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Lot 310
Two 18th century and later maritime coloured engravings, comprising 'The Action off Cape Francois Oct. 21st 1757', pub. Jas Macgowan & Wm Davis, April 7th 1781, 17cm by 21.5cm, and After J. Rede, 'Starting for the Cup', engraved W. Topham, 11.5cm by 16cm, together with After W.H.Overend, 'Royal Victoria Yacht Club: Collision between The Ada and The Florinda', monochrome print, 24.5cm by 33.5cm, all unframed, (3)
Lot 1329
5 small and miniature framed and glazed paintings prints and embroidery. Pictures comprise: an embroidery of a rural cottage, 2 oil on canvas miniature rural lake scenes, a watercolour over etching of a riverside scene and a print " Blakeney Church from Morston Creek, Norfolk" signed by artist Patrick Durrant to mount. Largest frame size approx. 21 x 26cm.
Lot 123
The Trinity, in a historiated initialon a leaf, from an illuminated manuscript choirbook in Latin[southern Germany (probably Bavaria, perhaps Donau-Ries), second quarter of the sixteenth century] Single large leaf, with a large historiated initial 'B' (opening "Benedicat nos deus, deus noster ..." the responsory for Trinity Sunday), in blue with white acanthus leaves overlaid, enclosing God the Father as a crowned and white bearded man, enthroned as he cradles Christ's lifeless body on his lap and the Holy Spirit in the form of a dove descends, two angels in background holding up a green cloth, all within red and green realistic frame and on brightly burnished gold grounds, the gold heightened with yellow paint to pick out foliage, foliate sprays from the edges of the initial sprouting into the margin with coloured acanthus leaves, large gold bezants and gold pendulous fruit, with a green haired wildman with bare knees and elbows hanging from the branches and looking down at a bird in the foliage below, red and blue initials (one with contrasting penwork and two human faces at its side poking out their tongues), red rubrics, 6 lines of text with music on a 5-line red stave (rastrum: 35mm.; the number of staff lines an uncommon feature but not unheard of at the end of the Middle Ages, and not indicating polyphony), slight flaking from ink of main text in places, inkburn causing tiny holes in parchment in some letters and music notes, trimmed at top with losses from border there, slight stains at outer edge from last mounting, small scuffs and folds, else excellent condition, 460 by 345mm. The wildman (or wodewose in Middle English) in the border here, with his realistically bald knees and elbows, is a charming and distinctively Germanic addition to the decoration. These mythical, humanoid creatures were hairy, primitive, unable to control their desires and thought to live in the deep forests or mountains. As noted in the French epic Valentin et Orson, they were unable to speak beyond senseless mumbling, and Chrétien de Troyes has them as skilled hunters, but unable to master fire they ate the meat raw. They fascinated both medieval man as a model for everything man hoped he was not, as well as an object of envy for their simple lives outside the mores of civilised society. For more see R. Bernheimer, Wild Men in the Middle Ages, 1952, and T. Husband, The Wild Man: Medieval Myth and Symbolism, 1980.Another leaf from the same parent manuscript was sold in Sotheby's, 7 December 2010, lot 10, realising £11,250, and identified as by a follower of the Bavarian panel painter and illuminator known as the Master of the Munich Saint John on Patmos, fl.1525-30 (cf. Les Enluminures cat.14, Pen to Press, Paint to Print, 2009, pp. 95-7). However, the coloured frames around the initial and borders of the leaf show affinity to an antiphoner made in 1531 for the Cistercian house of Kaisheim, in Donau-Ries (E. Hemfort, Monastische Buchkunst zwischen Mittelalter und Renaissance, 2001, p.141), and the parent manuscript may well be from that region.
Lot 347
Abraham Bloemaert (Gorinchem 1566-1651 Utrecht)Rural genre scene with The Prodigal Son signed and dated 'A. Bloemaert/ 1634' (centre right)oil on panel47.5 x 64.3cm (18 11/16 x 25 5/16in).Footnotes:ProvenanceWith Herbert Terry-Engel, London, before 1939European Aristocratic Collection and thence by descent until 2010LiteratureM. Roethlisberger, Abraham Bloemaert and his Sons, p. 310, cat. no. 481, pl. 663, ill The Bloemaert Effect: Colour and composition in the Golden Age, Petersberg, 2011, exh. cat., pp.180-181ExhibitedUtrecht, Centraal Museum, The Bloemaert Effect: Colour and composition in the Golden Age, 11 November 2011- 5 February 2012, cat. no. 73Schwerin, Staatliches Museum, The Bloemaert Effect: Colour and composition in the Golden Age, 24 February - 28 May 2012, cat. no. 73The sleeping peasant appears in Bloemaert's Landscape with Peasants Resting, Tobias and the Angel, now in the Staatliche Museen, Berlin. This figure also appears in a print by Cornelis Bloemaert, Abraham's son (see: British Museum, inv. no. D,7.208).For further information on this lot please visit Bonhams.com
Lot 360
Thomas Rowlandson (London 1756-1827)The coach booking office, the artist and Henry Wigstead paying their fares pencil, pen, ink and watercolour on paper17.7 x 28.6cm (6 15/16 x 11 1/4in).Footnotes:ProvenanceThe Earl of MayoCaptain Desmond Coke His sale, Christie's, London, 22 November 1929, lot 28 (bt. Sabin, 46 gns)With Frank T. Sabin, 1936 where acquired byMajor Leonard Dent, in 1939His sale, Christie's, London, 10 July 1984, lot 2 (£16,200), where purchased byWith Leger Galleries, London, 1987, where purchased by the present ownerExhibitedLondon, Frank T.Sabin, Watercolour Drawings by Thomas Rowlandson, 1933, no. 93, ill.Reading, Museum and Art Gallery, Thomas Rowlandson: Drawings from Town and Country, 1962, no. 64London, Richard Green and Frank T.Sabin, Thomas Rowlandson, 1980, no. 2, ill. (loaned by Major Dent)London, Leger Galleries, English Watercolours, 1984, no. 37New York, The Frick Collection; Pittsburgh, The Frick Art Museum & Baltimore, Baltimore Museum of Art, The Art of Thomas Rowlandson, 1990, no. 16London, Lowell Libson Ltd, Beauty and the Beast: a loan exhibition of Rowlandson's works from British private collections, 2007, no. 31LiteratureH. Faust, 'A Note on Rowlandson', Apollo, June 1936, ill.The Illustrated London News, 12 Sept, 1936, ill. p. 452F. Gordon Roe, Rowlandson: the Life and Art of a British Genius, 1947, ill, pl. XIR.R. Wark, Rowlandson's Drawings for a Tour in a Post Chaise, 1963, p.13 noteL.M.E. Dent, Hillfields: Notes on the Contents, 1972, p. 19J. Hayes, The Art of Thomas Rowlandson, 1990, pp.58-9L. Libson, H. Belsey, J. Basket et al, Beauty and the Beast: A loan exhibition of Rowlandson's works from British private collections, London, 2007, pp. 74-5, illHenry Wigstead (c. 1745-1800) was, over a 20 year period, one of Rowlandson's closest friends as well as being a neighbour in Soho. He had been an executor to the estate of Rowlandson's aunt whose support had been fundamental to the artist's development as she financed his attendance of the R.A. schools. Wigstead and Rowlandson made three trips together, the first a 12 day sortie to Hampshire and the Isle of Wight in 1784 which produced around 70 sketches entitled A tour in a post chaise, the majority of which were acquired in the 1920s by Henry E. Huntington. Their format is somewhat smaller than the present drawing. Several of the prints emanating from the trip are said to be 'after Wigstead' but they are clearly by a more skilful hand and it is likely that it was Rowlandson who brought to life compositions suggested by his companion. Drawings from the subsequent trips made by the pair to Brighton in 1789 and Wales in 1797 were published in books with text by Wigstead and illustrations by Rowlandson. As the present work is not reproduced in print it has not so far been possible to identify the expedition to which it relates. Very little is recorded of Rowlandson's life through documentary evidence so what we do know of him is largely through his artistic output, making the present drawing of particular interest. He is known to have spent time in Paris in his early years and the influence of French artists is particularly evident in this work. He has turned his assured and fluent penmanship to describing a moment during one of the tours when he and Wigstead find themselves in a coach booking office with a yawning postillion and a porter lugging a trunk and an armful of game. He achieves a sense of depth not just with the use of dark foreground washes but by varying the ink used for the outlines, darker in the foreground and paler as the composition recedes. It is first and foremost an anecdotal record of their journey but Rowlandson was nothing if not an acute observer of his fellow men and he adeptly captured the foibles of those he encountered en route. The drawing was once in the collection of Major Leonard Dent, DSO, whose group of 39 works by Rowlandson is still regarded as one of the great collections; it was sold as a single-owner sale in 1984 achieving the highest price for a drawing by Rowlandson ever to be sold at auction (a work now in the Getty Museum, California), a record that still stands today.For further information on this lot please visit Bonhams.com
Lot 154
German Wartime Film "Eingraben im Gefecht" (Digging in for Defence), original large roll of film, 35 Agfa print of a part of this German film. Letter from Imperial War Museum Film Archive identifying the film (which clearly is in good condition) and confirming they have the entire film in their archive. 4 Prints probably from the film showing German Armoured car, and Luftwaffe Officers etc,
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