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Lot 584
PorzellanbildKPM Berlin, um 1900. Pressmarke, Zepter und eingeritzte Nummer 217 XI 58. Rechteckige Porzellantafel mit polychromer Malerei. Darstellung nach dem Gemälde "Venus und Cupido" von Tizian (um 1487/90–1576). Rechts unten bezeichnet "R. Wagner". 13x18 cm. Vergoldeter Holzrahmen. 20,5x25,5 cm.- Minimale Altersspuren.
Lot 587
PorzellanbildKPM Berlin, um 1900. Pressmarken, Zepter und K.P.M. Rechteckige Porzellantafel mit polychromer Malerei. Darstellung einer träumenden jungen Frau, gestützt von einer weiblichen Figur. Im nächtlichen Hintergrund eine zweite Träumende. Links unten bezeichnet "R. Wagner". 18x13 cm. Vergoldeter Holzrahmen. 24,5x19,5 cm.- Minimale Altersspuren.
Lot 592
F. & R. Fischer-PuppenherdDeutschland/Göppingen, um 1910/20. Auf der Bodenunterseite punziertes Firmensignet (doppelter Fisch) und Grössenangabe "1". Rechteckiger Korpus aus geprägtem Schwarzblech mit geschliffener Platte. 6 Kochstellen und rückseitig einsteckbarer Kamin. Türchen, Stange und originales Topfset aus Weissmetall, verchromt. Pfanne, 2 Töpfe, Schokoladekännchen mit Holzquirl, Wasserkessel und -schiff. Mit 2 Doppel- und 1 Einzelbrennern. 48x38x62 cm. Dazu: 2 Kupfer-Pfannen.- Leicht bespielt. Minimale Korrosionsspuren (Platte).
Lot 1330
HORNBY DUBLO; a Golden Fleece locomotive and tender, number 2211 in original box with a Hornby 00 Gauge R.066 L.M.S 4-6-2 Duchess locomotive and a R.312 LNER 4-6-2 loco Silver Link (all in original boxes) (3).Additional InformationThe Hornby Dublo box is rubbed throughout and is torn at one corner, the loco inside has some rubbing to the name of the locomotive and minor wear, maybe missing a detail to the front of the locomotive, the box for the Duchess loco is tired, the loco with light wear and a little grubby, the box for the Silver Link is rubbed and creased, the loco with some light wear.
Lot 1350
TRI-ANG HORNBY; a collection of 00 Gauge carriages and wagons comprising eight R.418 Centenary extension packs, an R677 B.R freightliner wagon, an R.634 freightliner wagon, an R.740 coach for breakdown crane crew, an R.678 freight wagon, an R.634 freight wagon, an R738 Anglo-Continental ferry van, an R741 Transfesa ferry van, an R.563 Bogie bolster wagon, an R738 Anglo-Continental ferry van, an R.107 L.M.S break van, an R.300 Track masts and another similar, an R.107 L.M.S break van, an R.124 break van, an R.107 L.M.S break van with tail light, an R.305 mast base, an R.310 mast, an R.17 flat wagon with car, an R.303 mast, an R.303 mast, an R.310 mast clips, an R.310 mast clips, and nine others similar.
Lot 1351
HORNBY; eight boxed 00 Gauge wagons, etc, comprising R.935 L.M.S coach full third (x3), R.936 L.M.S break first (x2), R.739 operating breakdown crane, R.344 track cleaning car, R.043 home signal, together with unboxed wagons, an unboxed N Gauge ERTL Gordon from Thomas the Tank Engine, a Wrenn L.M.S wagon and various controllers and other accessories.
Lot 1753
MINTON; a hand painted cabinet plate decorated with lilies indistinctly signed 'R. Polis??', with a 19th century cabinet plate with three hand painted floral panels and central armorial crest, possibly Minton, diameter 24cm, three pieces of modern faience ware, a blue and white tureen and cover in the form of a duck, etc.Additional InformationThe blue rectangular stand with five chips to the underside of the edge and a few other smaller nicks. The carved stone figure carrying the basket with some small chips and scuffs throughout the piece. The plates with some minor rubbing to the gilding.
Lot 2516
An 18ct yellow gold five stone graduated diamond ring, the central diamond weighing approx 0.40ct flanked by four stepped main diamonds interspersed with diamond chips in scrolling mount, size R, approx 3.88g.Additional InformationThe diamonds are included, some of them quite heavily, some of the diamond chip setting has been compressed over time and a little wear to the scroll mounts, general surface wear throughout.
Lot 201
Rudolf von AltEingang in die gotische Nikolauskirche in Gastein1898Aquarell auf Papier44 x 28,5 cmSigniert und datiert links unten: R v Alt (1)898Privatsammlung, Wienwohl 1898 Wien, Vereinigung bildender Künstler Österreichs - Secession: II. Kunst-Ausstellung (Nov.-Dez.), Nr. 61Vergleich: Walter Koschatzky, Rudolf von Alt. Mit einer Sammlung von Werken der Malerfamilie Alt der Raiffeisen Zentralbank Österreich AG, Wien/Köln/Weimar 2001², S. 396, Nr. 98/03Vorliegendes Aquarell ist mit 1898 datiert. In diesem Jahr wurde Rudolf von Alt 86 Jahre. Sein fortgeschrittenes Alter ließ nun keine weiten Reisen mehr zu, daher wählte er das Salzburgerland zur Erholung und "zum fleißigen Malen". Die Sommermonate in den Jahren 1886 bis 1899 verbrachte der Künstler in Bad Gastein, wohin ihn seine jüngste Tochter Louise begleitete. Die beiden wohnten dort im sogenannten Stöckl zum Laurahaus, gegenüber der gotischen Nikolauskirche. Diese hielt Alt in verschiedenen Ansichten fest, in unserem Blatt zeigt er deren Nordportal. Der besondere Reiz dieses Werkes liegt im ungewöhnlichen, überaus modernen Bildausschnitt und in den mit Sorgfalt gewählten Details. So legte Alt viel Augenmerk auf die Gräser und Blätter neben dem Treppenaufgang, die er mit Akribie und sehr nahsichtig festhält, gleichzeitig sind die Wolken des Hintergrundes sowie das Mauerwerk der Kirche spontan und rasch gemalt. Alt gelang hier einmal mehr eine lebendige Momentaufnahme, welche das große Können des reifen Künstlers widerspiegelt und sich in sein beeindruckendes Spätwerk eingliedert, wo er zu einer neuen, impressionistischen Malweise fand. (MS)
Lot 2048
Willy EisenschitzWeiblicher Akt1931Öl auf Leinwand130 x 97 cmSigniert und datiert links unten: W. Eisenschitz 1931Rückseitig auf Leinwand bezeichnet: Willi / Eisenschitz / 8 r de Tourno / 3 toilesösterreichischer Privatbesitz;Auktionshaus im Kinsky, 26.11.2013, Nr. 525;österreichische PrivatsammlungJean Perreau, Willy Eisenschitz 1889-1974, Edition Schütz, Linz 1999, WV-Nr. H 302, Abb. S. 222Willy Eisenschitz wurde 1889 als Sohn einer gutbürgerlichen jüdischen Familie in Wien geboren. Schon früh zeigte er Interesse an der Kunst. Sein Vater, ein Anwalt stand den künstlerischen Plänen eher skeptisch gegenüber. Nichtsdestotrotz begann Eisenschitz 1911 ein Studium an der Akademie der bildenden Künste in Wien. Begeistert vom Impressionismus und den internationalen Strömungen, zog es ihn 1912 in die Kunstmetropole Paris, wo er sein Studium an der renommierten Académie de la Grande Chaumière fortsetzte. Hier lernte er seine zukünftige Ehefrau, die Malerin Claire Bertrand kennen. Die Liebe war so groß, dass sie ihm während des Ersten Weltkriegs freiwillig in ein Internierungslager folgte. Nach Kriegsende erkrankte Eisenschitz an Tuberkulose. In den Schweizer Bergen in Luzern fand er neue Kraft. 1920 kehrte er nach Paris zurück. Obwohl für Eisenschitz Frankreich zur neuen Heimat wurde, verlor er nie den Blick nach Österreich. Mit Künstlern wie Josef Floch und Viktor Tischler stand er im Austausch.Eine Reise nach Menton 1921 wurde für Eisenschitz zum künstlerischen Schlüsselerlebnis. Fasziniert vom intensiven Licht- und Farbenspiel der südfranzösischen Provence, entdeckte er die freie Natur für sich. Farbenfrohe Landschaftsbilder im expressiven Duktus bestimmten nun sein künstlerisches Schaffen. Studienreisen nach Italien, Spanien und Afrika bestärken sein anhaltendes Interesse an der Landschaft als poetisches Bildmotiv. 1924 stellte er gemeinsam mit seiner Frau in der renommierten Galerie Berthe Weill aus, die internationale Künstler wie Picasso und Modigliani präsentierte. Während des Zweiten Weltkriegs zog das Ehepaar in den Luftkurort Dieulefit, der zur Zuflucht von Künstlern und Intellektuellen wie Pierre Jean Jouve und Emmanuel Mounier wurde. Nach dem Tod seiner Frau 1969 übersiedelte Eisenschitz zurück nach Paris, wo er bis zu seinem Tod 1974 künstlerisch aktiv war.Das Ölbild "Weiblicher Akt" von 1931 gehört zu einer exquisiten Reihe von Akten, die der Künstler in seinem Werk vereint. Als Modell hatte ihm wohl seine Ehefrau Claire Bertrand gedient, die ihm auch Muse war. Spannung entsteht durch den diagonalen Bildaufbau, der die plastische Figur vor dem abstrahierenden Hintergrund in Szene setzt. Warme Gelb- und Orangetöne auf herausragenden Körperpartien stehen dabei im Kontrast zu kühlen Grün- und Blautönen. Das Sujet vereint Impressionismus und Expressionismus auf raffinierte Weise und offenbart Eisenschitzs starkes Interesse für die französische Avantgarde von Degas bis Renoir bis zu den Fauves.(Stefan Üner)
Lot 3039
Rudolf HausnerBewegung, Rhythmische Komposition in fünf Takten II1961Tempera und Harzölfarben auf Seide, montiert auf Novopanplatte; gerahmt138 x 28 cmSigniert und datiert rechts oben: R. Hausner 61Rückseitig signiert, bezeichnet und datiert: Rudolf Hausner, "Bewegung", 1961, (Rhythmische Komposition in 5 Takten)Privatbesitz, WienWalter Schurian, Edition Volker Huber, Hausner. Neue Bilder, 1982-1994, S. 262, Abb. 32;Hans Holländer, Edition Volker Huber, Hausner. Werkmonographie, Offenbach am Main 1985, S. 123 und S. 258.Eine Gruppe junger Künstler, die sich in der Klasse von Albert Paris Gütersloh zusammengefunden hat, wendet sich nach Kriegsende dem Surrealismus zu. Zu ihnen gehören Ernst Fuchs, Wolfgang Hutter, Anton Lehmden, Arik Brauer sowie der fünfzehn Jahre ältere Rudolf Hausner. Gemeinsam begründen sie die "Wiener Schule des Phantastischen Realismus". Trotz der äußerst unterschiedlichen Charaktere der einzelnen Protagonisten, eint doch alle eine Vorliebe für das Phantastische, überbordend Phantasievolle und ein Hang zu einer bis zum Äußersten getriebenen technischen Perfektion.Rudolf Hausner erzielt mit einer altmeisterlichen Lasurtechnik eine besondere Leuchtkraft und Tiefe in seinen Bildern. Erst durch das Zusammenwirken sorgsam übereinander gelegter, transparenter Farbschichten entsteht eine absolut glatte Bildoberfläche mit einer verblüffend illusionistischen Tiefenwirkung. Thematisch entwickelt er seine Werke ganz aus der Introspektion, der Beobachtung der eigenen seelischen Vorgänge. Er versteht die Malerei als inneren Monolog. Während des Kriegsdienstes 1941, mit anderen Soldaten während eines Schneesturms in einem engen Blockhaus in der slowakischen Tatra eingeschlossen, macht er erste Erfahrungen mit "Projektionen" des Unbewussten. Es bleibt nicht viel, als ständig die gleiche Holzwand anzustarren, dabei entdeckt er immer wieder neue Landschaften, die sich dort formieren. Diese Art Assoziationen in Gang zu setzen wird er in weiterer Folge "Tatra"-Methode nennen und immer wieder in seinen Arbeitsprozess einbauen.1961 – zwei Jahre nach der Gründung der "Wiener Schule des Phantastischen Realismus" und der Teilnahme Rudolf Hausners an der Documenta II in Kassel – entstanden, verweist der Titel des Bildes "Bewegung, Rhythmische Komposition in fünf Takten" auf die zweite große Begabung des Künstlers, der musikalisch höchstbegabt als Pianist des Pinguin Jazz Quartetts in den 1930er Jahren in Europa und Nordafrika unterwegs war. Die fünf Takte beziehen sich aber auch auf die Gliederung des extremen Querformats in fünf Quadrate, die nebeneinander aufgereiht sind und sich durch unterschiedlichen Beleuchtungsszenarien voneinander abgrenzen.Ganz links sehen wir einen rotglühenden Feuerball, der im Inneren kreisrunde Strukturen aufweist. Mehrere Assoziationen drängen sich hier auf. Wir denken an die abendliche Sonne, aber auch den Urknall, als Anbeginn allen Seins, der erst die Entstehung unseres Sternensystems ermöglicht hat. Das Licht der Sonne wiederum ist ebenso wie Wasser die Grundvoraussetzung für die Entstehung der ersten lebensfähigen Zellen. Die runden Strukturen im Inneren des Lichtballs lassen an den Prozess der Zellteilung denken, die das Wachstum und die Fortpflanzung aller Lebewesen gewährleistet. Nach rechts hin sendet dieses erste Quadrat Strahlen und kreisförmige Lichtpunkte aus, die die helle Spitze eines Farnblattes berühren, das in weitere drei Segmente unterteilt immer mehr im Dunkeln verschwindet. Farne gehören zu den ältesten Pflanzen unserer Erde und haben vor Millionen Jahren als Bäume unseren Planten bedeckt. Hier stehen sie wohl als Sinnbild für alles Leben, das dem Zyklus von Werden und Vergehen unterworfen ist. Die Dunkelheit des linken Quadrates steht für das Ende eines Tages, aber auch das Ende des Seins, dessen Gegenpol das gleisende, linke Quadrat bildet.(Sophie Cieslar)
Lot 3197
Rudolf HausnerAdam maßstäblich II1973Serigraphie in 60 Farben; gerahmt53,5 x 55,5 cm (Darstellung);71 x 79,7 cm (Blattmaß)Nummeriert, bezeichnet, datiert und signiert unten: E.A. "Adam maßstäblich II" 1973, R. HausnerAuflage: 250 StückMit persönlicher Widmung versehen.österreichischer PrivatbesitzVolker Huber, Rudolf Hausner. Werkverzeichnis der Druckgraphik von 1966 bis 1975, Offenbach am Main 1977, WVZ.-Nr. 26, S. 48/49.
Lot 3412
Arnulf RainerVertikale Überdeckung1964/65Kaltnadelarbeit auf Zink mit unterdruckter Farb-Tonplatte; ungerahmt43,7 x 31,9 cm (Darstellung)Nummeriert und signiert unten: 66/99 A. Rainerösterreichischer PrivatbesitzBreicha, Otto: Arnulf Rainer - Überdeckungen, mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke, 1950-1971, Wien 1972, WVZ.-Nr. R 48, Abb. S. 68.
Lot 44
δ Stanley William Hayter (1901-1988)Greeting Card for 1933-34 (Black and Moorhead 80)Engraving, 1933, signed, dated, and inscribed To Steve and Minnie Gibson, Good Luck 17 R Campagne Première Paris 14e in pencil, the edition was circa 100, on wove paper folded to form a card, with full margins, sheet 132 x 220mm (5 ¼ x 8 5/8 in)Provenance:A gift from the artist to Sir Stephen Gibson and Lady Minnie Gibson Thence by Decent.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 235
Edward William Cooke, RA (British, 1811-1880)The upper floor of Rembrandt's father's mill, Koukerksigned and dated 'E.W. Cooke/1838' and inscribed 'JAN BRANDT/R' (to the wall centre right) oil on panel 50 x 61cm (19 11/16 x 24in).Footnotes:Provenance: Purchased by Sir Thomas Baring, 1839, and by descent to The Countess of Northbrook, C.B.E., sold for the benefit of the Red Cross and St John Fund, Christie's, London, 20 December 1940, part lot 46, as A Corner of the Mill (2½ gns to Gibbon).H. S. Gibbon, Christie's, London, 30 October 1942, part lot 89, as A Corner ofthe Mill (3 gns to Beck).Anon. sale, Bonham's, London, 22 January 2014, lot 72.Exhibited: London, British Institute, 1839, no. 131.Literature: John Munday, E.W.Cooke A Man of his Time, Woodbridge, 1996, Appendix 2: 'Catalogue of Paintings in Oils', 38/18, p.329; Appendix 4: 'The Itinerary 1824-1879: '1838 Oct. 8 Hazersworde: Rembrandt's mill'', p.366Five paintings of 'Rembrandt's father's mill' are mentioned in the Catalogue of Paintings in Oils, three of them being roughly the same size as the present lot including one that depicts the lower chamber of the mill. The other two depict the upper floor and measure 20.5 x 20.5cm and 25 x 32cm respectively. Four of the paintings were exhibited at the British Institute in 1839.One of the versions measuring 20.5 x 20.5cm is illustrated in John Munday, E.W.Cooke A Man of his Time, Woodbridge, 1996, p.249, 38/4, illus. pl.163and was sold at Christie's, 25 January 1974 for £550 (lot 116); and Sotheby's A Great British Collection: The pictures collected by Sir David and Lady Scott, 19 November 2008 for £31,250 (lot 18).The version measuring 25 x 32cm was sold at Sotheby's, Chester, 6 November 1986 for £528 (lot 3192). Both of these versions are cropped compositionally as well as being of smaller dimensions than the present lot.For an external view of Rembrandt's father's mill see 'The Mill on the Old Rhine near Leiden', J. Munday, E.W.Cooke..., p.107, 38/19, illus. pl. 53.The present lot is rare example of a Dutch interior from Cooke, him being mostly pre-occupied with maritime subjects. The fact that this mill was in Rembrandt's family was obviously of great interest to the artist. This is demonstrated by his returning to the subject repeatedly and also a note detailing the link of the mill to the van Rhijn family via Rembrandt's father which Cooke wrote and attached to the back of one of the pictures he exhibited at the British Institute. It was acquired by William Wells who kept an open house for artists in Redleaf, where Cooke stayed frequently.The well worn steps, the objects hanging on the walls, the old hook holding up the sack for the flour to find at the bottom of the wooden ramp, well polished by use, all of these details combine to create a vivid portrait of a place of work. The building seems to have seen better days but still functions and does so with great character, all of which is captured by Cooke who relishes these details as well as the overall composition which draws the eye through the room, past the shutter hanging off its hinge and out to the river beyond. The rich and varied ochres, siennas and umbers that form the palette are a tribute to Rembrandt whilst maintaining the unmistakable economy and strong draughtsmanship of Cooke.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 502
Riccardo Meacci (Italian, 1856-1938)A triptych of three classical scenesThe procession of a victorious King; Figures worshipping before a shrine; and A joyful court with figures in a gardenthe centre sheet signed 'R. Meacci' (lower left); the others signed with initials (lower left) pencil and watercolour heightened with white 33 x 19cm (13 x 7 1/2in) arched; and smallerhoused in a single frame.Footnotes:ProvenanceAnon. sale, Christie's, London, 21 May 1998, lot 136.Private collection, UK.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 394
BELL (JOHN)Bell's British Theatre. Consisting the Most Esteemed English Plays, 34 vol. (complete), half-titles, engraved frontispieces and additional pictorial titles, contemporary tree calf gilt, flat spines with red and black morocco gilt lettering and numbering labels, rubbed, 12mo, George Cawthorn, 1797--MACREADY (WILLIAM CHARLES) Macready's Reminiscences, and Selections from his Diaries and Letters. Edited by Sir Frederick Pollock, 4 vol., EXTRA-ILLUSTRATED with numerous additional plates and portraits, autograph letters by Kemble, Dean, Macready himself and others, a few playbills and tickets (one for Drury Lane, signed by Macready) and others, with specially printed additional titles ('Special Copy'), andbookplates of William Crampton, and Charles B. Cochran, early red morocco gilt by Riviere, one headband chipped, slightly rubbed, 8vo, Macmillan, 1875--AESOP. Select Fables, edited by R. Dodsley, engraved frontispiece, woodcut illustrations, ownership inscription of Stephen Dewhurst on title, bookplate of William Sorley, contemporary calf, rebacked, 8vo, William Osborne, [c.1788]; and approximately 25 others, miscellaneous, including a bound volume of approximately 20 nineteenth century pamphlets relating to Robert Haldane and theology (quantity)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
Lot 227
Frederic, Lord Leighton, PRA (British, 1830-1896)Portrait of Henry Evans Gordonoil on canvas 61 x 51cm (24 x 20in).Footnotes:Provenance: Mrs Henry Evans Gordon.Anon. sale, Sotheby's, London, 7 January 1970, lot 8.Anon. sale, Christie's, London, 2 November 1990, lot 288.Exhibited: London, Grosvenor Gallery, Summer Exhibition, 1877, no. 31.London, Royal Academy, Exhibition of Works by the Late Lord Leighton of Stretton, Winter 1897, no. 42.Literature: Times, 1 May 1877, p. 10.E. Rhys, Sir Frederic Leighton, Bart., PRA, London, 1895, p. 69.E. Rhys, Frederic, Lord Leighton, London, 1898, pp. 28-9, 87.E. Staley, Lord Leighton of Stretton, PRA, London, 1906, p. 239.Mrs Russell Barrington, The Life, Letters and Work of Frederic Leighton, London, 1906, vol. 2, p. 387.L. and R. Ormond, Lord Leighton, New Haven and London, 1975, pp. 121, 163, no. 242.For further information on this lot please visit Bonhams.com
Lot 230
Sir Lawrence Alma-Tadema, OM, RA (British, 1836-1912)Clotilde at the Tomb of her Grandchildrensigned and dated 'L. Alma Tadema 1858' (lower left) oil on canvas 81 x 111cm (31 7/8 x 43 11/16in).Footnotes:Provenance: Jules Verspreeuwen, Antwerp by 1882 and thence to Edward Verspreeuwen, Antwerp by 1913.Private collection.Anon. sale, Sotheby's, London, 14 July 2016, lot 14.Exhibited: Antwerp, Salon Exposition d'Anvers, August-September 1858, priced 400 francs.London, Grosvenor Gallery, The Works of L. Alma-Tadema, 1882, no.7.Liverpool, Walker Art Gallery, 1911, no.1087.Royal Academy, Winter Exhibition of works by Deceased Members, 1913, no.122.Literature: E. W. Gosse, 'Lawrence Alma Tadema, R.A.', in Modern Artists: A Series of Illustrated Biographies, ed. F. G. Dumas, London, 1883, p.79 and 83.C. Vosmaer, Alma-Tadema Catalogue Raisonne, unpublished manuscript, c.1885, no.10.G.M. Ebers, Lorenz Alma-Tadema, his Life and Works, New York, 1886, pp.6-7.M.H. Spielman, 'Laurence Alma-Tadema', Magazine of Art XXL, 1896-7, p.45.H. Zimmern, Sir Lawrence Alma-Tadema, London, 1902, pp.19-20.R. Dircks, 'The Later Works of Sir Lawrence Alma-Tadema', Art Journal, 1910, p.25.V.G. Swanson, Sir Lawrence Alma-Tadema, 1977, p.11.V.G. Swanson, The Biography and Catalogue Raisonné of the Paintings of Sir Lawrence Alma-Tadema, Devizes, 1990, pp.124-5, no.35.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 234
John Roddam Spencer Stanhope (British, 1829-1908)The Vision of Ezekiel: The Valley of Dry Bonessigned and inscribed 'R. Spencer Stanhope/Florence' (on the backboard) pencil, watercolour and bodycolour with gum arabic, on two joined sheets of paper 152.4 x 100.8cm (60 x 39 11/16in).Footnotes:Provenance: Joseph Dixon, Christie's, London, 18 March 1911, lot 29 (18 gns to Louis).Mrs A.M.W. Stirling.The De Morgan Foundation at Old Battersea House, London.Their sale, Christie's, London, 28 November 2001, lot 9.Exhibited: London, Royal Academy, 1902, no. 939.Birmingham, Royal Birmingham Society of Artists, Special Collection ofWorks by the late R. Spencer Stanhope, Autumn exhibition, 1909, no. 51, lentby Joseph Dixon.Bunkamura Museum of Art; Shizuoka Prefectural Museum of Art; DaimatuMuseum, Kobe, and Tsukuba Museum of Art, Ibaraki, The VictorianImagination, 1998, no. 27.Provo, Utah, Brigham Young University Museum of Art, Masterworks ofVictorian art from the collection of John H. Schaeffer, 15 February–16 August 2008.Springville, Utah, Springville Museum of Art, The John H. Schaeffer collection of Victorian and European Art, 26 August 2009-28 February 2010.Sydney, Art Gallery of New South Wales, Victorian Visions: Nineteenth-Century art from the John Schaeffer Collection, 20 May-29 August, no. 31.Literature: Morning Post, no. 42683, 'A Painter of Dreams', 11 March 1909, p.3.A. M. W. Stirling, A guide to Old Battersea House and the De MorganCollection, London, 1955, p. 30, no. 91.De Morgan Foundation at Old Battersea House, London, 1983, p. 29, no. 47.(illustrated inside cover).F. Fiumara, 'A painter hidden: John Roddam Spencer Stanhope: his life, hiswork, his friends: the British period, 1829-1880', PhD, University of Messina,1993, p. 373.The Vision of Ezekiel was one of two works that Stanhope exhibited at the Royal Academy in 1902, having not exhibited there for three decades. Ezekiel was one of the four so-called 'greater prophets' of the Old Testament, the others being Isaiah, Jeremiah and Daniel. He was among the Hebrews exiled in 579 BC to Babylon, where, beside the river Kebar, he experienced a number of apocalyptic visions. In Chapter 37 of his book he describes how, 'the hand of the Lord' being upon him, he is set down in a valley full of dry bones. He is commanded by God to prophesy and the bones come to life, assuming flesh and sinews until they represent 'an exceeding great army'. The passage was often seen as an Old Testament prefiguration of the general resurrection of the dead at the Last Judgement.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 454
René Rozet (French, 1859-1939)Female bustMarble, signed R. Rozet to verso, on waisted socle and associated marble column, 85 cm high, the bust and socle (2)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 30
Two medals to Private R. Legard, Duke of Wellington's Regiment: Korea 1950-53, first type obverse (22527131 PTE. R. LEGARD. D.W.R.); United Nations Korea, unnamed as issued, later display mounted, alteration to service number on Korea Medal, very fine. [2] 1st Battalion the Duke of Wellington's Regiment served in Korea, earning the battle honour 'The Hook 1953' for their hard won victory at the Third Battle of the Hook.
Lot 176
An Austrian model 1861 cavalry officer's sword, slightly curved blade 32.5 in., asymmetrical cross-section with fuller on one side only, spine stamped 'R'; pierced iron guard with geometric design comprising circular and navette shaped elements, plan back strap with ears and dove's head pommel, wire bound shagreen grip; steel scabbard of trooper's type.
Lot 125
A Victorian black papier mâché tray, stamped 'R Gray & Son', painted with gilt chinoiserie decoration,80 x 60cmCondition report: Chips to edges, scuffing to edges at back, crack to the top edge, chips and small areas of loss, the surface cracked, crack also to the right hand side at apex of arabesque points, gild doesn't look to have been altered or abraded although small areas of bloom visible around gilt in localised areas
Lot 301
A group of six glass rummers,c.1810, each with a straight-sided bowl engraved with a ship, the reverse engraved ‘R M Bull’, each raised on a lemon-squeezer foot, 12.8cm high (6)Provenance: The Peter and Pat Crofts Collection.Condition report: Chips and nibbles to the feet. One with a larger chip to the foot.
Lot 554
John Harris, after Pieter van Gunst'The Front of Blenheim House, drawn Orthographically'engraving 48 x 64cm;T Miller, after J James (architect)'Elevation of the Flank of (the house of) Sir Gregory Page, Bart'engraving24.5 x 60cm;After Colen Campbell'The elevation of Stainborough in Yorkshire, the seat of the Right Hon. Earl of Strafford'engraving, from Vitruvius Britannicus24.5 x 49cm approximately;R Parr, after William Halfpenny'A Plan and Elevation of the Royal Fireworks...1749'engraving43 x 58cm;After Joseph Nash'The Great Exhibition: The Inauguration'chromolithographapproximately 50 x 60cm (5)
Lot 787
A base metal, probably iron, tobacco box,with a hinged cover and inscription 'Virginia good within I have, Britain not free for every...Only my master I supply, let begging fellows go and buy, J R 1821',8.5cm long6cm wideProvenance: The Peter and Pat Crofts Collection.Condition report: Surface corrosion and wear.
Lot 316
A group of three Victorian shipping glasses, mid-19th century, comprising:a pair, each engraved with a ship at full sail, titled ‘John of Goole’, the reverse with a cartouche, ‘R & J Lister 1862’, raised on a plain and a conical foot, 15cm high, andanother example, the flared bowl engraved with a steamship, titled in diamond point ‘Achilles’, the reverse engraved with a thistle below ‘A Graham 1840’, raised on a baluster stem and conical foot, 14cm high (3) Provenance: The Peter and Pat Crofts Collection.Condition report: Overall good order.
Lot 113
A pair of ormolu-mounted brèche rouge marble garniture urns, 1930s, of baluster form, with banded ormolu mounts, each with a banded frieze depicting children and birds, the sides mounted with satyr heads and rosettes joined by floral swags, the tops surmounted with acanthus leaves and pine cone finials, 21cm wide16cm deep53cm high (2)Condition report: One with loss to the rim where the neck meets the base (see pic). The bases with chips. Some minor chips occurring throughout. The ormolu mounts with patination.
Lot 591
Hans Richard von Volkmann (German, 1860-1927)A wooded landscape in autumnsigned and dated 'H R v. Volkmann 1917' l.l., oil on canvas34 x 44cmCondition report: The painting is executed in oil on canvas which has been laid to board. The canvas has possibly been reused with another composition evident underneath – see label on reverse. Overpaint is present covering some of the drying cracks. A thin varnish layer is present which is matte and even.
Lot 569
Follower of Franz Richard UnterbergerThe Bay of Naplesbears signature 'F R Unterberger' and date 1871 l.l., oil on canvas80 x 100cmCondition report: Oil on canvas that has been relined. The varnish has yellowed, unevenly, and there is surface dirt. Old, faint craquelure throughout. A flake of paint loss close to the edge, lower centre. Some surface scratches, including two in lower left corner, one upper left, one upper right (with a tiny flake of paint loss), and a couple to the sea centre right, and at lower edge. Seen under UV light, the bloom of the varnish makes it difficult to see the retouching, however the craquelure in the sea and distant mountains appears infilled. There is a line of retouching below the distant town, and another faint line of retouching above it. One of the small clouds also appears overpainted. A very tiny indent in the sky. Some old craquelure in the centre of the sky appears restored.
Lot 314
A George III glass mug, c.1800, of swollen form with a reeded and looped handle, engraved with a cypher enclosed by two engraved panels with Masonic emblems, 11cm high, together with another example, of tapering form, with an applied scroll handle, engraved ‘R & J Elsum 1853’, 9.5cm high (2)Provenance: The Peter and Pat Crofts Collection.Condition report: Surface wear and minor frits.
Lot 644
A pair of George III silver-mounted coconut tureens and covers, by Peter and Ann Bateman, London 1798,each cover with a silver pineapple finial over birds of geometric and stiff-leaf carving, the bodies carved with panels of ribbon-tied musical trophies, a basket of fruit and flowers on a pedestal and a tree with a crossed fork and rake below, below draped swags over a cross-hatched ground, the base with a stylised sunburst, mounted with a silver rim and an oval plaque engraved with a sea monster, on shell-capped, carved supports, each cup bears a paper label pasted to the inside cover which reads 'Gift of Lieut R Poaby of the Royal Navy at Calcutta, August 2nd 1786. The Cocoa Nutts of Penang. To Captain & Mrs Page of H/M/ ship Hubert on their wedding. Mounted in London 1798',12cm wide19cm high (4)Provenance: The Peter and Pat Crofts Collection.Condition report: One cover broken.the top section detached, together with an old, possibly silver, repair to a split in the lower cover.The base of the same cup with a 2.5cm split running down from the rim.Second cup with old patched repairs to cover, damage does not seem to be visible externally.Old patch inside to terminal of one leg.Both silver crests rubbed.
Lot 409
R... Fortin (18th century)Portrait of a young girl with golden hair in a blue dress and straw hat bedecked with ribbonssigned and dated 'Fortin/1793' u.l., on ivory, oval6.6 x 5.5cm, with plaited hair versoLiterature: Miniatures Dictionary and Guide, Daphne Foskett, 1987, Antique Collectors Club, p.349.Condition report: There are a series of brown foxing spots running along the lower rim of the watercolour and some fadingf and discolouration.
Lot 355
WWI medals awarded to 45260 PTE C.V. Ingram The Queen S.R.m and 252239 PTE R. Ray, 10th CAN INF, death plaque/penny to 'Reginald Ray', 1914 Queen Mary tin with greetings card and bullet, MBE Reproduction medal in box by Spink & Son Ltd, silver enamel 'For God and the Empire' brooch, MOF sweetheart brooch, enamel air raid welfare Lindsey CC, Canada 209 Swift Current Overseas Battalion badge, 1873 in Memoriam token, military cap badges, etc.
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