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Lot 43
HORNBY; a mixed collection of OO gauge tenders and tracks, to include ‘R.233 Pullman Third Class Parlour Brake’, ‘R.048 Twenty Ton Brake Van Car’, ‘R.518 Single Box’, together with a ‘Suburban Passenger’ set, together with various pieces of track.Condition Report: Some of the Suburban Passenger set appears to be missing.
Lot 52
Lot with 4 silver boxes, 833/000, a rectangular loderein box decorated with engraving, jl.':r:1876, and engraving on the bottom, SAH, 1862, a square contoured peppermint box with an engraved image of a farm. MT.: HJ van Halteren, Schoonhoven, jl.:U:1854 Fracture in lid, a small rectangular box with a representation of figures on the lid. The sides have a floral decor. And an oval box with a lid with guilloche decoration. Lid hinge is broken. Total approx. 113 grams. In fairly good condition.
Lot 72
Lot of silver cutlery, 835/000, with a 6-person fish cutlery, with a fillet edge with palmet engraving. 18-21 cm. MT.: Koninklijke Begeer, Voorschoten, jl.:R: 1952. A meat fork, model Haags lofje, with monogram engraving on the back: vS. 23 cm. And a small spoon and fork, rich lobe elements and floral decor. 17 cm. MT.: JM van Kempen, Voorschoten, 1858-1924. total approx. 764 grams. In good condition.
Lot 26
Cassette with silver cutlery, 833/000, with 6 spoons and 5 forks, round model with comb, MT.: CP 't Hart, The Hague, jl.:R:1927. 18 cm. A fork with a fillet edge, MT.: Cebr. Huisman, Schoonhoven, jl.: w: 1981., and a sauce ladle with a fan-shaped handle. MT.: JM van Kempen, Voorschoten, jl.: X:1907. Total approx. 1295 grams. In good condition.
Lot 14
Attributed to Fernando Gallego y Taller (Salamanca circa 1440-1507)The Mocking of Christ oil on panel84.6 x 44.2cm (33 5/16 x 17 3/8in).Footnotes:Provenance With Pieter de Boer, Amsterdam (as Josse Lieferinxe, according to a label on the reverse)The Collection of John R. Blewer, Owensboro, Kentucky and thence by descent to the present ownerThis 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 15
Hispano-Flemish School, 16th CenturyThe Rich Man's Feast oil on panel51.8 x 38.2cm (20 3/8 x 15 1/16in).Footnotes:ProvenanceSale, Christie's, New York, 6 June 1984, lot 144aThe Collection of John R. Blewer, Owensboro, Kentucky and thence by descent to the present ownerThis 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 20
After Nicholas Hilliard, circa 1600Portrait of George Clifford, 3rd Earl of Cumberland, bust-length, in armour bears inscription and date 'George Clifford Earle/ of Cumberland 1588' (centre right)oil on canvas73.6 x 61.7cm (29 x 24 5/16in).Footnotes:The present portrait is a rare, early version of the portrait that is related to the composition of circa 1590 by Nicholas Hilliard, which is a full-length miniature (now in the National Maritime Museum, Greenwich; inv. no. MNT0193). An oil version, on panel, in the same bust-length format, is in the Bodleian Library in Oxford (inv. no. LP58; acquired some time between 1705 and 1759). The National Gallery in London have a 19th century copy of this same bust-length format (see: Sir R. Strong, Tudor and Jacobean Portraits, London, 1969, vol. I, p. 57, ill, vol. II., pl. 103). An equestrian portrait of the sitter in similar costume by Thomas Cockson is also known (British Museum, inv. no. 1849,0135.3), which is inscribed: 'AN EXPLANATION OF THE SVRPRISE OF THE TOWNE OF PVERTO RICO BY THE EARLE OF CUMBERLAND IN ANo 1598 the 15th May', and which was engraved circa 1598-99. George Clifford, 3rd Earl of Cumberland (1558-1605) was a favourite at the court of Elizabeth I. He commanded a ship at the Armada in 1588 and fitted out ten privateering expeditions against Spain and Spanish America between 1586 and 1598, sailing personally with those of 1589, 1591, 1593, and 1598. He is depicted here in tournament fancy dress, probably as the Queen's champion, an office to which he succeeded in 1590. The armour he is wearing in the portrait still survives and is in the Metropolitan Museum in New York.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 50
Bolognese School, circa 1700Judith and Holofernes oil on copper48.9 x 36.8cm (19 1/4 x 14 1/2in).Footnotes:The style of the present copper would suggest an artist trained in Bologna and working at the end of the 17th and beginning of the 18th centuries, such as Lorenzo Pasinelli, or one of his accomplished pupils, who included Gian Antonio Burrini, Gioseffo dal Sole and Donato Creti. The detail of landscape that can be seen to the top left, along with the figure types, especially the pose of the left-hand figure seen from behind, as well as the treatment of fabrics and the draped curtain, recall the work of Creti in particular in his Episodes from the Life of Achilles, four masterpieces that were commissioned by Collin Sbaraglia in circa 1715. The pose of the left-hand figure seen from behind is close to both the central figure in Creti's Achilles and Chiron from this series, and to the servant in his Artemisia drinking the ashes of Mausolus in the National Gallery, London, (inv.no. NG6628) that has been dated to circa 1713-14. A very similar treatment of delicate, feathery foliage set against an atmospheric sky can also be found in Creti's Achilles and Chiron, (see: R. Roli, Donato Creti, Milan, 1967, ill. pl. 41) as is characteristic of many works by Creti from this period, such as his extraordinary and celebrated series of Astronomical Observations: eight small panels that were commissioned by the scientist, Luigi Marsigli and given to Pope Clement XI (now in the Vatican Museums). The subject itself of Judith and Holofernes (which symbolized the victory of the weak and virtuous over the strong and tyrannous and to us today is best remembered in the works of such 17th century trail-blazing female artists as Artemisia Gentileschi and Fede Galizia) was popular among the Bolognese school at the time: from Guido Reni's large version of the subject of circa 1625-6 - now in the Sedelmayer Collection, Geneva - to the 1715 drawing of the subject by Gioseffo dal Sole, who was a pupil of both Reni and Pasinelli, which was cited in Giuseppe Campori's contemporary catalogue of artists in the Este Territories; up until those versions of the subject that were painted somewhat later on in the 18th century by Francesco Monti, who was influenced by Donato Creti.Bonhams sold a copy of the present composition, on canvas, 53.8 x 37 cm., on the 23 April 2009, lot 77, as Bolognese School, 18th century.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 6
Workshop of Filippino Lippi (Prato 1457-1504 Florence)The Crucifixion oil and gold on panel40.7 x 30.4cm (16 x 11 15/16in).Footnotes:ProvenanceCollection Eugen Miller Von Aicholz, (1835-1919), Vienna Collection Camillo Castiglioni, (1879-1957), ViennaTheir sale, Hermann Ball and Paul Graupe, Berlin, 28 November 1930, lot 3, where purchased by Dr Alfred Scharf (1900-1965), by whom soldArt market, London, 1934With Colnaghi, London, 1951-2Sale, Sotheby's, London, 24 February 1971, lot 71, where purchased by Collection of Mrs Alfred Scharf and thence by descent to the present ownerLiteratureB Berenson, The Florentine Painters of the Renaissance, New York and London, 1909, p.149A Venturi, Storia dell' Arte Italiana,, Milan, 1911, vol. VII, part 1, p.677R van Marle, The Development of the Italian Schools of Painting, XII, The Hague, 1931, p.360 A. Scharf, Filippino Lippi, Vienna, 1935, pp.57, 107, no. 27a, ill., fig. 94K. Neilson, Filippino Lippi: A Critical Study, Cambridge, Mass., 1938, p. 149 (as attributed to) A. Scharf, Filippino Lippi, Vienna, 1950, pp. 33, 55, under no. 97 L. Berti and U. Boldini, Filippino Lippi, Florence, 1957, p.98, no. 6 (as attributed to) L. Berti and U. Boldini, Filippino Lippi, Florence, 1991, p.235 (as attributed to) J.K. Nelson, The Later Works of Filippino Lippi: From His Roman Sojourn Until His Death (ca. 1489 - 1504), New York, PhD diss., 1992, p. 322 J.K. Nelson in P. Zambrano & J.K. Nelson, Filippino Lippi, Milan, 2004, p.566 note 20 and p. 599, cat. no. 55.1, ill. p. 407, fig. 328Lippi and his studio collaborators returned to this composition more than once: two other versions exist in the collections at New Haven, Yale University Art Museum (acc. no., 1871.56) and Prato, Palazzo Pretorio Museum, all three being of similar size. The subject is derived from the central portion of Lippi's altarpiece of 1498-1500 commissioned by Niccolò Valori for the chapel that bears his family name in San Procolo, Florence which showed Christ on the cross flanked by the Virgin and Saint Francis, Saints John the Baptist and Mary Magdalen. When Tuscany was briefly annexed to France under Napoleon the altarpiece was broken up and some years later the central part was acquired by the Kaiser-Friedrich-Museum in Berlin, but was destroyed during a bombardment in 1945. Jonathan Nelson believes that these smaller Crucifixion panels that emanate from Lippi's workshop were intended as devotional works in their own right, rather than simply being smaller-scale repetitions of the Valori composition. There is a related silverpoint drawing in the Gabinetto dei Disegni e Stampe, Palazzo degli Uffizi, Florence (inv. 159. E). Dr Alfred Scharf was an art historian, collector and art dealer who emigrated from Berlin to London in 1933, where he remained for the rest of his life. He acquired the panel in the early part of the 20th century but sold it just after he moved to England. Some years after he died his wife came upon it again in a Sotheby's sale in 1971 and bought it back again, and it has since remained within the family.For further information on this lot please visit Bonhams.com
Lot 81
Salomon van Ruysdael (Naarden circa 1602-1670 Haarlem)A river landscape, with figures in boats casting a fishing net signed and dated 'S.VR/ 1635' (lower left, the V and R in ligature)oil on panel, tondo38.2cm (15 1/16in). diameterFootnotes:ProvenanceSale, Brussels, 17 May 1923, lot 87With P. de Boer, AmsterdamWith Dr. H Schäffer, BerlinPossibly, Private Collection, HamburgSale, Galerie Commeter, Hamburg, 27 April 1940, lot 30 (vendor, 'Lmck', not indicated as 'nichtarischem Besitz')With Kunsthaus Malmedé, Cologne, 1940 (according to an RKD mount)Sale, Charpentier, Paris, 3 December 1959, lot 23Sale, Tajan, Paris, 24 June 2004, lot 26Literature W. Stechow, Salomon van Ruysdael, Berlin, 1938, p. 79, no. 78W. Stechow, Salomon van Ruysdael, Berlin, 1975, p. 79, no. 78Note on the provenanceExhaustive research has failed to yield any record of this painting other than as stated in the provenance. It does not appear on any list of missing works sought for restitution, nor to the best of our knowledge could it be confused with any such work.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
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297893 item(s)/page