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Lot 72
Property of a lady English School Portrait of Charles II when a baby Later inscribed lower right: 'K. Charles II' Oil on canvas Provenance: Probably Robert Carey, 1st Earl of Monmouth (1560-1639);thence by descent to his granddaughter, Lady Martha Carey, who married Charles, 2nd Earl of Middleton;by descent to her daughter, Lady Elizabeth Middleton, wife of William Spelman (the picture is mentioned in her will dated 2nd November 1745);thence by descent until offered for sale, London, Sotheby's, 9th June 1998, lot 1;London, Sotheby's, 8th July 2010, Lot 222, Old Master and British Paintings Day Sale, bt. 85,250 GBPLiterature: K. Gibson, Best Belov'd Kings, The Iconography of Charles II, unpublished ph.D.Thesis, 1997, no. 2 Catalogue Note: Charles was born at St. James's Palace on 29th May, 1630, shortly before midday. On hearing that his wife, Queen Henrietta Maria, had given birth to a fine healthy son, the King mounted his horse and rode into the City to give thanks to God. Being given all the attention worthy of a future King, the baby flourished, leading the Queen to comment in a letter to her old governess, Madame St. George in Spetember 1630: 'He is so fat and so tall that he is taken for a year old and he is only four months; his teeth are already beginning to come'. She added: 'I will send you his portrait as soon as he is a little fairer, for at present he is so dark that I am ashamed of him'. Charles was, however, never to lose his dark complexion, earning himself the sobriquet 'the black boy'. Sir Robert Carey, from whom this painting probably descended, was closely involved with the Royal household. At the Court of James I his wife was appointed mistress of the Robes to the Queen and they both had the charge of the young Duke of York, later King Charles I, who was consequently brought up together with the Carey children. Upon the future Charles I becoming Prince of Wales Sir Robert was appointed his Chamberlain, and remained attached to him until his death in 1639. This sensitive portrait was painted in October when the young Prince was four months old. As with a similar version now in the National Portrait Gallery, the Prince is shown propped up on a cushion as if on his Chair of State. Dimensions: 49.75 in. (H) x 40.75 in. (W)
Lot 53
A very rare Dutch stipple-engraved light baluster goblet by Frans Greenwood, circa 1744The round funnel bowl decorated with a half-length portrait of a fishwife, her head slightly turned and with a downward gaze, wearing a low-cut bodice and a flat-topped wide-brimmed hat, holding a herring by its tail in her left hand, another fish on an oval platter with a wavy border resting on her lap beneath her right arm, a spray of flowering lilies in a jug behind a pail of herrings on a table to her right, on a densely stippled ground, the reverse signed 'Frans Greenwood fecit.' in diamond-point script, raised on a tall slender multi-knopped baluster stem, above a later replacement parcel-gilt foot chased with strapwork and foliate scrolls, 24.3cm highFootnotes:ProvenanceSotheby's, 3 June 1974, lot 116Viscount Newport, Earl of Bradford, Weston Park, Shifnal, Christie's, 4 June 1985, lot 30With Heide Hübner, Würzburg, 1986Mühleib Collection, Bonhams, 2 May 2013, lot 57Stephen Pohlmann CollectionLiteratureNoel Riley, 'Antique Glass in Shropshire', The Antique Dealer and Collectors Guide (June 1975), p.147, fig.5The Earl of Bradford, 'Making a Collection', The Antique Collector, Vol.56, No.6 (June 1985), pp.108-9, fig.1Frank Davis, 'Talking about Salerooms', Country Life, Vol.178 (July 1985), p.215, fig.1David Watts, 'Glass', in Elizabeth Drury (ed.), Antiques (1986), p.87Frans Smit, Frans Greenwood (1988), p.151-2, no.44.1, figs.97 and 99Frans Smit, Uniquely Dutch Eighteenth-Century Stipple-Engravings on Glass (1993), p.121, no.Dc.3ExhibitedWeston Park, Shifnal, 198331. Deutsche Kunst- und Antiquitäten-Messe, Haus der Kunst, Munich, 1986Frans Greenwood (1680-1763) was a Dordrecht merchant of English extraction, born in Rotterdam. An amateur artist, poet and glass engraver, he is traditionally credited as being the first artist to experiment with stipple engraving in the early 1720s and the first engraver to produce a whole picture on a glass in the technique. The techniques he developed had a profound influence on the work of a number of other glass engravers in Dordrecht, including Aert Schouman, making him one of the most important glass artists of his time.The herring industry or 'Groote Visscherij' (Great Fishery) played a very important role in the Dutch economy and the fishwives of Scheveningen were a favourite subject of Greenwood. They traditionally wore hats with flattened tops to accommodate the fish baskets they carried on their heads, with the wide brim offering protection against resulting drips. The poet Jacob Cats published a poem 'On a woman from Schevenigen carrying a basket of fish on her head' as early as 1654.The scene on the present lot is paralleled by an almost identical portrait of a fishwife against a different background, signed by Greenwood and dated 1744. This is in the Huis van Gijn in Dordrecht, illustrated and discussed alongside the present goblet by Smit (1988), pp.151-3, no.44.2, figs.98 and 100. Another goblet but with a different portrait of a fishwife, signed by Greenwood and dated 1742, was in the Anton Dreesman Collection sold by Sotheby's on 3 June 1974, lot 115 and again by Christie's in Amsterdam on 16 April 2002, lot 1279. This is illustrated and discussed by Smit (1988), pp.146-7, no.42.1, fig.90.All three glasses unusually depict a fishwife holding a herring by its tail. This is echoed in several contemporary Dutch Old Master portraits of women selling herrings by artists including Gerrit Dou (1613-1675), Godfried Schalcken (1643-1706) and Carel de Moor (1656-1738). In Dutch painting this is sometimes interpreted as a demonstration of promiscuity, but the lilies shown behind her traditionally symbolise purity and it is clear from Greenwood's poetry that he held fisherwomen and the fishing industry as whole in particularly high regard. Interestingly, one of the Directors of the Dutch East India Company, Pauls Schepers, bequeathed a 'haringwijfje' goblet to his second Cousin Gerard Schepers in the mid-18th century, which may refer to either the present goblet or the example from the Dreesman Collection, see Smit (1988), pp.146-7.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 80
THE 1926 ASCOT GOLD CUP: an 18 carat gold cup and coverSebastian Garrard, London 1926, inscribed under handle 'Chas. Sykes Sculpt' Of ovoid form, the whole hand-raised, a pull-off part domed cover featuring an organic style cast and chased six-pointed star wrythen finial, the main body with a rolled flaring upper rim transitioning into a gently waisted wide neck adjoining the main body, from the rounded shoulders two cast lug handles project horizontally, both ergonomically curved with fluting and ornamented in a kneeling ribbed character partly clothed by leaf forms, from which two slender arm-like strands return and attach to the main body, their ends curled within applied acanthus leaves, the smooth egg-shape form powerfully gripped at its base by four embossed spined acanthus leaves, a flanged pedestal beneath flowing into four embossed matching acanthus leaves in high and low relief, on a circular spreading foot, the patina of the gold to the whole warm and vibrant, presented on the original circular wooden plinth with applied lettering for 'ASCOT 1926' to one side, to the other a plaque inscribed 'Won by Sir John Rutherford's Solario', height cup without plinth 42cm, diameter handle to handle 34cm, weight 3041gms.Footnotes:ProvenanceAwarded to Sir John Rutherford in 1926 and thence by family descent to the present owners.Lot ResearchThe Ascot Gold Cup stands proudly as the showpiece event and trophy of Royal Ascot week, and is Britain's most prestigious horse racing occasion for 'stayers' – horses which specialise in racing over long distances. It is a Group 1 flat horse race, open to horses aged four years or older, covering a distance of 2½ miles. Ascot Racecourse itself is located in Berkshire, not far from Windsor Castle, and is located on Crown Estate Land. Founded by Queen Anne in 1711, it has a symbiotic relationship with the British Royal family, resulting in the reigning Monarch appointing a representative to run the administration of the racecourse on their behalf. Traditionally the racecourse had been run by the Master of the Royal Buckhounds, but in 1901 this changed and Lord Churchill (Victor Spencer, 1st Viscount Churchill, 1863-1934) was appointed by Edward VII as his first official Representative, becoming Chairman in 1913. In 1926, when this Gold Cup was awarded, Lord Churchill was still very much at the helm and was integral to the design of the trophy on offer.The Gold Cup was first run in 1807 when it was won by Master Jackey, and the first formal Royal procession, starting from Windsor Castle, was introduced in 1825 by George IV. Throughout Royal Ascot week, each race day begins with the Royal Procession, when the reigning Monarch and accompanying members of the Royal family arrive in horse-drawn carriages. While the Royal Standard is being raised, they are driven slowly along the track in full view of the expectant crowds. The Royals and invited guests then spend the day watching the races from the Royal Enclosure. The magnificent Ascot Gold Cup is the prize awarded to the owner of the winning horse by the reigning Monarch, and the cup design has to be approved by the Sovereign each year. It is one of only three perpetual trophies at the Royal meeting that are able to be kept on a permanent basis by the winners, the other two being the Royal Hunt Cup and the King's (or Queen's) Vase. As such, all three trophies are re-made every year, to a different design.Gold Cup Day is traditionally held on the third day of the Royal Ascot meeting held in June, which is known colloquially (but not officially) as 'Ladies' Day'; a day to see and be seen. The term seems to have been coined in 1823, when an anonymous poet described the Thursday of the Royal Meeting as 'Ladies' Day ... when the women, like angels, look sweetly divine.' A strict dress code underpins the spectacle, attracting the very best in fashion, horses, trainers and quality of racegoers alike. Lord Churchill is reputed to have taken personal charge of vetting applications for entrance into the Royal Enclosure, sorting letters into three baskets marked 'Certainly' 'Perhaps' and 'Certainly Not.'On Thursday June 17th, 1926, the Gold Cup on offer was won by 'Solario' (1922-45), a four-year-old thoroughbred, ridden by the jockey Joe Childs (1884-1958) and owned by Blackburn's phenomenally wealthy Sir John Rutherford (1854-1932). George V, accompanied by his wife Queen Mary, awarded Sir John the trophy on offer in the presence of a huge cheering crowd – a design chosen by George V after much deliberation and angst, causing much controversy behind the scenes. This tension over the cup design has come to light since letters held in The Goldsmiths' Company archives, specifically on the design process behind the 1926 Gold Cup, were carefully perused.However, the drama that had played out behind closed doors was not in evidence on that sunny day in June, when 'Solario' reigned triumphant. Originally bred in Ireland by the 4th Earl of Dunraven, 'Solario' was the son of the Triple Crown winner, 'Gainsborough'. In 1923 he was bought as a yearling by Sir John for £3,675 at the Doncaster blood sales, as a handsome horse of elegant build in unmarked brown, with high withers, long legs and a short back – the perfect 'stayer' in form. Under the guidance of his trainer Reginald Day, 'Solario' went on to become one of the most famous racehorses of his day, undoubtedly the best Sir John Rutherford had ever owned, winning numerous prestigious races such as the Exeter Stakes in 1924, the St Leger Stakes in 1925 alongside the Ascot Derby and the Princess of Wales Stakes, and in 1926 the Ascot Gold Cup and the Coronation Cup. He retired to Terrace House Stud in Newmarket, commanding the highest stud fee in the land of 500 guineas a mare and winning the 'Leading Sire of Great Britain & Ireland' award in 1937. Indeed, he was immortalised in oils after his monumental win at Ascot in 1926 by Sir Alfred James Munnings (1878-1959), and in 1932 the painting was bequeathed to Blackburn Museum and Art Gallery by Sir John Rutherford, where it still resides today. His owner, Sir John Rutherford, died in 1932 and 'Solario' was offered in his dispersal at the Newmarket July sale that year. Amidst fear that he would be snatched up by a wealthy American syndicate, bidding was contentious, and a British syndicate headed by Lord Glanely won him at 47,000 guineas, a new record price for a horse at auction. He was returned to stud at Terrace House, where he died in 1945.Solario's owner Sir John Rutherford, 1st Baronet (1854-1936) was originally born in Annan Dumfriesshire, the only son of Mr John Rutherford J.P. of Blackburn, a town which he had a lifelong association with. Sir John was a man with true Northern grit, a multi-faceted character who had been one of Blackburn Rovers first-ever football players, later inheriting his father's partnership in Shaw's Brewery in Blackburn town centre. He gained a Commission into the Duke of Lancaster's Own Yeomanry regiment in 1881, which he commanded for six years, found time to serve as a Conservative Member of Parliament for Darwen, a seat he held for a total of twenty-seven years, and was appointed the Mayor of Blackburn in 1898. His elevation in social standing was cemented by being granted a baronetcy on 27 January 1916, owning the archetypal country estate in Scotland, as well as a now-vanished mansion at Beardwood in Blackburn. As a brewing tycoon, he was wealthy enough to afford to turn down the Aga Khan's offer of £100,000 - equal to more than £3.2 million today - for his colt 'Solario' after it won its first classic, the St Leger in 1925. His interest in horses had begun in 1880, when he originally showed an interest in show jumping and steeplechasing, but his true passion lay with ownership of thoroughbred... For further information on this lot please visit Bonhams.com
Lot 406
A Magnificent Victorian 18ct gold Racing Trophy Centrepiece: The 1877 Ascot Gold Cup, won by Lord Lonsdale’s ‘Petrarch’, by Charles Frederick Hancock, London 1876, the 18ct gold cup and cover of vase-shaped baluster design, the cover of wrythen lobed form, with cast finial of a rearing stallion attended by a classical youth, the twin handles both modelled as figures of Winged Victory, the rim fitting inscribed ‘RIDDEN BY T. CANNON 6 STARTED’, the knopped stem within a surround of four young male figures, kneeling, two holding wreaths, two holding shields engraved: ‘ASCOT GOLD CUP 1877 WON BY EARL OF LONSDALE’S ‘PETRARCH’ 4YRS’, on stepped foot, the trophy placed on circular stand chased with a border of amorini and horses, spaced by female masks, the centre engraved with the Royal Arms and inscribed: ‘ASCOT GOLD CUP 1877. WON BY EARL OF LONSDALE’S PETRARCH’ 4YRS, contained in a shaped and fitted dark green velvet case, within outer conical wooden carrying case, stencilled to the exterior ‘THE EARL OF LONSDALES TRUSTEES, PLATE CASE NO.1, trophy height 47.5cm, diameter of stand 36cm. £100,000-£120,000 --- The Ascot Gold Cup: “The most prestigious prize in flat racing since 1807” Gold has traditionally been associated with sporting glory and there is no more famous race at the Royal Meeting than the Ascot Cup. First staged in 1807, the inaugural race took place in the presence of King George III and Queen Charlotte. Originally open to horses aged three years and older, and taking place in June each year, the race was run over 2 miles 3 furlongs and 210 yards. The winner of the first race, Master Jackey, was awarded prize money of 100 guineas. In 1844, the race was attended by Emperor Nicholas I of Russia, who was making a state visit to England. That year's winner was unnamed at the time of his victory, but he was given the name ‘The Emperor’ in honour of the visiting monarch. In return Nicholas offered a new trophy for the race — the Emperor's Plate — and this became the title of the event for a short period. Its original name was however restored after nine years, in 1853. Today the race is the first leg of Britain’s Stayers’ Triple Crown followed by the Goodwood Cup and the Doncaster Cup, the last horse winning all three prestigious races in the same year being ‘Stradivarius’ in 2019. The 1877 race numbered six runners including the four-year-old bay Petrarch, ridden by Tom Cannon, trained by Joe Cannon, and owned by Lord Lonsdale. A contemporary account gives commentary on the race itself: “Considerable interest was occasioned on Cup Day by the presence of the Princes Albert Victor and George, it being their first appearance at a race meeting. Cannon rode a fine race for the Gold Cup on Lord Lonsdale’s Petrarch. When passing the Hotel turn, Petrarch attempted to stop, and made as if he would go to the stables, but Cannon managed him splendidly; and although at Swinley Bottom he was six lengths behind, fortune favoured him. At this point, Sugar Loaf bolted and jumped the ditch, and Petrarch slipped into third place, increasing his advantage until at the bend into the straight, he took the lead from Skylark and Coomassie and won easily by four lengths”. Regarding the winning owner’s trophy cup, The Auckland Star (6 September 1877) enthused: “This year the cup is of real gold, and a most magnificent piece of plate, worth, with the stakes, £2,070”. The magnificent gold trophy was one of only three Royal Ascot races where the winner’s cup was retained in perpetuity by the winning owners (the Royal Hunt Cup and the Queen’s Vase being the other two). ‘Petrarch’ Petrarch was foaled in 1873, his sire Lord Clifden was the St Leger winner of 1863, his dam Laura was a successful brood mare whose other foals included the Doncaster Cup winner Fraulein and the Craven Stakes winner Laureate. Petrarch was described as an extremely handsome rich bay horse. Alexander Scott, author of Turf Memories of Sixty Years, remarked, "Whenever I am asked to give my opinion of the grandest looking Thoroughbred of the past sixty years, I always declare unhesitatingly for Petrarch." Petrarch was bred by J. E Gosden at Midhurst, West Sussex, and as a three-year-old, stood 15.3 hands high. The colt was sent into training with John Dawson, the younger brother of Mathew Dawson, at Warren House stables at Newmarket, Suffolk. Dawson was best known as the private trainer of Prince Batthyany, for whom he trained the 1875 Epsom Derby winner Galopin. Between October 1875 - October 1878 Petrarch ran sixteen times and won eight races. In 1875, Petrarch won the Middle Park Stakes on his only appearance of the season. In 1876 he won two of the three races which comprise the Triple Crown, taking the 2000 Guineas at Newmarket and the St Leger at Doncaster. During the winter of 1876, he was purchased by Lord Lonsdale and as a four-year-old in 1877, he won three races including the two and a half mile Ascot Gold Cup which at that time was regarded as the most important weight-for-age race in the world. Petrarch was troubled with recurring kidney ailments, making his health precarious at times. Dawson, his trainer, remarked on his successful four-year career competing at the highest levels of racing, as being “testament to his courage and quality”. Petrarch retired to stud in 1878, where he became a successful sire of winners. Lord Lonsdale St George Henry Lowther, 4th Earl of Lonsdale (1855 – 1882) was the eldest son of Henry Lowther, 3rd Earl of Lonsdale, and had a keen interest in travel, science and racing. During the winter of 1876, Lord Lonsdale purchased Petrarch from Viscount Dupplin, and lost no time in securing successes for the four-year old in 1877, winning at Newmarket, at Epsom in the High Level Handicap, and easily taking the Ascot Gold Cup. Petrarch finished just a head behind Snail in the Liverpool Summer Cup. In 1878 at the age of just 23, after the death of his father, St George inherited the earldom and the Lowther Estates in Westmorland. He died just a few years later in 1882, and was succeeded to the earldom by his younger brother Hugh.
Lot 1239
LA NOUE FRANÇOIS DE: (1531-1591) Also known as “Bras-de-fer” (“Iron Arm”). French Huguenot Captain. Best remembered for his exploits, such as the capture of Orléans at the head of only fifteen cavaliers in 1567, or the defeat he inflicted to Royalist troops before Rochefort. La Noue died as a result of a wound he received at the siege of Lamballe in Brittany. Very rare with historical content A.L.S., `La Noue´, one page, folio, Senlis, n.d. [May 1589], to the Duke of Longueville, in old French. Senlis is a small town in the north of France where Monarchs of the early French dynasties lived, attracted by the proximity of the Chantilly forest. An excellent military letter, La Noue reporting to his correspondent and master about the last events occurred, and stating in part `…La ville de Crespy se fust rachetée du sac à six mille escuz…et maintenant, à ce qu´on me dit, la plume volle par les rues… Si nous eussions guère tardé, les ennemys nous eussent réveillez… Et le corps de l´armée ennemye… on croit que la dire armée vient prendre Mouy, Merlon, et de là à Clermont…´ (“`…The town of Crespy was redeemed itself with the bag of six thousand shields…If we had been little late, the enemies would have woken us up…And the body of the enemy army… it is believed that the said army is coming to take Mouy, Merlon, and from there to Clermont…”) La Noue further refers to Spanish troops which would be on the way to support the enemy, saying in part `…Si cela est, il faut que le Roy se soyt amuzé à ataquer Louviers…si l´ennemy a occupé la plaine en premier… il faut penser à choisir un autre lieu meilleur en ces villages ligueurs entre Crespy et Soissons…´ (“If it is so, the King must have had fun attacking Louviers... if the enemy has occupied the plain first...we must think about choosing another better place in the league villages area between Crespy and Soissons...”) A letter of excellent and historical content. With addressee to the verso. Small overall age wear with few water stains, although remaining perfectly legible. Professionally repaired to the verso to the edges. About G The present letter was most probably written during the siege of Senlis, where the troops of the Duque of Longueville, Henri I d´Orleans, together with the troops commanded by François de la Noue defeated the Catholic League of France, supported at that time by the Pope Sixtus V, and by the King of Spain Philip II.Henri I d´Orleans (1568-1595) Duke of Longueville. Governor of Picardie, Soldier and Grand Chamberlain of France 1589-95 under Henry IV. He died at the very early age of 26. His funerary monument is at the Louvre Museum. Henri I of Orleans was the loose inspiration behind the character of Longueville in William Shakespeare´s Love´s Labour´s Lost. In 1570, at the siege of Fontenay, La Noue had his left arm shattered by a bullet and amputated. He ordered a mechanic of La Rochelle to make him an artificial iron arm with a hook allowing him to hold his reins.Charles IX (1550-1574) commissioned La Noue in 1572, after the Saint Bartholomew´s Day Massacre, to reconcile the inhabitants of La Rochelle to the King. The inhabitants of La Rochelle, the great stronghold of the Huguenots, were not in favour and La Noue decided to give up the Royal commission and acted as General of La Rochelle 1574-78.In 1579 La Noue was imprisoned for five years, and during his captivity he wrote his celebrated Discours Politiques et Militaires, published in 1587 in France, same year in English, and few years later published in German. His work had an immense influence on soldiers of all European nations.
Lot 498
SADE MARQUIS DE: (1740-1814) French Writer, Nobleman and Revolutionary Politician. Best-known for his erotic works and sexual fantasies with violence and lack of morality. Author of The 120 Days of Sodom. Sade spent thirty-two years of his life imprisoned and most of his works were written while incarcerated. The word sadism was coined from his name. Rare A.L.S., `Sade´, three pages, 4to, Charenton, 23rd December 1806, to his stage manager M. Ripert, in French. Sade first refers to his correspondent´s son, a military officer in Napoleon´s troops, and states `Je vous assure mon cher et ancien ami que la nouvelle que vous me donnez de votre fils, me fait infiniment de peine, je ne sais quel funeste pressentiment m'avait présagé le malheur qui lui est arrivé mais en l'embrassant (et M. Quesnel s'en aperçut), je sentis un mouvement involontaire d'une tristesse plus forte que moi, mais heureusement qu'il s'en tirera bien, et vous devez avoir déjà des nouvelles de sa convalescence… Au reste consolons nous de cet accident par l'idée certaine qu'il va bien sûrement monter en grade ; il aura sûrement un régiment et d'autres faveurs; car vous savez comme moi qu'il sert un bon maitre et que jamais l'Empereur n´a laissé dans l'oubli des officiers bléssés à son service…´ (“Translation: “I assure you my dear and old friend that the news you give me of your son pains me infinitely, I don't know what fatal presentiment had presaged to me the misfortune that befell him, but in embracing him (and M. Quesnel noticed it), I felt an involuntary sadness movement, stronger than me, but fortunately he will be fine, and you must already have news of his convalescence… Besides, let us console ourselves for this accident by the certain thought that he will surely rise in rank; he will surely have a regiment and other favours; because you know like me that he serves a good master and that the Emperor has never left in oblivion officers injured under his service...”) Sade further changes the topic and mentions his own affairs, stating `Un mot de mes affaires… je vous suis obligé de ce que vous avez decouvert pour me procurer quelques fonds dont je me trouve avoir absolument besoin dans ce moment-ci… et voici comme cela pourrait etre arrangé, l´affaire se fairait ce quon appelle par anticipation; le nouveau fermier en signant l'acte me payerait une année d'avance dont il se rembourserait a la fin de son bail, et ce remboursement fait par le fermier qui prendrait alors, c'est a dire a la fin du bail de celui que vous me proposez payerait cette année; personne par ce moyen ne se trouverait gené. Combinez bien, minutez bien ce que je vous propose et si l'on y consent, et que vous trouviez ce plan b bon pour moi. Envoyez moi de suite un modèle de procuration je vous le renverrai signé…´ (Translation: “A word about my affairs...I am obliged to you for what you have discovered in order to get me some funds which I find myself absolutely in need of at this moment...and here is how it could be arranged, the matter would be what is called “by anticipation”; the new farmer by signing the deed would pay me a year in advance which he would be reimbursed for at the end of his lease, and this reimbursement made by the farmer who would then take the contract, that is to say at the end of the lease of the one whom you propose; no one by this means would be embarrassed. Plan well what I propose to you and if we agree to it, and that you find this plan b good for me. Send me immediately a power of attorney that I will send it back to you signed…”) Before concluding, Sade insists on his need of money, saying `A l'égard du château j'espère que vous ne le louerai qu'à quelqu'un de sûr, et qui n'y laisse rien dégrader cette clause est très importante… je vous remercie de ce que vous me dites a l'occasion du bois de Saumane, mais étendez vous dans votre reponse et dites moi de quelle manière je vais en retirer de l'argent…´ (Translation: “With regard to the castle I hope that you will only rent it to someone reliable, and who does not let anything deteriorate, this clause is very important… I thank you for what you tell me regarding the Saumane wood, but extend your answer and tell me how I will get money from it…”) A lengthy letter of good content. With address leaf. Postmarked. One small hole to first sheet and few small ones to the second, only partially affecting one word, and not affecting the signature. Very small area of paper loss to the edge of the second sheet as a result of the letter opening. G Sade refers to Napoleon I when mentioning the behaviour of the Emperor when relating to injured soldiers of his troops.
Lot 361
Franconia, late 15th-early 16th century A.D. A carved limewood figure of St John from the workshop of Tilman Riemenschneider in Würzburg, Germany; the saint standing with his head slightly tilted, a mop of curled hair surrounding his doleful face; a long mantle draped over his sleeved tunic, his bare feet placed on a knoll with textured grass and stones; holding a Gospel in his left hand. See Tönnies, E., Leben und Werke des Würzburger Bildschnitzers Tilman Riemenschneider, 1468-1531, Strassburg, 1900; G?mez-Moreno, C., Medieval Art, from private collections, a special exhibition at the Closters, October 30, 1968, through March 30, 1969, New York, 1968; Bier, J., Tilman Riemenschneider: His life and Work, Lexington, 1982; Chapuis, J., Tilman Riemenschneider: Master Sculptor of the Late Middle Ages, National Gallery London Publications, 1999; late Gothic wooden statues of St John the Evangelist from a crucifixion in Dá?ová, H. and Pražáková, M. (eds.), In the middle of the Czech Crown - Gothic and Early Renaissance Art of Eastern Bohemia 1250—1550, (in Czech), Muzeum východních ?ech v Hradci Králové, 2020, pp.142-143, 177. 5.45 kg, 98.5 cm high (38 3/4 in.). French private collection. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.114460-196260. Tilman Riemenschneider was a prolific sculptor in stone and in limewood, whose work is held to mark the transition from the late medieval 'Gothic' style to the more naturalistic Renaissance style. From circa 1520, his increasing involvement in local government and politics entailed handing over much of his commission work to his apprentices and workshop. His work is unusual for its deep modelling of folds in clothing and in that it was not always painted. This statue was possibly part of a carving group representing the Crucifixion. The timber shows some old insect flight holes and we are advised that this piece has been recently treated with Permethrin, as a precaution. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]
Lot 213
STATUS QUO - 7" ACETATES. Fantastic selection of 4 x seldom seen 7" acetate recordings from Status Quo. Titles are Mean Girl (Emidisc - sharp and clean Ex condition), Old Rag Blues (Master Room - VG+ condition with a few light and minor surface marks), Dear John (Strawberry Mastering - neat VG+ condition) and Caroline (PRT Studios - lovely clean Ex). All presented in very fine condition without any deterioration to the lacquer.
Lot 106
PILOT FOUNTAIN PEN "REGISTERED PATENT OFFICE 50".Black lacquer barrel.Limited edition. This is a prototype that was discontinued.Nib 14 kts. yellow gold. Size 50.Screw cap. Cartridge loading.No box.Measurements: 18 cm. length, 25 mm. diameter.In 1985 Pilot decided to recreate some of the old jewels of the golden age of Namiki-Dunhill. To do so, he hires Sakai Eisuke, a master lathe operator already known for his creations with the Ban-ei group, to make a prototype.It is a black lacquer pen of considerable size. The brand is Pilot, as can be seen on the pin. Special nib size 50. The pen is a dropper pen with a sealing valve.This pen, in later years, was renamed Namiki. The nib changed the decoration and became purer. The pin also incorporated the name of the new brand.
Lot 208
1974 Jensen Interceptor Mk. III Transmission: automaticMileage:116000It's not often a car company is started with the help of a movie star but when in 1935 Clark Gable sent the Jensen brothers a new Ford chassis to fit one of their sleek four-seat bodies to, as they say the rest was history. After the war Jensen resumed low volume car production but prospered as the coachbuilder for Austin Healey and others until in 1963, they introduced the C-V8 with a Chrysler V8 engine, succeeding it with the Interceptor in 1967 with a Touring-designed body and power from a 383 Chrysler V8 unit. A modified and updated Interceptor II followed in late 1969 and was succeeded in 1971 by the Interceptor III which was joined in 1974 by a convertible version both powered by Chrysler's 440 cubic inch engine. The Jensen Interceptor combined powerful, reliable American V8 power and smooth-shifting automatic gearboxes with British coachbuilt quality and luxury. They were built for a discerning clientele willing to pay a premium for their performance and exclusivity. In 1974 and Interceptor III cost 60% more than a Jaguar Series III E-Type Roadster.Registered on 1st August 1974, this Jensen Interceptor comes from over two decades of single family ownership. Throughout its 48 years on British roads and having been restored multiple times, it presents in very good condition and has been dry stored ever since the vendor acquired the vehicle. In 2002 this Jensen was treated to a comprehensive restoration, including stripping the bodywork to bare metal along with an extensive respray. The engine was also completely overhauled at this time and as such it runs very well. In 2018, the car was once again treated to a comprehensive respray at huge cost, which complements the superb cream leather interior. Notable upgrades included the fitment of a Holley Fuel injection system fitted in 2002. Other additions include a recently fitted oil cooler, uprated fans, new radiator, uprated alternator and water pump, new HT leads, new lamda sensor, and a new master blaster coil. As a result, the car is highly reliable and most importantly doesn't overheat even in extremely hot ambient temperatures. In recent years the suspension has also been improved with new front springs and coil over shock absorbers at the front and back. The Jensen is currently showing 49,165 miles on the odometer, however the odometer unit has previously been changed and the true mileage is circa 116,000. Supplied with a substantial history file detailing its multiple restorations, every invoice from the past 42 years amounting to well over £100,000, many old MoT test certificates and its current UK registration document. These iconic cars of the seventies are aesthetically superb and this lovely example is no exception.
Lot 264
1980 MG B GT Transmission: manualMileage:96285The MGB was launched in May 1962 to replace the MGA. Introduced as a four-cylinder roadster, a Coupé with 2+2 seating was added in 1965 with production continuing until October 1980. The MGB GT sported a ground-breaking design by Pininfarina on launching the sporty 'hatchback' style. By combining the sloping rear window with the rear deck lid, the GT offered the utility of a hatchback while retaining the style and shape of a Coupé. This new configuration was a 2+2 design with a right-angled rear bench seat and far more luggage space than in the Roadster. Relatively few components differed although the MGB GT did receive different suspension springs and anti-roll bars and a modified windscreen which was more easily and inexpensively serviceable. Acceleration of the GT was slightly slower than that of the Roadster due to its increased weight. Top speed improved by 5mph to 105mph due to better aerodynamics.This interesting MGB GT Coupé was first registered on 1st August 1980 and has had just two owners from new. The MG has not been used much in recent years and as such requires recommissioning before use. It is also believed that the clutch or clutch master cylinder will need to be replaced before use. The history file that accompanies the car includes many old MoT test certificates and various significant maintenance bills. Offered without reserve we are sure this example, once recommissioned, will be huge amounts of fun for the new owner.
Lot 1613
ALTMEISTER-KOPIST/IN 20. Jh., "Stillleben mit Blumenbouquet" u.li. undeutlich signiert, Öl/Leinwand, HxB: ca. 84x58 cm (102x74 cm mit Rahmen). Altersspuren, Rahmenabdruck. Mit Rahmen (Alters- und Beriebspuren).| OLD MASTER COPYIST 20th century, "Still life with a bouquet of flowers", indistinctly signed, oil/canvas, HxW: approx. 84x58 cm (102x74 cm with frame). Signs of age, frame imprint. With frame (signs of age and wear).
Lot 7
JOSÉ PUYET PADILLA (Málaga, 1922 - Madrid, 2004)."Oriental", 1974.Oil on canvas.Signed in the upper right corner. Signed, dated and titled on the back.Measurements: 101 x 81 cm; 120 x 101 cm (frame).The grandson of the famous master José Padilla, Puyet took a keen interest in painting from his childhood, initiating himself with his grandfather in the use of pencils and oil paints. When the Civil War broke out he was fourteen years old, and by then he was working as an apprentice in an English insurance company. At the age of twenty he was sent to Melilla to do his military service, and there his superiors soon realised his artistic potential. They began to relieve him of guard duty so that he could portray the relatives of senior officers in the barracks, a fact that strengthened Puyet's confidence in his brushes. On his return he went to Madrid, where he began his career as an occasional portrait painter, among other diverse jobs such as advertising illustration for important firms like Mirurgia and Gal. At the same time he was part of the decoration team of the Samuel Bronston studios, painting backgrounds for films with the most varied themes, from Roman countryside to the arid lands of the American West. During these years he also made himself known at various exhibitions in Madrid, including the group shows at the Círculo de Bellas Artes. It was there that he met the man who was to become his definitive driving force: Mr. Cano, the gallery owner who proposed his first individual exhibition. Since then, and given the success of the exhibition, he held more than forty exhibitions until the gallery closed. Simultaneously, Puyet exhibited his work in Barcelona, Valencia, San Francisco, New York, Montreal, Miami, Monterrey, Houston, Boston, Hamburg, Berlin, Munich and Milan, among other cities. In 1984 he became a member of the prestigious American publication "Who's who in Art". In December 1988 he was appointed member of the Royal Academy of Fine Arts of San Telmo in Malaga. Puyet is currently represented in important collections such as those of the Duchess of Alba, the Grimaldi family, Juan March, Plácido Domingo, etc.
Lot 81
LUIS DE MADRAZO Y KUNTZ (Madrid, 1825 - 1897)."Portrait of a Lady with a Cat.Oil on canvas. Re-coloured.With restorations.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner.Measurements: 81 x 54 cm; 100 x 72 cm (frame).Like the rest of his family, Luis de Madrazo cultivated the portrait. The quality of the master responsible for the painting is clear: first, for the economy of means, which keeps the spectator's attention focused on the lady (something to which the neutral background of the painting and the tonal play between the dress and the pale skin of the lady also contribute); second, for the quality of the drawing used, above all, in the face (drawing which predominates over the colour and the brushstroke, as it was usual in the art of the 19th century derived from the Neoclassicism of the Fine Arts Academies).The son of José de Madrazo and brother of Federico and Pedro, Luis de Madrazo enjoyed great prestige during his lifetime, first as a teacher (professor of Old and Ropajes Drawing) and later as director of the Madrid School of Painting, Sculpture and Engraving, and was recognised with honours such as the appointment of Commander of the Order of Isabella the Catholic, as well as a full member of the San Fernando Royal Academy of Fine Arts. He was a cultivator of religious and historical themes, although he was particularly praised as a portraitist. He began his training with his father and later furthered it at the San Fernando School in Madrid. As early as 1845 he was already working as an illustrator for "El Semanario Pintoresco". Later he also worked as a draughtsman for the "Semanario Pintoresco Español". In 1848 he went to Rome to further his artistic studies at the National Academy of St. Luke and the French Academy of the Villa Medici. In Rome he came into contact with Friedrich Overbeck through Antonio Solá. He received a powerful Nazarene influence from the German Romantic painter, which can be seen in his work from then on. Later he travelled to Paris, Venice, Munich and Berlin before returning to Italy in the 1890s, settling in Pompeii with the painters Bernardino Montañés and Francisco Sáinz. He finally returned to Spain to begin his teaching career in San Fernando and was introduced into the artistic circles of Madrid by his father and brother Federico. He worked with the latter at the Prado Museum. As a painter, Luis de Madrazo devoted himself almost exclusively to portraiture, working for official bodies and also for the nobility. He made his work, characterised by the purity of lines and the sharpness of colour and light typical of the strictest Nazarene aesthetic, known through various competitions and official exhibitions held both in Spain and abroad. In 1855 he was a major success at the Universal Exhibition in Paris, and the following year he won the first medal at the National Fine Arts Exhibition in Madrid for his work "Pelayo en Covadonga" ("Pelayo in Covadonga"). He was also awarded a silver medal at the Franco-Spanish Exhibition of 1864. Luis de Madrazo is currently represented in the Prado Museum, the Royal Academy of History in Madrid, the Lázaro Galdiano Museum in the same city and other important public and private collections.
Lot 565
Botwinnik, Michail. Eigenhändig geschriebener Brief von Botwinnik an Herrn L. Bäckström in englischer Sprache, datiert „Moscow 25.12.(19)75“ und signiert. Einseitig beschriebenes Blatt. Blattgröße 20,5 x 29 cm. (63)* Brief des ehemaligen Schachweltmeisters Michail Botwinnik an Herrn Bäckström: “Dear mr. L. Bäckström! Taking an opportunity I send you my book in Russian (probably in a few months this book will be published in German by Rudi Schmaus Publishing house“ in Heidelberg). My friend, the champion of Moscow Central Chess Club master A. Byhovsky (he trains young soviet masters) and young master E. Vladimirow will be your visitors. They will have an opportunity to stay in Sweden for a few days after tournament and, I hope, it will be possible to arrange two or three exhibition plays. How is my old friend Jon Biström? I remember him very often. Merry Christmas and Happy New Year! Moscow, 25.12.75 M. Botvinnik“ Der sowjetische Großmeister Michail Botwinnik (1911 – 1995) war der sechste Schachweltmeister und konnte diesen Titel zweimal nach Revanchekämpfen zurückgewinnen. Er übte das Schachspiel über 30 Jahre auf höchsten Niveau aus und galt als eine der wichtigsten Personen der sowjetischen Schachschule. Zustand: Das Blatt ist leicht gebräunt, hat Gebrauchsspuren und war doppelt gefaltet gewesen. Schönes Sammlerstück.
Lot 325
* Dollond (Peter, 1731-1820). Autograph Letter Signed 'P. Dollond', Stamford Street, no date, to Mr Mouchett, 'On account of the death of my wife which happened on Sunday morning last at Bath Mr Grignion set off this morning in the Bath Coach for that place. He has desired me to send you the black leather case which contains some papers of your concerns. He desires you will have the goodness to give the master of the School what money he may occasion for... ', some toning, dust soiling, and creasing, 1 page, 8vo, together with Ware (James, 1756-1815, surgeon), Autograph Letter Signed, 'James Ware', New Bridge Street, 1st May 1813, to Mr Towsey, 'I am very glad to hear that the discharge from the eyes of Mrs J Barbe's infant has decreased, & hope that the Corneas are not injured though you do not mention them... ', 1 page with integral address leaf, postmarks and original seal tear, prescription to page 3, light browning and vertical fold split to both leaves, 4to, plus Adams (F.), Eyes for the Blind; or an Insight into the Character and Principles of James Acland, with some Prefatory Observations thereon, by J. Jackson, Hull: John Jackson, 1832, 23 pp., some old heavy damp staining, contemporary printed wrappers, soiled, some wear, slim 8vo QTY: (3)NOTE:Peter Dollond was trained as a silk weaver and assisted in the family business but in 1750 he set up as an optician. By 1752 the opticians business was sufficiently successful for his father John to abandon weaving and to go into partnership with him. The name survives today as part of the company Dollond and Aitchison Limited.
Lot 393
* Jenner (Edward, 1749-1823). English physician and scientist, pioneer of smallpox vaccination. A George III silver snuff box by IB, Birmingham 1795, the rectangular box with engine-turned decoration and vacant cartouche, the hinged lid enclosing gilded interior, the inner lid contemporarily engraved ‘Edward Jenner to C. Fred Hausserman 1822’, 28 mm high x 78 mm wide x 41 mm deep, approximately 79gQTY: (1)NOTE:An unusual Jenner association item, though one very similar, engraved for a Thomas Croome, was sold in these rooms on 20 October 2020, lot 158.Jenner was an active Freemason, serving in 1812 as Master of the Royal Lodge of Faith and Friendship, No. 270, based in Berkeley, Gloucestershire. Christian Frederick Hausserman, Esquire, from Wirtemberg, is listed in the records as a member too, joining on 6 April 1818. A letter from Jenner to C. F. Hausserman, Esq, Ebley near Stroud, [no date], is published in Letters of Edward Jenner and Other Documents concerning the History of Vaccination (Johns Hopkins University, 1983). The editor, Genevieve Miller, says that 'Although Hausserman's identity has not been discovered, this letter leads one to speculate that he was a local surgeon' (p. 113).'My dear Sir,After so long an acquaintance you must have discover'd that I am a very impatient sort of a Gentleman. You will not be surpris'd therefore at my soliciting you to furnish me as speedily as you can, with the Ebley Case of Tic Doulereaux [trigeminal neuralgia]. I hope this may find you at home & that you will take up a bit of paper & give me a reply with as much speed as you can. Even as far as it went, until the unfortunate interference of Dr. D-- was quite enough to convince me of the power of the Pustule in regulating some of those movements of the Brain which are deranged & assume a wrong action. [This idea was developed in Jenner's pamphlet, A Letter to Charles Henry Parry … on the Influence of Artificial Eruptions (London, 1822).]I never hear anything of Mr. Cross, which is vexatious. A Pamphlet is order'd for him from Town, and if you see Mr. Jones, tell him I shall send him one the first opportunity. Great news today from Ebley House - It [tatar emetic applied exterior] seems to have had a good effect on poor Edward, as he reports himself better. I hope he will steadily persevere in a plan of diet that will prove duly nutritious without heating the Brain. With best wishes Yours my dear Sir very truly, Edw. Jenner'One of the celebrations taking place on the bicentenary of Edward Jenner's death, 26 January 2023, will be the unveiling of a new blue plaque in his honour at The Old School, Park Lane, Cirencester. This was formerly the site of Cirencester Grammar School, where Edward Jenner, (and Caleb Hillier Parry), was a pupil, c. 1757-1764. The public unveiling will take place at 12 noon.
Lot 397
* The Wreck of the Glencairn. An original manuscript account describing the events of the wreck of the Glencairn, by apprentice seaman Colin C. Watson, c. 1907, written up after the event in a fair hand, describing the events from leaving Rochester bound for Portland, Oregon, striking a rock off Tierra del Fuego, losing two crew members and the ensuing events on shore, a little spotting and creasing, old pin to top corner, 13 pages (over 3,000 words) on 13 leaves, 4to, together with a testimonial for Colin C. Watson serving as an apprentice in the "Glencairn" and "Fifeshire" for a period of 12 months, signed by the Master, John Nichol, one page, 4to, plus a contemporary cabinet card photograph of the young Colin C. Watson in naval attire, slightly trimmed at foot of mountQTY: (3)NOTE:A harrowing eye-witness account of the wreck of the Glencairn by an apprentice on board. The Glencairn left Rochester on 9 May 1907, bound for Seattle, with twenty-five crew plus the Master's wife and child, the boat carrying 2,375 tons of cement. It struck rock off Tierra del Fuego and the party was forced to abandon ship, two crew members being lost when leaving. The letter carries on to describe Watson's version of the story until their fortuitous rescue by Lucas Bridges. Bridges gives his own account of events when he encountered the shipwrecked party in his autobiography 'Uttermost Part of the Earth' (1948). Chapter 46, pp. 463-72.Watson was to continue his naval career, serving as a P & O Captain for some thirty years. See following lot.A full transcription of this manuscript is available on request.Selected extracts:' We were to go through the Maine Strait between Hadon Island and the mainland (Tiera del Fuoga). I happened to be at the wheel at the time we were making the entrance of the strait. Suddenly a furious snow squall sprung up and the land was obliterated from view. I noticed a slight shock followed by a heavier one and say out to the Captain “We are on the ground Sir”. The next instant we had crashed upon a sunken ?, and the men came running aft in response to the shrill whistle of the First Mate summoning them. The squall was but the precursor of a typical Cape Horn Blow. Wind and sea increased rapidly and soon the decks were being swept by heavy seas which thundered over the poor old stricken ‘Glencairn’ smashing up rails, doors etc. and smashing everything moveable over the side. With terrible difficulty we succeeded in launching our two lifeboats. One was taken forward and then commenced the task of loading the boat. The Captains wife and child and the Stewardess were about to be lowered into the boat in which three men were busy fending her off the ships side when a huge sea capsized her carrying away the panels? by which she was secured to the ship. Powerless to help we saw one of our unfortunate shipmates drown before of our eyes, one man had disappeared entirely whilst the other had succeeded in clambering up on the overturned boats stern and sticking his feet in the lifelines clung desperately to the heel. He soon drifted out of sight into the whirly snowstorm.The Captain then called for volunteers to go off in the sole remaining lifeboat to attempt a rescue. The foreign element in the crew objected to this. I pleaded that it was madness to risk the lives of all in an attempt to recover one man. I pointed out that should the boat be lost we should all inevitably drown. They asked him if he wished to imperil the lives of his wife and child. He quietly replied that while there was a chance to save the man he would see that some effort was made and ordered away the boat in search. Then followed a scene which is terrible to relate. Half mad with fear and convinced of their doom they broke into a whisky case they had pilfered from the lazaretto? whilst provisioning the boats. Sea ? continues to sweep the decks and one by one they fell dead drunk their bodies washing about the decks.''The second mate explained the impossibility of landing, heavy seas and precipitous cliffs, and then for the first time did the Captains wife break down. Throughout all the previous horrors she had maintained a calm courage – an unwavering faith that God would save her and the dear ones - and now at last the appalling hours in the open boat, and the apparently hopeless possibility of being saved crushed her hitherto plucky spirit. Yet another ghastly night we spent, the vessel noticeably sinking beneath us. Early the next morning before daylight the first mate and I crawled down the fore hold? to see how the water was forward. It was a ghastly sight. Muddy dark water swishing about the hold and thousands of rats squealing with fear perched all round the slingers?. The feeble light from our lantern accentuated the horror of it - the rats did the rest. We both lost nerve and made a rush to get on deck again. When daylight broke we were labouring and wallowing in a still heavy sea and the water nearly up to our scuppers. We then launched the dinghy - a mere cockleshell - and one by one filled the lifeboat and the remainder by the dinghy. It was a dangerous business - poising oneself on the rail and then taking a flying leap into the boat.''To my astonishment I saw the Captain who was ahead of me endeavouring to make himself understood to a couple of natives. Huge fellows they were, both of them well over six feet; clad only in a guanaco skin - carrying bows and arrows, and accompanied by two exceedingly gaunt and hungry looking dogs. They were quite friendly - much to our relief – for we had understood that the natives had cannibalistic proclivities. They belonged to a wandering Tribe of Ona and their Chief being able to speak a little Argentine helped matters a lot, one of our crew being also able to speak the language. They conducted us to a gap in the cliffs and soon found ourselves at their encampment, consisting of a few wigwams and populated by about twenty natives - men women and children.''I was in the search party, going down to the shore was just in time to see our old ship break up. The foremast fell forward followed by the main. The riggers fell aft and an hour later the jigger disappeared. Then she broke up completely and by afternoon the shoreline a couple of miles was strewn with wreckage. I made an excellent “find” - a drowned hen, and a piece of salt pork which I carried in triumph to the camp. Unfortunately very little of an edible nature washed ashore. My only rival as a caterer being an A.B. who had got a dead pig.For a week we existed in this manner eking out our scanty stores with mussels and shell fish gathered on the rocks. We also killed a sea lion portions of which we ate. The natives were good to us and gave us portions of a guanaco they had shot. Our cooking was somewhat primitive. We cut sharp twigs? And sticking a piece of meat on the end held it in the fire and then holding it in our fingers gnawed the “charred” outside “raw inside” flesh. The shell fish soon became nauseous and the sodden biscuits were getting “horribly less” as the 2nd mate put it and so the Captain and his AB interpreter held a conversation with the natives. We then learnt that many miles up country lived a man named Bridges engaged in sheep farming. The 2nd mate and one AB, therefore set out with an Indian guide to endeavour to find this white man. Succour from the reward? was impossible and on the hope that these two would bring us help rested our hopes.'
Lot 423
* Victorian Spiritualism. An Autograph Letter Signed from John Fox, 50 Fayette St., Baltimore, Maryland, 22 April 1873, written to his deceased son Master John Sydney Fox, 'The long desired opportunity of trying to communicate with you through a medium, having presented itself I write this letter in the hope that you will be able to demonstrate to me your identity, not alone by answering this letter, as that would not be convincing, although mysterious, but by speaking of some event in your earth life, not herein alluded to, for if my dear boy it is you that answer me you will remember many circumstances that occurred when with me, either before, or during your sickness that will prove positively that you still live and give me the happy assurance that we will meet again. If you have not the requisite knowledge or power to do this, solicit the friendly aid of some one that has to assist you, for I would rather have one convincing proof, or test, than one hundred such excuses, as were given me in answer to a letter directed to your aunt Rossbrough. She evidently did not write it, or she would have mentioned her children... ', continuing in similar vein, 3 pages in a good clear hand, horizontal fold split at foot with resultant separation but no loss of text, some old paper repairs and remains of seal to blank address panel, 4toQTY: (1)NOTE:An unusual item. John Fox would appear to have been one of the founders of Uniontown, an area now known as Anacostia in the city of Washington, DC.
Lot 39
French School, 19th century, Cavalry on a busy street, signed under the mount, pencil and monochrome watercolour, framed and glazed, 21 x 16 cm and another watercolour of Italian villas on a hillside, unsigned, framed and glazed, 12 x 16 cmQty: (2)Cavalry scene purchased Phillips, Old Master Paintings & Drawings Part II, 10th July 2001, lot 351
Lot 75
Chris Charlton Magic Poster 1951 Chris Charlton "The Master Deceiver" heads the bill for the "1951 Sensations" show at the Aldershot Hippodrome July 1951, supported by Tayowana "The Wonderful Redskin", The Juggling Junes & Riki-Lingarna "The Sensational Cyclist On The Wire". Poster conservation paper-backed with old foldlines & several pencil annotations, poster 15" x 20"
Lot 189
Russian Kio Magic Poster c' 1959 Another "KIO" poster that just repeats the name of the renowned Russian magician "KIO" (Emil Kio Snr). Here the name is configured in a circular fashion, the repetitions emanating in graduated blocks from the centre & alternating in orange/white & yellow/green colours to provide contrast. An intriguing geometric design befitting of the master illusionist himself. Poster conservation paper-backed, with old foldlines, surface scuffs, a 2 1/2" v-shaped tear lower left & overall in good condition, 23" x 32"
Lot 205
Gogia Pasha Magic Poster c' 1950's A generic poster for "The Great Gogia Pasha". This is a typically colourful Gogia Pasha poster though not a poster commonly seen. The poster carries Egyptian imagery in the background & a series of enthusiastic proclamations: "Wonder Man", Master Of Ancient & Forbidden Science" etc. Printed by Calcutta Phototype Co Ltd but with & Gogia Pasha personalised stamp to lower right reading "India's Greatest Magician, C/O Bank Of America, Kobe, Japan". Poster conservation paper-backed, with old foldlines, a few light scuffs & excellent condition overall, 19 1/4" x 28"
Lot 229
Levante Australian Magic Poster c' 1930's Levante Australian tour poster presenting photographic images of the master magician & stars of his company ("Mentalist" Gladys Cole, "Juggling Genius" Viv Sanderson etc) with an illustration of scenes from the show below. The "Travelling By Special Motor Transport" text at the top probably refers to a bespoke cavalcade of liveried vehicles that moved the company from one venue to another. Poster printed in Australia. Poster conservation paper-backed, with old foldlines, areas of staining, closed tears to rim etc, poster 15" x 39 1/2"
Lot 303
The Great Levante Magic Poster 1958 An unusual poster in that the depiction of the master magician is in colour. The poster being for the Chester Royalty Theatre May 1958, the magician touring with his own Variety cast. Poster conservation paper-backed, with old foldlines/creases, a few rim smudges, the image of Levante has been pasted onto the poster & has slightly lifted, poster 29 3/4" x 39 1/2"
Lot 331
John Calvert Magic Poster c' late 1940's-early 50's At the Hippodrome Bristol with John Calvert billed as "America's Greatest Master Of Mystery". The poster depicts the handsome Calvert (he was also a film actor) a scantly clad lady & a series of inviting captions. The poster also promotes Calvert's "Vanishing Elephant" act. Poster conservation paper-backed, with old foldlines, a few light marks & stickered show times, some paper loss to upper right paper backing but this does not affect poster, overall very good condition, poster 20" x 30"
Lot 310
A Regence style marriage cupFrench silverResting on a circular stand framed by frieze, the plain body marked PHte GREUZARD” in english script and ”F AUGOYARD". Decorated with two volute handlesHallmarks: Elder 2nd grade provincial, master goldsmith JR over crown in a horizontal lozenge(old restoration to base, minor making fissure of no consequence)Alt.: 8 cm Diam.: 12 cm 186,7 g
Lot 54
William Roberts R.A. (British, 1895-1980)The Punters (The Punt) signed 'Roberts' (lower right)oil on canvas40.6 x 50.8 cm. (16 x 20 in.)Painted circa 1943Footnotes:ProvenancePrivate Collection, U.K.LiteratureWilliam Roberts, Paintings and Drawings by William Roberts R.A., London, privately printed, 1976, pl.2 (ill.)The outbreak of war in September 1939 gave William Roberts a much-needed opportunity. With the turmoil abroad came a great degree of personal upheaval in having to relocate the family and find new work, however, the conflict also brought about new subject matter that favoured his figurative style, which had spent much of the 1930s in the shadow of Abstraction (epitomised by the Unit One movement and spearheaded by Paul Nash and his contemporaries). In 1940, with the growing threat of invasion and bombing, William and Sarah Roberts moved out of London and settled in Marston, a suburb of Oxford on the banks of the River Cherwell. The locality provided rich inspiration including a gypsy encampment around the corner from their home and the river with its punting, fishing and riverside picnics offered the mixture of nature and human activity that Roberts liked best. Painted in 1943, the present work is a tightly composed composition held together by a series of diagonals that guide the eye in a zig zag across the picture plane. Punting poles, human limbs, reflections in the water and the cows' backs all serve this purpose and make for an ingenious design that the artist first trialled in a watercolour and three pencil studies. The serene pastoral scene brings to mind the work of the Old Masters and comparisons have been drawn with Poussin and Andrew Gibbon Williams states 'The calculated deliberation with which Roberts orchestrates his multiple figure groups is analogous to that of the French master; it is as if Seventeenth-Century Classicism is being strained through the sieve of Cubism' (William Roberts, An English Cubist, Lund Humphries, Aldershot, 2004, p.105). This effect can also be seen in another tour-de-force from this Oxford period Parson's Pleasure (Private Collection, 1944). Roberts favoured complex compositions which often showed popular leisure pursuits and here we have an all-female group of punters who are making steady progress through this calm, pastoral scene, the river apparently so still that their limbs and those of the cows which stand and rest above are reflected with mirror-like accuracy in the cool water. Roberts has succeeded in distilling a sense of tranquillity, and conjures the impression of a hot but still summer's day. He also invokes a sense of harmony, of human activity and the natural world co-existing peacefully side by side, each enjoying the pleasures of the countryside, as the cows look on with a benevolent air, mostly at rest, either chewing the cud or idly grazing. The colour palette of the present work is also especially rich, with the whole scene infused with a sense of warmth. The cows are sensitively and generously rendered in warm umber, inky black and with patches of creamy white, while the sky is a warm, glowing orange, the cows resting in the shade of the tree. A man rests on a gate in the background, perhaps in respite from the heat of the day, while the women keep cool in swimsuits in rich shades of teal, maroon and brown. In this very tightly-constructed, complex composition, Roberts effectively shows us a snapshot of life in the countryside as he must have observed it, conveying a sense of this hot, still summer's day with masterful ease. Please see the introduction to the preceding lot for further detail on the provenance of this work. We are grateful to David Cleall and Bob Davenport for information provided about this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 8
Peter Lanyon (British, 1918-1964)Still Air signed and dated 'Lanyon 61' (lower left); further signed, titled and dated again 'STILL AIR/Lanyon Sept 61' (verso)oil on canvas91.1 x 122 cm. (35 7/8 x 48 in.)Footnotes:ProvenanceJonathan LanyonSale; Sotheby's, London, 27 June 1979, lot 211 Professor BallWith Bernard Jacobson Gallery, LondonPrivate Collection, U.K.ExhibitedNew York, Catherine Viviano Gallery, Lanyon, 30 January-17 February 1962, cat.no.13San Antonio, Marion Koogler McNay Art Institute, Paintings by Peter Lanyon, 24 February-March 1963London, Tate Gallery, Peter Lanyon, organised by the Arts Council of Great Britain, 30 May-30 June 1968, cat.no.70London, Archer Gallery, Two by Seven: Bryan Wynter, William Scott, Peter Lanyon, Josef Herman, Heinz Henghes, Paul Feiler, Ralph Brown, 8 November-1 December 1972, cat.no.5London, Bernard Jacobson Gallery, Peter Lanyon: Landscapes 1946-1964, 2-27 April 1991, cat.no.21LiteratureAndrew Causey, Peter Lanyon: His Painting, Aidan Ellis Publishing, Henley-on-Thames, 1971, p.64, cat.no.170Toby Treves, Peter Lanyon, Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.505, cat.no.489 (col.ill.)Peter Lanyon's gliding paintings are a body of work which represent the pinnacle of his achievements as a painter. Lanyon was a master at corralling his experience of the elements and transposing these onto canvas, in a way that can transport the viewer to his native Cornwall almost instantly. He joined the Cornish Gliding Club at Perranporth Airfield in June of 1959, and was tragically to die in 1964, aged only forty-six, as a result of an accident while gliding, but it was this past-time that was to provide the impetus for so many of his most successful paintings. Still Air is one such painting.The present lot, with its expanses of grey-white paint and streaks of deep blue and ochre, is unusual in Lanyon's output both for the sparing use of paint and the capacious expanse which Lanyon conjures on the canvas. As Lanyon was to comment, he was preoccupied with depicting space itself, and Still Air is a particularly successful example of this endeavour. He noted that: 'A painter's business is to understand space – the ambient thing around us. I don't mean the old approach to landscape – sitting in one place and taking the view, as you get in traditional painting. What I'm concerned with is moving around in this space and trying to describe it. That's one reason I go in for fast motor-racing, cliff-climbing and gliding – gliding particularly: I like using actual air currents; I feel I'm getting to the root of the matter.' (Peter Lanyon quoted in Toby Treves, Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.30).In Still Air, Lanyon has succeeded in translating this quest for depicting the elements in the most truthful way. A mass of pale grey-white covers most of the surface, which feels almost thick and foggy in its obfuscating opacity, and in the way whispers of blue paint blend into it, emerge from it, or seem suspended in its midst. For Lanyon, the way in which the paint was applied to the canvas carries huge feeling and meaning: as Toby Treves has written, for Lanyon 'the gestural brushstroke was invested with physical and emotional qualities: movement and by extension time were intrinsic; the mark could be light or heavy, fast or slow, strong or feeble, confident or hesitant, angry or calm, violent or tender'. He goes on to comment that: 'The range of sensations and moods that he was able to convey in those works, which are perhaps his supreme achievement, is a measure of his mastery of the manner' (Ibid., p.18).The present work is no exception. A deep blue with a hint of teal is swept across the canvas, marking out what could be jagged rocks or rushing sea, while golden ochre gives the suggestion of fields of golden corn, ready for harvest, which would have been timely considering the painting was executed in September 1961. The finesse and feeling which Lanyon imbues in each stroke shows his command of the medium. The ochre appears to be brushed on rapidly, while there is an almost calligraphic élan to the singular strokes of deep blue in the lower left corner of the work, while the smudging and subtlety to the hints of blue paint elsewhere are particularly unusual. As Toby Treves has observed, 'the extent to which the colours and forms are softly blurred is unique within the oeuvre', an effect which has been achieved by using paint which has been thinly diluted, and brushed carefully over the under-painting (Ibid., p.504). This expressive use of paint has lent Still Air a particularly meditative calm: it is easy to imagine him floating through the sky, looking down on a patchwork landscape below, partly obscured by fog or mist.Lanyon's titles are particularly atmospheric and descriptive, and it is easy to get lost in the lyrical tribute that each work pays to the landscape that he flew through. Still Air is just one of so many paintings which capture his experiences: Gusting, Cliff Wind, Soaring Flight, Spring Rain, Weathering, Strange Coast – these titles could almost read as a short poem themselves, so descriptive yet enigmatic are they. The very month that Still Air was completed, Lanyon was elected Bard of Cornish Gorsedd for his services to Cornish Art, on 2nd September 1961. Considering the title of this painting and the others mentioned above, his Bardic name - Marghak an Gwyns (Rider of the Wind) – is particularly fitting.Lanyon wrote that 'art is a communication of life to the living' (Peter Lanyon, letter to Terry Frost, quoted in Ibid., p.21), and Still Air is a particularly fitting example of this. Toby Treves has summed up this transfiguration of paint to feeling in Lanyon's work incredibly succinctly: 'We do not need to be Cornish or to go to Penwith or to be Peter Lanyon to know what it feels like to carry a landscape inside ourselves; we just need to go to that place, wherever it is, that occupies us, as Penwith did him. We do not need to read science or philosophy to accept that we are in a condition and a system of permanent change or to know that our sensate bodies are the source of much of our experience of being in the world; we just need to take a walk. The weather is not an elite phenomenon, and nor is the air. And most of us are acquainted with the great human emotions, or will be soon. Lanyon painted about these things to share them, to let us know that he had been where we are.' (Ibid., p.22). Still Air is a masterful translation of this ordinary but universally uplifting feeling: it transports us into the elements, to where we can feel the cool breath of autumnal air on our skin, enjoy the whip of wind as it blurs our vision, and experience the landscape as he saw it.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 1501
Meister von Frankfurt, Madonna mit Kind in einer LandschaftÖl auf Holz. 49,5 x 34 cm.ProvenienzEhemals im Germanischen Nationalmuseum Nürnberg (Angabe im Ausst. Kat. Buenos Aires 1947). - 1947 Sammlung Paula de Koenigsberg. - Privatsammlung Buenos Aires, Argentinien. - Sotheby´s, London 24.6.1964, "Important Old Master Paintings", Lot 101 (unverkauft). - Privatsammlung Buenos Aires, Argentinien. - Durch Erbschaft in deutschen Privatbesitz, seither durch Erbgang dort verblieben.Ausstellungen1947 Buenos Aires, Museo Municipal de Arte Hispano Americano.LiteraturAusst.-Kat.: Exposicion de Arte Gotico. Coleccion Paula de Koenigsberg. Ausstellung im Museo Municipal de Arte Hispano Americano, Buenos Aires 1947, S. 25, Kat. Nr. 23. - Die 3. Westdeutsche Kunstmesse in Düsseldorf, in: Die Kunst und das schöne Heim, April 1972, Heft 4, S. 242 mit Abb. (Kunsthandlung Julius Böhler, München, als Meister der Katharinenlegende).Das Gemälde zeigt die auf einer bewachsenen Steinbank sitzende Muttergottes, die das nackte Jesuskind auf einem weißen Tuch auf ihren Knien hält. Das Kind wendet sich mit seinem Blick dem Betrachter zu und hält seine linke Hand zum Segensgestus erhoben, Maria hingegen schaut auf das geöffenete Buch in ihrer linken Hand hinab. Die groß gesehene und das Bildfeld beherrschende Figurengruppe wird von einer fein gemalten bergigen und bewaldeten Landschaft hinterfangen, in die mit den kleinfigurigen Darstellungen der Verkündigung, der Heimsuchung, der Geburt Christi und der Anbetung der Könige vier Szenen aus dem Marienleben eingefügt sind.Unser Gemälde ist in der Vergangenheit dem sogenannten Meister von Frankfurt zugewiesen worden. Der Notname dieses namentlich unbekannten flämischen Malers geht nicht auf seine Herkunft zurück, sondern auf das von ihm geschaffene Triptychon mit der Kreuzigung Christi und den Stifterbildnissen der Famlie Humbracht aus den Jahren 1500-1504 im Städel in Frankfurt (Inv. Nr. 715). Wahrscheinlich war der Meister von Frankfurt als Leiter einer Werkstatt bis 1518 in Antwerpen aktiv, stilistisch ist er in der Nachfolge der Werke von Hugo van der Goes zu sehen.
Lot 1602
Jacob Xavier Vermoelen, Eine tote SchnepfeÖl auf Papier. 39,5 x 55 cm.Signiert unten links: J. X. Vermoelen fecit Roma.ProvenienzAuktion Mak van Waay, Amsterdam, 21.3.1977, Lot 114. - Haboldt & Co., New York, Paris (Northern European Old Master Drawings and Oil Sketches, 2001-2002, cat. no. 66, p.158).Das Blatt kann in die römische Periode (ca. 1748-1784) des Antwerpener Jagd- und Stilllebenmalers datiert werden. Es ist im RKD (Rijksbureau voor Kunsthistorische Documentatie), Den Haag, unter der Nr. 63290 als ein Werk Jacob Xavier Vermoelens registriert.
Lot 451
Towle, United States. Sterling silver flatware set in the "Old Master" pattern including: 12 dinner knives, 12 dinner forks, 12 fish forks, 12 dinner spoons, 12 lunch spoons, and six serving utensils. Each marked along the stem.Box; height: 6 in x width: 19 in x depth: 11 1/2 in. Gross weight of sterling (does not include 12 sterling handled objects): 74.65 Troy oz.
Lot 22
Bartolomeo Cesi,Italian 1556-1629-St Peter Martyr writing on the ground;red chalk heightened with white on blue paper, inscribed ‘Bmeo Cesi’ in black chalk (lower left), 21.1 x 24.5 cm.Provenance: Private collection, France.; with P. & D. Colnaghi & Co., London.; Private Collection, UK, since 1996.; By descent.Exhibited: London and New York, P. & D. Colnaghi, ‘An Exhibition of Old Master and 19th Century Drawings’, 5-15 December 1995 and 9 January-10 February 1996, no.10.Literature: Stephen Ongpin, 'An Exhibition of Old Master and 19th Century Drawings', Colnaghi & Co., London, 1995, no.10 (illustrated).Note: We are grateful to Marco Riccòmini for confirming the attribution of the present lot. According to the Bolognese art historian Carlo Cesare Malvasia (1616-1693), Cesi was a pupil of Nosadella (c.1549-1571), and early in his career worked in the church of San Pietro in Bologna alongside Prospero Fontana (1512-1597) and Camillo Procaccini (1551-1629). While his early work reflects the influence of the Bolognese mannerism of his elders, a presumed trip to Rome in 1591 exposed Cesi to a more restrained, Counter-Reformation style of painting that he adopted in his mature work. In 1594 Cesi completed several frescoes of the ‘Life of the Virgin’ in the church of Santa Maria dei Bulgari in Bologna, and an ‘Adoration of the Magi’ for San Domenico the following year. At the turn of the century he was employed on the fresco decoration of several rooms of the Palazzo Fava, through which he came into contact with the work of the Carracci, whose frescos for the palace were completed a few years earlier. This was, however, one of the few secular commissions he undertook. Cesi’s work is almost entirely religious in subject matter, and the artist remained closely associated with several frescos and paintings of Carthusian saints and subjects for the choir of the Certosa of Bologna, generally dated to between 1612 and 1616. The present sheet is a typical example of Cesi’s figure studies, which are often in red chalk on blue paper. Perhaps inspired by the Carracci, Cesi’s drawings were made from life, using models posed in his studio, and indeed, his drawings have often in the past been attributed to one or another of the Carracci. Like this drawing, many of Cesi’s surviving figure studies depict models dressed in monastic robes. The present sheet, however, remains unconnected to any surviving work by the artist (Stephen Ongpin, 'An Exhibition of Old Master and 19th Century Drawings', Colnaghi & Co., London, 1995). For comparable drawings by the artist in red chalk, see the example at Windsor, ‘A Kneeling Monk’ [RCIN 903696], and the double sided drawing which sold at Christie’s, London, 5 July 2013, lot 279 (£6,000).Please refer to department for condition report
Lot 34
Follower of Govaert Flinck, Dutch 1615-1660- A man, head and shoulders, in a brown cloak, velvet cap and gold chain; oil on panel, bears old typed label '1 Head of Bergomaster, by Ferdinand Bol (signed)' on the reverse, 15.8 x 12.4 cm. Provenance: Anon. sale, Christie's, London, 26 September 1980, lot 50 (as 'BOL').; Private Collection, UK. Note: Renowned as one of Rembrandt’s most talented protégés, Flinck was his pupil from 1633 until 1636, when he set up as an independent master. Like many of Rembrandt's best pupils from his early Amsterdam phase such as Ferdinand Bol (1616-1680) and Jacob Backer (1608-1651), Flinck evolved a style that is distinctive and personal, but until at least the end of the 1640s remained palpably Rembrandtesque. The present work is a tronie, or fancy-dress study, based on a real likeness. Rembrandt developed the tronie and painted many of them from his Leiden period onwards, though they fell out of fashion after the 1640s. Flinck, along with many of Rembrandt's pupils from the first decade of his Amsterdam period, continued to produce tronies in large numbers, presumably to meet the great demand for them, and indeed, students and studio assistants as well as friends and family no doubt provided his models. Simon Schama certainly had the Rembrandtesque tronie at the forefront of his mind when he remarked to camera ‘Dutch art has a very large hat department.’ (‘The Face of Britain’, broadcast BBC2, 28th October 2015). This tronie, of an elderly gentleman in exotic dress, is a confident example of the type. The sitter, with his engaging eyes and pleasing countenance, looks towards the viewer. His features are softly modeled by a light that illuminates the scene from the upper left, casting shadows that define his face. In overall type, the painting may be compared with both Flinck’s ‘Head of an Old Man’ in the National Gallery of Ireland, Dublin, c.1642 (NGI.254) and his ‘Bearded Man with a Velvet Cap’, 1645, at the Metropolitan Museum of Art [25.110.27]. See, also, Rembrandt’s ‘Self-portrait’, 1633, in the Louvre, Paris [INV 1745 ; MR 937] for an example of the tronie type developed by the older master. Please refer to department for condition report
Lot 101
WORKSHOP OF LORENZO BARTOLINI (ITALIAN, 1777-1850), A TERRACOTTA FIGURE OF NARCISSUS FLORENCE, CIRCA 1830 Depicted reclined, staring into the water approximately 45cm high, 63cm wide, 43cm deep overall Provenance: Christie's, Old Master Paintings and Sculpture, 4th December 2019, Lot 262. Condition Report: There are scuffs, scratches and chips consistent with age and use.Losses, restorations and observations include: the additional photographs with this condition report seem to give a slightly 'grey' hue where in reality the colour is more like the photographs in the catalogue; there are chips and knocks to some extremities including fingers, toes, drapery, edges; some cracks including what looks like a 'firing' crack close to one hand, other cracks to underside of base; there are some slightly plaster pink coloured indistinct areas of the scrafitto finish base which might or might not be restoration; the wash finish to the terracotta which might conceal some repairs.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
Lot 80
A PAIR OF TRANSITIONAL PERIOD OPEN ARMCHAIRS FRENCH CIRCA 1770 Later white painted, gold fabric upholstered with repeating flowerhead pattern, both bearing stamp G JACOB 56cm wide, 87cm high, 61cm deepGeorges Jacob was made master in 1765. Condition Report: Both chairs with the marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Painted surface is later and bears the expected wear, rubbing, losses and chips. Upholstery in good order overall with just some minor wear and fading. Both with evidence of old worm to undersides of seat rails. One chair with old repaired split where one arm meets the back. The other chair appears to have had dowel or screw repairs made in this area to both arms, but this has been painted over. Slight movement within frames but both chairs are structurally solid. One chair with metal bracing to the underside. The other chair with later supporting timber blocks to the underside. One chair with old tack holes to the undersides of seat rails from where a dust cover once was fixed. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 484
Columbia University, publisher. Piranesi, Drawings and Etchings at the Avery Architectural Library, the Arthur M. Sackler Collection, 1st edition, New York, 1975, numerous monochrome & sepia illustrations, original wrapper in slipcase, large 4to, together with:Held (Julius S.), Rubens, Handzeichnungen, Koln: Phaidon, 1960, 6 tipped-in colour plates plus numerous monochrome illustrations, original red cloth in slipcase, large 8vo, plusPope-Hennessy (John), Italian High Renaissance and Baroque Sculpture, 2nd edition, 1970, Italian Renaissance Sculpture, 2nd edition, 1971, London: Phaidon, numerous monochrome illustrations, some minor marginal toning, both original cloth in dust jackets, covers lightly rubbed to head & foot, large 4to, and other pre-20th-century & old master art reference, including Great Drawings of the Louvre Museum, 3 volumes, by Roseline Bacou & Maurice Sérullaz, 1st edition, New York: George Braziller, 1968, original uniform cloth in dust jackets & slipcase, large 8vo, many original cloth in dust jackets, some paperback editions, G/VG, 8vo/folioQTY: (6 shelves)
Lot 248
Elise Ansel Esther II, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Elise Ansel was born and raised in New York City. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Ansel has exhibited her work throughout the United States and in Europe. Her works are held in the permanent collections of the Museum of Contemporary Art in Krakow, the Bowdoin College Museum of Art and the Evansville Museum of Arts and Sciences. She was represented by Danese/Corey in NYC until they closed in April 2020. She now works with Miles McEnery Gallery and Auxier/Kline in New York City and Cadogan Contemporary in London. Education Brown University Select Exhibitions/Awards SELECTED SOLO EXHIBITIONS: 2023 Cadogan Contemporary, Recent Work, Milan, Italy (forthcoming) 2023 Cadogan Contemporary, Recent Work, London, UK (forthcoming) 2023 Cover Street Arts, Recent Work, Portland, Maine (forthcoming) 2023 Miles McEnery Gallery, Recent Work, New York, New York (forthcoming) 2022 Auxier/Kline, "Time and Materials," New York, New York 2022 Michael S. Currier Center at the Putney School, "Space Between Angels," Putney, Vermont 2021 Cadogan Contemporary, "Polarity," London, UK 2021 Carol Corey Fine Art, "The Women," Kent, Connecticut 2021 The Schoolhouse Gallery, "Ocean," Provincetown, MA 2020 Carol Corey Fine Art, "Flower of the Mountain," Kent, Connecticut 2020 David Klein Gallery, "Palimpsest," Detroit, Michigan 2019 Cadogan Contemporary, "yes I said Yes," London, UK 2018 Danese/Corey, "Time Present," New York, NY 2017 Cadogan Contemporary, "Amber and Ebony," London, UK 2017 Danese/Corey, "Dialogue," New York, NY Gallery Representation Miles McEnery Gallery; Cadogan Contemporary; AB NY Gallery; Carol Corey Fine Art Statement about AOAP Submitted Artwork My work involves translating Old Master paintings into a contemporary pictorial language. I examine shifting respresenations of the spiritual in art. I try to give voice to the female characters that have been for so long depicted by men Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. The Esther watercolors are studies for a series of larger oil paintings. They spring from Esther Before Ahasuerus, ca. 1758 by Lorenzo de Caro,which is the permanent collection of the Detroit Institute of the Arts Museum. I often begin with a series of small improvisational studies. Allowing the constant discovery of one state to give rise to another, I use the small studies as points of departure for larger works. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Lot 249
Elise Ansel Esther III, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Elise Ansel was born and raised in New York City. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Ansel has exhibited her work throughout the United States and in Europe. Her works are held in the permanent collections of the Museum of Contemporary Art in Krakow, the Bowdoin College Museum of Art and the Evansville Museum of Arts and Sciences. She was represented by Danese/Corey in NYC until they closed in April 2020. She now works with Miles McEnery Gallery and Auxier/Kline in New York City and Cadogan Contemporary in London. Education Brown University Select Exhibitions/Awards SELECTED SOLO EXHIBITIONS: 2023 Cadogan Contemporary, Recent Work, Milan, Italy (forthcoming) 2023 Cadogan Contemporary, Recent Work, London, UK (forthcoming) 2023 Cover Street Arts, Recent Work, Portland, Maine (forthcoming) 2023 Miles McEnery Gallery, Recent Work, New York, New York (forthcoming) 2022 Auxier/Kline, "Time and Materials," New York, New York 2022 Michael S. Currier Center at the Putney School, "Space Between Angels," Putney, Vermont 2021 Cadogan Contemporary, "Polarity," London, UK 2021 Carol Corey Fine Art, "The Women," Kent, Connecticut 2021 The Schoolhouse Gallery, "Ocean," Provincetown, MA 2020 Carol Corey Fine Art, "Flower of the Mountain," Kent, Connecticut 2020 David Klein Gallery, "Palimpsest," Detroit, Michigan 2019 Cadogan Contemporary, "yes I said Yes," London, UK 2018 Danese/Corey, "Time Present," New York, NY 2017 Cadogan Contemporary, "Amber and Ebony," London, UK 2017 Danese/Corey, "Dialogue," New York, NY Gallery Representation Miles McEnery Gallery; Cadogan Contemporary; AB NY Gallery; Carol Corey Fine Art Statement about AOAP Submitted Artwork My work involves translating Old Master paintings into a contemporary pictorial language. I examine shifting respresenations of the spiritual in art. I try to give voice to the female characters that have been for so long depicted by men Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. The Esther watercolors are studies for a series of larger oil paintings. They spring from Esther Before Ahasuerus, ca. 1758 by Lorenzo de Caro,which is the permanent collection of the Detroit Institute of the Arts Museum. I often begin with a series of small improvisational studies. Allowing the constant discovery of one state to give rise to another, I use the small studies as points of departure for larger works. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Lot 250
Elise Ansel Esther IV, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Elise Ansel was born and raised in New York City. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Ansel has exhibited her work throughout the United States and in Europe. Her works are held in the permanent collections of the Museum of Contemporary Art in Krakow, the Bowdoin College Museum of Art and the Evansville Museum of Arts and Sciences. She was represented by Danese/Corey in NYC until they closed in April 2020. She now works with Miles McEnery Gallery and Auxier/Kline in New York City and Cadogan Contemporary in London. Education Brown University Select Exhibitions/Awards SELECTED SOLO EXHIBITIONS: 2023 Cadogan Contemporary, Recent Work, Milan, Italy (forthcoming) 2023 Cadogan Contemporary, Recent Work, London, UK (forthcoming) 2023 Cover Street Arts, Recent Work, Portland, Maine (forthcoming) 2023 Miles McEnery Gallery, Recent Work, New York, New York (forthcoming) 2022 Auxier/Kline, "Time and Materials," New York, New York 2022 Michael S. Currier Center at the Putney School, "Space Between Angels," Putney, Vermont 2021 Cadogan Contemporary, "Polarity," London, UK 2021 Carol Corey Fine Art, "The Women," Kent, Connecticut 2021 The Schoolhouse Gallery, "Ocean," Provincetown, MA 2020 Carol Corey Fine Art, "Flower of the Mountain," Kent, Connecticut 2020 David Klein Gallery, "Palimpsest," Detroit, Michigan 2019 Cadogan Contemporary, "yes I said Yes," London, UK 2018 Danese/Corey, "Time Present," New York, NY 2017 Cadogan Contemporary, "Amber and Ebony," London, UK 2017 Danese/Corey, "Dialogue," New York, NY Gallery Representation Miles McEnery Gallery; Cadogan Contemporary; AB NY Gallery; Carol Corey Fine Art Statement about AOAP Submitted Artwork My work involves translating Old Master paintings into a contemporary pictorial language. I examine shifting respresenations of the spiritual in art. I try to give voice to the female characters that have been for so long depicted by men Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. The Esther watercolors are studies for a series of larger oil paintings. They spring from Esther Before Ahasuerus, ca. 1758 by Lorenzo de Caro,which is the permanent collection of the Detroit Institute of the Arts Museum. I often begin with a series of small improvisational studies. Allowing the constant discovery of one state to give rise to another, I use the small studies as points of departure for larger works. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Lot 430
Adam Easton A Bird of Paradise?, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Adam Easton (b.1989) is an American artist who received a Master of Fine Arts from the University of Minnesota in 2019. He has recently exhibited with PAPA Projects in an exhibition titled A Quiet Night, Part 1 in St. Paul, MN (2022). Additionally, in 2022 his work was part of Platform, Unit London's program of online viewing rooms. Adam's work was published in the 2020 Art Maze Mag Anniversary Edition, Issue 20. He currently lives and works in New Haven, CT. Education BFA - Lyme Academy College of Fine Arts, Old Lyme, CT MFA - University of Minnesota, Minneapolis, MN Select Exhibitions/Awards 2022 Platform, Unit London, unitlondon.viewingrooms.com 2022 A Quiet Night, Part 1, PAPA Projects, St. Paul, MN 2020 Reversibility, LOUP 2019 Wine Time, The Guest Room, Hudson Valley, NY 2019 Lobster Dinner, Trestle Gallery, Brooklyn, NY 2019 The Last Day in the Apartment, Katherine E Nash Gallery, Minneapolis, MN Statement about AOAP Submitted Artwork These paintings are small reimagining's of imagery that is familiar to my larger work. You can see examples of this if you compare the postcards to the paintings from my recent show A Quiet Night, Part 1. In addition I took the opportunity to work in a dramatically different color palette. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Lot 431
Adam Easton The Poet?, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Adam Easton (b.1989) is an American artist who received a Master of Fine Arts from the University of Minnesota in 2019. He has recently exhibited with PAPA Projects in an exhibition titled A Quiet Night, Part 1 in St. Paul, MN (2022). Additionally, in 2022 his work was part of Platform, Unit London's program of online viewing rooms. Adam's work was published in the 2020 Art Maze Mag Anniversary Edition, Issue 20. He currently lives and works in New Haven, CT. Education BFA - Lyme Academy College of Fine Arts, Old Lyme, CT MFA - University of Minnesota, Minneapolis, MN Select Exhibitions/Awards 2022 Platform, Unit London, unitlondon.viewingrooms.com 2022 A Quiet Night, Part 1, PAPA Projects, St. Paul, MN 2020 Reversibility, LOUP 2019 Wine Time, The Guest Room, Hudson Valley, NY 2019 Lobster Dinner, Trestle Gallery, Brooklyn, NY 2019 The Last Day in the Apartment, Katherine E Nash Gallery, Minneapolis, MN Statement about AOAP Submitted Artwork These paintings are small reimagining's of imagery that is familiar to my larger work. You can see examples of this if you compare the postcards to the paintings from my recent show A Quiet Night, Part 1. In addition I took the opportunity to work in a dramatically different color palette. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Lot 432
Adam Easton The Open Frame?, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Adam Easton (b.1989) is an American artist who received a Master of Fine Arts from the University of Minnesota in 2019. He has recently exhibited with PAPA Projects in an exhibition titled A Quiet Night, Part 1 in St. Paul, MN (2022). Additionally, in 2022 his work was part of Platform, Unit London's program of online viewing rooms. Adam's work was published in the 2020 Art Maze Mag Anniversary Edition, Issue 20. He currently lives and works in New Haven, CT. Education BFA - Lyme Academy College of Fine Arts, Old Lyme, CT MFA - University of Minnesota, Minneapolis, MN Select Exhibitions/Awards 2022 Platform, Unit London, unitlondon.viewingrooms.com 2022 A Quiet Night, Part 1, PAPA Projects, St. Paul, MN 2020 Reversibility, LOUP 2019 Wine Time, The Guest Room, Hudson Valley, NY 2019 Lobster Dinner, Trestle Gallery, Brooklyn, NY 2019 The Last Day in the Apartment, Katherine E Nash Gallery, Minneapolis, MN Statement about AOAP Submitted Artwork These paintings are small reimagining's of imagery that is familiar to my larger work. You can see examples of this if you compare the postcards to the paintings from my recent show A Quiet Night, Part 1. In addition I took the opportunity to work in a dramatically different color palette. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Lot 433
Adam Easton What Did You Find? 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Adam Easton (b.1989) is an American artist who received a Master of Fine Arts from the University of Minnesota in 2019. He has recently exhibited with PAPA Projects in an exhibition titled A Quiet Night, Part 1 in St. Paul, MN (2022). Additionally, in 2022 his work was part of Platform, Unit London's program of online viewing rooms. Adam's work was published in the 2020 Art Maze Mag Anniversary Edition, Issue 20. He currently lives and works in New Haven, CT. Education BFA - Lyme Academy College of Fine Arts, Old Lyme, CT MFA - University of Minnesota, Minneapolis, MN Select Exhibitions/Awards 2022 Platform, Unit London, unitlondon.viewingrooms.com 2022 A Quiet Night, Part 1, PAPA Projects, St. Paul, MN 2020 Reversibility, LOUP 2019 Wine Time, The Guest Room, Hudson Valley, NY 2019 Lobster Dinner, Trestle Gallery, Brooklyn, NY 2019 The Last Day in the Apartment, Katherine E Nash Gallery, Minneapolis, MN Statement about AOAP Submitted Artwork These paintings are small reimagining's of imagery that is familiar to my larger work. You can see examples of this if you compare the postcards to the paintings from my recent show A Quiet Night, Part 1. In addition I took the opportunity to work in a dramatically different color palette. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Lot 719
Two 20th century Prattware transferred print pots with lids. The lot to include The Cavalier & The Master of The Hounds. On the back of each pot it reads: 'The picture on this lid is one of a series printed from the Original Engravings used for the Ye Old English Pot Lids now so highly valued by collector. and first made in Staffordshire 1847 - 1870'. Each measuring 10cm in diameter and 5cm tall.
Lot 240
Ca. 2000-700 BC.A bronze Master of Animals sceptre comprised of a central openwork design terminating into a head. Flanked by animals on either side, with wide open mouths. It was probably used during religious rituals. The Master of Animals or Lord of Animals is a motif in ancient art showing a human between and grasping two confronted animals. It is very widespread in the art of the Ancient Near East.Size: L:310mm / W:98mm ; 360gProvenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1990s on the UK / International art markets.
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