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Lot 40
Richard Hamilton (1922-2011) and Marcel Duchamp (1887-1968)Oculist Witnesses (Lullin M2) Screenprint and silver mirror in laminated glass, 1968, signed by both artists, annotated 'd'après' and numbered 43/50 in silver ink, published by Petersburg Press, London, with the original aluminium plinth, in good conditionOverall 650 x 508 x 204mm. (25 5/8 x 20 x 8in.)Footnotes:Click for an instant shipping quoteThis 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 24
The 1873 Ascot 'Gold Cup': a Victorian silver centrepiece candelabrumRobert Garrard, London 1873 Modelled as the moment Elizabeth Woodville met Edward IV and pleaded for the return of her family estates, the central oak trunk leading to the ten lights hidden amongst the foliage, on an ebonised wood base applied in silver lettering 'Won by Cremorne' and 'Ascot 1873'. The historical scene depicts the king on horseback facing the kneeling figure of Elizabeth Woodville embracing her son, their hands clasped together, with her other elder son standing closely behind her, behind the imposing central oak tree is the king's hunting companion on horseback with two hunting dogs, on a naturalistic woodland ground, height overall 110cm, height without plinth 93cm, length overall 76cm, weight 788oz.Footnotes:The current lot is one of the largest and finest examples of the Victorian craze for diorama racing trophies. They first became popular in the 1840s and were typically manufactured by the leading silversmiths at the time: Garrard and Hunt & Roskell, the former employing designers and modellers such as Edmund Cotterill and William F. Spencer. One commentator in 1850 was highly impressed by that year's Ascot trophies and reported:'In no branch of the Fine Arts have the artists of this country made greater progress than in the art of modelling statuettes, and more particularly in modelling groups in which horses and animals are introduced; and in nothing have the artisans employed in the higher branches of manufacture reached a higher reputation than in the manufacture of the designs of artists in the precious metals. It may, indeed, be called a national art, and a national manufacture, by which such beautiful and classic illustrations of ancient fables and historical events have been the means of decorating vases, cups, and such prizes...Elizabeth Woodville (1437-1492) had married John Grey, a Lancastrian knight who was later killed in the Second Battle of St Albans during the War of the Roses. The legend goes that she waited under an oak tree in Whittlewood Forest hoping to meet King Edward IV while he was out hunting. When he passed by Elizabeth threw herself at his feet and pleaded for the return of her late husband's estate which had been confiscated by the Yorkist forces. The king was so taken with her beauty that he attempted to persuade her to become his mistress. She replied, 'My liege, I know I am not good enough to be your queen, but I am far too good to become your mistress.' The king was so moved by the entreaty that he proposed marriage, the first king to have married one of his subjects since the Norman Conquest and was the first such consort to be crowned queen.The story appealed to the Victorians who saw it as a fine example of motherly devotion and marital purity, and it served as the subject in Ambrosini Jerome's 1838 painting 'Lady Jane Grey, pleading to Edward IV'.Cremorne (1869–1883) was one of the most successful colts of his generation, becoming the second of six horses to win both The Derby and the Grand Prix de Paris. His victories at Ascot in 1873 were to be his last, having developed a swollen hock shortly afterwards. In 1886 a poll ranked him as the 11th best racehorse of the 19th century.Cremorne was buried in the grounds of Rufford Abbey by his owner Captain Henry Savile, and his gravestone can still be seen today. The unusual act was done in gratitude: Savile had been heavily in debt and wagered his family estate on Cremorne winning the 1872 Derby. He was the second favourite in a field of 23, and after running neck and neck with Pell Mell through the final stages Cremorne prevailed by a head.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 57
Sir George James Frampton (British, 1860-1928): A patinated bronze figure of 'Peter Pan'the figure originally conceived 1911, this reduction edition dated 1913the young boy playfully blowing his pipe, the base signed with GF monogram and dated 1913 to one side, the top edge with inscribed monogram PP, raised on a stepped rectangular green veined marble plinth, the figure 48cm high, 59cm high overall including plinth baseFootnotes:ProvenanceProperty of a private UK family collection since the late 1940's.A leading sculptor of his day, Frampton was a central figure of the New School of sculpture but is perhaps today most famous for his depiction of Peter Pan, J. M. Barrie's 'boy that never grew up' and fantastical storybook hero of Edwardian children's literature. Derived from the life size plaster of Peter Pan exhibited by Frampton at The Royal Academy in May 1911, it was then cast in bronze and erected on behalf of the 'anonymous donor' J. M. Barrie in Kensington Gardens in May of the following year. The statue was placed at Barrie's request on the spot in Kensington Gardens where the little boy appears nightly in his first book 'Little White Bird' dating from 1901. The figure of Peter was supposedly modelled on a family friend of Barrie's, Michael Llewellyn-Davies who was one of the five brothers who inspired the original stories. Barrie is known to have sent Frampton photographs of Michael dressed as Peter Pan from which to work but it is now thought more likely that Frampton actually modelled his Peter on another boy, possibly James W. Shaw or William A. Harwood.The statue was first seen publicly to great acclaim on the 1st May 1912 with no advance publicity after Barrie placed an advert in The Times stating:'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning. Down by the little bay on the south-western side of the tail of the Serpentine they will find a May-day gift by Mr J.M. Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree, with fairies and mice and squirrels all around. It is the work of Sir George Frampton, and the bronze figure of the boy who would never grow up is delightfully conceived'The statue depicts Peter standing in exactly the same pose as Frampton's original figure first shown in 1911 but with the addition of fairies, rabbits, mice and squirrels to the more elaborate naturalistic base. Much admired, it quickly become a favourite landmark for many adults and children, and is often considered to be one of the most popular public statues in London. Other life-size versions of the statue were later erected in Sefton Park, Liverpool, Canada, Brussels, Australia and New Jersey. It was the obvious widespread popular appeal of the statue that subsequently led Frampton to produce limited edition reductions of the main figure of Peter and the present lot is an early example of one these reductions produced between 1913 and 1925.SFor further information on this lot please visit Bonhams.com
Lot 166
A SOUTH SEA ISLAND STYLE CARVED HARDWOOD FIGURE the standing female figure her left arm outstretched with fist clenched and wearing an arm band, her right arm pointing downwards, the eye sockets and nipples set with ivory or bone, standing on a square plinth, 72cm high, bears label Gemini Organicus, Robert Brydon The estate of The late Robert and Lyndsay Brydon, Edinburgh Condition Report: Available upon request
Lot 100
A very rare Thomas Baddeley Prattware 'Tithe Pig and Parson' Toby Jug, circa 1810The parson standing wearing brown costume, his preaching bands left in the white, with a pig under his left arm picked out in ochre, his right arm held out, a plinth at his side impressed 'I WILL HAVE NO CHILD THO THE PIG', on a high base spotted in green, 28cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoThomas Baddeley is recorded as an engraver at various addresses in Staffordshire between 1800 and 1834. The 'Tithe Pig and Parson' Toby Jug is discussed by Vic Schuler, Collecting British Toby Jugs (Third Edition 1999), p.49 and examples illustrated on pp.77-8. Only seven examples were recorded at the time of writing, including an example by Lakin and Poole of Burslem. See also Captain R K Price, Astbury, Whieldon, and Ralph Wood Figures, and Toby Jugs (1922), plate LVII, no.124. This important marked example of this rare jug does not appear to be recorded in the literature.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 244
A pair of Barr, Flight and Barr topographical vases, circa 1810Of cylindrical form with richly gilt eagle's head and ring handles and bands of applied 'pearls' to the shoulders, finely painted with titled views of 'St. Dennis's Priory, Hants' and 'Amberley Castle, Sussex', the reverses with vermiculé gilding on a salmon ground, between gilded borders of classical ornament, raised on square plinth bases, 8.8cm high, impressed crown and BFB marks, titles and script marks referring to Coventry Street address in red (2)Footnotes:ProvenanceProperty from an International Private CollectionThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 108
A DYRLUND ROSEWOOD CREDENZA WITH TAMBOUR FRONT ON PLINTH BASE, with a top section with two glass sliding doors on shaped supports 161cm high x 120cm wide x 53cm highCITES Certificate number 602071/02 Condition Report: CITES CERTIFICATE ADDED. Sun bleached, chips to right hand side glass door, tambour runs smoothly, good overall condition with some signs of wear as per age.
Lot 47
A 19th Century brass table centre of Classical form, the milk glass cornucopia candle holders with brass mounts on scrolling acanthus adjustable supports, raised on a centre columns with fruit finial, the main pedestal with harpie, three Graces, dolphin head, ram's head and winged sphinx decoration in the manner of Rundell, Bridge & Rundell, raised on a stepped plinth base, 83 cm high x 99 cm wide
Lot 1346
SCHÜTTE, THOMAS1954 OldenburgTitel: Frau VI. Datierung: 2016. Technik: Bronze, werkimmanente Korrosion. Maße: 10 x 34 x 20,5cm.Bezeichnung: Monogrammiert und nummeriert (eingeschlagen) auf einer der Plinthenseiten: T.S. 2/20. Darüber die Nummer: 211298. Exemplar: 2/20. Sockel/Rahmen: Stahlsockel (120,5 x 43 x 20cm). Provenienz: - Konrad Fischer Galerie, Düsseldorf Seit Anfang der 1990er Jahren beschäftigt sich Thomas Schütte mit der weiblichen Figur. Dabei gilt sein Interesse dem kunsthistorisch bekannten Motiv des ruhenden Frauenaktes, das als allgemeingültiges Gleichnis für Lebensschönheit und Daseinsfülle steht. Stets unterwirft Schütte seine Liegenden, Hockenden und sich Erhebenden souverän jegliche Art von Deformation und Verwandlung und nutzt hierfür gekonnt Materialien von Aluminium bis Bronze. Auf diese Weise lotet er die verschiedenen, scheinbar unvereinbaren Möglichkeiten der plastischen Gestaltung einer menschlichen Figur aus. Dies tut er stets in der Auseinandersetzung mit den unterschiedlichen Ausdrucksformen der modernen Skulptur von Rodin über Maillol, Matisse bis Picasso und Moore, von Kolbe bis Marcks. Schütte variiert aber nicht das traditionelle Motiv. Vielmehr verzerrt, zerlegt und verändert er dieses und bringt es damit mit Nachdruck in die Gegenwart: Durch die erstaunliche Vielfalt seines Formenspektrums zwischen organisch-körperlich und intuitiv-abstrakt schafft er nicht nur anatomisch deformierte Frauenleiber, sondern darüber hinaus auch vom Körper losgelöste gegenstandlose Gebilde, Bewegungsgesten und emotionale Gebärden. Denn Schütte begreift den Körper als eine beinahe formlose Biomasse. So sind seine Figuren seltsame natürliche wie auch künstliche Mischwesen, deren Konturen nicht mehr klar zu erkennen sind und die keine Identität versprechen. Ob monumental, lebensgroß oder miniaturhaft, seine befremdlichen Frauenskulpturen ziehen uns immer wieder in ihren Bann und verstören uns zugleich von Neuem mit ihrer Mischung aus Aversion und einer Schönheit, die nicht dem herkömmlichen ICOLl entspricht. Erläuterungen zum KatalogThomas Schütte Deutschland Figurative Kunst Nachkriegskunst Objekte 2010er Frau Bronze Bronze Akt SCHÜTTE, THOMAS1954 OldenburgTitle: Frau VI. Date: 2016. Technique: Bronze, corrosion inherent to the work. Measurement: 10 x 34 x 20,5cm. Notation: Monogrammed and numbered (embossed) on one of the plinth sides: T.S. 2/20. Above it the number: 211298. Number: 2/20. Frame/Pedestal: Steel base (120,5 x 43 x 20cm). Provenance: - Konrad Fischer Galerie, Düsseldorf. Explanations to the Catalogue
Lot 701
PYRITFORMATION. Meister/Entwerfer: Huanzalá Mine, Peru. Technik: Auf passendem Acrylsockel. Maße: H. ca. 17,5, B. ca.11cm. Zustand B. Provenienz:Christie's, London, 2017. Erläuterungen zum KatalogKunstkammer Mineralien PYRITE FORMATION. Maker/Designer: Huanzalá Mine, Peru. Description: On matching acrylic plinth. Measurement: H. ca. 17.5, W. ca.11cm. Condition B. Provenance:Christie's, London, 2017. Explanations to the Catalogue
Lot 704
METEORIT. Meister/Entwerfer: Campo del Cielo, Gran Chaco, Gualamba, Argentinien. Technik: Oktaedrit. Sockel ebonisiertes Holz. Maße: H. Meteorit ca. 6, H. inkl. Sockel 19cm. Marke: Unleserliche Klebeetiketten auf dem Sockel sowie der Name "Eagle" aufgrund der Form des Steins. Zustand A/B. Provenienz:Christie's, Paris, 2008. Erläuterungen zum KatalogKunstkammer Meteorit METEORITE. Maker/Designer: Campo del Cielo, Gran Chaco, Gualamba, Argentina. Technique: Oktaedrite. Plinth ebonised wood. Measurement: H. meteorite ca. 6, h. incl. plinth 19cm. Mark: Illegible advesive lables on plinth as well as the name "Eagle" due to the shape of the stone. Condition A/B. Provenance:Christie's, Paris, 2008. Explanations to the Catalogue
Lot 705
SEPTARISCHES "EI". Datierung: Kreidezeit (140-65 Millionen Jahre). Meister/Entwerfer: Madagaskar. Technik: Geode, innen Aragonit-Kristalle. Sockel. Maße: Ca. 19kg. Stein: H. 34, inkl. Sockel H. 41cm. Zustand B. Provenienz: Christie's, London, 2004.Ausstellungen:- Rockers Island, Museum Folkwang, Essen, 2007. - Gediegenes und Kurioses aus der Sammlung Olbricht, Museum Folkwang, Essen, 2016. Erläuterungen zum KatalogKunstkammer SEPTARIAN "EGG". Date: Cretaceous period (140-65 million years). Maker/Designer: Madagascar. Technique: Geode, inside aragonite-crystal. Plinth. Measurement: Ca. 19kg. Stone: H. 34, incl. plinth h. 41cm. Condition B. Provenance:Christie's, London, 2004.Exhibitions:- Rockers Island, Museum Folkwang, Essen, 2007. - Gediegenes und Kurioses aus der Sammlung Olbricht, Museum Folkwang, Essen, 2016. Explanations to the Catalogue
Lot 710
ZWEI GROßE AMETHYST GEODEN. Uruguay. Technik: Je große aufgeschnittene Geode. Paar passende Sockel in Schwarz. Maße: Gewicht je ca. 13 Kg. H. exklusive Sockel 34,5 / 33,5cm. Zustand B. Provenienz: Christie's, London, 2005.Ausstellungen: - Rockers Island, Museum Folkwang, Essen, 2007.- Go for it ! Olbricht Collection (a sequel), Wunderkammer-Objekte, Weserburg. Museum für moderne Kunst, Berlin, 2008/2009.- me Collectors Room in den Galeries LaFayette, Berlin, 2014. Erläuterungen zum KatalogUruguay Kunstkammer TWO LARGE AMETHYST GEODES. Uruguay. Technique: Each big cut open geode. Pair matching plinths in black. Measurement: Weight each ca. 13 Kg. H. exclusively plinth 34.5 / 33.5cm. Condition B. Provenance:Christie's, London, 2005.Exhibitions:- Rockers Island, Museum Folkwang, Essen, 2007.- Go for it ! Olbricht Collection (a sequel), Wunderkammer-Objekte, Weserburg. Museum für moderne Kunst, Berlin, 2008/2009.- me Collectors Room in den Galeries LaFayette, Berlin, 2014. Explanations to the Catalogue
Lot 743
SECHS BABY-TOTENMASKEN. Datierung: Anfang 20. Jh. Technik: 6 Gipsabgüsse von Babyschädeln, orange bemalt, Fontanellen tlw. schwarz gekennzeichnet, je auf Sockel montiert. Maße: H. max. 24cm. Marke: Auf Sockel teils mit Lebensdaten und Namen bez. Zustand B/C. Provenienz:Christie's, London, 2002. Erläuterungen zum KatalogKunstkammer SIX BABY-COLTH MASKS. Date: Beginning 20th century. Technique: 6 plaster cast of baby sculls, painted orange, fontanelle partially marked black, each mounted on plinth. Measurement: H. max. 24cm. Mark: On plinth partially inscribed with dates of birth and COLth and name. Condition B/C. ProvenanceChristie's, London, 2002. Explanations to the Catalogue
Lot 758
KLEINES KAUERNDES MENSCHENSKELETT. Datierung: 20./21. Jh. Technik: Kunststoff. Beiligend kleiner Steinsockel. Maße: H. Skelett 5/ inkl. Sockel 11cm. Zustand B. Erläuterungen zum KatalogAsiatische Kunst 20./21. Jahrhundert SMALL CROUCHED HUMAN SKELETON. Date: 20th/21th century. Technique: Synthetic material. Enclosed small stone plinth. Measurement: H. skeleton 5/ incl. plinth 11cm. Condition B. Explanations to the Catalogue
Lot 807
BIEDERMEIER VITRINE. Datierung: Um 1830/35. Technik: Weichholzkorpus, Kirsche & Ahorn furniert. Dreiseitig verglast und die Rückwand verspiegelt. Beschreibung: Mittige Tür, 4 Böden, davon 2 konkav geschwungen, eine Sockelschublade. Maße: 155x116x42cm. Zustand C. Verspiegelung ergänzt. Erläuterungen zum KatalogMöbel BIEDERMEIER DISPLAY CABINET. Date: Around 1830/35. Technique: Softwood body, cherry & maple veneered. Glazed on three sides and the back panel mirrored. Description: Central door, 4 shelves, 2 of them concave curved, one plinth drawer. Measurement: 155x116x42cm. Condition C. Mirroring supplemented. Explanations to the Catalogue
Lot 870
Stehende weibliche Figur. Datierung: 1900. Herkunft: Lwena. Demokratische Republik Kongo & Angola. Material: Holz, Perlen. Maße: H. mit Sockel 18cm. Zustand B. Provenienz: - Amaat Burssens, erworben 1940er Jahre.- Galerie Fred Jahn München, 1996.Die Skulpturen der Lwena neigen sich in punkto Stil den Schnitzwerken der benachbarten Tschokwe zu. Für die Lwena typisch ist der besonders ausgeprägte Mitra-ähnliche Kopfputz. Ein kleines Kettchen aus blauen und weißen Glasperlen unterstreicht die sicherlich magische Wirkung des Figürchens mit seiner öligen Opferpatina. Tribal Art STANDING FEMALE FIGURE. Date: 1900. Origin: Lwena. Democratic Republic of the Congo. Technique: Wood, pearls. Measurement: H. with plinth 18cm. Condition B. Provenance:- Amaat Burssens, acquired 1940s.- Galerie Fred Jahn Munich, 1996.
Lot 335
Military Interest: A WWI presentation trophy, titled 'Comte et Comtesse Fr.De Jehay a Lord Kenyon, 1914-Sejour a Gredington-1915', possibly a token of thanks to Lord Kenyon allowing the Count and Countess of Jehay to reside at Gredington Park, bronze plinth base cast in relief mounted with an artillery shell, 48cm high Provenance: The Estate of Lord Kenyon, Gredington.
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