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Lot 137
ARTHUR RACKHAM (BRITISH 1867-1939)THE CRICKET MATCH Ink heightened with white Signed and dated 1900 (centre left edge)12.5 x 19.5cm (4¾ x 7½ in.)Provenance:Chris Beetles Ltd., London Private Collection, Peter GoreLiterature:Hon R H Littleton, Outdoor Games, Haddon Hall Library Series, Dent, 1901 Please note measurements do not include the frame unless otherwise stated.
Lot 1151
A modern 18ct gold sapphire and diamond oval cluster ring, set with oval mixed-cut sapphire and modern round brilliant-cut diamonds, total diamond content approx 0.5ct, Sheffield 1999, setting height 14.1mm, size R, 4.5gNo damage or repair, all stones present, sapphire is a medium dark blue with silk inclusions, diamonds relatively bright white and fiery, hallmarks clear, stamped 750
Lot 1198
A modern 18ct white gold diamond half eternity ring, channel set with modern round brilliant-cut diamonds, total diamond content approx 0.25ct, setting height 2.9mm, size R, 1.8gNo damage or repair, all stones present, diamonds relatively bright with a slight yellow tint, hallmarks clear, stamped 750
Lot 21
WWI First & WWII Second World War medal group belonging to one 2296 Private A. Hill of the Gloucester Regiment. Comprising: 1914-15 Star, War Medal and Victory Medal (all impressed 2296 Pte A. Hill. Glouc. R). Along with his Second World War 1939-45 Star and War Medal. All with ribbons. The group also includes his ID tags and some other items. Consigned from the family.
Lot 80
A 19th Century 1803 pattern British Infantry Flank Officers sword / sabre. The sword having a lions head to the pommel and a wooden grip retaining parts of the rayskin covering. Pierced knuckle guard and curved blade etched with scrolling motifs and a crowned GR cypher. Housed in a leather wrapped scabbard with the collar marked for makers R. Johnston, Bland & Foster, London. Measures approx 90cm
Lot 101
Crimean War - a 19th Century Crimean War Baltic medal unofficially engraved to one Dr R Cole of the RMLI Royal Marine Light Infantry. The obverse featuring the head of Queen Victoria and the reverse a seated figure of Britannia with the world BALTIC above and the dates 1854-1855 below. Suspended on blue and yellow ribbon.
Lot 3
Boer War & WWI Medal Group to one W. H. E. Holder of the Royal Navy. Comprising: South Africa Medal with clasps South Africa 1902, Orange Free State and Cape Colony (impressed 6973 Pte W. Holder 3-VS Coy Glouc R), 1914-15 Star (impressed 346719 W. H. E. Holder AR MTE (Armourers Mate) RN), War Medal (impressed ditto), Victory Medal (impressed ditto) and Long Service Good Conduct Medal (impressed 346719 W. H. E. Holder ARMr HMS Dido). Along with the official miniature group. Also includes a duplicate South Africa Medal (impressed slightly differently - Pte W. Holder Vol. Coy. Glouc Regt). The group also includes with some other related effects - including Royal Naval Temperance Society medal, HMS Malaya pickle fork and other items. A small photograph of Holder is also included. Consigned from the family.
Lot 449
Two boxed Tri-ang Railways OO gauge steam locomotives with two boxed matching tenders including British Railway 4-4-2 black livery "Princess Victoria" locomotive (R.50) & 4-6-4 maroon livery tank locomotive (R.56), along with a boxed Hornby Railways LMS 4-6-0 class 5 locomotive with tender (R.858)
Lot 397
Swinden and Sons Paris 8 day French mantel clock and matching garnitures. 3" blue porcelain dial with Roman numerals and garlands of flowers to the centre. Swinden and Sons on the dial. 8 day two train spring driven movement striking on a bell. The back plate stamped G R 90899. 129. The case and pendulum stamped with the same numbers. The gilt case is cast with doves swags a female mask to the top of the dial. Porcelain plagues to the front sides and a urn to the top. The clock case is has a casting mark "phmourey 79".The front panel depicts two lovers fishing. The two garnitures are of the same style all components raised on wooden gilded bases with red velvet covers all stamped 90899Dimensions of clock 14 1/2" x 9" x 5"Condition report - Centre plaque of one of the garniture has come off but present, part of the urn handles of both garniture have broken off but present. One of the rear feet of the clock has broken off but not present. Clock movement not tested All will need a clean and servicing pendulum present.
Lot 9040
Bernardo Attolico (1880 - 1942) - Dokumente und Bücher aus dem Nachlass des italienischen Botschafters in Berlin (1935-40) Vierseitiges "Geheim"-Dokument: "Vorläufige Zeitfolge für den Staatsbesuch des Führers in Italien - 4. Entwurf", DIN A4, maschinenschriftlicher Durchschlag, gefaltet und gelocht. Angeklammert die Visitenkarte des damaligen Legationssekretärs an der Deutschen Botschaft in London, A. Frhr. von Dörnberg, mit handschriftlichem Zusatz "mit verbindlichen Empfehlungen". "Orario - Treno riservato per il viaggio des Duce in Germania. Settembre 1937-XV", gedrucktes Heftchen mit grün-weiß-roter Kordel. "Uniformi", Vorschrift über die Uniformordnung. Zwei Hefte des "Ministero degli Affari Esteri": "Viaggio des Duce in Germania - Programma" bzw. "Viaggio in Germania - Seguito del Duce", jeweils 1937. Zwei gedruckte Schreiben des Ministeriums: "Cenni su Personalita Germaniche" bzw. "Transito attraverso l'Austria del Treno Presidenziale". Dazu drei maschinenschriftliche Schreiben Attolicos an seine Frau 1937 und 1939 (2x) mit Briefkopf "R. Ambasciata d'Italia", zwei mit handschriftlichen Zusätzen, jeweils mit Vorname signiert. Außerdem das großformatige Besuch "Reise nach Italien", hrsg. von "Ente Nazionale per le Industrie turistiche auf Anlass des Besuchs Adolf Hitlers in Italien", 1937. 92 S. mit zahlreichen Abb., Leineneinband mit vs. Foto Mussolinis. Außerdem "Hitler in Italia", Bildband mit 120 Seiten. Seltene Dokumente und Bücher zu den beiden Staatsbesuchen 1937 und 1938. Bernardo Attolico (1880 - 1942) - documents and books of the Italian Ambassador in Berlin (1935-40) Bernardo Attolico (1880 - 1942) - documents and books of the Italian Ambassador in Berlin (1935-40) Vierseitiges "Geheim"-Dokument: "Vorläufige Zeitfolge für den Staatsbesuch des Führers in Italien - 4. Entwurf", DIN A4, maschinenschriftlicher Durchschlag, gefaltet und gelocht. Angeklammert die Visitenkarte des damaligen Legationssekretärs an der Deutschen Botschaft in London, A. Frhr. von Dörnberg, mit handschriftlichem Zusatz "mit verbindlichen Empfehlungen". "Orario - Treno riservato per il viaggio des Duce in Germania. Settembre 1937-XV", gedrucktes Heftchen mit grün-weiß-roter Kordel. "Uniformi", Vorschrift über die Uniformordnung. Zwei Hefte des "Ministero degli Affari Esteri": "Viaggio des Duce in Germania - Programma" bzw. "Viaggio in Germania - Seguito del Duce", jeweils 1937. Zwei gedruckte Schreiben des Ministeriums: "Cenni su Personalita Germaniche" bzw. "Transito attraverso l'Austria del Treno Presidenziale". Dazu drei maschinenschriftliche Schreiben Attolicos an seine Frau 1937 und 1939 (2x) mit Briefkopf "R. Ambasciata d'Italia", zwei mit handschriftlichen Zusätzen, jeweils mit Vorname signiert. Außerdem das großformatige Besuch "Reise nach Italien", hrsg. von "Ente Nazionale per le Industrie turistiche auf Anlass des Besuchs Adolf Hitlers in Italien", 1937. 92 S. mit zahlreichen Abb., Leineneinband mit vs. Foto Mussolinis. Außerdem "Hitler in Italia", Bildband mit 120 Seiten. Seltene Dokumente und Bücher zu den beiden Staatsbesuchen 1937 und 1938. Condition: II -
Lot 9074
"Shadows of the past" - 50 Farbdias, überwiegend mit Aufnahmen Hitlers aus den Jahren 1937-39 In kartonierter Einrahmung mit Nummerierung von 1 - 50 sowie englischen Kurztiteln. Dazu das gefaltete Beiblatt "Shadows of the past by Frank R. Eisner" mit ausführlicheren Beschreibungen der Szenen in englischer Sprache. Die Originalaufnahmen stammen von Hugo Jaeger, der sich als Pressefotograf und Mitarbeiter Heinrich Hoffmanns im Umfeld Hitlers frühzeitig der Farbfotografie zuwandte. "Shadows of the past" - 50 colour slides, mainly with photos of Hitler during the years 1937-39 "Shadows of the past" - 50 colour slides, mainly with photos of Hitler during the years 1937-39In kartonierter Einrahmung mit Nummerierung von 1 - 50 sowie englischen Kurztiteln. Dazu das gefaltete Beiblatt "Shadows of the past by Frank R. Eisner" mit ausführlicheren Beschreibungen der Szenen in englischer Sprache. Die Originalaufnahmen stammen von Hugo Jaeger, der sich als Pressefotograf und Mitarbeiter Heinrich Hoffmanns im Umfeld Hitlers frühzeitig der Farbfotografie zuwandte. Condition: I - II
Lot 9101
Porzellanmanufaktur Allach - friesische Bäuerin, in farbiger Ausführung Farbig/golden gefasste Porzellanfigur nach einem Entwurf von Richard Förster, darstellend eine Bäuerin in traditioneller Tracht. Im Boden grüne Manufakturmarke "SS Allach" im reliefierten Oktagon, gepresste Künstlersignatur "R. Förster" und Modellnummer "51". Unbeschädigt, Höhe ca. 22,5 cm. Porzellanmanufaktur Allach – a coloured figurine of a Frisian peasant woman Porzellanmanufaktur Allach – a coloured figurine of a Frisian peasant womanThe porcelain figurine of a farmer's wife in traditional costume, painted in colour with gold, after a design by Richard Förster. The base stamped with the manufacturer's green mark "SS Allach" in a raised octagon, the artist's signature "R. Förster" and the model number "51". Undamaged, height circa 22.5 cm.Condition: I - II
Lot 9102
Porzellanmanufaktur Allach - hessischer Bauer, in farbiger Ausführung Farbig/golden gefasste Porzellanfigur nach einem Entwurf von Richard Förster, darstellend einen Bauer in traditioneller Tracht. Im Boden grüne Manufakturmarke "SS Allach" im reliefierten Oktagon, gepresste Künstlersignatur "R. Förster" und Modellnummer "54". Unbeschädigt, Höhe ca. 22,5 cm. Porzellanmanufaktur Allach – a coloured figurine of a Hessian peasant Porzellanmanufaktur Allach – a coloured figurine of a Hessian peasantThe porcelain figurine of a farmer in traditional costume, painted in colour with gold, after a design by Richard Förster. The base stamped with the manufacturer's green mark "SS Allach" in a raised octagon, the artist's signature "R. Förster" and the model number "54". Undamaged, height approx. 22.5 cm.Condition: I - II
Lot 9136
Nahkampfspange des Heeres in Bronze In Resten bronzierte Feinzinkausführung mit beidseitig vercrimptem, geschwärztem Eisenplättchen, rs. horizontaler Drahtnadel, auf dem blechernen Nadelbock eine runde Punze "R". T. M. Durante beschreibt diese Version in seinem Buch als eine Nachkriegsversion, zusammengestellt aus originalen bzw. nachgeprägten Teilen des Herstellers Steinheuer & Lück (a postwar copy made by Steinheuer & Lück). A Close Combat Clasp in bronze A Close Combat Clasp in bronzeIn Resten bronzierte Feinzinkausführung mit beidseitig vercrimptem, geschwärztem Eisenplättchen, rs. horizontaler Drahtnadel, auf dem blechernen Nadelbock eine runde Punze "R". T. M. Durante beschreibt diese Version in seinem Buch als eine Nachkriegsversion, zusammengestellt aus originalen bzw. nachgeprägten Teilen des Herstellers Steinheuer & Lück (a postwar copy made by Steinheuer & Lück).Condition: II -
Lot 9165
Kleine Ordenssammlung Mutterkreuz in Bronze, Silber und Gold sowie eine Miniatur. Zwei Broschen des weiblichen RAD, zwei SA-Sportabzeichen in Bronze (eines stark poliert), zwei KVK 2. Klasse und eine Medaille, zwei Schutzwallmedaillen, Treuedienst-Ehrenzeichen für 25 und 40 Jahre, Erinnerungsmedaillen 13. März und 1. Oktober 1938 und eine Ostmedaille. Dazu eine Verdienstplakette "Für hervorragende Leistungen in Pferdepflege und Haltung" in der Nachkiegsausführung ohne das "R"-Logo des Reichsverbandes u.a. Teils beschädigt, ohne Band. A group of orders A group of ordersMutterkreuz in Bronze, Silber und Gold sowie eine Miniatur. Zwei Broschen des weiblichen RAD, zwei SA-Sportabzeichen in Bronze (eines stark poliert), zwei KVK 2. Klasse und eine Medaille, zwei Schutzwallmedaillen, Treuedienst-Ehrenzeichen für 25 und 40 Jahre, Erinnerungsmedaillen 13. März und 1. Oktober 1938 und eine Ostmedaille. Dazu eine Verdienstplakette "Für hervorragende Leistungen in Pferdepflege und Haltung" in der Nachkiegsausführung ohne das "R"-Logo des Reichsverbandes u.a. Teils beschädigt, ohne Band.Condition: II
Lot 9166
Kleine Ordenssammlung Zwei EK 2, zwei Mutterkreuze in Gold, zwei KVK 2. Klasse und eine Medaille, zwei Schutzwallmedaillen, ein Treuedienst-Ehrenzeichen für 40 Jahre, Ostmedaille, RAD-DA in Silber (Aluminium), Erinnerungszeichen für Verdienste um das Feuerlöschwesen 1934 und ein finnischer Orden des Freiheitskreuzes 1941, 5. Klasse (die Schwerter sind neuzeitliche Nachgüsse - the swords are replicas).Dazu eine Verdienstplakette "Für hervorragende Leistungen in Pferdepflege und Haltung" in der Nachkiegsausführung ohne das "R"-Logo des Reichsverbandes u.a. Teils beschädigt, ohne Band. A group of orders A group of ordersZwei EK 2, zwei Mutterkreuze in Gold, zwei KVK 2. Klasse und eine Medaille, zwei Schutzwallmedaillen, ein Treuedienst-Ehrenzeichen für 40 Jahre, Ostmedaille, RAD-DA in Silber (Aluminium), Erinnerungszeichen für Verdienste um das Feuerlöschwesen 1934 und ein finnischer Orden des Freiheitskreuzes 1941, 5. Klasse (die Schwerter sind neuzeitliche Nachgüsse - the swords are replicas).Dazu eine Verdienstplakette "Für hervorragende Leistungen in Pferdepflege und Haltung" in der Nachkiegsausführung ohne das "R"-Logo des Reichsverbandes u.a. Teils beschädigt, ohne Band.Condition: II
Lot 9457
Drei Hausser-Elastolin Stillgestandene mit Standartenträger, ein Zelt und eine Arrestzelle Elastolin, Masse-Blech-Holzausführung, 30er Jahre, 7 cm-Serie. Eine Gruppe mit einem stillgestandenen Soldaten, die Standarte des Reichspräsidenten haltend, außerdem zwei Soldaten das Gewehr präsentierend, rote und weiße Paspelierung, ein kleines Zelt, s/w/r Stofffahne (Stangenspitze lose), grüner Papp-Boden. Dazu ein kleines Gebäude, vermutlich Gottschalk, sowie eine Arrestzelle mit Tür zum Öffnen, innen mit Brett zum Hinlegen, lackiert und schablonengespritzt, ein seltenes Zubehörteil, ca. 11 cm hoch, 13 cm breit und 11 cm hoch. Insgesamt guter bis sehr guter Zustand mit leichten Spiel- und Altersspuren. Three Hausser-Elastolin soldiers standing still including a standard bearer, a tent and a detention cell Three Hausser-Elastolin soldiers standing still including a standard bearer, a tent and a detention cellElastolin, Masse-Blech-Holzausführung, 30er Jahre, 7 cm-Serie. Eine Gruppe mit einem stillgestandenen Soldaten, die Standarte des Reichspräsidenten haltend, außerdem zwei Soldaten das Gewehr präsentierend, rote und weiße Paspelierung, ein kleines Zelt, s/w/r Stofffahne (Stangenspitze lose), grüner Papp-Boden. Dazu ein kleines Gebäude, vermutlich Gottschalk, sowie eine Arrestzelle mit Tür zum Öffnen, innen mit Brett zum Hinlegen, lackiert und schablonengespritzt, ein seltenes Zubehörteil, ca. 11 cm hoch, 13 cm breit und 11 cm hoch. Insgesamt guter bis sehr guter Zustand mit leichten Spiel- und Altersspuren. Condition: II +
Lot 9461
Vier stillgestandene Elastolin Fanfarenbläser der Reichswehr Elastolin, Masseausführung, 30er Jahre, 7 cm-Serie. Vier Fanfarenbläser der Reichswehr mit roter Paspelierung, das Fanfarentuch aus Masse, handbemalt, s/w/r, insgesamt guter bis sehr guter Zustand mit leichten Altersspuren. Four Elastolin fanfare trumpet players of the Reichswehr Four Elastolin fanfare trumpet players of the ReichswehrElastolin, Masseausführung, 30er Jahre, 7 cm-Serie. Vier Fanfarenbläser der Reichswehr mit roter Paspelierung, das Fanfarentuch aus Masse, handbemalt, s/w/r, insgesamt guter bis sehr guter Zustand mit leichten Altersspuren. Condition: II +
Lot 9462
Drei Lineol Soldaten des Heeres - Standartenträger, Schulterfahnenträger sowie Träger mit schwarz-rot-goldener Fahne Lineol, Masse-Blechausführung, 30er Jahre, 7 cm-Serie. Drei Soldaten des Heeres: ein Standartenträger mit einer Blechstandarte des Oberbefehlshabers der Wehrmacht, ein Schulterfahnenträger mit s/w/r Blechfahne, spritzlackiert, sowie ein Fahnenträger im Marsch mit der sehr seltenen schwarz-rot-goldenen Lineol Fahne, spritzlackiert. Insgesamt guter bis sehr guter Zustand mit leichten Spiel- und Altersspuren. Three Lineol soldiers of the German Army - a standard bearer, a soldier with flag on shoulder and a soldier with black-red-golden flag Three Lineol soldiers of the German Army - a standard bearer, a soldier with flag on shoulder and a soldier with black-red-golden flagLineol, Masse-Blechausführung, 30er Jahre, 7 cm-Serie. Drei Soldaten des Heeres: ein Standartenträger mit einer Blechstandarte des Oberbefehlshabers der Wehrmacht, ein Schulterfahnenträger mit s/w/r Blechfahne, spritzlackiert, sowie ein Fahnenträger im Marsch mit der sehr seltenen schwarz-rot-goldenen Lineol Fahne, spritzlackiert. Insgesamt guter bis sehr guter Zustand mit leichten Spiel- und Altersspuren. Condition: II +
Lot 122
A. R. PENCK (1939-2017)Skorpion 1996 signedoil on canvas 80 by 120 cm. 31 1/2 by 47 1/4 in. This work was executed in 1996.Footnotes:ProvenanceGalerie Schulze, Berlin Carreras Mugica, BilbaoAcquired directly from the above by the present ownerThis 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 132
ANTONIO SAURA (1930-1998)Don 2 1989 signedoil on canvas130 by 96.9 cm.51 3/16 by 38 1/8 in.This work was executed in 1989.Footnotes:This work is registered in the Archives Antonio Saura Foundation, Geneva, under no. RIMT@1989@DON.2.This work will be included in the forthcoming Catalogue Raisonné being prepared by the Archives Antonio Saura Foundation, Geneva.ProvenanceGalerie Pierre Huber, GenevaGaleria Sarda, BarcelonaAcquired directly from the above by the present owner in 1990ExhibitedZaragoza, Palacio de Sástago, Saura Decenario; 1980-1990, 1991, p. 12, no. 28, illustrated in colourA beautiful and striking work that was conceived in a key phase of Antonio Saura's career, Don 2 from 1989 contains a sublime confidence in gestural technique. An intense presence emerges from the vivid brushstrokes, heightened by an intentionally flat background that allows the energies, associations, and characteristics of the artist's superbly represented figure to come alive on the picture plane. Don 2 is a supreme example of Saura's iconic abstracted biomorphic forms. The distorted portrait is imbued with the artist's personal style that developed independent from the artistic trends of his peers, granting him recognition as one of the most important avant-garde painters of his time. Inspired by Diego Velazquez and Francisco de Goya, Saura was self-taught, yet it is the striking fusion of these influences and context of his time that have shaped his unique style.Throughout Saura's oeuvre there is a highly visceral quality which pervades the composition of his portraits. The art historian Siegfried Gohr writes, 'Saura's portraits are dissolved into wild shapes and violently convulsive movements. It is as though the inner life of the facial traits had been brought to melting point by some volcanic force. Saura concentrates the destructive energies by leaving the background of the picture flat and untouched...Light and dark patches collide with each other seem to discharge their contradictory energy in an explosion.' (Siegfried Gohr in: Antonio Saura, Lugano, Museo d'Arte Moderna, 1994, pp. 56-58). Don 2 distils the quintessential elements of Antonio Saura's career as one of the most celebrated Spanish artists of the 20th century into one work. Saura's subject matters were often sourced from portraits of famous European aristocrats such as the Infanta Margarita or King Philippe II of Spain. The present work portrays an esteemed gentleman; his expressive visage executed in a palette reminiscent of Francisco Goya's Black Paintings is framed by the distorted white ruffles of his collar and the stark, ink-like background. Much like his inspirators, Saura's astute ability to imbue his canvases with a dramatic and cerebral ambience using his technical mastery of painting cements him within the canon of Spanish art.Antonio Saura is internationally recognised as one of the most influential Spanish painters of the post-war period and his works reside in the prestigious permanent collections of museums around the globe, such as the National Gallery in London, the Solomon R. Guggenheim Museum in New York and Fundació Joan Miró in Barcelona. Over the decades of his career, Saura had major retrospective exhibitions at the Stedelijk Van Abbemuseum, Eindhoven, Netherlands in 1963, the Institute of contemporary Arts, London in 1966 and the Museo de arte contemporáneo, Madrid in 1982 and by the time the present work was executed, he was a confident master of his craft.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 149
YVES KLEIN (1928-1962)Table IKB signed and numbered 01A118 R. Klein-Moquay on a label affixed to the undersideblue pigment in glass, Plexiglas and chrome metal-plated base38 by 100 by 125 cm.14 15/16 by 39 3/8 by 49 3/16 in.This work is part of an edition started in 1963 under the supervision of Rotraut Klein-Moquay based on a model by Yves Klein.Footnotes:Bonhams would like to thank Archives Yves Klein, Paris, for their assistance in cataloguing this work.ProvenanceSerge Ziegler Galerie, ZurichAcquired directly from the above by the present owner in 2001This 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 28
Property of a LadyTibet19th CenturyA Sidpaho painting (protective astrological chart)Pigments on clothExtensively inscribed, versoThis Sidpaho painting is a protective astrological chart which traditionally functioned as a talisman in Tibetan households.In the centre is a tortoise, a metaphor for creation. The nine magic numbers (sme ba dgu) are surrounded by the eight trigrams (spar kha brgyad). The twelve animals of the zodiac combined with the five elements, form the sixty-year cycle of the Tibetan calendar. Along the top, Indian deities, planetary deities, and important stars are shown, including three Bodhisattvas, Avalokite?vara, Vajrap??i and Mañju?r?, who are also called the protectors of the three families.Provenance:Purchased by the current owner at Sotheby's in London during the 1980s.Dimensions:(Cloth) 20 in. (H) x 12.25 in. (W)(Frame) 21 in. (H) x 13.5 in. (W)
Lot 6
LUCIO FONTANA (1899-1968) Concetto spaziale, Attese 1960 stamped with the artist's thumbprint on the lower right waterpaint on canvas 100 by 80 cm. 39 3/8 by 31 1/2 in. This work was executed in 1960. Footnotes: Provenance Marlborough Galleria d'Arte, Rome (R.1735) Maglietta Collection, Rome Galleria d'Arte Sianesi, Milan (280/4; 7795) Acquired directly from the above by the previous owner Thence by descent to the present owner Literature Mario Fin, 'Lucio Fontana, un santo che dà rasoiate nelle tele' in Via!, p. 7, no. 8, a. XIV, 1960, illustrated Enrico Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels 1974, p. 95, no. 60 T 53, illustrated in black and white Enrico Crispolti, Lucio Fontana Catalogo Generale, vol. I, Milan 1986, p. 322, no. 60 T 53, illustrated in black and white Enrico Crispolti, Lucio Fontana, Catalogo ragionato di sculture, dipinti, ambientazioni, Tomo I, Milan 2006, p. 492, no. 60 T 53, illustrated in black and white The present collection of six inimitable masterworks beautifully demonstrates the artistic genius of Lucio Fontana and his unchallenged position as one of the most influential creative minds of the 20th century. Amongst the most important single owner collections of works by the artist to be offered at auction in decades, the present works have not been seen by the public in half a century. Unifying all six works are properties of the Spazialismo movement, pioneered by Fontana in 1947, where he searched to create a new dimension by representing an astrophysical void. The vicennial long range included in this collection - spanning works from as early as 1951 to 1968 - demonstrates a clear continuous process of his technique and increasing interest in the conceptual logic behind his practices. In his seminal 1946 Manifiesto blanco, Fontana wrote 'the discovery of new physical forces and the control of matter and space will gradually impose new conditions that have not been previously known to man in the entirety of the course of history. The application of these discoveries to all the modalities of life will produce a modification in the nature of man. Man will take on a new psychic structure' (the artist in: Guido Ballo, L. Fontana: Idea per un ritratto, New York 1971, p. 186). His writings are inextricably linked to the works seen in the present collection, aiming to create new contemporary art which remained in touch with the astrophysical scientific developments of the time. Fontana's gestural slashes on the flat picture plane revolutionised the distinction between destruction and creation, giving the 'spectator an impression of spatial calm, of cosmic rigor, of serenity in infinity' (the artist in: Enrico Crispolti, Lucio Fontana, Catalogo Ragionato di Sculture, Dipinti, Ambientazioni, Vol. I, Milan 2006, p. 105). The seemingly random and spontaneous, but actually highly precise cuts on the canvas portray the cosmos of an unknown dimension, setting his creations free from the universally accepted limitations of the flat surface. Concetto Spaziale, Attese from 1960, the striking red canvas in the present collection, is amongst the most recognisable and sought after works by Lucio Fontana, due to the rich, striking red hue, which augments the darkness coming through two perfectly balanced slashes. Works of the same seductive, bold monochrome red hue are amongst the most iconic by the artist and continue to achieve record prices at auction. Born in Argentina in 1899, then moving to Italy in 1905, Fontana lived through some of the most unstable years of the 20th century. That, alongside his initial training as a sculptor is clearly recognised in works from the Tagli series as he rejected the confinement of physical materials and the physical space of a canvas. The artist's clever balance of impulse and manipulation, seen through his vertical slashes, gives the viewer a sense of a dramatic, yet confident search for a self-created dimension, intended to be found within the canvas itself. The artist's Tagli series, superbly represented in this collection, is considered by many as his most diverse and gripping group of works. The intricate compositions and layers of symbolism found in these pieces are a true testament to the depth and sophistication with which the artist approaches the concept. Concetto spaziale, Attese from 1959 is one of the earliest works in the collection and an extremely rare example due to the unusually shaped canvas and high number of unmistakably elegant slashes – fourteen of them – incised in three separate layers. Implicitly associated with Fontana's theories on the form of the universe and purposely unsettling, the shaped canvas opens our eyes to the freedoms of abstraction and is independent to traditional associations of painting. Similarly, with an unusual feature, equally rare to the market, Concetto spaziale, Attese from 1960, the soft pink canvas, carries a rare feature, the artist's fingerprint, on the bottom righthand side. With three similarly sized incisions, this work opens an abstract dimension found within the canvas, whilst carrying a touch – literally – of reality. The beautiful pink sanguine hue radiates elegance and serenity. Clear influences of Europe in the aftermath of two devastating world wars, alongside the Space Race of the 1950s and 1960s can be seen in Fontana's ideology which has a firm focus on space and abstract dimensions. Fontana's Concetto spaziale from 1951, the only work on paper in the collection, wonderfully demonstrates the initial findings of the artist's Spazialismo ideology as he establishes the idea of depth simply with colour rather than by physically breaking through the surface. Similarly, the diagonal 'slashes' of colour attest a strong relationship to works of the Tagli series, underscored by the colours used. The void is cleverly represented through the dark spots on the paper, allowing the viewer to feel true, remarkable depth. The work gains its strikingness not only by being the only polychromatic work in the collection, but through its clear inspiration by Fontana's buchi series – the radical penetration of the canvas, which he began just two years prior to the execution of the present work. Ugo Mulas, Italian photographer and friend of Fontana recalls the artist's explanation of his process: 'sometimes I leave the canvas hinging there for weeks before being sure what I'm going to do with it and only when I feel sure, do I start' (Ugo Mulas in Germano Celant, Lucio Fontana, Ambienti Spaziali: Architecture Art Environments, Milan 2012, p. 318). Concetto Spaziale, Attese, clearly demonstrate the artist's curated thought process behind his compositions, giving us a possible insight to the title 'Attese', meaning 'the wait'. For further information on this lot please visit Bonhams.com
Lot 62
Hornby: an extensive collection of boxed vintage Hornby coaches and wagons, to include a GWR King Edward I (R.078); together with five boxed wagons by Mainline; two boxed vans by Wrenn; a boxed Lima No.205132 coach; and an Airfix locomotive No.54150, and others similar; together with a box of track, buildings and other accessories. (Two boxes)
Lot 137
Malthus (T. R.) An Essay on the Principle of Population, 3 vol., fifth edition, later ink ownership inscription to front endpaper, foxing, mainly at beginning and end, contemporary marbled calf, spines gilt and with red morocco labels, wear to spine ends and corners, still an attractive set, 8vo, 1817.
Lot 163
Heliodorus, of Emesa Les Amours de Theagene et Chariclee: Histoire Ethiopique d'Heliodore, second edition, engraved title, trimmed at top edge, 52 engraved illustrations, previous owner's ink inscription to early blanks, occasional underlining, early blank detached and loosely inserted, several short marginal tears, one or two into text, scattered spotting, contemporary calf, title in manuscript to upper cover, joints split with old tape repairs, but holding firm, rubbed, Paris, Samuel Thiboust, 1626 § Owtram (William) De Sacrificiis Libri duo...Omnia Judaeorum, nonnulla Gentium Profanarum Sacrificia; altero Sacrificium Christi, first edition, text in Latin and Hebrew, title in red and black, errata f. at end, 2T1 with tear just touching text, some spotting or foxing, contemporary calf, cracked joints, boards becoming loose, loss to edges, rubbed and worn, T. Rycroft for R. Chiswell, 1677; and others, v.s. (22)
Lot 166
Numismatics.- Vaillant (Jean) Numismata Imperatorum Romanorum Praestantiora, 2 vol. in 1, engraved illustrations of coins, Index at *1-4 bound after preliminaries, some foxing or light browning, occasional soiling, contemporary mottled calf, spine gilt in compartments and with red morocco label, rubbed, a few chips to spine head and label, joints split at head and foot but holding firm, Paris, Joannis Jombert, 1692 § Cléry (M.) A Journal of Occurences at The Temple, During the Confinement of Louis XVI, King of France, translated by R. C. Dallas, engraved frontispiece and 2 plates (including facsimile of manuscript text at end), variant without list of subscribers and with 'Reference to plans' on p.256, lacking half-title, 19th century ink ownership inscription to front free endpaper, some toning, the odd spot or mark, later half roan over marbled boards, rubbed, Printed by Baylis...and Sold by the Author, 1798; and others, 17th and 18th century, v.s. (14)
Lot 345
NO RESERVE World.- Schliemann (Dr. Henry) Troja: results of the latest Researches and Discoveries on the Site of Homer's Troy, colour map frontispiece, 3 folding colour maps detached and loosely inserted at end, illustrations, some full-page, ex-library with usual labels and ink-stamps, modern cloth, 1884 § Brown (R. A.) The Road to Ulundi: the water-colour drawings of John North Crealock (the Zulu War of 1879), limited edition, illustrations, original flyer advertisement loosely inserted, remnants of dust-jacket loosely inserted, ex-library with label and ink-stamp to title verso, original cloth, fractional bumping to corners and extremities, Pietermaritzburg, 1969; and 2 others, 8vo & ob. folio, (4)
Lot 346
World.- Wakefield (Priscilla) Excursions in North America, second edition, folding map supplied in modern facsimile, damp-staining to first few ff., contents f. with short tear but no loss, lightly browned with occasional spotting, later half calf, gilt, 1810 § Huc (M.) The Chinese Empire, 2 vol., second edition, folding map frontispiece, bookplate of Jervis R. Wardley, vol. 1 with spine label affixed to front pastedown, ex-library with usual stamps and markings, including embossed stamp to map and bookplate to rear pastedown, frontispiece with a couple short tears but no loss, the odd spot, rear hinge broken, later half calf, subtle library blind-stamp to upper covers, worn, lacking spine labels, vol. 1 upper cover detached, 1855 § Oliphant (Mrs. [Margaret]) Jerusalem. Its History and Hope, wood-engraved frontispiece, plates and illustrations, some light foxing, a few abrasion marks to endpapers, hinges tender, original cloth, gilt, rubbed with a few stains, spine ends chipped, 1891; and others, travel and topography, v.s. (c.220)
Lot 42
Fencing.- Rolando (Guzmán) Nuevo arte de esgrima conforme a la practica de los mejores maestros de Europa, edited by J.S. Forsyth, 23 hand-coloured engraved plates, 6pp. advertisements at end, final f. blank, offsetting, some spotting or staining, lightly browned throughout, front free endpaper detached, upper hinge split, contemporary red morocco, gilt, flat spine in compartments, and with initials 'J.A.L.' at foot, upper cover with central title, covers with single filet border, head of spine neatly repaired, stained, rubbed and scuffed, [Leguina 272; Palau 276327; Thimm p.244], 12mo, R. Ackermann, 1826.⁂ A rare translation for the South American market. WorldCat records a BL copy only.
![Portugal.- Rezende (Lúcio André de) Vida do infante Dom Duarte, [edited by José Francisco Corrêa de Serra], first edition,](https://cdn.globalauctionplatform.com/c5ae9217-4bf1-4d15-901e-b02300c6305c/a2cb8254-c16d-427d-9166-b02300f4b19f/468x382.jpg)
Lot 91
Portugal.- Rezende (Lúcio André de) Vida do infante Dom Duarte, [edited by José Francisco Corrêa de Serra], first edition, half-title, some light foxing or staining, very lightly browned, contemporary drab wrappers bound in (repaired), gilt book label of A.G. Guimarães Quinta do Salgueiral to title, modern bookplate of J.B. Bury to front wrapper, modern calf-backed marbled boards, gilt spine in compartments and with red leather label, [Innocêncio I, 67], Lisbon, Printer of the Academy of Sciences, 1789 § Almeida Garrett (Viscount João Baptista de Silva Leitão de) Portugal na balança da Europa, first edition, half-title, errata f. at end, occasional spotting, lightly browned throughout, title with ownership ink stamp of J. Biker and armorial blind-stamp of J.G. Mazziotti Salema Garção, contemporary calf-backed marbled boards, spine gilt, lower joint split, but holding, spine ends worn, rubbed, [Azevedo-Samodães 103; Innocêncio III, 314; Monteverde 113; Palha 3684], S.W. Sustenance for R. Greenlaw, 1830; and c.30 others, 19th century Portugal, v.s. (c.32) ⁂ An excellent group of works on the history and politics of 19th century Portugal. I: D. Duarte was the son of King João III, and became Archbishop of Braga.
Lot 287
Four views showing the near-tragic landing on Earth of the CSM Endeavour and recovery of the crew after a 10-day voyage to the Moon (4 photos), Apollo 15, 7 August 1971 Vintage gelatin silver prints on fibre-based paper, 20.4 x 25.5 cm (8 x 10 in) with NASA captions on versos, (NASA Kennedy Space Center and NASA Headquarters), (4)Footnotes: The Apollo 15 Command Module (CM), with astronauts David R. Scott, commander; Alfred M. Worden, command module pilot; and James B. Irwin, lunar module pilot, aboard safely touched down in the mid-Pacific Ocean to conclude a highly successful lunar landing mission. Although causing no harm to the crew men, one of the three main parachutes failed to function properly. The splashdown occurred at 3:45:53 p.m. (CDT), Aug. 7, 1971, some 330 miles north of Honolulu, Hawaii. The three astronauts were picked up by helicopter and flown to the prime recovery ship, USS Okinawa, which was only 6 1/2 miles away.
Lot 262
Official NASA portrait of the prime crew with Lunar Rover, Apollo 15, 1971Vintage chromogenic print on fibre-based Kodak paper, 25.3 x 20.5 cm (10 x 8 in), RED NUMBERED NASA S-71-22407, with A KODAK PAPER watermark on versoFootnotes:Left to right, James B. Irwin, lunar module pilot; David R. Scott, commander; and Alfred M. Worden, command module pilot.
Lot 285
David Scott Extremely rare photograph of the first lunar eclipse observed from deep space, Apollo 15, 26 July - 7 August 1971 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), with A KODAK PAPER watermarks on verso, RED NUMBERED NASA AS15-96-13119 (NASA Manned Spacecraft Center)Footnotes: The Apollo 15 spacecraft was about 200,000 km from Earth when the crew captured this truly out of this world view of a lunar eclipse from deep space (through the 80mm lens) that had never been witnessed by humans before.Original NASA caption for a variant of the photograph: The lunar eclipse, which occurred while the Apollo 15 spacecraft was returning from the Moon, was recorded in a series of color photographs. Eleven photographs were taken over a 16-minute period before and during the Moon's entry into Earth's shadow. A second set of ten photographs was obtained over a like period of time as the moon was leaving the shadow. Even when the moon was not in eclipse during this series, it was in Earth's penumbra - the partially shadowed region where only a part of the sun's light can reach the moon directly. These photographs were taken (hand-held mode) by astronaut David R. Scott, commander, using the electric Hasselblad camera. The view was taken with the 80mm lens. Other data on these two-second exposure frames taken six minutes after exit from the eclipse: the white region, whenever it appears, is penumbral lighting of the lunar surface. The orange-red-brown band is caused by sunlight that has first passed through Earth's atmosphere where the shorter wavelength, blue light has been scattered out, allowing only a diminished intensity red light to reach the moon. These pictures tell us something about Earth's atmosphere with the lunar surface acting as a projection screen where we can examine the results. These pictures give us an initial record of scattering by a known atmosphere that can later be compared to similar observations made by future spacecraft showing other moons circling other planets in our solar system. Eastman Kodak SO368 film was used in this series.Condition Report: Light vertical scratch across the black background, though it is very shallow and narrow, it is noticeable.A very small tear in the bottom margin, touching the bottom right corner of the image.Hardly any toning. The black background has light pink-ish tinge. Condition Report Disclaimer
Lot 208
Neil Armstrong and Buzz Aldrin Two rare views from the CDR and LMP windows of the LM Eagle before liftoff showing footprints, the TV camera, the US flag and craters on the horizon at Tranquility Base, both unpublished after the mission, Apollo 11, 16-24 July 1969 Vintage chromogenic prints on fibre-based Kodak paper, [NASA photos no AS11-37-5503 and AS11-37-5512], 18.5 x 18.5cm, originally trimmed to images, with A KODAK PAPER watermarks on verso, one with 05512 stamp (NASA Manned Spacecraft Center), (2)Footnotes: Extremely rare photographs from colour magazine 37/R taken with the Hasselblad 500 EL camera used for Intra Vehicular Activity (IVA) and equipped with the 80mm lens.
Lot 181
Buzz Aldrin "Tranquility Base here; the Eagle has landed": shadow of Eagle from the LM after touchdown, rare photograph not published after the mission Apollo 11, 16-24 July 1969 Vintage gelatin silver print on fibre-based paper, 20.3 x 25.4 cm (8 x 10 in), numbered S11-39-5788 in right margin on recto (NASA/USGS)Footnote: A photograph symbolizing the arrival of the first humans on the surface of another world: the Eagle casts a long shadow at Tranquility Base just after touchdown. It is a frame from a panoramic sequence of the landing site from B&W magazine 39/Q taken by Buzz Aldrin from his Pilot LM window with the lunar surface EVA Hasselblad 500 EL Data Camera and its 60mm (focal length) lens. The EVA camera had a reseau plate, so images taken with it show a grid of crosses. While in the LM on the Moon, Armstrong and Aldrin had three photographic magazines: two color magazines 37/R and 40/S; and one B&W magazine 39/S. Frames from this magazine 39/Q were not released by NASA after the mission and are extremely rare..Aldrin: Descent Engine Command Override, Off. Engine Arm, Off. 413 is in. Duke (Mission Control): We copy you down, Eagle. Armstrong: Engine arm is off. Houston, Tranquility Base here. The Eagle has landed. Duke: Roger, Twan...(correcting himself) Tranquility. We copy you on the ground. You got a bunch of guys about to turn blue. We're breathing again. Thanks a lot. Aldrin: Thank you.
Lot 269
Alfred Worden, James Irwin or David Scot Four rare orbital views of the Moon, taken with three different lens and four different Hasselblad magazines, unpublished after the mission Apollo 15, 26 July - 7 August 1971 Four vintage gelatin silver prints on fibre-based paper, 25,4 x 20,3 cm (10 x 8 in), BLACK NUMBERED NASA AS15-81-11031, NASA AS15-90-12327, NASA AS15-94-12836, NASA AS15-95-12903 (NASA Manned Spacecraft Center), (4)Footnotes: These extremely rare photographs from the Apollo 15 mission reveal stunning details of the lunar surface captured by the crew with various lens and magazines mounted on the Hasselblad cameras. First photograph [AS15-81-11031]: 500 mm telephoto lens vertical photograph (Hasselblad telephoto 500EL data camera also used on the lunar surface) of an ejecta near the north rim of Crater Lambert in the Sea of Rains (26.5° N / 21° W), magazine 81/QQ, altitude 111 km, orbit 69. Second photograph [AS15-90-12327]: 60 mm wide angle lens (Hasselblad lunar surface 500EL data camera) view of the lunar horizon looking northwest over Crater Menelaus (top right), magazine 90/PP, altitude 118 km, orbit 70. Third photograph [AS15-94-12836]: 80 mm lens oblique photograph (Hasselblad 500EL) looking northwest of the fresh impact crater Proclus located to the west of the Sea of Crises (19.5° N / 45° E), magazine 94/S, altitude 115 km, orbit 37. Fourth photograph [AS15-95-12903] : 500 mm telephoto lens vertical photograph (Hasselblad telephoto 500EL data camera also used on the lunar surface) over the Apennine mountains (19° N / 4° W), magazine 95/R, taken post rendezvous with the LM.
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