Flemish or Italian master; mid-17th century."Scene from the Commedia dell'Arte".Oil on canvas. Re-tinted.Attached pictorial analysis issued by Icono, I&R, restoration and technical studies of easel painting.It has an export permit and condition report issued by Icono Restauración.It has restorations.Measurements: 116 x 144 cm.During the 16th century most of the painting reflected biblical themes, in which the authors approached the stories of the gospels to the spectators through the clothes of the models, who adopted attitudes contemporary to the time. The uniqueness of this work lies in the fact that the subject matter is based on popular reality and everyday life. However, it is not the typical tavern scenes, where the different strata of society were represented, but is dedicated to the theatre. Specifically to the Comedia Dell'arte", an enlightening fact, since during this historical period the artistic genres were more closely linked than ever before. The characters we see are archetypes taken from the aforementioned theatrical genre, in fact, we can recognise the figure of Coviello, located in the foreground on the right, while the central characters, who appear without masks and stand out for their soft, gentle and youthful features, could represent Florindo and Rosaura, a couple in love who are common in the performances of the "Comedia dell'arte".The figures in the scene seem to show a specific moment that has been captured by the viewer in the manner of a photograph. Their expressive gestures, the way they interact and the emotion on their faces distance this painting from the forced stagnation of the figures common in Flemish painting of the period, thus revealing the Italian influence. One feature that reveals the great complexity of this painting is the composition, in which the artist plays with an apparently simple frieze-like arrangement in which he introduces a typically Baroque cross or crossbrow that enhances the dynamism of the scene, leaving the central figures in the centre to take centre stage. Despite the great profusion of figures and their monumentality, the artist introduces a sense of spatiality that is particularly reflected in the arrangement of the still life in the foreground. This still life reflects the painter's technical skill in capturing with great realism the casserole with the milk or, for example, the eggs hanging on Coviello's chest. Even the presence of the cat, who is the only character who remains static, but is nonetheless humanised through the detail of the collar. The lighting is clearly reminiscent of Caravaggist painting, which also dealt with this type of subject matter, as did other painters such as Jan Cossiers and Johan Liss.
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GOETHE (JOHANN WOLFGANG VON)Autograph sentiment signed ('J.W.v. Goethe'), the second stanza of the poem 'Ilmenau', comprising six lines written in Sütterlinschrift beginning 'Wie kehrt ich oft mit wechselndem Geschicke...' ['How often I return with changing fortunes...'], one page, light dust-staining, remains of red wax seal, one small pin hole not affecting text, remains of marbled paper on reverse where previously mounted, mounted and framed, unexamined out of frame, oblong 8vo (150 x 210mm., with frame 405 x 405mm.), [3 September 1783]Footnotes:'WIE KEHRT ICH OFT MIT WECHSELNDEM GESCHICKE, ERHABNER BERG!'Ilmenau was a private poem written for the twenty-sixth birthday of Karl August, Duke of Saxe-Weimar-Eisenach (1757-1828) on 3 September 1783. In it the Duke escapes courtly society and his wild past into a dream world of the beautiful valley of the Ilm, the poet hoping that he will soon develop his true nature, thus referencing his own 'Sturm und Drang' period. As Goethe explained to Eckermann in his Conversations of Goethe: '...'The poem of 'Ilmenau'... contains, as an episode, an epoch which, in the year 1783, when I wrote it, had happened many years before, so that I could describe myself in it as an historical personage, and could hold a conversation with the self of former years... the Duke soon worked himself out of this 'storm and stress' period into a state of useful clearness, so that on his birthday, in the year 1783, I could well remind him of this image of his earlier days... I will not deny that in the beginning he caused me much trouble and anxiety. Yet his noble nature soon cleared itself, and formed itself to the highest degree of perfection, so that it was a pleasure to live and act with him'...' (23 October 1828). According to Ronald Gray, after a lively and promising start with some reminders of the youthful Goethe, the poem transitions rather unsuccessfully in style and content '...where the peasants and miners who were leading miserable lives at the beginning of the poem are suddenly said to be fully employed and contented. In the end, Goethe seems more concerned to make a tactful suggestion to the Duke about the running of his estates than to pursue his deeper problems any further... Despite several pleasing and amusing passages, Ilmenau marks the beginning of a period when Goethe would only rarely write poetry of distinction...' (Gray, R., Poems of Goethe: A Selection, 1966, p.66).Goethe had been invited to the court at Weimar in 1775 after the success of his first novel The Sorrows of Young Werther and was to remain there for the rest of his life. He held a succession of offices including Commissioner for Mines and Highways which required him to regularly visit the small mining town of Ilmenau, from where he was able to escape into the mountains, away from the pressures of his duties. The surrounding landscape inspired one of his most famous poems, Wanderers Nachtlied which he wrote hurriedly on the walls of a wooden hut on the Kickelhahn mountain, a work which epitomises his love of the natural world and the local landscape.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
TIGHE (MARY)Psyche, or The Legend of Love, FIRST EDITION, AUTHOR'S PRESENTATION COPY TO THE PAINTER JAMES BARRY, inscribed on title-page 'To James Barry Esq., from M Tighe 1805', wide margins, title slightly stained at foot, contemporary green straight-grained morocco, sides gilt ruled and panelled, with floral corner-pieces and outer border, agate on-lays to each cover, spine in five separate compartments with raised bands, tooled and lettered in gilt and blind, gilt clasp set with gems, very light rubbing to foot of spine, gilt turn-ins, yellow watered silk endpapers, g.e., housed in a contemporary velvet-lined, gilt-tooled diced russia box, with gilt lettering on spine, rubbed, to joints split [P.R. Feldman and B.C. Cooney, Collected Poetry of Mary Tighe, p. 590, citing this copy], 16mo (250 x 94mm.), [C. Whittingham for James Carpenter], 1805Footnotes:A SEMINAL WORK OF IRISH ROMANTICISM INSCRIBED BY THE AUTHOR IN AN EXQUISITE OPULENT CONTEMPORARY BINDING. According to Paula Feldman, joint editor of The Collected Poetry of Mary Tighe, the binding is far more ornate than any of the other copies she has examined, and is especially unusual for the addition of the Wedgwood style cameo, ornate metal lock, semi-precious stones, and agate onset, which she believes may have been added by a subsequent owner to the original binding and endpapers especially commissioned by the author.Irish poet Mary Tighe (1772-1810) '...was a crucial force in shaping British Romanticism. With remarkable vitality and virtuosity, her poetry engaged the central issues of the period, often in advance of writers now considered canonical, and commanded the attention and respect of her contemporaries.... These poems demonstrate the technical virtuosity with which Tighe movingly wrote about the tensions between love and loss, duty and desire, the spiritual and the sensuous, loyalty and betrayal, nation and family, the Irish and the British, and much more, while struggling with debilitating illness...' (Paula R. Feldman & Brian C. Cooney, The Collected Poetry of Mary Tighe, 2016, p.1).Tighe published only one work in her lifetime, Psyche; or, the Legend of Love, which was put out in a private edition of fifty copies for the benefit of family and friends in 1805. However, whilst having many admirers amongst her literary circle (including Thomas Moore, Joseph Cooper Walker and the Ladies of Llangollen) it was the posthumous publication of Psyche, with Other Poems, in 1811 and in several later editions, that made her name widely known and established her literary reputation.The decorative on-lay on the upper cover is a copy of a Wedgwood design by John Flaxman of 1776 depicting a procession of putti guiding the bound and draped Cupid and Psyche to their wedding. Here, however, one figure on the far right hand-side has been omitted. The decorative on-lay on the lower board is a cameo of a female figure in profile, possibly the author herself. Although the binding is unsigned, according to Philippa Marks of the British Library, it can be attributed to the workshop of Rodwell, Golden Square, London. In fact, the British Library holds a copy of a work by Juan de Flores (G102030) with a binding signed by Rodwell which is characterised by identical floral corner pieces to those on this book (Law, E., 'Psyche: or the Legend of Love, 1805', Old Kilkenny Review, 65 (2013), p.45).For a manuscript notebook of her poems, see our Women Through History sale on 23rd March 2022, lot 153.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
SHAKESPEARE (WILLIAM)The Works, 8 vol., engraved frontispiece to each play, a few leaves cropped at top, contemporary mottled calf, rebacked, with red morocco labels, J. Tonson, 1635 [i.e. 1735]; idem, 4 vol. only, another edition, without general title-pages, contemporary calf gilt, later red morocco spine labels, J. Tonson, 1735; The Works... by Mr Theobald, 8 vol., engraved portrait and frontispieces to each play, modern buckram with red leather spine labels, J. & R. Tonson, 1767, 12mo (20)Footnotes:The first set is one of those with all the general titles dated in error 1635. This edition, which was used for sale at the theatres and for supplying pedlars, has a separate title-page, frontispiece and pagination for each play.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
SHAKESPEARE (WILLIAM)The Works... Carefully Revised and Corrected by the Former Editions, 6 vol., engraved portrait, some foxing, contemporary calf gilt, red morocco spine labels, slight wear to head of spines, one or two joints starting, J. & P. Knapton etc., 1745; Twenty of the Plays... by George Steevens, 4 vol., a little light browning, contemporary calf gilt, covers with Holland House gilt armorial stamp, rebacked, spines slightly darkened, J. & R. Tonson, 1766, 8vo (10)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![SHAKESPEARE (WILLIAM)Mr William Shakespeare his Comedies, Histories, and Tragedies, [edited by Edward Capell], 10 vol., half](https://cdn.globalauctionplatform.com/8371dcd4-571c-4dd7-83f9-aeae010c756c/12df07cf-0f73-494b-9dca-aeae01119452/468x382.jpg)
SHAKESPEARE (WILLIAM)Mr William Shakespeare his Comedies, Histories, and Tragedies, [edited by Edward Capell], 10 vol., half-title to each play, contemporary red morocco, sides with triple gilt rule borders, ornate gilt panelled spines with floral and griffin tools and black labels, g.e., spines worn at ends, 8vo, Dryden Leach for J. & R. Tonson, [colophon:] 1768Footnotes:Relatively scarce edition edited by Edward Capell, who was the first person to put together a wholly new edition from all the quarto and folio ones.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
FLEMING (IAN)Goldfinger, FIRST EDITION, publisher's gilt-stamped cloth, dust-jacket (light soiling, very small abrasion to front beside letter 'R', light pencil price adjustment on front flap) [Gilbert A7a(1.2)], 8vo, Jonathan Cape, [1959]This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
SWINBURNE (ALGERNON CHARLES)STAPLES (ROBERT PONSOBY) Portrait of Algernon Charles Swinburne, head and shoulders, oil on canvas, signed ('R. Ponsonby Staples') top left, approx. 610 x 500mm. (24 x 19.5in.), framed, [c.1900]Footnotes:Portrait of the poet Algernon Charles Swinburne (1837–1909) by Sir Robert Ponsonby Staples (1853-1943) whose works were first exhibited at the Royal Academy and the Royal Hibernian Academy in 1875. He 'made his name by a succession of group portraits of participants in late Victorian public events' (ODNB), the most famous of which is The Ideal Cricket Match, now hanging in the Pavilion at Lords Cricket Ground. An exhibition of his portraits, One Hundred Men and Women of the Time, as a souvenir of the century, was held in 1900, for which the current portrait was probably painted. A chalk portrait by Staples of Swinburne, in very similar pose, is held by the National Portrait Gallery, London.Provenance: Christie's, London, 20 November 1988, lot 156.For further information on this lot please visit Bonhams.com
PHILADELPHIAFOLIE (A.P.) To Thomas Mifflin Governor and Commander in Chief of the State of Pennsylvania this Plan of the City and Suburbs of Philadelphia is Respectfully Inscribed by the Editor, 1794, engraved hand-coloured map by R. Scot and S. Allardice after Folie, dissected into 20 sections mounted on linen, title within decorative border of ivy leaves, index to points of interest, coat of arms held by two female figures, light surface soiling, a couple of sheets slightly loosened, inked 'Pensylvania, 1794' on verso, map 660 x 670mm., overall sheet size 680 x 690mm., [Philadelphia, 1794]Footnotes:The first large-scale map of Philadelphia, covering the area from the Delaware to the Schuylkill rivers. Major locations noted include the 'Jewish Synagogue', 'Jews Grave Yd.', 'African Meeting House', 'Bank of the United States' (and those of North America, and Pennsylvania), 'Peales Museum', 'Circus', 'State House, Congress Hall & City Courth House', 'Presidents House', and 'University'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
A leather-cased George V church communion set, comprising chalice, paten, wafer pyx, pair of glass cruets, and spoon, by A R Mowbray & Co Ltd, hallmarks London 1926, chalice height 8cm, 3.6oz weighableNo damage or repairs, leather case is quite worn and has embossed initials with some deterioration to inner liner, lacking rope handle and base is slightly loose, no chips or cracks to glass, hallmarks generally clear, spoon and pyx are 1925, all others are 1926
South Italian School, 18th century Still lifes of flowers in stone urns with fruit on a ledgeoil on canvas, unlined, octagonal71.5 x 58cm, a pairFrame 94 x 80cmEach frame inscribed 'R. Ferroni'Both paintings are executed in oil on canvas supports. The canvases are attached to crude stretchers which have suffered from woodworm damage. Both works are unlined, but one of the paintings has a large patch on the reverse covering old tears. The canvases are in poor condition and have clearly been affected by water with staining on the revers. The canvas tension is poor and there are severe undulations across the surface. The paint layers have suffered from damage in the past and there are areas of raised and flaking paint. Areas of overpaint have been applied to reinforce the compositions. The varnish layers are yellowed and degraded.
Franz Richard Unterberger (Austrian, 1838-1902) Rio dei Ognissanti with Santa Maria del Rosario in the distance, Venice signed 'F R Unterberger' (lower left)oil on canvas80 x 69.5cmProvenance:MacConnal-Mason & Son, London, from whom acquired by the grandfather of the present owner by 1935The present painting epitomizes the spectacular and highly romanticised Italian views which brought Franz Richard Unterberger international recognition. Suffused with a warm and shimmering light, the scene is populated with fashionably dressed couples strolling alongside vegetable sellers and other members of Venetian society. Like many of Unterberger’s compositions, certain perspectives have been expanded and some architectural features idealised or added for artistic effect. Born in Innsbruck in 1838, the eldest son of an art dealer, Unterberger began his artistic training at the Munich Academy in the 1850s under the guidance of Albert Zimmermann (1808-1888) and Julius Lange (1817-1878). In 1859, he left Munich to study in Düsseldorf where he was greatly influenced by the brothers Andreas (1815-1910) and Oswald Achenbach (1827-1905) and initially became known as a painter of atmospheric Alpine landscapes set in his native Tyrol. In 1864, he established himself in Brussels, though he spent much of his time travelling extensively across Europe, from Norway to Sicily. He exhibited his first Italian scene in 1868 and since then became renowned mainly for his Venetian scenes and panoramic coastal landscapes set in Southern Italy. He gained a large international following, exhibiting his work throughout Europe and in America. In 1874, he was awarded the Knight’s Cross of the Order of Franz Joseph by Emperor Franz Joseph I of Austria.The painting is executed in oil on a linen canvas which has been lined. The lining is well attached and the canvas has good tension. There is a minor undulation at the right hand side of the lower edge. The paint layers are in a stable condition overall apart from a small localised areas of raised, flaking paint at the centre of the lower edge. A few small paint losses have occurred in this area. There is some overpaint in the sky which is slightly yellowed compared to the surrounding paint layers. The varnish is clear, glossy and even. There is a light layer of surface dirt including fly spots and some white drips in the darker paint passages. Framed 97 x 87cm
§ Peter Biegel (British, 1913-1987) Daily Mail poster - Pony Club Mounted Games for the Prince Philip Cup,together with other assorted prints and ephemera including two advertising posters for 'Player's Weights', a design for 'Huntley & Palmers' Steeplechase Tin, five signed posters for the 1972 Newmarket R S Scott Memorial Handicap, giclée print of Mysterious, Epsom Oaks Winner, 1973 and two other prints (12)Provenance:The artist's studio and thence by descent within the familyDaily Mail poster- 3 horizontal and 3 vertical folds. Creasing throughout. Small tears visible along the centre fold in the left hand section. Some light dirt marks. The paper appears to be discoloured along the bottom. Some 36 x 35cm (framed)Player's Weights - one on card, another on paper, both printed, vertical crease about 2 inches from the right margin to one, little staining to the otherHuntley & Palmers design - few small tears along the top, small creases along the bottomMysterious giclée print - framedFurther 7 prints - generally good condition, unframed, some light creasing
Reginald Granville Eves, RA, RP (British, 1876-1941) Portrait of Major William Frederick Dick (1871-1938)signed 'R G Eves' (upper left)oil on canvas57 x 44.5cmtogether with a charcoal preparatory study signed and dated 1929 (2)William Frederick Dick of Josselyns served in the Royal Field Artillery and was promoted to Major in 1914. He married Dorothy Marion Ames in 1913. They lived at Little Horkesley Hall, near Colchester, which he purchased in 1917.Framed 81 x 69cmThe painting is executed in oil on a canvas support. The canvas is unlined and has an artists’ supplier stamp for Reeves and Son on the reverse. There are minor undulations across the surface and a build up of dust on the reverse. The paint layers are in a good, stable condition overall. The inside of the glass has deteriorated causing the mottled appearance to the work.
the drum top with segmented white dial with blue numerals, surmounted by a moustached Oriental style figure holding an umbrella, supported on an elephant with trunk raised, upon a naturalistic scroll base, the gong striking drum movement marked 'R & C Paris and London 587'44 x 35.5cmProvenance:Wood Hall, Hilgay, Norfolkhands broken. Case surface worn and lacking patina. Movement in need of attention, not working.lacking numeral '30'. Base base looks to be bronze; elephant and human figure with mounts above the dial are very dull colour and may be an alloy. Probably not spelter.All in need of attention and sold 'as is'.
Colonel Sir Richard George Ellison C.V.O., (1831-1908), Crimea medal group, with Sebastopol, Inkermann and Alma clasps (unnamed), Order of Medjidie, Turkish Crimea medal (unnamed), Sardinian Medal for Valour 1855-56 engraved to reverse 'Captain Richard George Ellison 47th Regt.', 1887 Jubilee medal and 1902 Coronation medal; lacking C.V.O. badge; with 7 miniatures; a signed portrait photograph dated 1903 (torn); his worn forage cap with attached note in contemporary ink 'R. G. Ellison 47th Regt. Shot through at the Battle of Inkermann'; a pair of gilt braid epaulettes, dress sword by Brown, Son and Long, with belt, two pairs of spurs by Maxwell, and hat feather plumesProvenance:Wood Hall, Hilgay, NorfolkColonel Sir Richard George Ellison acted as aide-de-camp to General Sir John Pennefather. He appears in a Crimea group photograph of officers by Roger Fenton. According to Battalion records, he fought with great determination and showed leadership. He was present at Alma, Inkermann, Sebastopol and the capture of Balaclava.After his return from the Crimea, he became High Sherriff in 1886, a Deputy Lieutenant of the county and a Justice of the Peace. He was also Colonel of the 2nd Volunteer Battalion of the Lincolnshire Regiment, was appointed Ensign of the Body Guard of Yeoman of the Guard and was knighted in 1907.
Hurst, John. A set of four prints by this local artists watercolours, Salthouse Marshes, signed and nicely framed together with his book Norfolk Coastal Colours signed by the Author. Watercolour pictures. Salthouse Artist J R Hurst. Framed and Glazed. 17" x 15" approx. John Hurst's Norfolk Coast Colours Book. Buyer collects. (5)
19th C diamond ring, set with eleven old mine cut diamonds, with a total estimated weight of 2.88 carats, the two largest weighing, 0.82 and 1.05 carats, set into silver and gold, with engraving to the top of the shoulders, size R, ring is oval.Condition Report: Gross weight 5.8 grams In good condition, band is worn and engraving is worn, diamonds and setting in good conditionEstimated colour G-KEstimated clarity, VVS-Si, the central diamond is Si, with the two larger diamonds to the side being, VVS-VSAll diamond weights, colour and clarity are estimated, they have all been assessed whilst mounted.
Two gold rings, including, a snake design ring, with garnet set eyes, in 9 ct yellow gold, hallmarked Birmingham 1989, ring size R, and a plain wedding band in 22 ct yellow gold, ring size QCondition Report: Weight of 22 ct 3.7 gramsGross weight of 9 ct 5.2 gramsBoth in used condition with surface scratches
Seven gold rings, including a ring set with a John F. Kennedy coin, size P, a flexible brick link ring, size R, a 3mm wedding band size R, a 4.2mm textured wedding band, size Q, a 2.6mm wedding band, size P 1/2, and two broken wedding bands, all stamped 14 ct Condition Report: Gross weight 18.61 grams
Collection of three watches, including a gold cased wristwatch, the dial is signed R Jacquet Geneve, with Arabic numeral hour markers, fitted with a manual wind movement, the case back marked inside for 18 ct gold, and mounted on a base metal link bracelet, together with a Pierce gold wristwatch, signed dial with Arabic and bead hour markers, fitted with a 15 jewel manual wind movement, the Dennison case marked for 9 ct gold, and a tank style wristwatch in rolled gold case (3)Condition Report: Movements winding and in need of service and repair.The movements have been opened for inspection and will need professionally resealing.Please note that the movements have not been tested for the accuracy of time and may need a service at the buyer's expense.Ewbanks does not guarantee the future working of the movement and we do not guarantee the authenticity of any individual component parts since subsequent repairs and restoration work may have resulted in the replacement of original parts
Three rings and a brooch, including a signet ring, size P, an orange paste set ring, size R, and a five stone opal ring,ring size Q , all rings are in 9 ct gold, together with a dragon design brooch in stamped 18 ct gold, length 4.5cmCondition Report: Gross weight of rings 7.0 gramsGross weight of brooch 4.2 gramsAll items in worn condition with surface scratchesPaste stone worn and chippedOne opal is cracked
Three emerald and diamond rings, three interlocking rings, one ring has an emerald cut emerald to the centre with three round brilliant cut diamonds set either side, the other two rings are each set with four round cut emeralds and three round cut diamonds, in a wavy design to sit either side of the main ring, all in 9 ct yellow gold, ring sizes R-SCondition Report: Gross weight 3.2 gramsAll in worn condition with surface scratches
Chrome diopside and diamond ring, oval cut green diopside, estimated weight 3.18 carats, with two rows of baguette cut diamonds either side, mounted in 9 ct yellow gold, ring size R½Condition Report: Gross weight 3.1 gramsIn good condition, gold is tarnished All stone weights are approximate and assessed in the mount
OffizierssäbelFrankreich, M 1822, für Offiziere der leichten Kavallerie. Floral verziertes Messinggefäss mit Knaufkappe, Griffbügel, zwei Terzspangen und Stossleder; lederbezogene Hilze mit Kupferdrahtwicklung. Beidseitig breit gekehlte, etwas verputzte Rückenklinge (L 91,5 cm) mit Rückenspitze und schmalen Zügen entlang des Rückens. Auf dem Rücken mit graviertem Herstellersignet "Manuf(actur)e R(oy)ale de Châtellerault avril 1831". Am Blattansatz terzseitig Kontrollstempel "W" und "R", quartseitig die Nr. "9". Minim korrodierte Stahlscheide mit zwei Tragringen und Schlepper. L 105,5 cm.
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