werk. Anmerkung:Karel van Mander (1548-1606), siehe das 1604 veröffentlichtes „Schilderboek“, berichtet von einem Maler in Malices namens Vincent Geldersman, der für seine Darstellungen religiöser und mythologischer Frauen bekannt war. Zeitgenössische Dokumente bestätigen die Identifizierung von Geldersman mit Sellaer, der vor allem in Malines tätig war. Es wird angenommen, dass er um 1515 in Mechelen geboren wurde, und er ist dort 1544 als Meister der Zunft belegt. Die letzte Erwähnung stammt aus dem Jahr 1589. Seine Gönner gehörten wahrscheinlich dem Hof und dem Großen Rat der Stadt an.Bislang ist nur ein einziges signiertes und datiertes Gemälde von Vincent Sellaer bekannt „Christus segnet die Kinder“, München, Alte Pinakothek Inv. Nr. 1417. (1330701) (18)Vincent Sellaer and workshop,ca. 1515 Mechelen – ca. 1589SAINT JEROME Oil on panel. Parquetted.82 x 63 cm.Accompanied by an expert’s report by Professor Dr Dr hc Jan de Maere, Rambrouch, dated 25 May 2022, which suggests the above-mentioned artist and date of creation in Antwerp in ca. 1560/70.Notes:To date the only signed and dated painting known by Vincent Sellaer is titled Christ blesses the Children and is held at the Alte Pinakothek, Munich, inv. no. 1417.
Lot 531
Thomas Jones, 1743 Wales – 1803Große Landschaft mit dem „Castelluccio di Battipaglia“Öl auf Leinwand.112,5 x 150 cm.Schmale vergoldete Einfassungsleiste.Beigegeben eine Expertise von Dario Succi, Gorizia (o. J.), mit zahlreichen Vergleichen.Die Vedute ist als großes Schaubild angelegt. Aus einer Anhöhe wird der Blick über die weite Hügellandschaft der Provinz Salerno geführt, im Bildzentrum das tiefer liegende Kastell, genannt Castelluccio di Battipaglia. Die Mauern, mit Zinnen, Turmaufbau und Nebengebäuden, sowie die ebenfalls mit Zinnen bestückten Steinbrücke stehen im rötlichen Spätlicht. Ein Baum mit gewaltiger Laubkrone, der die rechte Bildhälfte beherrscht, und ein kleinerer mit gekrümmtem Stamm, links, schaffen eine Distanzbarriere zwischen Betrachter und zentralem Bildgegenstand. Der Vordergrund wird belebt durch bäuerliche Figurenstaffage mit Rindern, Schafen und Ziegen. Die Bewegtheit einiger störrischer Tiere steht bewusst im Gegensatz zur Ruhe der Landschaft und des bereits damals nicht mehr bewohnten Schlosses. Somit zeigt sich das Gemälde als ein Vorläufer der Ruinenromantik des Jahrhunderts.Jones wurde bereits von Federico Zeri als ein Maler erwähnt, der schon in der zweiten Hälfte des 18. Jahrhunderts Italien bereist hatte, vor allem die Gegenden um Neapel. Als Schüler des Landschafters Richard Wilson zieht Jones nach Italien. Erst durch Vermittlung des britischen Botschafters und des Zeichenlehrers von Goethe, Philipp Hackert, kam er zu einigen Aufträgen. Doch 1783 trat er sein reiches Erbe mit einem Familiengut in England an und arbeitete fortan an Werken für Ausstellungen in der Royal Academy. Lange in Vergessenheit geraten, richtete sich das Interesse auf den Künstler erst nach Veröffentlichung von dessen Lebenserinnerungen 1954.A.R.Literatur: Vgl. Adolf Paul Oppé (Hrsg.), Memoirs of Thomas Jones, The Walpole Society, Vol. 32 (1946-1948), London 1951.Vgl. Lawrence Gowing, The Originality of Thomas Jones, London 1985.Vgl. Ann Sumner, Greg Smith (Hrsg.), Thomas Jones (1742-1803). An artist rediscovered, Ausstellungskatalog, New Haven/ London 2003.Vgl. Paul Werner (d. i. P. Werner Lange), Skizzen in wechselndem Licht. Der Maler Thomas Jones und der Anspruch der Wirklichkeit, in: Schriftzüge, Brandenburgische Blätter für Kunst und Literatur, Jg. 14, Heft 1, Potsdam 2012, Seite 119-131. (1330374) (3) (11)Thomas Jones,1743 Wales – 1803LARGE LANDSCAPE WITH “CASTELLUCCIO DI BATTIPAGLIA” Oil on canvas.112.5 x 150 cm.Accompanied by an expert's report by Dario Succi, Gorizia (n.d.), with numerous examples of comparison. Literature: cf. Adolf Paul Oppé (ed.), Memoirs of Thomas Jones, The Walpole Society, vol. 32 (1946 - 1948), London 1951.cf. Lawrence Gowing, The Originality of Thomas Jones, London 1985.cf. Ann Summer, Greg Smith (ed.), Thomas Jones (1742-1803). An artist rediscovered exhibition catalogue, New Haven, London 2003.cf. Paul Werner (responsible acc. to the press law: Werner Lange), Skizzen in wechselndem Licht: Der Maler Thomas Jones und der Anspruch der Wirklichkeit, in: Schriftzüge, Brandenburgische Blätter für Kunst und Literature, Issue 14, no. 1, Potsdam 2012, p. 119-131.
Lot 734
Oskar Kokoschka,1886 Pöchlarn – 1980 MontreuxBlumenstillleben mit LilienGouache auf Papier.Sichtmaß: 64 x 49 cm.Rechts unten signiert „O Kokoschka“.Im Passepartout, hinter Glas in versilbertem Rahmen.Zur Beschreibung nicht geöffnet. Darstellung eines Blumenstraußes mit langstieligen Lilien vor in Braun- und Grautönen schraffiertem Grund. (1331376) (13)Oskar Kokoschka,1886 Pöchlarn – 1980 MontreuxFLOWER STILL LIFE WITH LILIES Gouache on paper.Visible size: 64 x 49 cm.Signed “O Kokoschka” lower right.Silvered frame with mount, behind glass.Depiction of a bouquet with long-stalked lilies, in brown-greyish hues on shaded background. Not examined out of frame.
Lot 737
Auguste Rodin, 1840 Paris – 1917 MeudonFrÈre et sOeur, 1907Bronzeguss, dunkel patiniert.38,5 x 19,4 x 21 cm.Signiert „A. Rodin“, Gießerstempel „Alexis Rudier fondeur Paris“, innen erhabene Signatur „A. Rodin“.Beigegeben eine Bestätigung des Comité Auguste Rodin, welche dem Objekt die Werkverzeichnisnummer 2021-6434B zuteilt.Der Tod von Rodins älterer Schwester Maria im Jahr 1862 veranlasste den jungen Bildhauer, in einen religiösen Orden einzutreten und seine Kunst für viele Monate aufzugeben. Sentimentale Zärtlichkeit ist in Rodins Skulpturen selten; hier spiegelt sie vielleicht die Erinnerung an die verlorene, tragende Liebe zwischen Bruder und Schwester wider. Während dieses Modell von Léon Maillard auf 1890 datiert wurde, erschienen erst um 1900 zwei Abgüsse aus Bronze. Zunächst war es 1899 in Gips in der Wiener Secession ausgestellt worden, dann in Brüssel und in den Niederlanden, und schließlich wurde es ab 1900 in Bronze präsentiert. Diese Gruppe, die als Teil der Retrospektive von Pont de l‘Alma im selben Jahr zu sehen war, war (vor allem in den angelsächsischen Ländern) ein großer Erfolg.Provenienz:Sammlung Edgar J. Hesslein und Emily Hesslein geborene Rothenstein, Schwester des Malers William Rothenstein, ein Londoner Freund Rodins ab 1894.Auktion Sotheby‘s, London, 11. April 1962, Lot 48.M.G. Blair Laing, London und Toronto, bei obiger Auktion erworben.Blair Laing Galleries, Toronto.Privatsammlung, Kanada, bei obiger Galerie im Juni 1962 erworben.Danach im Erbgang an den Vorbesitzer.Anmerkung:Abgüsse, die zu Lebzeiten des Künstlers hergestellt wurden (Schätzung):– 6 Exemplare, die zwischen 1897 und 1901 von François Rudier gegossen wurden.– 3 Exemplare gegossen von Léon Perzinka zwischen August und September 1900.– 1 Exemplar gegossen von Montagutelli im Jahr 1913.– 19 Exemplare, die von Alexis Rudier zwischen 1902 und 1916 gegossen wurden.Vom Musée Rodin angefertigte Güsse (Schätzung):– 6 Exemplare, die von Alexis Rudier zwischen 1926 und 1928 gegossen wurden.– 6 Exemplare, gegossen von Alexis Rudier zwischen 1940 und 1950.– 9 Exemplare, die von Georges Rudier zwischen 1962 und 1965 gegossen wurden.Güsse dieser Gruppe befinden sich in:Boston, Museum of Fine Art, Sammlung H. Higginson 1921 (erworben 1900).Lissabon, Fondation Calouste Gulbenkian, seit 1970 (erworben durch Comtesse de Béarn 1901).Liverpool, Walter Art Gallery, Sammlung James Smith 1927 (erworben bei Glaenzer and Co 1901).Cambridge, Fitzwilliam Museum, Sammlung G. F.M Knowles 1952 (erworben 1903).Dublin, National Gallery of Ireland, Sammlung Hugh Lane 1918 (erworben 1906).New York, Metropolitan Museum of Art, Rogers Fund (erworben 1908).Lille, Musée des Beaux-Arts, Sammlung Denise Masson, 1998 (erworben durch Maurice Masson 1910).Glasgow, Burrel collection, Spende von William Burrel 1944 (erworben vor 1911).Le Cap, South African National Gallery, Spende von A.A. de Pass 1926 (Geschenk von Rodin an A. Legros; Sammlung A.W. Thibaudeau; Sammlung I.P. Heseltine).Aix-les-Bains, Musée Faure, Sammlung Dr. Faure 1942 (erworben zwischen 1937 und 1942).Paris, Musée Rodin, Alexis Rudier 1922.Indianapolis, Museum of Art, Sammlung Harry J. Milligan 1920.Oxford, Ashmolean Museum, Sammlung J.W.R. Brocklebank, 1926.Kopenhagen, Ordrupgaard Sammlingen, Sammlung Hansen, 1951 (erworben 1931).Tokio, Musée national d‘Art occidental, 1959 (erworben durch Kojiro Matsukata, 1918).Hamilton, Art Gallery, Sammlung H. Southam 1962.Philadelphia, Rodin Museum, Sammlung Louis Stern, 1963.Cambridge, Fogg Art Museum, erworben 1977 (alte Sammlung O. de Barge, Paris).Paris, Musée Marmottan, erworben 1987 (alte Sammlung Henri Duhem).Mexico, Museo Soumaya, erworben bei Christie‘s, New York, 1993. (1330113) (17)Auguste Rodin,1840 Paris – 1917 MeudonFRÈRE ET SOEUR, 1907Bronze casting, dark patina. 38.5 x 19.4 x 21 cm.Signed “A. Rodin”.Foundry mark “Alexis Rudier fondeur Paris”, raised signature on inside “A. Rodin”.Attached is a confirmation from the Comité Rodin, which assigns the object the catalogue raisonné no. 2021-6434B. The death of Rodin’s older sister Maria in 1862 prompted the young sculptor to join a religious order and abandon his art for many months. Sentimental affection is rare in Rodin’s sculptures; here it perhaps reflects the memory of the lost, sustaining love between brother and sister. While Léon Maillard dated this model to 1890, two bronze copies only appeared around 1900. It was first exhibited in plaster at the Vienna Secession in 1899, then in Brussels and the Netherlands, and finally, from 1900, it was presented in bronze. Shown as part of the Pont del’Alma retrospective that same year, this group was a great success (especially in Anglo-Saxon countries). Casts made during the artist’s lifetime (estimate): 6 examples cast between 1897 and 1901 by François Rudier. 3 examples cast by Léon Perzinka between August and September 1900. 1 example cast by Montagutelli in 1913. 19 examples cast by Alexis Rudier between 1902 and 1916. Casts made by the Musée Rodin (estimate): 6 examples cast by Alexis Rudier between 1926 and 1928. 6 specimens cast by Alexis Rudier between 1940 and 1950. 9 specimens cast by Georges Rudier between 1962 and 1965.Provenance: Collection of Edgar J. Hesslein and Emily Hesslein née Rothenstein, sister of the painter William Rothenstein, a London friend of Rodin from 1894. Sotheby’s, London, 11 April 1962, lot 48.M.G. Blair Laing, London and Toronto, acquired at the above auction. Blair Laing Galleries, Toronto. Private collection, Canada (acquired from the above gallery in June 1962). Then by inheritance to the previous owner. Notes:Casts from this group are held at: Boston, Museum of Fine Art, H. Higginson collection 1921 (acquired in 1900).Lisbon, Calouste Gulbenkian Foundation, since 1970 (acquired by Comtesse de Béarn 1901).Liverpool, Walter Art Gallery, James Smith collection 1927 (acquired at Lille, Musée des Beaux-Arts, Denise Masson collection, 1998 (acquired by Maurice Masson 1910).Glasgow, Burrel collection, donation by William Burrel 1944 (acquired before 1911).Le Cap, South African National Gallery, donation by A.A. de Pass 1926 (gift by Rodin to A. Legros; A.W. Thibaudeau collection; I.P. Heseltine collection).Aix-les-Bains, Musée Faure, Dr Faure collection 1942 (acquired between 1937 and 1942).Paris, Musée Rodin, Alexis Rudier 1922.Indianapolis, Museum of Art, Harry J. Milligan collection 1920.Oxford, Ashmolean Museum, J.W.R. Brocklebank collection, 1926.Copenhagen, Ordrupgaard Sammlingen, Hansen collection, 1951 (purchased 1931).Tokyo, Musée National des Beaux-Arts de l'Occident, 1959 (purchased by Kojiro Matsukata, 1918).Hamilton, Art Gallery, H. Southam collection 1962.Philadelphia, Rodin Museum, Louis Stern collection, 1963.Cambridge, Fogg Art Museum, purchased 1977 (old collection of O. deBarge, Paris).Paris, Musée Marmottan, purchased 1987 (old collection Henri Duhem).Mexico, Museo Soumaya, purchased at Christie's, New York 1993.
Lot 114
WW2 Hurricane Pilots collection of 5 signed A5 cards, each has career details printed on it. Autographed by F/O C Anderson DFC 11 Sqn Burma, Wg Cdr J Elkington 67 sqn Burma BOB, F/O G Skellam 113 Sqn Burma, Flt Lt W E Danby 134 Sqn Burma, Sqn Ldr V Jacobs 136 Sqn Burma. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 115
WW2 Hurricane Pilots collection of 5 signed A5 cards, each has career details printed on it. Autographed by Sqn Ldr O Parry DFC 11 Sqn Burma, Grp Capt Batchelor 17 sqn Burma, Flt Lt Skolfield 28 Sqn Burma, Flt LT C Ellis 113 Sqn Burma, Flt Lt F Davis 136 sqn Burma. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 116
WW2 Hurricane Pilots collection of 5 signed A5 cards, each has career details printed on it. Autographed by Flt Lt R Jackson MC 34 Sqn SE Asia, Col H Holland DFC 11 Sqn SE Asia, F/O G Skellan 113 Sqn SE Asia, W/O P Proctor 11 Sqn SE Asia, Grp Capt E Batchelor 17 Sqn SE Asia. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 117
WW2 Hurricane Pilots collection of 5 signed A5 cards, each has career details printed on it. Autographed by Wg Cdr P Ayerst DFC 238 Desert Sqn BOB, Flt LT L Dennahay 134 Desert Sqn, F/O C Jarrolds 80 Desert Sqn, Air Cdre G Steege DSO DFC 3 Desert Sqn, Flt Lt H Moon 274 Desert Sqn. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 118
WW2 Hawker Typhoon Pilots collection of 5 signed A5 cards, each has career details printed on it. Autographed by F/O R Pottinger 3 Sqn, W/O R Crisford 3 Sqn, Flt Lt K Reeve 137 Sqn, Sqn Ldr P Beake DFC MID 193 Sqn BOB, W/O N Samuels 193 Sqn. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 119
WW2 Avro Lancaster veterans collection of 5 signed A5 cards, each has career details printed on it. Autographed by Flt Lt W Thomas DFC 622 Sqn, W/O F Hogan 622 Sqn, W/O K Ridley 622 Sqn, W/O B Dye 622 Sqn, Flt Sgt B Harris 622 Sqn. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 120
WW2 Avro Lancaster veterans collection of 5 signed A5 cards, each has career details printed on it. Autographed by Flt Lt R Clarke DFC 100 Sqn, W/O J Green 100 sqn, W/O J Cook 100 Sqn, W/O J Hildreth 170 Sqn, Flt Lt D Evans DFC MID 170 Sqn, . Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 121
WW2 Handley Page Halifax veterans collection of 5 signed A5 cards, each has career details printed on it. Autographed by Flt Lt G Mellor 103 Sqn, Flt Lt H Mottershead DFC 158 Sqn, Flt Lt G Dunn DFC 76 Sqn, W/O H Irons DFC 158 Sqn, W/O A Gunn 51 Sqn. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 122
WW2 Handley Page Halifax veterans collection of 5 signed A5 cards, each has career details printed on it. Autographed by F/O T Sayer DFM 102 Sqn, W/O E Horsham 102 Sqn, W/O J Warner DFM 428 Sqn, W/O R Pickford 51 Sqn, W/O H Wagner 51 Sqn. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 22
Thomas Sidney Cooper, RA (British, 1803-1902)Cattle and sheep in a meadow signed and dated 'T.S'Cooper. 1865' (lower left), bears inscription (on the reverse)oil on panel44.5 x 61cm (17 1/2 x 24in).Footnotes:ProvenanceWith Henry Leonidas Rolfe (1824-1881).Sold to Watkins, 8 May 1867.Anon. sale, Lawrences, Crewkerne 15 October 2021, lot 2124.Private collection, UK.LiteratureK. J. Westwood, Thomas Sidney Cooper, C.V.O, R.A., His life and work, David Leathers Publishing, Ilminster, 2011, volume 1, p.331, cat. no O.1865.43.The inscription on the reverse reads 'Sold to Watkins Esq. by H. L. Rolfe of 31 Nicholas Lane, City, May 8 1867'.For further information on this lot please visit Bonhams.com
Lot 44
Alexei Alexeevich Harlamoff (Russian, 1840-1925)Gypsy girl signed 'Harlamoff' (lower left)oil on canvas62.5 x 49.5cm (24 5/8 x 19 1/2in).Footnotes:ProvenanceWith The McEwan Gallery, London.Private collection, UK (acquired from the above by the present owner in 1993).LiteratureO. Sugrobova-Roth and E. Lingenauber, Alexei Harlamoff, Catalogue Raisonné, Dusseldorf, 2007, no. 121, pl. 111.For further information on this lot please visit Bonhams.com
Lot 54
Sir Edward John Poynter, PRA, RWS (British, 1836-1919)The Cup of Tantalus oil on canvas113 x 75cm (44 1/2 x 29 1/2in).Footnotes:ProvenancePrivate collection, Canada.ExhibitedLondon, Royal Academy, 1905, no. 222.Literature'Second Show Sunday: Academicians and Associates', The Morning Post, 3 April 1905, p. 5.'Art', Nottingham Daily Express, 4 April 1905, p. 4.'The Royal Academy Exhibition', Edinburgh Evening News, 29 April 1905, p. 6.'The Royal Academy: Summer Exhibition: Private View', The Morning Post, 29 April 1905, pp. 7–8.'The Royal Academy Exhibition', The Scotsman, 29 April 1905, p. 9.'The Royal Academy (First Notice)', The Times, 29 April 1905, p. 14Marion Harry Spielmann, Royal Academy Pictures 1905, London, 1905, part 1, p. ii.'Fine Arts: The Royal Academy (First Notice)', Athenaeum, 6 May 1905, pp. 567–68.O. M. H., 'The Royal Academy (First Notice)', Black and White, 6 May 1905, pp. 629–32.'The Royal Academy', Country Life, 6 May 1905, pp. 619–20.'The Royal Academy, 1905', The Graphic, 6 May 1905, p. 1.W. M., 'The Royal Academy: l', Illustrated London News, 6 May 1905, p.648.F. J. M., 'The Royal Academy: I', The Speaker, 6 May 1905, pp. 141–42.'The World of Art: [Royal] Academy—Second Notice', The Queen, 13 May 1905, p. 751.'The Royal Academy', The Times of India [Mumbai], 20 May 1905, p. 12.'Royal Academy: Third Notice', The Daily Telegraph, 29 May 1905, p. 11.A. C. R. Carter, 'The Royal Academy', The Art Journal, June 1905, pp. 165–76.A. L. Baldry, 'The Royal Academy Exhibition, 1905', The Studio, June 1905, pp. 37–51.'Further Notes on Royal Academy Pictures', The Builder, 3 June 1905, pp. 591–92.B. S., 'Fine Art: The Royal Academy (Second Notice)', The Academy, 17 June 1905, p. 640.L. M. Richter, 'A Last Visit to the Galleries', Westminster Review, August 1905, pp. 191–94.IllustratedM. H. Spielmann, Royal Academy Pictures 1905, London 1905, part 1, frontispiece.'Royal Academy Pictures, 1905', The Sketch, 3 May 1905, p. 3.O. M. H., 'The Royal Academy (First Notice)', Black and White, 6 May 1905, p. 629.'Pictures from the Royal Academy: Representative Works', Illustrated London News, 6 May 1905, p. i.'The Royal Academy, 1905', The Graphic, 6 May 1905, p. 2.R. B. L. S., 'Special Supplement to 'The Sphere': The Royal Academy Exhibition Summer, 1905', The Sphere, 6 May 1905, p. i.A. C. R. Carter, 'The Royal Academy', The Art Journal, June 1905, p. 167.'As the Fruit and the Water that Retreated before Tantalus', Illustrated London News, 18 June 1910, p. 984.The Cup of Tantalus is the largest of four works by Poynter shown at the Royal Academy of Arts in 1905; the others were a female portrait and two landscape watercolours, A Surrey Chalk-pit and Autumn Leaves. He had until recently jointly held the positions of President of the Royal Academy and Director of the National Gallery, London. He had resigned from the latter in 1904. The present work makes a playful allusion to the ancient Greek myth of Tantalus, the legendary king of Lydia. He was condemned to the underworld of Hades and made to stand up to his chin in a pool water, but only to have the water recede each time he attempted to drink. Here, Poynter has set the myth in the lavish garden of the Villa d'Este on Lake Como, Italy where he frequently visited. One of the two female figures above a fountain stretches down to reach a cup held up from below by a companion on tiptoe, but it is almost out of reach. The critic from the Edinburgh Evening News thought the stretching companion on the left a 'beautifully drawn figure, lithe and graceful.' One of Poynter's many drawings for this figure was reproduced full-page in the book of his drawings by Malcolm Bell, published in 1905.1 Italy had recently inspired the subject of two watercolours from 1898 by Poynter, Isola San Giulio, Lago d'Orta (Yale Center for British Art, New Haven), and The Approaching Storm, Lake of Orta (British Museum, London).The painting was first shown to the press and critics in the weeks leading to the opening of the Royal Academy Summer Exhibition on 1 May 1905. This was in the studio at his home on The Avenue, Fulham Road, Chelsea. Critics from across the country wrote up the picture for their readers eager to learn what the head of the institution would submit. The picture was regarded as his most important submission into which Poynter, stated the Nottingham Daily Express, had 'woven some exquisite scenic surroundings.' Indeed, it was the landscape of the genre picture that was most admired. The critic of The Builder noted that the work was 'full of little incidents—the flecking of sunlight through the trees, the distant city on a hill, seen across the bay.' Poynter had long painted works that combined archaeological artefacts from the historical record (usually in museums) with anecdotal incident, to form historical genre subjects, and continued to produce these into the twentieth century. In The Cup of Tantalus he was considered 'at his best' in this usual vein (thought the Illustrated London News), and the work was shown in the same gallery as Lawrence Alma-Tadema's The Finding of Moses (1904; Private Collection). Despite the essentially playful aspect of the work, it does incorporate a portion of a bas-relief from the Villa Quintiliana in Rome, which the artist knew in the British Museum and which he had 'inserted' as a focus for the composition, and in keeping with the title's allusion to mythology. The marble bas-relief depicting a Bacchic procession, and dating to around AD 100, was part of the celebrated Townley Collection, and had been in Bloomsbury since 1805.2 Poynter was familiar with many aspects of the rich and extensive archaeological collections of the British Museum. Carter, writing in The Art Journal, admired Poynter's 'erudition, research and connoisseurship' evidenced in the work and the study he must have undertaken at resources like the British Museum. Poynter, in common with other artists of his generation such as Leighton and Alma-Tadema, often adapted archaeological artefacts by re-configuring their meaning and context. It was their incorporation and 'use' that was important and gendered added interest. Indeed, the critic from The Queen thought Poynter was 'scholarly as ever.'The early history of the painting is both fascinating and remarkable, and evidence of the continued influence and agency of art unions into the twentieth century. The picture was sold from Poynter's studio during its first public viewing in the weeks before its debut at the Royal Academy. On 18 April 1905 it was purchased by the newspaper News of the World for 600 guineas. It subsequently organised a nationwide campaign, through the National Art Union, for the competition for various art prizes, the first prize of which was the present lot. Coupons were collected by avid readers of the News of the World between 23 April and 6 August 1905.3 Advertisements for the competition were printed in the regional press, including Birmingham Daily Mail, Liverpool Echo, and Yorkshire Evening Post. The winner of the first prize was a bricklayer, Charles Henry Tuck, from Crowborough, Sussex.1M. Bell, Drawings of Sir E. J. Poynter, Bart., PRA, 1905, plate 19.2British Museum, London (GR 1805,0703.128).3The Daily Telegraph, 22 April 1905, p. 3.We are grateful to Dr. Donato Esposito 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 108
Four rings, including a five stone sapphire and diamond ring, size R, an Edwardian three stone ruby and diamond ring, size O, both in 18 ct, together with a single stone amethyst ring, size M, and a 2.3mm band ring, size O, both in 9 ctCondition Report: 9 ct gross weight 3.76 grams18 ct gross weight 5.60 grams
Lot 14
Single stone diamond ring, marquise cut diamond, with round brilliant cut diamonds set to the shoulders, 0.68 carat, mounted in rose gold, ring size O, with GIA CertificateCondition Report: Gross weight 2.3 gramsWith GIA Certificate stating:-Carat Weight 0.68 caratColour HClarity VS2Good overall condition
Lot 211
Emerald and diamond band ring, mounted in stamped 9 ct white and yellow gold, size O, a white paste set band ring, in 9 ct white and yellow gold, and two white cubic zirconia rings, both mounted in 9 ct yellow gold, sizes N½ and PCondition Report: Gross weight 8.6 gramsAll in very worn conditionOne cz stone missing
Lot 230
Three band rings, a half eternity ring set with nine baguette cut diamonds, estimated total diamond weight 0.27 carat, in tested ring size O, a band ring in stamped platinum, ring size Q, and a diamond set full eternity ring, damaged, in tested 18 ct Condition Report: Gross weight of 18 ct 4.3 gramsGross weight of platinum 2.5 gramsAll in worn condition, the full eternity is very misshapen and has some diamonds missing
Lot 36
Two band rings, one with a criss-cross textured design, in stamped 18 ct white gold, width 9mm, ring size Q, and the other with a ball and circle design, in tested 18 ct, width 6mm, ring size O½Condition Report: Gross weight 10.6 gramsBoth in good overall condition with surface scratches to be expected with wear
Lot 2423
A Browning Canvas and Stitched Leather Shotgun Case, with brass mounts and combination lock, the brown faux fur lined interior fitted to take 30" barrels; a Midland Gun Company Green Canvas Shotgun Case, trimmed with leather, the green baize lined interior fitted to take 28" barrels; a Stitched Leather Leg o' Mutton Shotgun Case, fitted to take 30" barrels (3)
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