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Lot 106
A William IV hardstone mounted silver-gilt casketEdward Farrell, London 1837 Rectangular octagonal form, overall gilded, a hinged cover with decorative acanthus rims, inset with a central oval plaquette embossed in high and low relief with a tavern scene, featuring traditionally dressed men with tankards around a table, some sitting on barrels and one standing, buildings and trees behind, a decorative oval recess surrounding the inner scene, opened via a turquoise cabochon push button revealing a blue velvet interior, the exterior in detailed scrolling foliate chasing against a stippled ground, each panel of the base inset with a framed classical scene or polished malachite, the elaborate base cast with eight mythological Roman soldier terms, the whole raised on four acanthus scroll feet, height 9cm, length 17cm, weight total 25oz.Footnotes:Property of a Private CollectorFor further information on this lot please visit Bonhams.com
Lot 122
A good George III satinwood and barbers pole strung banded scroll or quill paper work tea caddy Of canted elongated hexagonal form, the whole with formalised foliate glazed panelled decoration, the lid with brass scrolling ring handle, the front upper panel with monogram 'MR' above the escutcheon, the lower side panels inset with two circular coloured prints of classical figures, the divided interior with twin floating wooden lids with knopped brass handles, 13cm high, 19cm wide, 10.5cm deep For further information on this lot please visit Bonhams.com
Lot 127
A Regency ormolu mounted rosewood and parcel gilt breakfront low cabinet attributed to Marsh and TathamCirca 1810The superstructure with a breakfront upper tier, on four gilt bronze octagonal ring turned baluster shaped front columns, with a triple moulded panelled back comprised of one long central and two short end panels, each inset with intersecting waved grills and later pleated silk material, the top above an ovolo moulded cornice, over a frieze mounted with four ribbon wrapped and ribbon tied ivy wreath angles, with one large central panelled door inset with waved grills and later pleated silk, flanked by two smaller conforming doors, two of the doors enclosing one long fixed shelf and two short adjustable shelves, one end door enclosing six graduated solid mahogany drawers each with inset brass handles, interspersed with four panel mounted pilasters each headed by a lotus-leaf capital mount, terminating in a plinth base, with a triple chamfered panelled back, approximately: 153cm wide x 56cm deep x 119cm high, (60in wide x 22in deep x 46 1/2in high)Footnotes:A related pair of low bookcases attributed to Marsh and Tatham sold Christie's, London, 14 June 2001, Important English Furniture, lot 174. They have essentially identical laurel wreath and lotus-leaf paired ormolu mounts to those on the offered lot. All three of these cabinets, despite being of English origin, are clearly examples of the ancient Grecian inspired French Neoclassicism which was first promulgated in France during the 1790s. This style was then subsequently promoted in England, at the very beginning of the 1800s, by the then Prince of Wales (later to be George IV) in tandem with the renowned collector and connoisseur, Thomas Hope (d. 1831).The present cabinet, along with the aforementioned models, are each mounted with wreath ornamentation typically representing Apollo, the ancient Greek god of poetry, music and the arts. However, the pairing of pilasters headed by palm-flowered or lotus-leaf ormolu work with these distinctive wreath mounts is most likely a reference to the grecian choragic monument of Thrasyllus, which appears illustrated in J. Stuart and N. Revett, The Antiquities of Athens, 1762. Importantly, almost identical gilt bronze adorned pilasters are a prominent element on a satinwood desk provided in 1811 for Carlton House in London, upon behalf of the Prince of Wales. This was executed by the renowned cabinet making partnership of William Marsh and Thomas Tatham, see W.H. Pyne, Carlton House, 1817 and J. O'Brien & D. Guinness, Great Irish Houses and Castles, 1992, London, p. 161.The particularly well defined and highly detailed mounts on the offered model were almost certainly produced by Alexis Decaix (d.1811), who was a French bronze-founder based on Old Bond Street. Decaix supplied ormolu upon behalf of the then Prince of Wales (later George IV) and in turn gained recognition in large part due to the hugely influential collector and designer, Thomas Hope, via the latter's 1807 publication, Household Furniture and Interior Decoration.Similar gilt bronze wreath mounts also feature on a desk provided for Hothfield Place in Kent, which was home to the 9th Earl of Thanet. This desk sold Christie's, 27 November 1969, lot 142. Closely related palms or lotus leaves, as appear on the above, are among the ormolu mounts adorning the yew wood bookcases made in 1806 by the firm of Marsh and Tatham for the Prince of Wales. One of these bookcases sold Christie's, 3 July 1997, lot 70. Such Grecian ornament, which was often favoured by Marsh and Tatham, drew its more recent inspiration from the Neoclassical furniture housed at the Duchess Street property belonging to Thomas Hope, as well as from the latter's designs. Another rosewood bookcase, made in 1806 by Marsh and Tatham, which has similar ormolu mounts to both the present and aforementioned examples, is one forming part of the Royal Collection, Buckingham Palace. This appears illustrated in M. Jourdain, Regency Furniture, 1795-1820, 1948, Glasgow, fig. 11, p. 64.This lot is subject to the following lot symbols: TP YTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 138
A pair of mid 18th century Italian walnut, ivory, pewter, brass, copper and 'Alla Certosina' marquetry figural panelsCirca 1740Depicting a hunting party before and after the hunt, the figures standing and seated on horseback before rustic landscapes, the former panel with a ruined castle to the background, the later panel showing the kill being loaded onto a cart, both set within plain borders, 51cm x 72cm approximately (2)Footnotes:This lot containing ivory has been registered in accordance with the Ivory Act (Section 10). Ref: BJDLXZ27.Known in Italy as marquetry 'alla certosina' after the Certosina church in Pavia where it was utilised to ornament a famous altarpiece by the Embriachi workshop, the technique was popularised from the Renaissance period by the Carthusian monasteries before it spread into more general use and involved inlaying into wood, bone, ivory, metal, or mother-of-pearl.This lot is subject to the following lot symbols: * Y Ф* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 140
A charming 17th century needlework panel Probably English Woven in wools, silk and satin stitch, the central figure possibly depicting and enthroned Charles I, the lion and unicorn of England at his feet, with applied pearls, the figure to his left possibly Queen Henrietta and to his right possibly a youthful Charles II, set within an idyllic pastoral landscape with sun to the top right and city to the top left corner, set within a later gilt wood frame, some later re-working, 42.7cm x 34.9cm overall including the frame For further information on this lot please visit Bonhams.com
Lot 22
A French late 19th century ormolu mounted flame figured mahogany bonheur du jour in the Louis XVI styleCirca 1880, after the model by Adam Weisweiler, possibly by Henry DassonWith beaded and engine turned mounted panelling, inlaid with stringing, the pierced galleried superstructure above a cavetto frieze, over one long twin hinged twin panelled door and one short panelled end door, enclosing a mahogany interior and one adjustable shelf, with conforming single panelled ends and a conforming triple panelled back, with four angles each mounted with gilt bronze ring turned fluted, beaded and stiff leaf wrapped baluster columns, the lower section of rectangular outline with projecting eared angles mounted with a lotus leaf-and-lappet edge, above a secretaire drawer enclosing four short mahogany lined drawers and a gilt tooled leather writing surface, with four ribbon tied floral wreath mounts to the panel angles, on four reeded mounted baluster shaped legs each with spiral reeded and beaded ormolu collars, the pierced galleried platform undertier of inverted breakfront form, terminating in elongated fluted tapering toupie feet with cabochon embedded guilloche mounted cappings, on octagonal tapering sabots, approximately: 80cm wide x 54cm deep x 117cm high, (31in wide x 21in deep x 46in high)Footnotes:Three French 19th century ormolu mounted bonheur du jours comparable to the present lot have sold at auction. The first model, which is by Charles-Guillaume Winckelsen and is dated 1864, sold Christie's, New York, 18 April 2013, The Opulent Eye, lot 343. The second one, which is attributed to Paul Sormani, sold Christie's, Paris, 18 March 2016, Interiors, lot 846. And the third related bonheur du jour, and definitely the most impressive of all these examples, is by Henry Dasson, circa 1880. This sold Christie's, New York, 16 October 2018, A Golden Age: An Important Collection of 19th Century Furniture, lot 164.However it is both important and interesting to note that, despite the offered lot being of notably larger proportions than the aforementioned, the former is certainly of the highest possible quality throughout.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 23
Attributed to Giacomo Raffaelli (Italian, 1753-1836): An early 19th century micro mosaic panel depicting a pair of fowl, possibly domesticated wild turkeys, within a rustic landscapeOne bird centred to the foreground standing before a pond beside a feeding bowl, the other perched on a fence before a cottage to the upper right corner, the opposing corner with an extensive mountainous landscape, the rear bearing an ink inscription, signature and date, 'Giacomo Raffaelli 1817', the whole mounted within a contemporary gilt wood frame with inner beaded sight edge, the back with later wooden strengthening mounts, the panel, 26cm high x 24cm wide, the frame, 35.3 high x 33.5 wide approximately Footnotes:Provenance Private Australian collection.Trained as a sculptor and painter Giacomo Raffaelli is best known for his work in micro mosaic, a medium which he is credited with inventing which was derived from the revival of interest in antique mosaics excavated in Rome and the surrounding areas from the Renaissance period onwards. Raffaelli's studio was situated in the Piazza di Spagna, an area where numerous mosaic workshops sprung up to cater to visitors on the Grand Tour. Raffaelli's works were highly sought after by visitors to the city and he is thought to have held the first recorded exhibition of this type of intricate work at his studio in 1775. Distinguished by their superior quality and the intricacy and detail, Raffaelli was able to convey his painterly skills in the modelling and arrangement of thousands of tiny glass pieces known as tesserae. The offered lot illustrates the artist's affinity for portraying birds, both wild and domestic, which were a recurring feature of his output. In some of his finer works the multiple tones of each colour being used to create realistic fine detailing such as the feathers of the birds whilst illustrating the artist's skill at achieving naturalism.Related LiteratureHanisee Gabriel, J, Micromosaics in the Gilbert Collection, Pub. Philip Wilson Ltd, London, 2000.Hanisee Gabriel, J, Micromosaics, Private Collections, Pub. Brian McCarthy, 2016.For further information on this lot please visit Bonhams.com
Lot 24
A George III satinwood, tulipwood crossbanded, purplewood and fruitwood marquetry breakfront secretaire bookcaseCirca 1785With boxwood and ebonised stringing, the repeating acroterium-form or waved ovolo cornice inlaid with flowerheads and acanthus spray angles, above one large central glazed panelled door and two smaller conforming end doors, each door encompassed by a foliate, floral and tendril trail inlaid surround, the central door enclosing two adjustable shelves, each end door enclosing three adjustable shelves, with a cedar panelled backboard, over a secretaire drawer inlaid with ribbon tied floral garlands with oval paterae and bellflower pendants, centred by a Vernis Martin oval of a reclining maiden depicted in the manner of Angelica Kauffman, enclosing seven pigeon holes, five cedar lined drawers and a gilt tooled leather surface, above three long graduated oak lined drawers, flanked to each end by a concave bay comprising one deep oak lined drawer inlaid with a bouquet of assorted flowers over one door inlaid with a husk draped fluted and reeded Neoclassical urn surmounted by an anthemion, on a foliate pedestal issuing scrolled acanthus, on six flute inlaid tapering square section feet, each end inlaid with a ribbon tied husk swag centred by a sunflower head roundel, inside one drawer is a metal plaque which reads: 'Antique Furniture from NORMAN ADAMS LTD., 8-10 Hans Road, London, SW3', approximately: 135cm wide x 48cm deep x 208cm high, (53in wide x 18 1/2in deep x 81 1/2in high)Footnotes:ProvenanceFormerly with Norman Adams Ltd., London. It is not known when the offered lot was at Norman Adams but it seems most likely that, judging from the metal plaque applied to the inside of one drawer, this was some time during the 1970s or 1980s.A very similar George III satinwood and marquetry secretaire bookcase to the offered lot, albeit with canted lower end bays as opposed to the more impressive concave ones of the present example, is illustrated in G. Beard and J. Goodison, English Furniture, 1500-1840, 1987, Oxford, fig. 6, p. 229. This piece of furniture in fact sold Christie's, London, 9 December 1971.Another closely related variant, which is dated circa 1785 and was gifted by Sir Claude Phillips to the Victoria and Albert Museum, appears in M. Tomlin, Catalogue of Adam Period Furniture, 1972, Victoria and Albert Museum, London, fig. U/13, pp.'s 180-181. The latter also features in F. Collard, Regency Furniture, 1987, Woodbridge, pl. 8, p. 68.Both of these associated models share a number of characteristics with the current version. They all have repeating acroterium-form cornices, conforming overall proportions, identical lower section configurations and similar marquetry, as well as flute-inlaid feet. The plain glazed panelled doors of the offered bookcase appear to match those on the Beard and Goodison one, whilst the inlay on the Victoria and Albert example is visibly closer, both in terms of its design and spirit, to that of the present lot than on the former comparable.Whilst the marquetry is closely related on all three bookcases, it appears to be the case that its execution is perhaps superior on the present version. This view is arguably confirmed by the fact that a large proportion of this remarkable work on the latter is inlaid onto curved, or more precisely concave, surfaces rather than flat ones, which is of course a more technically demanding feat. In addition to this, the bouquet of flowers, abundant floral garlands and Neoclassical urns all seem to have been better 'drawn' and more fully expressed than their equivalent areas on the Victoria and Albert example.However, there are a couple of elements on the offered bookcase which are either absent or different from the other two. The first are the door panel surrounds on the upper part of the present lot which have foliate tendril inlay throughout, that is lacking from the plain frames and astragals of the other upper sections. The second is the central point of the secretaire drawers. On the offered model this area is accentuated by an elegant oval Vernis Martin panel painted in the style of Angelica Kauffmann, whereas with the comparables a simpler oval patera or oval fan medallion serves as the main focus there instead.The Beard and Goodison one is almost certainly the same bookcase, albeit perhaps with replaced handles, which featured in a special exhibition hosted at Christie's, January 1973. And this is exactly the one illustrated in a catalogue commemorating the event, which is entitled Fanfare for Europe, The British Art Market, 1973, Sotheby's Publications, p. 175, and is evidently an entry from Jeremy Ltd, an antique dealer then based at 255 King's Road. It is interesting to note that a further similar cabinet or bookcase is also referred to in the text of this commemorative catalogue. At the time of publication this other variant is described therein as: 'originally forming part of the Gubbay colllection at Trent Park and now on exhibition at Clandon Park, Surrey.' Deriving from ancient architectural antecedents, the acroteria pattern cornice surmounting all of these 1780s bookcases might be a reference to similar motifs employed by both James 'Athenian' Stuart (1713-1788) and Robert Adam (1728-1792) over the course of the two preceding decades of the 18th century. Examples of such evidently include furniture provided for Lady Spencer by Stuart and the State Bed supplied to Osterley Park by Adam, Ibid, fig. U/13, p. 181.The beautiful flowing and elegant Neoclassical designs of the marquetry and their superb execution, allied to the presence of distinctive fluted feet, suggest the possibility that the better examples within this group of cabinets were perhaps executed by the renowned partnership of William Ince and John Mayhew.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 34
A Dutch silver marriage casket, knottekistje17th century, unmarked, struck later with only two Dutch tax marks for locally made articlesOf trunk form, on four ball feet, reeded lower and upper rims, the front engraved with two cartouches enclosing courting couples, the end panels also engraved with varying scenes with couples within cartouches, the reverse side depicting a marriage group seated around a dining table, all surrounded by scrolling foliage, the hinged dome cover engraved with a couple embracing within a cartouche, flanked by a male and female figure and two inscriptions 'In Lÿfde Beltact het al' and 'Getrouw tot in den doot', all surrounded by scrolling foliage and embellished with two pierced flaming heart motifs and a bird at each end panel, with an ornate scrolling silver-gilt handle, height 7.2cm, length 7.8cm, weight 3.9oz.For further information on this lot please visit Bonhams.com
Lot 36
A large Swiss silver and parcel-gilt standing cup Marquard Zehender I, Bern 1651 Baroque goblet form, with a tapering hexagonal upper bowl, an engraved coat-of-arms for 'Bern' to one panel and a family crest to the adjoining, interspersed by embossed fruits, leading to a waisted baluster teardrop-lobed lower bowl, each panel between embossed with flowers and foliage, such as iris and dwarf carnation, high polished gilt against a matt ground, an ornamental silver calyx with tendrils mounted to the bowl base, a pierced stem beneath resembling angels wings with a trio of cast gilt angels heads inserted around the knop, a silver calyx repeated beneath, transitioning into a waisted lobed pedestal base on a domed circular foot, height 32cm, weight 17oz. Footnotes: Property of a Private Collector The maker's marks can be located in Rosenburg, 'Der Goldschmiede Merkzeichen - IV Band', (Berlin: Frankfurter Verlags-Ansalt, 1928), p.524, item 8834. This appears to be an important piece, the ownership of which may have considerable historical relevance. These are the arms of the CHAMBRIER family of Neuchâtel Switzerland. The family were prominent in the same provincial area from at least the beginning of the 17th century, and notably Pierre de CHAMBRIER (1604-1668) who had married Esther PURY, is likely to have commissioned this item. His son and heir was Josué de CHAMBRIER (1639-1700) who married Judith TRIBOLET (1640-1701) and his subsequent son and heir was Pierre CHAMBRIER (1659-1744), who married Marguerite de MONTMOLIN (1662-1735). At the base of the armorial the initials 'JC' are engraved in European script. This appears to relate to Josué de CHAMBRIER (1639-1700). Clearly in 1651, the date of the item, Josué would have been only 11 or 12 years old so it is unlikely that he personally commissioned this piece, but it was awarded to him. It is possible that the item was commissioned by his parents as a gift for him. Of considerable note is a later descendant Jean Pierre CHAMBRIER (1753-1822) of Neuchâtel, son of Charles Louis CHAMBRIER and Madeleine BRUN only daughter of John Pierre BRUN d'Oleyres. He inherited his maternal grandfather's title as Baron d'Oleyres and established Neuchâtel as a Barony. Later, acting on behalf of King Frederick II of Prussia, he was also responsible for the restoration of Neuchâtel after the Napoleonic invasion. For further information on this lot please visit Bonhams.com
Lot 42
δ Damien Hirst (b. 1965)H10-1. Wu Zetian (from The Empresses)Laminated giclée in colours on aluminium composite panel, screenprinted with glitter, 2022, signed and numbered from the edition of 2853 in pen on publisher's label verso, printed and published by Heni Editions, London, the full sheet printed to the edges, overall 1000 x 1000mm (39 3/8 x 39 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 44
δ Damien Hirst (b. 1965)H10-3. Theodora (from The Empresses)Laminated giclée in colours on aluminium composite panel, screenprinted with glitter, 2022, signed and numbered from the edition of 3315 in pen on publisher's label verso, printed and published by Heni Editions, London, the full sheet printed to the edges, sheet 1000 x 1000mm (39 3/8 x 39 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 45
δ Damien Hirst (b.1965)H10-4. Suiko (from The Empresses)Laminated giclée in colours on aluminium composite panel, screenprinted with glitter, 2022, signed and numbered from the edition of 3310 in pen on the publisher's label verso, printed and published by Heni Editions, London, the full sheet printed to the edges, overall 1000 x 1000mm (39 3/8 x 39 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 46
δ Damien Hirst (b.1965)H10-5. Tatyu Betul (from The Empresses)Laminated giclée in colours on aluminium composite panel, screenprinted with glitter, 2022, signed and numbered from the edition of 2814 in pen on publisher's label verso, printed and published by Heni Editions, London, the full sheet printed to the edges, overall 1000 x 1000mm (39 3/8 x 39 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 47
δ Damien Hirst (b.1965)H7-1. Butterfly Rainbow (Large)Laminated gicleé in colours on aluminium panel, 2020, with the artist's printed signature and numbered from the edition of 1497 on the justification label verso, printed and published by Heni Editions, London, the full sheet printed to the edges, overall 483 x 997mm (19 x 39 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 48
δ Damien Hirst (b.1965)H7-3. Butterfly Heart (large)Laminated gicleé in colours on aluminium panel, 2020, with the artist's printed signature and numbered from the edition of 1698 on the justification label verso, printed and published by Heni Editions, London, the full sheet printed to the edges, overall 720 x 720mm (19 x 19in)Please note that this lot is in bonded storage in Switzerland and will be shipped from there and not Forum Auctions, London. Shipping quotes are available upon request. Swiss resident buyers may be required to pay Swiss VAT on release of the art work.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 49
δ Damien Hirst (b.1965)H8-2. Fruitful (Small)Laminated giclée in colours on aluminium composite panel, 2020, with the Artist's stamped signature and numbered from the edition of 2908 on a publisher's label affixed to verso, Published by Heni Productions, London, 390 x 390mm (15 3/8 x 15 3/8in) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 137
Brian Shields (Braaq) (British, 1951-1997)A Day at the Fun Fair signed and dated 'braaq 77 'ANN'' (lower right)oil and pencil on panel44 x 59cm (17 5/16 x 23 1/4in).Footnotes:ProvenanceAcquired by the family of the present owner, circa the 1980s, and thence by descentPrivate Collection, U.K.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 17
Frank Wood (British, 1904-1976)Harlequinade signed and dated 'FRANK/WOOD./37.' (lower right)tempera on canvas, laid on panel58 x 45.5cm (22 13/16 x 17 15/16in).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 176
Anne Magill (British, born 1962)Big Coats and Bright Lights signed 'A Magill' (lower right)acrylic on panel12 x 17cm (4 3/4 x 6 11/16in).Painted in 2003Footnotes:ProvenanceWith Gloucester Room, London, where acquired by the present ownerPrivate Collection, U.K.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 29
Austin Osman Spare (British, 1886-1956)Gaminerie signed with initials and dated 'AOS 53' (lower left); further signed, titled, numbered and dated 'No 88 Gaminerie by Austin Osman Spare 53.' (on tape attached to panel verso) chalk and pencil on panel22 x 32cm (8 11/16 x 12 5/8in).Footnotes:ProvenanceWith Henry Boxer Gallery, London, where acquired by the present owner, 2020 Private Collection, South KoreaExhibited London, The White Bear, 19 November–19 December 1953, no.107London, Archer Gallery, Paintings and Drawings by Austin Osman Spare, 25 October–26 November 1955, no.88During his period of tavern exhibitions, circa 1949–1953, Austin Spare often produced work that spoke to the customers of his chosen establishment, often with humorous intent. This mask-like study from 1953 refers to the quality of 'gaminerie', or childishness, and is likely to be a portrait of a known regular in The White Bear tavern.We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 32
Austin Osman Spare (British, 1886-1956)Out of the Sea Came Entity signed with initials 'AOS' (lower left); further signed, titled, dated and inscribed 'Title: Out of the sea came entity 1955./unpublished & original drawing by A. Osman Spare/A.O.S.' (on Artist's label attached to backboard)pencil on panel27.5 x 20.5cm (10 13/16 x 8 1/16in).Footnotes:ProvenanceFrederick R. Koch (1933–2020)With Victor Arwas Gallery, London, where acquired by the present owner, 17 December 2014 Private Collection, South KoreaExhibitedLondon, Taranman Gallery, Exhibition of Paintings, Pastels and Drawings by Austin Osman Spare 1888-1956, 2-21 September 1974, no. 14Throughout his career as an artist, Spare maintained a fascination with nature and the creative energy he felt it embodied. In his manuscript notebook, The Focus of Life, circa 1905, we find mutated natural forms — often based on fish, birds, or crustaceans — surrounded by swirling semi-automatic lines that perhaps represent the dynamic qualities of life itself. Fifty years later, a more mature hand produced the present work. Here, a mermaid-like form represents the ocean as a source of all life. As Spare noted in The Logomachy of Zos, his last major written work, circa 1952–4, 'The ancestral sea: constant ebb and flow, and ever causal—spawning. So like us, yet unstable with ever changing mood out-masquerading all masqueraders, all women; terrible, or as beautiful as crushed sapphires, glittering. It goes on for ever with serum-soaked ebb and flow.'We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 39
Sir Claude Francis Barry R.B.A. (British, 1883-1970)View of St Marks, Venice signed 'CF Barry' (lower right)oil on panel45 x 60cm (17 11/16 x 23 5/8in).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 68
Anthony Eyton R.A., R.W.A., R.W.S. (British, born 1923)Malaysian Plants, Eden Project signed and dated 'A. Eyton/2001' (lower right)chalk on panel64.5 x 117cm (25 3/8 x 46 1/16in).Footnotes:ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 11 June-19 August 2002, no. 437This 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 74
Bernard Dunstan R.A., R.W.A., N.E.A.C., H.P.S. (British, 1920-2017)The Paddington Canal signed with initials 'BD' (lower left); further signed, titled and dated 'BERNARD DUNSTAN/THE PADDINGTON CANAL/56' (on panel verso)oil on panel24 x 18.5cm (9 7/16 x 7 5/16in).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 91
P J Crook (British, born 1945)Circus Triptych signed 'PJ Crook' (central panel, lower left); further signed, titled and dated 'PJ Crook/Circus Triptych/2000' (on panel verso)acrylic on panel construction61 x 76cm (24 x 29 15/16in) openFootnotes:ProvenanceThe Artist, by whom gifted to Paintings in Hospitals, 20 September 2002Please note that the present lot is to be sold to benefit Paintings in Hospitals.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 93
Beryl Cook O.B.E. (British, 1926-2008)Virgin and Child signed 'B. Cook' (lower right); dedicated 'For David & Jan's/21st Anniversary/With love from/Beryl' (on panel verso)oil on panel36 x 28.5cm (14 3/16 x 11 1/4in).Footnotes:ProvenanceThe Artist, by whom gifted to the family of the present ownerPrivate Collection, U.K.LiteratureB. Cook and J. Whitlock Blundell (ed.), Beryl Cook: The Bumper Edition, Victor Gollancz, London, 2000, p. 276, illustratedThe present lot is based on a photograph of the Artist's mother holding a young Beryl Cook to her hip, presented here in a classic 'Virgin and Child' composition. Cook notes how she was asked to paint a nativity scene, and taking inspiration from religious old masters, added halos to the figures. 'A few more details were needed to make a suitable painting, so I added some golden curls, a roguish smile and a bluebird.' (Beryl Cook in B. Cook and J. Whitlock Blundell (ed.), Beryl Cook: The Bumper Edition, Victor Gollancz, London, 2000, p. 276).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 1106
MARGUERITE DE NAVARRE: (1492-1549) French Princess, Queen consort of Navarre 1527-49 by her second marriage to King Henry II of Navarre. L.S., La tout evo[tr]e Marguerite de france, one page, oblong 8vo, Argentan, 25th August n.y. (c.1515), to Jean de Selve, Vice Chancellor of Milan, in Middle French. Marguerite writes to inform her correspondent that the King [her brother, Francis I] is sending Gilbert Jarrel, bearer of the letter, 'pour executer loffice de contrerolleur general de ses finances' (Translation: 'to perform the office of comptroller general of his finances') and 'ensuyvant une lectre et declaracion quy luy a octroyees et veult et entend quil demeure et Reside pdela Et pource q comme je vous ay autreffoys escript led Jarrel est de mes serviteurs lequel adit au Roy la bonne volunte q vous aves en ses affaires et le desir et bonne affection que vous avez envers moy dont je vous en mercie Et vous prie que pour amour de moy le vueilles avoir tousiours pour Recnance En luy faisant toute ladresse et aide que congnoistrez estre necessaire pour le fait de sa charge' (Translation: 'by ensuing a letter and declaration which he granted to him and wants and intends that he remains and resides beyond. And for what as I wrote to you formerly, said Jarrel is one of my servants who has told the King of the good will you have in his affairs and the desire and good affection you have towards me for which I thank you, and beg you that for the love of me please show him gratitude always by giving him all the address and help that you will know to be necessary for the fact of his charge'). With address panel to the verso and small seal affixed (causing a small stain to the recto, only very slightly affecting Marguerite's signature). With a series of very small, minor holes to the left edge and a small area of paper loss to the lower right corner, otherwise VGJean de Selve (1475-1529) French diplomat, appointed by King Francis I as Vice Chancellor of Milan following the conquer of Milan by the monarch in 1515.
Lot 1111
HENRY IV: (1553-1610) King of France 1589-1610. Assassinated. L.S., Henry, one page, folio, Fontainebleau, 30th April 1604, to Cardinal [Alfonso] Visconti ('Mon Cousin'), in Middle French. The King informs his correspondent that he has instructed Cardinal de Givry 'qui s'en va par dela de vous visiter de ma part Et vous tesmoigner la bonne volonté que Je vous porte Dequoy Je desire qu'il s'acquicte a mon contentement et au Vre et que vous me continuyez aussi Vre affection au bien de mes affaires' (Translation: 'who goes beyond visiting you on my behalf and showing you the good will that I have for you, which I want him to fulfil to my satisfaction and yours and that you also continue your affection for the good of my business'). Countersigned at the foot by Nicolas de Neufville, seigneur de Villeroy (1543-1617) French secretary of state under four Kings of France, Minister of Foreign Affairs 1567-88, 1594-1616. With address panel to the verso, bearing the remnants of a blind embossed paper seal. A few minor, light stains, the largest at the head of the page only very slightly affecting a few words of text, and with a few light creases and tears to the edges, about VGAlfonso Visconti (1552-1608) Italian Roman Catholic cardinal and diplomat who served as Bishop of Spoleto 1604-07 as Cardinal Protector for the Austrian hereditary lands.Anne d'Escars de Givry (1546-1612) French Benedictine churchman and cardinal, a supporter of the Ligue.
![[FRANCESCO II SFORZA]:(1495-1535) Duke of Milan 1521-35, the last member of the Sforza family to rule Milan. Manuscript lette](https://cdn.globalauctionplatform.com/d9f4f5d5-e853-4d8c-9ccb-b02300a8b7ae/854dceb0-d940-4de5-91a6-b02300bc16e4/468x382.jpg)
Lot 1148
[FRANCESCO II SFORZA]:(1495-1535) Duke of Milan 1521-35, the last member of the Sforza family to rule Milan. Manuscript letter issued in the name of Francesco II Sforza and signed ('B. Patellan') by Benedetto Patellani, secretary of the Senate, one page, oblong 4to, Viglenani, 11th January 1531, to Doctor Pretori Berthous, in Latin. The text relates to the litigation of the men of Casal Noxete (?) within the jurisdiction of the Doctor and instructs him to 'notify the venerable brothers of St. Francois of our city to appear before our senate at the second hearing…..to plead with their lawyers on their rights' and further requesting that Patellani be informed of the provision of the means of defence. With address panel and blind embossed paper seal to the verso. Some light overall staining and minor age wear and with a few small holes, only very minimally affecting a few words of text, G
Lot 2
GULLY JOHN: (1783-1863) English prize-fighting boxer, sportsman and politician. Signed Free Front envelope panel addressed in his hand to Edward Bouverie at Delapre Abbey in Northampton and dated London, 27th May 1833. Signed ('J Gully') to the lower left corner. Some very light, extremely minor age wear, VGEdward Bouverie (1767-1858) High Sheriff of Northamptonshire who inherited Delapre Abbey from his father in 1810, subsequently improving and extending the estate to create a model farm and also investing in artworks and racehorses.
Lot 499
BENEDICT JULIUS: (1804-1885) German-born composer and conductor. A good A.L.S., J Benedict, three pages, 4to, Stuttgart, 14th September 1847, to Sigismond Thalberg, in French (and with a few lines of text in English). Benedict states that the King of Wurttemberg ('bon de ses sujets, qui a dire vrai l'ont bien mal traite pour avoir sacrifice toute son existence a leur bonheur'; Translation 'good of his subjects, who to tell the truth treated him very badly for having sacrificed his whole existence for their happiness') will be leaving for Switzerland and the Tyrol in the next few days, continuing 'Attendu ces circonstances, mon opera ne sera represente que vers la mi-Octobre et n'ayant rien a faire dans ma bien heureuse patrie - qui entre autres qualities estimables conserve surtout le privilege d'etre souverainement ennuyeuse - je suis decide mon cher Sigis de partir samedi ou lundi prochain pour Munich et Vienne, ou j'espere vous revoir bientot' (Translation: 'Given these circumstances, my opera will not be performed until mid-October and having nothing to do in my very happy homeland - which among other estimable qualities retains above all the privilege of being supremely boring - I have decided my dear Sigis to leave next Saturday or Monday for Munich and Vienna, where I hope to see you again soon'). Benedict further refers to his correspondent's concerts, encouraging him to perform in Stuttgart where he would be guaranteed a brilliant reception and the opportunity to play before the King and Princess Royal, 'J'espere que vous pourrez arranger votre retour de Vienne a Paris par Stuttgart - ou a cette epoque en deux ou trois jours vous serez a peu pres sur de vous faire entendre a la cour et en public, et si dans votre concert vous croyez - qu'en fait de nouveaute le duo de Norma puisse avoir des attraits pour ce public probablement vierge qui s'imagine que je suis un pianiste mirobolant ne m'ayant pas entendu depuis 12 a 15 ans…..' (Translation: 'I hope you can arrange your return from Vienna to Paris via Stuttgart - where at this time in two or three days you will be almost sure to make yourself heard at court and in public, and if in your concert you believe - that in fact the new duet of Norma can have an attraction for this probably virgin public who imagine that I am a fabulous pianist and who have not heard me for 12 or 15 years'). With address panel in Benedict's hand and bearing the remnants of a small red wax seal. A letter of both fine content and association. VGSigismond Thalberg (1812-1871) Austrian composer and one of the most distinguished virtuoso pianists of the 19th century. William I (1781-1864) King of Wurttemberg 1816-64.
Lot 512
BERLIOZ HECTOR: (1803-1869) French composer and conductor of the Romantic era. A.L.S., H. Berlioz, one page, large 4to, Prague, 27th January (1846), to Maurice Schlesinger, in French. The composer refers to a letter from an Englishman who has written succinctly and asks Schlesinger if he can get an extract of it placed in the Gazette Musicale, further continuing 'J'ai ecrit ces jours-ci a votre frere (a Berlin) pour savoir s'il a deja mis en vente la Symphonie Fantastique, et pour le prier, s'il en etait encore temps, d'en retarder la publication, a cause de plusieurs fautes graves que j'ai trouvees sans les parties et d'un petit changement que j'ai fait dans les violons' (Translation: 'I wrote in the last few days to your brother (in Berlin) to find out if he has already put the Symphonie Fantastique on sale, and to ask him, if there was still time, to delay its publication, because of several serious mistakes that I found without the parts and a small change that I made in the violins'), hoping that the publication can be delayed as he wants everything in the work to be in the greatest order, remarking 'C'est tres peu de chose qu'une semblable correction, mais il faut le faire' (Translation: 'Such a correction is very little, but it must be done'). In a postscript Berlioz states that he will return to Vienna before his sixth concert, which has been announced for the 1st February, and asks Schlesinger if he would like to add a statement in his journal, 'Apres le cinquiesme concert donne par Berlioz dans la salle de la Redoute a Vienne S.M. Empereur d'Autriche lui envoye pour prix de sa loge la somme de 100 ducats' (Translation: 'After the fifth concert given by Berlioz in the Salle de la Redoute in Vienna, H.M. the Emperor of Austria sent him 100 Ducats as the price of his box'). With address panel in Berlioz's hand to the verso and featuring a red wax seal. A letter of good musical content. Some areas of paper loss and tears to the edges and corners (most a little crudely repaired with brown tape), none significantly affecting the text or signature. About GMaurice Schlesinger (1798-1871) German music editor and founder of the Gazette Musicale de Paris in 1834. Berlioz's Symphonie fantastique (Op.14) was written in 1830 and is regarded as an important composition of the early Romantic period.
Lot 553
STRAVINSKY IGOR: (1882-1971) Russian composer, conductor and pianist. A.L.S., I Stravinsky, to one side of a plain Carte Postale, Carantec (Brittany), 18th June 1920, to Henri Prunieres, in French. Stravinsky informs his correspondent that he is in Carantec and working on a piece in memory of Debussy that he had promised to Prunieres, hoping that he is not too late and commenting 'Cette piece pour un ensemble d'instruments, je la reduirai au piano et vous l'enverrai sitot faite' (Translation: 'This piece is for an ensemble of instruments, I will reduce it to the piano and send it to you as soon as it is done'). Immediately after his signature Stravinsky adds the words 'toujours en retard et qui manque tous ses rendezvous' (Translation: 'always late and missing all his appointments'). Hand addressed by the composer to the verso and again signed ('I Stravinsky') by him in the return address panel. About EXHenri Prunieres (1886-1942) French musicologist, founder of the monthly musical periodical La Revue musicale in 1920. Claude Debussy (1862-1918) French composer whose music was of particular importance to Les Apaches, a group of musicians, writers and artists of which Stravinsky became a member in 1910.Stravinsky's Symphonies of Wind Instruments was written as a memorial for Debussy in 1920.
Lot 723
ENGLISH ARTISTS: Copley Fielding (1787-1855) English artist, known for his watercolour landscapes. A.L.S., Copley Fielding, one page, 8vo, Newman Street, 5th June n.y., to a gentleman, politely declining an invitation owing to a prior engagement. With blank integral leaf; George Cattermole (1800-1868) English watercolour painter and illustrator, a friend of Charles Dickens. A.L.S., Mr. G. Cattermole, in the third person, two pages, 8vo, Brixton Hill, 14th June n.y., to Mrs. Allnut, recalling that on a recent visit 'some of her friends mentioned Haddon Hall in Derbyshire as connected with some pleasing recollections' and that he 'therefore ventures upon the possibility that the enclosed (no longer present) slight sketches of that interesting mansion together with a few others made in its immediate vicinity in the autumn of last year may afford to Mrs. Allnut & her friends half an hours amusement'. With blank integral leaf (tear to the upper edge); Samuel Prout (1783-1852) English artist, one of the masters of watercolour architectural painting. A.L.S., Mr. Prout, in the third person, one page, Brixton Place, n.d. ('Friday Morn'g'), to Mr and Mrs Allnutt, accepting their invitation to dinner. With blank integral leaf; Thomas Lawrence (1769-1830) English portrait painter. Autograph Free Front panel, unsigned, addressed in his hand to Mrs. J. Allnutt at Clapham Common. G to generally VG, 4
Lot 766
‘I have made my will and I leave you my Pucelle manuscript, more complete than the printed version’ VOLTAIRE: (1694-1778) Francois-Marie Arouet. French Enlightenment writer, historian and philosopher. An excellent Autograph Letter, unsigned, two pages (with a postscript of four lines to the third page of the bifolium), 4to, n.p., n.d. (annotated 18th January in another hand; 1760), to Comte Francesco Algarotti, in French. Voltaire informs his correspondent that he has looked through some Swiss newspapers for an article, but has not found it, remarking 'je m'en souviens cependant qu'on parle avec eloges de votre ouvrage, le Newtonisme est comme du fu Algarott, ce que je disais que vous etiez deja mis parmi les anciens etoit de moi'i' (Translation: 'I remember however that people speak with praise of your work, Newtonism is like fu Algarotti, what I said that you were already placed among the ancients was mine'). Voltaire continues to write concerning politics, 'La belle chose que de gouverneur les hommes! de se tourmenter pour les faire entendre raison sans que rien ne vous en revient! Ce pays soupirait apres un renouvellement d'alliance avec quelques cantons voisins; nos grands politiques y avaient echoues, il n'y avait plus question a mon arrivee ici; je l'ay fait sans peine; et pour recompense, ceux qui avaient manque deja l'affaire, m'ont suscite (tant qu'ils ont pu) des tracasseries par envie, la passion, ou si vous voulez folie, la plus universelle est la vanite, et il y en a plus ici que nul part' (Translation: 'The beautiful thing of governor men! To torment themselves, to make them listen to reason without anything coming back to you! This country longed for a renewal of alliance with some neighbouring cantons; our great politicians had failed there, there was no longer any question of my arrival here; I did it without difficulty; and as a reward, those who had already missed the case, aroused in me (as much as they could) annoyances out of envy, passion, or if you want madness, the most universal is vanity, and there has been more here than anywhere') and also explains that he had arranged a ceremony for the Canton de Soleure, explaining 'ils ont trouve moyen de renverser mon projet simple, pour y substituer l'ancienne ceremonial helvetique; je dois etre a la tete de quatre ambassadeurs, avec une suite de noblesse dont peu peuvent pretendre etre gentils hommespeu s'en est falu qu'on ne m'a mis sur un grand cheval de Lonage pour faire mon entree a Soleure, car j'ai bien deux bonnes vaches pour me donner de la creme et du bon beurre frais, mais je n'ai pas un cheval a monter' (Translation: 'they have found a way to reverse my simple project, to substitute the old Swiss ceremonial; I must be at the head of four ambassadors, with a retinue of nobility that few can claim to be nice me. I was put on a big Lonage horse to enter Soleure, because I have two good cows to give me cream and good fresh butter, but I don't have a horse to mount'). In the postscript Voltaire makes a curious statement, 'Outre la grande ceremonie, je dois boire environ 300 .....santes a la Suisse, je me donne deja pour noye et enterre, j'ai fait mon testament et je vous laisse ma Pucelle manuscrite, plus complete que l'imprimee' (Translation: 'Besides the great ceremony, I have to drink about 300….health to Switzerland, I already give myself up for drowning and burying myself, I have made my will and I leave you my Pucelle manuscript, more complete than the printed version'). With integral address panel in Voltaire's hand (small area of paper loss caused by the original breaking of the seal). A letter of good content and association. Neatly tipped to the left edge within paper wrappers and contained in a plain card folder from a 19th century English collection. VGCount Francesco Algarotti (1712-1764) Italian polymath, philosopher, poet, essayist, anglophile, art critic and art collector, an expert in Newtonianism, architecture and opera, and a friend of Frederick the Great, Voltaire and other leading authors of his time.
Lot 787
SAND GEORGE: (1804-1876) French novelist, memoirist and journalist. A.L.S., George, one page, 8vo, n.p., n.d., to Monsieur Duteil, on Sand's blind embossed initialled stationery, in French. Sand writes with some urgency, 'Michel est ici. Il veut te voir ce soir tout de suite avec Planet. Je l'empeche d'aller vous trouver. Si vous ne venez pas il me cassera les cotes. Il part demain matin pour Chateauroux. Le cabriolet est casse, sans cela je vous l'enverrais. Prenez le cheval et la voiture a Fleury et venez…..' (Translation: 'Michel is here. He wants to see you tonight, right now with Planet. I prevent him from going to find you. If you don't come he will break my ribs. He leaves tomorrow morning for Chateauroux. The cabriolet is broken, otherwise I would send it to you. Take the horse and carriage from Fleury and come……'). With integral leaf addressed by Sand to Duteil at La Chatre and marked 'tres presse'. Some light overall creasing and minor dust staining to the address panel, otherwise VG
Lot 937
HUBER FRANCOIS: (1750-1831) Swiss entomologist who specialised in honeybees. A fine L.S., Francois Huber, three pages, 4to, Ouchy, Lausanne, 11th June 1814, to Georges Cuvier, in French. Huber apologises for the circumstances which did not allow him to reply earlier to his correspondent's letter, adding that he is 'Penetre de reconnaissance pour la faveur que l'institut de France a deigne m'accorder ca ete pour moi un veritable vhagrin d'etre condamne au silence dans cette occasion, et de ne pouvoir vous dire combien j'en ai ete touche' (Translation: 'Penetrated with gratitude for the favour that the Institut de France has deigned to grant me, it is a real sorrow for me to be condemned to silence on this occasion, and not to be able to tell you how touched I was'). Huber further states 'Sans cesser de m'occuper de l'histoire naturelle qui a ete l'etude et le charme de toute ma vie, je me suis depuis quelques annees remis a celle des mathematiques pour essayer de lire et d'entendre les ouvrages de vos celebres collegues, et de n'etre pas entierement exclu de ce qu'il y a de plus interessant et de plus certain dans les connoissances humaines. Par le moyen de caracteres et de signes palpables que je dois au zele de mon fils pour tout ce qui peut m'etre utile je n'ai rien trouve jusqu'a present dans cette nouvelle etude, qui m'ait du faire regretter le temps que j'y ai consacre: je suis fache seulement de n'avoir pas deviue plutot, qu'une occupation ou le secours des yeux n'etais pas absolument necessaire etait precisement celle, qui pouvait le mieux me convenir. Je n'ai sans doute ni la pretention, ni le moindre espoir de faire aucune decouverte dans une route si dignement parcouvue et d'avoir jamais a moins de quelque miracle rien a apprendre a mes maitres. Mais si dans le cours de mes recherches sur les Abeilles j'ai le bonheur d'appercevoir quelque nouveau trait de leur histoire……. J'ai lu Monsieur avec le plus grand interet vos belles et etomantes recherches sur les osserments fossiles, permettez-moi de saisir cette occasion pour vous remercier du plaisir infini que j'ai pris a cette lecture et de vous prier de vouloir bien me mettre au nombre de vos plus sinceres admirateurs. Je ne finirai point cette lettre Monsieur sans vous dire combien nous avons ete reconnoissants de l'accueil plein d'indulgence et de bonte, que les savants et les naturalistes ont fait a mons fils, pendant son sejour a Paris, ses parents en conserverout toujours un precieux souvenir' (Translation: 'Without ceasing to concern myself with natural history, which has been the study and the charm of my whole life, I have for some years returned to that of mathematics to try to read and hear the works of your famous colleagues, and not to be entirely excluded from what is most interesting and most certain in human knowledge. By means of characters and palpable signs which I owe to the zeal of my son for all that can be useful to me, I have found nothing up to now in this new study, which should have made me regret the time that I devoted to it: I am only sorry not to have deviated sooner, that an occupation where the aid of the eyes was not absolutely necessary was precisely that which could best suit me. I doubtless have neither the pretension nor the slightest hope of making any discovery on a road so worthily travelled and of never having anything except some miracle to teach my masters. But if in the course of my research on bees I have the good fortune to perceive some new trait in their history…….I read Sir with the greatest interest your beautiful and astonishing research on fossil bones, allow me to take this opportunity to thank you for the infinite pleasure that I took in this reading and to ask you to kindly put me among your most sincere admirers. I will not finish this letter, Sir, without telling you how grateful we were for the welcome full of indulgence and kindness which the scholars and naturalists gave my son during his stay in Paris, his parents will always keep a precious memory') and in a postscript remarks 'Lorsque la seconde edition de mon livre sur les Abeilles paraitra je vous prierai Monsieur d'en offrir un exemplaire de ma part a l'Institut et je prendrai aussi la liberte de vous offrir un en le recommandant a votre indulgence' (Translation: 'When the second edition of my book on bees appears, I will ask you, Sir, to offer a copy from me to the Institute and I will also take the liberty of offering you one, recommending it to your indulgence'). With address panel to the verso of the final page, bearing the remnants of a red wax seal (small area of paper loss and tear where originally broken). A letter of excellent association and content, not least for its references to bees and the blindness which afflicted Huber. Some light age wear and a few minor tears to the edges, about VG
Lot 121
Attributed to Pier Paolo Anesi (1697-1773)A wooded rocky river landscape with figures, oil on panel, 21 x 27.5cmThe panel has a convex bow, with some worm holes visible to the back of the panel, not apparent from the front. The corners are bumped/worn with minor associated paint loss. Inscribed A. Naysmith verso. Minor surface dirt and varnish discolouration. Some possible retouching/overpainting to the clouds. Not examined under UV light.
Lot 133
John Thomas Woodhouse (1780-1845)River landscape with fish, Windsor Castle in the distance; and fish on a river bank, a pair, one signed, oil on canvas, laid onto panel, 19.5 x 24cm (2)Cracking to paint throughout, with former stretcher marks visible. Cleaned and varnished. Minor surface dirt and discolouration. Not examined under UV light.
Lot 182
William Shayer (1787-1879)The Day's Catch and A Rest by the Wayside, a pair, one signed, oil on panels, 45.5 x 36.5cm With Appleby BrothersDay's catch - has a vertical scratch to the centre, just above the donkey, and further small scratches and abrasions. Slight cracking to the paint and a convex bow to the panel. Patchy varnish discolouration. Pair - paint surface a bit dull and flat, with some cracking and shrinkage, minor blistering to the darker areas, minor frame abrasions and varnish discolouration. Not examined under UV light.
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