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Lot 37
Nicholas Matthew Condy (British, 1818-1851)A Royal Navy frigate at anchor in Plymouth signed 'N.Condy Junr' (lower right)oil on board23.1 x 30.5cm (9 1/8 x 12in).Footnotes:This view depicts Barn Pool, near Drake's Island, with the Mewstone faintly visible in the distance.For further information on this lot please visit Bonhams.com
Lot 45
Charles Napier Hemy, RA RWS (British, 1841-1917)The Riverside, Limehouse signed and dated 'C.N.H. 1914' (lower right)oil on canvas122.5 x 182.9cm (48 1/4 x 72in).Footnotes:ProvenanceWith the Fine Art Society.Anon. sale, Christie's, 17th May 1923, lot 155 for £157.10.0 (F.A.S vendor), acquired by Gooden and Fox.William Hesketh Lever, 1st Viscount Leverhulme (1851-1925), Lancashire.The Bungalow and Rivington Hall, Horwich, Lancashire sale, Knight, Frank & Rutley, London, 9-17 November 1925, lot 1105, p.68.Bolton Museum and Art Gallery (acquired from the above sale).Sale, Bonhams, 25th January 2012, lot 165, where acquired by the current owner. ExhibitedLondon, Royal Academy, Summer Exhibition, 1914, no. 369.London, Royal Academy, Winter Exhibition, 1922. LiteratureRoyal Academy Pictures and Sculpture 1914, illustrated p 82.The name Limehouse comes from the lime kilns established there in the 14th Century and was used to produce quick lime for building mortar. In 1660, Samuel Pepys visited a porcelain factory in Duke's Shore, Narrow Street, whilst the Limehouse Pottery, on the site of today's Limekiln Wharf, was established in the 1740s as England's first soft paste porcelain factory.Limehouse became a significant port in late medieval times, with extensive docks and industries such as shipbuilding (which was established in the 16th century and thrived well into the 19th century), ship chandlering and rope making. By the Elizabethan era many sailors had homes there and by early in the reign of James I about half of the population of 2000 were mariners. Limehouse Basin opened in 1820 as the Regent's Canal Dock. This was an important connection between the Thames and the canal system, where cargoes could be transferred from larger ships to the shallow-draught canal boats. As the age of steam led to bigger ships, the facilities at Limehouse became inadequate. However, local ingenuity found a highly successful alternative: many of the Royal National Lifeboat Institution's lifeboats were built in Limehouse between 1852 and 1890. Though no longer a working dock, Limehouse Basin with its marina remains a working facility. The wharf buildings that have survived, are now highly desirable residential properties. Taylor Walker began brewing at the site of today's 'Barley Mow' pub in 1830. This stretch of the Thames was known as Brewery Wharf, whilst from a little further along the embankment, the first voluntary passengers left for Australia.From the Tudor era until the 20th century, ships crews were employed on a casual basis and would be paid off at the end of their voyages. Inevitably, permanent communities of foreign sailors became established, including colonies of Lascars and Africans from the Guinea Coast. From about 1890 onwards, large Chinese communities at both Limehouse and Shadwell developed, established by the crews of merchantmen in the opium and tea trades, particularly Han Chinese, creating London's first and original Chinatown. The resulting opium and gambling dens soon attracted a wider clientele than visiting Chinese sailors, luridly described by, amongst others, Sir Arthur Conan Doyle and Oscar Wilde. Like much of the East End it remained a focus for immigration, but after the devastation of the Second World War many of the Chinese community relocated to Soho.The Hemy family set sail for Australia when he was 10 years old and, as he later recalled, 'I can remember it (the open sea) entered my soul, it was imprinted on my mind, and I never forgot it'. Hemy sketched and painted at locations on Narrow Street's river front and other notable artists who used Limehouse as a backdrop for their paintings included James McNeill Whistler (1834-1903) and James Jacques Joseph Tissot (1863-1902). Whistler was living near the docks in Wapping between 1859-1863 and produced a series of etchings known as 'The Thames Set', which must have been a great influence on Hemy. These concentrated on the picturesque wooden buildings of the lower Thames, the barges, wharfs, warehouses and inns of Wapping, Rotherhithe and Limehouse, together with the barge men and labourers who worked there. Whistler also produced a major oil painting titled Wapping, exhibited at the Royal Academy in 1864, no. 585, (collection National Gallery of Art, Washington). In 1869, Hemy was living in Fulham, not far from Whistler's studio in Chelsea. He may have been introduced to Whistler by his friend Tissot, whose work in the 1870s had a more direct influence on Hemy. Tissot painted scenes of beautiful ladies and sea captains on board ships and in interiors with the Thames and the black masts of ships seen through the windows in the background, e.g. An Interesting Story of c. 1872 (collection National Gallery of Victoria, Melbourne). An interested spectator of Hemy at work was a young Frank Brangwyn. As a boy in the 1870s, Brangwyn often wandered down among the old buildings of the Thames where he would watch 'a magnificent looking man in a velvet coat painting a big picture. I would sneak up and admire him.'The Thames estuary continued to draw Hemy and he painted a series of pictures of the busy mouth of the Thames i.e. The Shore at Limehouse (exh. R.A. 1871, no. 435), Blackwall (exh. R.A. 1872, no. 198), London River - the Limehouse barge-builders (exh. R.A. 1875, no. 108), The harbour master's home, Limehouse (exh. R.A. 1901, no. 1039), 1901, Home at last, 1909, Limehouse Hole, (exh. R.A. 1910, no. 862) and The barge, Limehouse, (exh. R.A. 1918, no. 356). London River, his 1904 R. A. exhibit (no. 236), an evocation of Hemy's favourite stretch of the Thames with Hawksmoor's famous St. Anne's church prominent on the skyline, was bought by the Chantrey Bequest for £1,000 and now hangs in Tate Britain.The old buildings on the banks of the river at Limehouse and Wapping provided excellent subjects and Hemy used the boatmen as models; his knowledge of the sea enabling him to establish an easy rapport with them. Of his RA exhibit Limehouse barge builders of 1875 (collection South Shields Museum and Art Gallery), Hemy wrote, 'I painted the picture altogether from nature sitting in a barge and talking with the workmen.'Hemy's memorial exhibition took place at the Fine Art Society in 1918 where 101 of his works were shown.For further information on this lot please visit Bonhams.com
Lot 2121
THREE RINGS comprising AN EARLY VICTORIAN EMERALD AND DIAMOND RING, thee octagonal-cut emeralds spaced by rose-cut diamonds in a beaded scroll settings, to open scroll shoulders, unmarked, ring size M; A 9 CARAT GOLD GARNET RING, hallmarked Chester 1906, ring size Q1/2, 2.6 grams; and A 9 CARAT GOLD SIGNET RING, hallmarked London 1891, ring size R, 3.7 grams. (3)All with light wear.
Lot 2277
A PLATINUM EMERALD AND DIAMOND CLUSTER RING an oval-cut emerald within a border of round brilliant-cut diamonds, to diamond-set shoulders. Estimated total diamond weight 0.35ct, hallmarked Edinburgh 2021, ring size R, 5.4 gramsGood condition. The emerald measures 8.31mm x 6.45mm approximately. Estimated diamond colour: G/H; estimated clarity: VS2/SI1.
Lot 2455
AN 18 CARAT GOLD SAPPHIRE AND DIAMOND RING three graduated cushion-cut sapphires spaced by old-cut diamonds, with diamond accents, in a carved setting. Estimated total diamond weight 0.65ct, hallmarked London 1984, ring size R, 5.9 gramsGood condition. Estimated diamond colour: G/H/I; estimated clarity: VS2/SI1
Lot 2463
AN 18 CARAT WHITE GOLD SAPPHIRE AND DIAMOND CLUSTER RING a round brilliant-cut diamond within a border of round-cut sapphires and an outer border of diamonds. Estimated total diamond weight 0.90ct, hallmarks worn, possibly London 1997, ring size R/1/2, 6.4 gramsThe shank has been resized. The sapphires are well-matched and of a green-blue colour. Estimated diamond colour: E/F/G; estimated clarity: VS2/SI1/SI2.
Lot 7
GOLD AND ENAMEL MEMORIAL RING, EARLY 19TH CENTURYThe textured tricoloured band applied with engraved floral and foliate motifs, the central oval plaque decorated in blue, white and green enamel, with a forget-me-not flower between the initials, M R, within a chased surround, opening to reveal a recess to the band that would have once contained strands of hair, ring size V½Footnotes:Provenance:D. S. Lavender (Antiques) Ltd, 139A New Bond Street, LondonA Private Collection of Jewels and Portrait Miniatures of Bourbon Interest Lots 1 - 16 form part of a private collection of jewels, portrait miniatures and objects de vertu, predominantly relating to the Bourbon dynasty and dating from the 17th century onwards. Bourbon monarchs united France and part of the kingdom of Navarre in 1589, ruling both until the French Revolution of 1792. Restored briefly in 1814 and finally in 1815 after the fall of the First French Empire, the senior line of the Bourbons was overthrown again in the July Revolution of 1830. A cadet Bourbon branch, the House of Orléans, then ruled for 18 years (1830–1848), until it too was deposed.For further information on this lot please visit Bonhams.com
Lot 221
AFTER JOHAN ZOFFANY, R.A. COLONEL MORDAUNT'S COCK MATCH mezzotint with later hand colouring, caption beneath the image reading: 'At Lucknow in the Province of Oude, in the year 1786, at which were present several High and Distinguished Personages; J. Zoffany pinxt.; R Earlom sculp. London', mounted and framed, main image: 39 x 57cm
Lot 75
Two 'Nudo' gem set dress rings by Pomellato, the first with a partly faceted cushion-shaped amethyst in closed-back setting, the second with a similarly-cut blue topaz, signed and stamped '750', numbered P500021652 and P900008991 respectively, ring sizes approximately P to R (2)Surface wear, scuffs and nicks/small chips to the mounts and gemstones, commensurate for use. Marks and signatures are clearly struck. Each gemstone measures approximately 10.4mm in length/width. Ring sizes cannot be accuratly measured due to the protrusion of the setting. Metal standard is untested. Gross weights approximately: first ring 8gm, second ring 8.2gm.
Lot 21
AFTER JOHN ROCQUE (1709 - 1762)Survey of the County of Dublin Four sheet map, each 560mm x 780mm; 580mm x 780mm (North East Sheet)North East sheet titled 'Chorographer and Topographer to His Majesty, London, Printed Rob(t) Sayer, Map and Printseller No.53 in Fleet Street', lacking cartouche and inset with rectangular box with title 'A Survey of/ The Parishes of Tippervevan/ Ballymore Eustace and Ballybought/ in the Barony of Uppercross and County of/ Dublin Lying very remote from ye rest of the/ said Country', ABL R 4.2(ii) pg. 359; Segment missing from the top left corner of the North West SheetSee ABL R 4.2 (i); (ii); R 4.3(i); R 4.4(i) for all four sheets
Lot 38
PETRUS SCHENK & GERARD VALK AFTER JANSSON Four Provinces of Ireland Handcoloured engravings, each 380 x 480mm 1705, third state from the Atlas Maior, R & j Ottens, ABL DS 8 (iii)In 1676 twelve years after Jansson's death many of the copper plates from his Atlas Novus were bought at auction by Abraham Wolfgang who later sold them to Schenk and Valk. The four provinces by Jansson were reworked and included in atlases in the early 18th century.
Lot 402
TROLLOPE, Frances (1780-1863)Domestic Manners of The Americans, 2nd ed, 2 vols, London: (Whittaker), 1832 lithograph frontispieces, titles inscribed M. McCausland, Fruit Hill' half calf over marbled boards, wornSCOTT, JohnA Visit to Paris, London: (Longman et al) 1815 half brown morocco over marble boardsD'ANVILLECompendium of Ancient Geography, 2 vols, London: (R. Faulder) 1791 numerous maps, some f/o, full tree calf (5)
Lot 417
A COLLECTION OF BOOKS RELATING TO IRISH INTERIORS- J. Cornforth, Early Georgian Interiors (Yale University Press) 2004- R. O' Byrne, Dublin's Gaiety Theatre (Gaiety) 2007- Living in Dublin- Ruthven, Irish Homes (Dublin) 1998- Pfeiffer & Heron, In the Houses of Ireland (London) 1988- and four others
Lot 415
A late Victorian twelve setting silver shell and scroll pattern canteen of flatwareLondon, 1899, R & S Garrardcomprising twelve table forks, twelve dessert forks twelve dessert spoons, twelve tablespoons, four sauce ladles, cheese scoop, pair of butter knives, salad serving spoon and fork, serving spoon and fork, pair of cold meat forks, together with sets of twelve near matching but later table knives and dessert forks with stainless steel knives, Sheffield, 1984, Garrard & co Ltd, crested, (qty)table fork length 20.6cm., weight approx. 147.33oztCondition:Good condition Surface wear commensurate with age. later knives also engraved with conforming crest
Lot 708
A collection of jewellery comprising a half pearl set bangle, a citrine and half pearl bar brooch marked '9ct', an agate bar brooch marked '9ct' , a cameo brooch, an oval locket engraved with scrolling foliate design, a trace link chain marked '15K', a fancy link chain marked '9ct', a heart bar brooch set with a garnet, a blue stone full hoop eternity ring (a/f), a seven stone gem-set ring (one deficient) Approx. length 62cm, approx weight. 28.7g. Ring sizes R and O Condition:Garnet chip bar brooch is broken. Bangle is slightly misshapen. Both rings a/f.
Lot 124
A Selection of Six 35mm SLR Cameras comprising an Exakta RTL1000 camera with a Pentacon Auto f/1.8 50mm lens, a Chinon CX II camera with an Auto Chinon f/1.7 55mm lens, a black Petri TTL camera with a Petri C.C. Auto f/1.8 55mm lens, a Topcon R camera with an Auto-Topcor f/1.8 5.8cm lens, a Zeiss Ikon Contaflex Super camera, a Zeiss Ikon Contaflex S Automatic camera, both with Carl Zeiss Tessar f/2.8 50mm lenses, bodies overall G, lens overall G, some shutter issues, a Lot
Lot 256
A Selection of Three Folding Cameras of Various Formats comprising a Zeiss Ikon Contessa 533/24 rangefinder 35mm camera, 1950-53, serial no.Q 53068, with a Zeiss-Opton Tessar f/2.8 45mm lens, serial no.548324, shutter working, a Franka Solida III R 6 x 6cm rangefinder camera, 1952, marked made in U.S.-Zone, with Schneider-Kreuznach Radionar f/2.9 80mm lens, serial no.3728456, shutter working and a Houghton-Butcher No.12 Ensign Carbine 2½ x 4¼in. camera, 1920s, with an Aldis-Butcher Anastigmat f/6.3 5.25in. lens, shutter not working on slow speeds, a Lot
Lot 35
A Leitz Portugal Leica R3 Electronic 35mm SLR Camera black, 1977-78, serial no.1458571, with a Leitz Wetzlar Vario-Elmar-R f/4.5 75-200mm lens, made in Japan, 1979, serial no.3006705, shutter fires at single mechanical speed, otherwise untested, body G but viewfinder shows opaque patch over bottom third of eyepiece, lens P-F, overall internal fungus, together with a Leitz messenger-style outfit bag, R3 brochure and instruction manual and a Vivitar 283 Auto Thyristor electronic flashgun, untested
Lot 38
A Leitz Wetzlar Leicaflex SL 35mm SLR Camera chrome, 1968-74, with a black Leitz Wetzlar Summicron-R f/2 50mm lens, 1968, serial no.2255492, shutter working, body P, corrosion to top plate and around eyepiece, ever ready case camera fixing screw is stuck, lens body F, signs of use, optics F, edge fungus, internal dust
Lot 42
A Leitz Portugal Leica R4 35mm SLR Camera with Lenses chrome, 1982, serial no.1603684, with three lenses; a Leitz Canada Summicron-R f/2 50mm lens, 1977, serial no.2863425, shutter fires on B and 1/100s, otherwise untested, body G, lens body F, signs of use, optics G, light haze and dust, also a Leitz Vario-Elmar-R f/4 70-210mm lens, body G, optics F-G and a Leitz Wetzlar Elmarit-R f/2.8 180mm lens, body G, mild wear, optics F, some internal haze, with maker's lens case
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