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Lot 593
In wood & other natural materials, three dancing Zuni spirits.An unusual and rare Native American sculptural group modeled as three Mudhead Kachinas, representative of a whimsical character who takes part in most Hopi ceremonies, playing the drum, dancing, hosting games and races. Constructed from wood, clay and other naturalistic materials. Issued: c. 1980 Dimensions: 10"H x 11"L Country of Origin: United States Provenance: Collection of Mona Brown
Lot 15
c. 18th/19th c. heavy figure dancing and playing flute.A beautiful bronze figure of the young Krishna, from the Orissa region of India, modeled playing a now missing flute, and dancing. Rich bronze patina. Total weight 9 lbs. Issued: 19th c. Dimensions: 14"H x 5"D Country of Origin: India Provenance: Collection of John J. Lanzendorf
Lot 40
The youthful avatar of Vishnu capering and playing flute.Primitivistic large schist figure of Krishna, a major deity in Hinduism, worshipped as an avatar of Vishnu and also as supreme in his own right. He is modeled with a smiling expression, in a youthful appearance with earrings and his hair in a chignon. The figure dances with missing legs and plays a now missing flute. Richly patinated with remnant applied gilt decoration. Displayed on a black rectangular museum quality metal base. Issued: c. 1280 Dimensions: 21"H x 6.5"W (on stand) Country of Origin: India Provenance: Collection of John J. Lanzendorf
Lot 227
A Tunbridge ware playing card box, early 20th century, the octagonal box with transfer printed playing card design to the lid, the fitted interior with two divisions, one containing a deck of B Dondorf No162 playing cards, the other a deck of Nelson Centenary playing cards made for the Worshipful Company Of Makers Of Playing Cards, with a deck of French playing cards, possibly 19th century, a further deck of cards, GURNEY BENHAM (W), PLAYING CARDS, Ward Lock & Co Ltd, London 1931, a set of mother of pearl suit markers, a selection of movie star cigarette cards and a pair of folding spectacles (7) For condition information please view this lot on our website HERE
Lot 235
The New Game Of The Ascent Of Mont Blanc, 4th edition, created by Albert Smith, published by A.N. Myers & Co, the game comprising a folded linen backed illustrated game sheet with fifty colour illustrated game panels and four further colour illustrations, 53cm x 42cm, a rule book, three playing pieces, and a large quantity of dried peas (substituting the original game counters), all contained within the original cloth bound wooden box with red leather gilt embossed label, 23.5cm long
Lot 1764
SCOTTISH CUP RUNNERS UP GOLD MEDAL 1970/71, awarded to Ronnie McKinnon of Rangers F.C., the obverse inscribed 'Scottish Football Association' in blue enamel border around central oval depicting a lion rampant motif in relief, beneath a thistle motif, the reverse inscribed 'Runners-up Scottish Cup 1970-71', 38mm high, in nine carat gold, maker RH, 9.7gNote: After a 1-1 tie in the final of the Scottish Cup, Celtic beat Rangers 2-1 to lift the Scottish Cup on 29 May 1971. This runners up medal was awarded to McKinnon just months before the fateful European Cup Winners Cup match where he would suffered a double fracture of his leg, never playing for the club again. In a decade with Rangers F.C., McKinnon won nine major honours and played 473 games for Rangers.Provenance: This was purchased by the current vendor at Christie's Football Memorabilia Auction in September 2002.
Lot 1777
THE CAMANACHD ASSOCIATION GOLD MEDAL 1925, the obverse with central scene depicting a shinty player in relief, with scrolling banner inscribed 'The Camanachd Association', the reverse inscribed 'Arch. Munro 1924-25', 29mm high including bale, maker T&S, in nine carat gold, on a yellow metal chain, unmarked Note: This was awarded to Munro in 1924/5, when playing for Furnace Shinty Club.
Lot 1888
STEVIE CHALMERS OF CELTIC F.C. - THE PLAYER'S SIX MEDALS AWARDED DURING THE 1966/67 SEASON, comprising the League Cup, the Glasgow Cup, the Scottish Cup, the Scottish First Division, the European Cup winners', and the 1966/67 Season Commemorative medals CHALMERS' SCOTTISH LEAGUE CUP MEDAL, the obverse with central shield shaped plaque with red enamel lion rampant motif, within blue enamel border inscribed 'Scottish Football League', the reverse inscribed 'Winner Season 1966-67, T.S. Chalmers Substitute', 37mm high including bale, maker JWB, in nine carat gold, 8.6g CHALMERS' GLASGOW CUP WINNERS MEDAL, the obverse with central enamelled shield shaped plaque below thistle motif, within enamelled border inscribed 'Glasgow Cup Glasgow Football Association', the reverse inscribed 'Celtic F.C. 1966-67 S. Chalmers', 34mm high, maker JWB, in nine carat gold, 10g CHALMERS' SCOTTISH CUP WINNERS MEDAL, the obverse inscribed 'Scottish Football Association' in blue enamel border around central oval depicting a lion rampant motif in relief, beneath a thistle motif, the reverse inscribed 'Winners Scottish Cup 1966-67.', 39mm high, maker RH, in nine carat gold, 14.4g CHALMERS' SCOTTISH FIRST DIVISION WINNERS MEDAL, the obverse with central shield shaped plaque with red enamelled lion rampant motif, surrounded by enamelled thistle motifs and blue enamel border inscribed 'Scottish Football League Championship', the reverse inscribed 'First Division 1966-67', 44mm high, maker JWB, in nine carat gold, 14.5g CHALMERS' EUROPEAN CUP WINNERS MEDAL, the obverse with blue and burgundy enamel flag motif over a football motif in relief, inscribed 'Coupe Des Clubs Champions Europeens', the reverse inscribed 'Vainqueur 1967', 30mm high including bale, maker Peka, marked 0.750, 15.1g CHALMERS' 1966/67 SEASON COMMEMORATIVE MEDAL, the obverse with enamelled four leaf clover within border inscribed 'The Celtic Football & Athletic Coy. Ltd., 1888', suspended from five bars detailing the teams awards from the season, with pin clip clasp to the reverse, in nine carat gold, 39mm high overall Note: Considered Celtic's annus mirabilis, the 1966/67 season will forever go down as the finest in the club’s history. In this famously successful season, the team reigned victorious in every competition they entered: the Glasgow Cup, the Scottish League Cup, the Scottish Cup, the Scottish League and of course, the European Cup. In the process, the Scottish side scored a world record total of 196 goals across all competitions. Celtic legend Stevie Chalmers (1935 – 2019) was an integral part of this team. The first in a season of victories, Celtic won the Scottish League Cup on 29 October 1966. The final was contested between Celtic and their Old Firm rivals, Rangers, for a third consecutive season. Celtic won 1-0 to lift the cup at Hampden Park, with Bobby Lennox scoring the only goal. Celtic won the Glasgow Cup one week later on 7 November 1966 at Celtic Park. Celtic had already dispatched their Old Firm rivals in the first round with an emphatic 4-0 victory at Ibrox. This was the first of three 4-0 victories on the road to the trophy, defeating Queen’s Park and then Partick in the final, Chalmers scoring the opener. They then went on to win the Scottish Cup on 29 April 1967. After what had been a fairly straightforward route, Celtic defeated Aberdeen 2-0 at Hampden in the final. This match achieved the record attendance of the season for Celtic F.C., with a turnout of over 126,000 fans. Celtic would then go on to clinch the Scottish First Division on 6 May 1967, becoming the reigning champions for a second season running. Despite Celtic’s resounding successes across other competitions (having even remained undefeated in the league bar two matches), this would go down to the wire, with them having gone toe to toe with their city rivals, Rangers F.C. It wasn’t until the penultimate game of the season that Celtic would emerge victorious, with the invaluable point secured from a 2-2 draw at Ibrox ensuring they could no longer be caught. Later in May, Celtic emerged the first British club to win the European Cup, doing so ‘in the heat of Lisbon’ on 25 May 1967. It was the first time Celtic had qualified for the tournament, the road to Lisbon starting with comfortable victories against F.C. Zurich (5-0 agg.) and Nantes (6-2 agg.). The quarter final in March was a more fiercely contested affair, with Celtic facing the Yugoslavian champions Vojvodina. Celtic lost the first leg away in Novi Sad (1-0), with the return leg in Glasgow being a similar affair, Vojvodina defending resolutely throughout. Celtic would level the tie on aggregate with a second half goal from Chalmers, and went on to emerge victorious when Captain Billy McNeill headed in a goal in the final minutes of the game. The first leg of the semi-finals against Czechoslovakian side Dukla Prague saw Celtic win 3-1. For the second leg, manager Jock Stein instructed the squad to play in a defensive formation, this differing from their usual attacking style. These tactics worked well for the side, securing a 0-0 draw to progress to the final. The final of the European Cup was contested at the Estadio Nacional in Lisbon. Things didn’t start out to plan for the Celts, as they conceded a penalty kick after Jim Craig brought down Renato Cappellini in the box within seven minutes of the game. After converting the spot kick, the Italians would revert to their typical defensive formation, which saw them play eleven men behind the ball. This was the antithesis of Celtic’s forward playing style, who then ‘went out to attack’. Of their thirty-nine shots, twenty were saved and nineteen were off target. On the 63rd minute, their perseverance would prove fruitful when Tommy Gemmell fired home for an equaliser. With minutes left to spare, the ball fell again to Gemmell who would play on Bobby Murdoch whose long range effort was resolutely fired home by Stevie Chalmers, the most important goal in the history of the club. This win cemented the legendary status of the Celtic side, the Lisbon Lions, in British footballing history. Up until this point, every winner of the European Cup since its inception in 1955 had been either Spanish, Portuguese or Italian. Upon their return to Glasgow, the Lisbon Lions were each presented with a unique medal commemorating the season’s successes. Together, the six represent the most significant Celtic F.C. medal group ever to come at auction, and one of the most significant in footballing history. The European Cup Medals of fellow footballing legends have achieved impressive auction results in the past. In 2010, George Best's single European Cup winner's medal from 1968 sold at auction for £156,000. In 2015, Kenny Dalglish reportedly sold his 1984 European Cup winner's medal for £165,000.
Lot 1905
ATLÉTICO PEÑAROL - MATCHWORN JERSEY, vs. Celtic F.C., at Celtic Park, 5th September 1967, sewn No. 6 to reverse Note: Chalmers swapped jerseys with a member of the Peñarol side after their friendly clash in Glasgow, September 1967. Peñarol were the Club world champions at the time and the friendly was arranged so that Celtic would get some experience playing against South American teams prior to fixtures against Racing Club. They would win 2-1. This jersey was possibly worn by Gonzalez.
Lot 2
Keith Haring (American, 1958-1990)Dog 1986 signed, dated 86 and numbered 8/10 on a label affixed to the reverseenamel and silkscreen on plywood128 by 96 by 4 cm.50 3/8 by 37 13/16 by 1 9/16 in.This work is number 8 from an overall edition of 35, consisting of 15 white on black, 10 black on yellow, 10 red on black, 7 artist's proofs and 3 unique colour variant trial proofs.Footnotes:ProvenanceEdition Schellmann, Munich - New YorkPrivate Collection, SwitzerlandLiteratureJörg Schellmann, Edition Schellmann 1969-1989, Munich 1989, p. 137, another example illustrated in colourJörg Schellmann, Forty Are Better Than One, Munich 2009, p. 143, another example illustrated in colourDog, from 1986 is a quintessential and powerful work by Keith Haring. A pioneer of the Contemporary Art world, Keith Haring's work would go on to redefine art as we know it. Working alongside artworld giants such as Andy Warhol and Jean-Michel Basquiat, Haring sought to break down the barriers between high and low culture, creating a whole new vocabulary of symbols, one that would become synonymous with the visual culture of the latter half of the twentieth century. Executed in 1986, Dog is boldly demonstrative of the artist's unique vocabulary and more specifically his most recognisable motif, the barking dog.Addressing highly controversial and taboo subjects, Haring didn't shy away from uncomfortable truths surrounding social injustice, AIDS, the drug crisis and racism, which he depicted using his unique iconography. Embedded in the fast and decadent culture of 1980s New York, Haring's work mimicked the city's own convergence of high and low culture, bringing together the creative principles of graffiti, semiotics and the art historical canon. By elevating primitive stick figures and cartoon characters to the same level as high art, Haring sought to democratise art, championing the individual and standing up for the oppressed. Based on a keen awareness of how pictures can serve a similar function to words, Haring was impressed early on by the hieroglyphic writings of the ancient Egyptians. In the present work, the plywood has been cut to the shape of a dog, reminiscent of the Egyptian deity, Anubis. Half-human, half-jackal, Anubis, god of the underworld, would lead your soul to the afterlife. Describing his work, Haring stated 'I was thinking about these images as symbols, as a vocabulary of things. In one a dog's being worshiped by these people. In another one the dog is being zapped by a flying saucer. Suddenly it made sense to draw on the street, because I had something to say. I made this person crawling on all fours, which evolved into the 'baby.' And there was an animal being, which now has evolved into the dog. They really were representational of human and animal. In different combinations they were the difference between human power and the power of animal instinct' (the artist in an interview with David Sheff, 'Keith Haring: Just Say Know', www.rollingstone.com, 10 August 1989).The barking dog is one of Haring's trademark picture-words, with Anubis standing in for its most macabre iteration: death. Visually assertive, the bright yellow paint used in conjunction with the shine of the black silkscreen ink in the present work acts as a warning sign, while the X-branded men, television sets and transgressive images of men and dogs emphasise the animal instinct in each of us. The dizzying frenzy of the work's interior filled with dozens of Haring's picture-words, create a fluid sentence moving through the crawling baby in the lower left foot – the emblem of a positive future – through to anthropomorphic dogs dancing on top of men – playing into Egyptian conceptions of life and death as well as Christian notions of the 'dance of the dead'. Scattered throughout are human targets branded by the letter X, including one involved in explicit liaisons with a dog in the foot of the right leg and another at the very top, the winged man or angel – symbol of death but also of the battle of good against evil – rides a dog, the X sealing their fates. These symbols would have deeply resonated with those living through the AIDS epidemic sweeping through New York City. As a gay man, Haring's life and work were entrenched in this community, becoming a huge advocate for AIDS activism. In 1989 following his own fateful diagnosis he would go on to found the Keith Haring Foundation which would provide funding for AIDS organisations and children's programmes. Keith haring died in New York City on 16 February 1990 at the age of 31.During his short ten-year career, Haring managed to produce some of the most iconic and universally recognisable images of the late twentieth century, producing work that would go onto influence a generation of artists. Through the work of the Keith Haring foundation, Haring's work has been recognised across major galleries and institutions worldwide and can be found in the collections of the Whitney Museum of Art, Washington, LACMA, Art institute of Chicago, the Ludwig Museum, Cologne and the Stedlijk Museum, Amsterdam including a recent major retrospective at the Tate Liverpool, currently on view at the BOZAR in Brussels.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 526
Pete Overend Watts (Mott the Hoople) - Italian concert poster for Chewing Gum with support from the Doc Thomas Group and the Black Stones playing at Bat Caverna Club, 19.5" x 13.5" *From the estate of Pete Overend Watts (Mott the Hoople), who was a member of the Doc Thomas Group pre-Mott the Hoople
Lot 306
Good quality 19th Century carved ivory figure of an angel musician, probably Dieppe, the figure playing a violin and standing upon a ball, raised on a cylindrical pedestal, 19.5cm high overall Condition: Minor loss to terminal of violin (metal rod protrudes from left hand of musician) otherwise of fine quality and in good condition - **General condition consistent with age
Lot 345
Nicole Freres a Genève - Late 19th Century inlaid mahogany musical box, the 13-inch barrel and complete comb (stamped twice Nicole Freres) playing six airs, inscribed in ink 1081/28824 on printed card of Nicole Freres, the brass bed-plate also stamped Nicole Freres a Genève and numbered 28824, in boxwood-strung rectangular case, 51cm wide Condition: General marks to lid commensurate with age and use, has been repolished at some stage, barrel appears to be in good working order and comb is complete, but flywheel is a little stiff, plays but levers do not currently stay in position so an overhaul is recommended - **General condition consistent with age
Lot 346
Late 19th/early 20th Century cylinder musical box, the cover inlaid with musical trophies, enclosing a 33cm crank-operated barrel with complete comb playing eight airs as listed on card, 56cm wide Condition: Old veneer losses to left side of cover, plus a few further minor losses to same. Mechanism functions as plays well but would benefit from a service. **General condition consistent with age
Lot 27
A Continental Antique box, with rising lid, the top showing remains of a circular pen work decoration, the interior with similar pen work and poker work decoration, the inside of the cover decorated with a central panel of a figure seated on a throne with two armed guards and kneeling figures, with two further armed guards holding a child upside down, the box itself with various fitted compartments and three drawers, the cover decorated with a naked figure under trees looking out to a masted sailing ship with flag and a stylised whale, the front decorated with figures in battle with central mermaid below the lock, each end decorated with figures playing musical instruments under an arch, width 25ins, height 11ins, depth 16ins, on a metal stand, (possibly German, Cyprus or cedar wood, 17th century)
Lot 306
A 19th century music box, with cylinder movement and steel comb, playing three bells, cylinder width 6ins, case approximately 16.75ins x 10.5insCondition Report: The box has a few knocks, scuffs and scrapes. The hinges are broken so the lid is detached. The teeth on the comb are all fine, the bells are fine and it plays.
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79738 item(s)/page