A Medieval Nottingham carved alabaster relief panel depicting the EntombmentProbably second half 15th centuryThe panel carved in relief depicting the recumbent Christ being gently lowered into the tomb, a figure wearing a cap, possibly Nicodemus or Joseph of Arimathea, holding his feet, the cloaked figure of the Virgin with her head downturned in sorrow and hands clasped supported by her female companions, one probably Mary of Clopas or Mary Salome, John the Beloved to the upper left corner, Mary Magdalene kneeling at the foot of the tomb, her hands together in prayer and an urn of ointment before her, later mounted within a moulded wooden frame, the panel with traces of refreshed polychrome, 45cm high, 15cm wide, 6cm deepFootnotes:ProvenanceWith the present vendor's great grandparents (b.1875 and 1879), Louviers, Normandy. Thence by family descent.Abbé R. Delamare has written about Nottingham Alabaster Panels in Louviers. He states that following the persecutions of Henry VIII, the church collected the precious 'Alabaster bas-reliefs of English origin which represent the five main scenes of the passion' and at one point adorned the Saint Martin altar.Cheetham examines a number of surviving examples of 'Entombment' panels. The most similar to the present lot include a kneeling figure (Mary Magdalene) to the bottom corner with a jar of ointment. The example gifted by W.L Hilburgh, 1946, formerly in the collection of Robert Hillingford, is missing some of the heads of the figures to the top edge but the kneeling figure of Mary Magdalene is intact and wiping the hand of Christ with her long hair. Interestingly there are at least eight recorded English alabaster panels of the subject which show Christ's body being wrapped in a linen cloth, including two examples in the Cluny Museum, Paris and the Statens Historiska Museum Stockholm.Related LiteratureF.W. Cheetham, English Medieval Alabasters, A Catalogue of the Collection in the Victoria and Albert Museum, Boydell Press, 2005.F.W. Cheetham Alabaster Images of Medieval England, Woodbridge, 2003.F.W. Cheetham The Alabaster Men: Sacred images of Medieval England Daniel Katz, 2001.F.W. Cheetham, Alabaster Images of Medieval England, Gli Ori, 2001.F.W. Cheetham, English Medieval Alabasters, Oxford, 1984.For further information on this lot please visit Bonhams.com
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A New Zealand 19th century indigenous specimen wood parquetry occasional table by Anton Seuffert (1815-1887)Circa 1870The circular top inlaid with overlapping and concentric geometric stars within a lozenge basket weave inlaid surround, with a reverse ogee moulded edge, on a ring turned baluster column, the circular base similarly inlaid with geometric stars and terminating in three scrolled feet, the various timbers probably including: kauri, puriri rim, tawa, burr totara and kihekohe, with a printed paper label which reads: 'A. SEUFERT, CABINET MAKER, AUCKLAND, NEW ZEALAND', diameter of the top: 58.5cm; 75cm high.Footnotes:The present lot is a fine example of the output of Anton Seuffert (1815-1887), who was most celebrated for producing specimen wood parquetry tables of this type. Despite having been born in Bohemia, Seuffert re-located to Auckland, New Zealand in 1859, where he established himself as one of the pre-eminent Australasian cabinet makers of the 19th century.In New Zealand, Seuffert also became famous for his ingenious incorporation of indigenous timbers and this can be seen to full effect on the offered table. Perhaps the most renowned piece of furniture he executed is a marquetry secretaire, now in the Royal Collection, which is comprised of 30,000 native woods. This secretaire was first exhibited at the 1862 South Kensington International Exhibition, see J. Marsden and R. Thompson, 'A New Zealand Masterpiece: A Marquetry Secretaire by Anton Seuffert', Furniture History, Vol. XLII, 2006, p.183.'Card tables' with distinctive inlaid patterns, such as the present model, are the most instantly recognisable and representative works made by the Seuffert workshop. The original purpose was evidently for visitors to leave their business or postal cards on when entering or leaving their respective owner's property. Various exact replicas do exist whilst a table with a similarly designed parquetry top to that of the offered lot appears illustrated in B. Peet, The Seuffert Legacy, 2008, Auckland, p. 114.Closely related Seuffert tables which have sold at auction include: one sold Bonhams, London, 19 March 2008, Fine English Furniture, lot 174; a comparable with interesting provenance sold Christie's, London, 19 March 2020, Chieveley House, Berkshire and Five Private Collections, lot 232; whilst a further example with an almost identical maker's label to that on the present version sold Bonhams, London, 4 August 2021, Home and Interiors, lot 141.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 For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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
![Children's.- [Johnson (Richard)] A Fortnight's Tour through Different Parts of the Country, by Master Tommy Newton; Including](https://cdn.globalauctionplatform.com/e418d0d3-aaa9-49f0-998d-b19b0109db6e/f2f7842a-215a-4b32-aaab-b19b010e1b7c/468x382.jpg)
Children's.- [Johnson (Richard)] A Fortnight's Tour through Different Parts of the Country, by Master Tommy Newton; Including Original Anecdotes of Several Little Misses and Masters, woodcut frontispiece and 12 illustrations (all but one with partial hand-colouring), 3pp. advertisements at end, ink ownership inscription "Sarah ?Glaisyer 1799" to pastedown, some light soiling, original paper-backed floral boards, worn, spine defective with loss but covers just holding, [Osborne I, 269], for F. Power, 1790; and 4 others, children's, v.s. (5)
Cook (Eliza) Melaia: and Other Poems, first edition, colour frontispiece and title vignette, both with some light foxing, upper hinge cracked, original blind-stamped cloth decorated in gilt, spine gilt, g.e., slightly soiled, spine toned, small split to upper joint, modern calf chemise and slip-case, spine sunned, 8vo, R. J. Wood, 1838. *** A handsomely preserved copy of this rare first edition, of which we can trace one appearance at auction, sold by Sotheby's in 1993. Eliza Cook (1818-1889) was a household name in Victorian England, often appearing in 19th century anthologies, with this being her second poetry collection. Cook was also a devoted Chartist and proponent of political freedom for women, known for her masculine dress-sense and hairstyle.
Whittington Press.- Matrix: A Review for Printers & Bibliophiles, vol.4-7 only, limited editions, plates, illustrations and specimens, some folding, some tipped in, a few colour, original limp boards with dust-jackets, short tear to spine head of vol.4, a few very light bumps to spine ends and edges, Risbury, Whittington Press, 1984-87 § Butcher (David) The Whittington Press: A Bibliography 1971-1981, with an introduction and notes by John Randle, one of 320 copies, printed in brown and black, plates, illustrations and specimens, some folding, a few colour, original red cloth-backed boards, gilt, Manor Farm, Whittington Press, 1982 § Weygand (James Lamar) The Weygand Tightwad Beater: Its Design & Construction, one of 100 copies, T.L.s. from the author, folding plate, illustrations, original morocco-backed cloth, Indiana Kid, 1970; and c.45 others, private press, including Gregynog Press with a collection of autograph and typed letters signed by Dora Hebert Jones, The Philobiblon Club with a Bird & Bull Press envelope and letter from Henry Morris, and An Hymne of Heavenly Beavtie with a T.L.s. from Cyril Sweett, v.s. (c.50)
Bibliography.- Carter (John) & Percy H. Muir. Printing and the Mind of Man, first edition, illustrations, original cloth, fractional bumping to corners and extremities, dust-jacket, slight creasing to edges, 1967 § William Morris in Private Press and Limited Editions, decorative title, illustrations, original cloth-backed boards, original slipcase, a little rubbed, Phoenix, Oryx Press, 1983 § Tooley (R. V.) English Books with Coloured Plates, original cloth, slight bumping to spine extremities, price-clipped dust-jacket, slight creasing to edges, 1987; and others similar, v.s. (c.50)
Brisson (Pierre Raymond) An Historical Narrative of the Shipwreck and Captivity of Mr De Brisson ... with a description of the Deserts of Africa, from Senegal to Morocco, one or two corrections inserted by hand, B4 with large tear into text and no loss, previous owner's ink initials to front pastedown, contemporary calf, a little rubbed, bumping to corners and extremities, 8vo, Perth, by R. Morison, Junior, for R. Morison and Son, 1789.
British Musem.- General Contents of the British Museum (The): With Remarks. Serving as a Directory in Viewing that Noble Cabinet, second edition, half-title, light foxing, contemporary calf, very slight splitting to upper joint, rubbed, 8vo, R. and J. Dodsley, 1762. *** A scarce work, issued first in 1761, only two years after the Museum was first opened to the public. Dodsley draws attention to the appallingly cumbersome process of obtaining an admission ticket, which was to lead, by 1782, to a four-month delay in dealing with applications
Knights.- Histoire des Ordres Militaires ou des Chevaliers, des Milices Séculières & Régulières, 4 vol., frontispiece and 186 engraved plates, vol.4 half title working loose, vol.1 short tear to front endpapers, otherwise text and plates remarkably clean, attractive contemporary mottled calf, triple gilt fillet, spines gilt in compartments with floral motif, red morocco spine labels, vol.2 upper joint cracked but holding firm, rubbing to joints and extremities, some surface wear, spine ends bumped with slight loss, 8vo, Amsterdam, Pierre Brunel, 1721.
After John Boydell (British 1719-1804), titled "To the R : Hon : John Earl of Sandwich First Lord of the Admiralty...Stern Views of his Majesty's ships Monarque of 74 guns, Fogeaux and Trident.......14th October 1747", published 12th February 1751, engraving coloured after, in a glazed gilt frame. (50cmx58cm)
Ten British Quad film posters, includes: Anger Management Advance; Attack the Block; Chocolat; Vampire Hunter 3D Advance; Cedar Rapids; Kick Ass Advance; The Day After Tomorrow Advance; Assault on Precinct 13 (2005); Wilt; Glimmer Man; rolled, 30 x 40 inches. (10) Condition Report: overall rippling. Attack the Block tear to r.h. edge; The Day After Tomorrow- edge tears to lower edge, small tears to top and r,h edges; Wilt small loss to top.
Fifteen British Quad film posters, includes: Sweet Dreams; Tarzan the Ape Man; Young Guns; Friends with Benefits; Because I Said So; Children of Men; The Age of Adeline; Now You See Me; Diabolique; The Hardcore Life; The Young Americans; Sex Tape; Admission Advance; Fast; The Paper; rolled, 30 x 40 inches. (15) Condition Report: Some rippling overall, Now You See Me small tear to r,h. edge.
Miscellaneous Wooden and Metalwares, including a Victorian fitted satinwood workbox, similar walnut box, stencilled military pine crate "Lt F. W. Fry R. E.", soldiers jack knife, two acme whistles, military badges, folding mahogany wall bracket, Arts & Crafts copper fire hood, wright iron hall lantern, miners helmets and related pony shoes, overpainted prints and similar portraits, heraldry scroll, large tin deed box and a composite Black Forest style pheasant (qty)
A Travelling Games Board, Stamped R. Whitty Tithebarn St Liverpool with chess set and back gammon piecesBoard Circa 1900, slightly warped, one side scuffs, scratches and minor dents, the other side with heavy scratches and gouges, hinge function operating normally, inlays free from any lifting bubbling, etc Chess set un-weighted, complete, one black knight with base un-glued, king pieces 9cm high, free from any major damage.Draughts pieces - minor scuffs and chips, one or two non detramental age related splits46cm by 27cm closed
Record label promotional black and white photographs of bands and musicians, from Island, EMI, Chrysalis, A&M, Epic, and more, notable artists include: Fairport Convention, Jethro Tull, Jet, ZZ Top, Jamiroquai, Echo & The Bunnymen, Bob Dylan, Bob Geldof, Kylie Minogue, Billy Idol, R. Kelly, BB King, Nils Lofgren, and more, stamp, handwritten, or paper notation on the reverse stating the band or individual. (Approx. 100) Provenance: From the archive of the Shields Gazette.
Henry Bone R.A. (1755-1834)Sir Walter Raleigh, wearing black cut silk doublet with a high lace collar and cuffs, a gold braid belt and sword, his right hand resting on a globe. Enamel on copper, signed and dated on the obverse, HBone 1808, signed, dated and inscribed in full on the counter-enamel, Sir Walter Raleigh/ London Novr 1808/ Painted by Henry Bone ARA/ Enamel painter to HRH the/ Prince of Wales after the/ Original by C Jansen [...]/ [...] Possession of [Rev] J. Sanford, gilt-wood frame. Rectangular, 175mm (6 7/8in) highProvenance: The Collection of Lady Lanesborough, previously at Swithland Hall, LeicestershireLyon & Turnbull, 14 January 2015, lot 23;The Twinight CollectionFootnotes:Sir Walter Raleigh was one of the most famous explorers of Elizabeth I's reign. His courage and good looks made him a favourite of the Queen's, and she rewarded him handsomely. Raleigh was also a scholar and a poet, but he is usually remembered for introducing the essential potato, and tobacco. However, his reckless nature eventually made him unpopular at court. He managed to displease both the Queen and her successor James I, and so found himself a prisoner of the Tower of London – no less than three times. As a gentleman, he was deprived of his liberty, but not his comforts: his family could visit, he grew exotic plants and started his book 'The Historie of the World'. However, on his release, Raleigh angered the King once again. He was charged with treason and executed outside the Palace of Westminster in 1618.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
Sophie Liénard (French, active 1842-1845)Queen Victoria (1819-1901), Queen of Great Britain and Ireland (1837-1901), standing in the Royal Box at the Drury Lane Theatre, wearing white dress, three-quarter-length sleeves trimmed with two tiers of white lace, white rosette to her corsage set with a diamond pendant jewel, blue sash of the Order of the Garter, black lace shawl, diamond pendent earrings and diamond tiara, the ruched trim of her white gloves decorated with black rosettes, a nosegay of pink roses held in a gold bouquet-holder (a gift from the Marquess of Coyngham) in her left hand, her right hand resting on the ermine stole draped over the ledge of her box, on which sits a programme held open by an ivory fan, the gilt-wood and red upholstered chair behind the Queen bearing her monogram VR. Painted on porcelain, signed on the reverse and dated, Queen Victoria/ copied by Sophie Lienard, of Paris,/ from the original by E. T. Parris/ London._1838., gilt-mounted on a suedette slip impressed with a gilt-metal crown and monogram VR, gilt-wood frame . Rectangular, 179mm (7 1/16in) highProvenance:Bonhams London, 28 June 2012, lot 151;The Twinight CollectionFootnotes:As indicated by the inscription verso, the present lot derives from a portrait by Edmund Thomas Parris (British, 1793-1873). On her first state visit to the Drury Lane Theatre in November 1837, Parris made a preliminary sketch of the Queen from his seat in the orchestra. Understandably, this image of the young Queen was immensely popular and was reproduced by a number of artists. A version by the miniaturist Sarah Biffin was sold in these rooms, 19 November 2008, lot 167. Versions in oil exist in the Royal Collection and the Forbes Magazine Collection, New York. The portrait was also engraved by Charles Edward Wagstaff and published by Hodgson & Graves on 5 April 1838, giving it an even wider circulation. Perhaps due to the success of this portrait, later the same year, Parris was commissioned by Hodgson & Graves to portray the Queen's coronation. He received sittings from the Queen and all of the key figures who were scheduled to attend the ceremony. A print of this painting, also by Wagstaff was later published in 1842.The whereabouts of Parris' prototype are somewhat elusive. It has been suggested that the original work is possibly that which formerly belonged to Queen Mary, exhibited in Queen Mary's Art Treasures at the Victoria and Albert Museum in 1954 (R. Ormond, Early Victorian Portraits, vol.I: Text, London, p.480).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
Charles Richard Bone (British, 1809-circa 1880)A Gentleman, wearing white chemise, red sash, black coat and hat.. Enamel on copper, signed, dated and inscribed on the counter enamel,Holbein./the original by Holbein, in the / collection of Earl Spencer/ Althorp, Northamptonshire/ C R Bone. Feby./1841.,,later square ebonised and gilt-wood frame. . Circular, 95mmmm (3 3/4in) highProvenance: The Twinight CollectionThis 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
Henry Bone R.A. (1755-1834)George Granville Leveson-Gower, Marquess of Stafford (1758–1833), later 1st Duke of Sutherland, three-quarter profile to the left, wearing double-breasted brown coat, white waistcoat, stock and cravat, blue sash and breast star of the Order of the Garter. Enamel on copper, inscribed, signed and dated on the counter-enamel, George Granville-Leveson/ Gower, Marquess of Stafford/ &c &c &c Born Jany 9. 1758/ London/ Jan 1821/ Painted by Henry Bone RA/ Enamel painter to His/ Majesty, after the Original/ by Thomas Philips RA, gilded composition frame. Rectangular, 122mm (4 13/16in) highFootnotes:Provenance: The Twinight CollectionThe original by Thomas Phillips, dated 1805 is in the collection of The National Portrait Gallery, London (no. 1298), as is Bone's related drawing (NPG D17717) which is inscribed Marquis of Stafford after/Philips [sic]- 1820 Sepber. (R. Walker, Henry Bone's Pencil Drawings, Walpole Society, 1999, Vol. LXI, no. 493). A further enamel version by Bone signed and dated 1820 is in the collection of the Duke of Norfolk at Arundel Castle and was probably the miniature exhibited at the Royal Academy, 1821, no. 476. Sutherland was the eldest son of Granville Leveson-Gower, 1st Marquess of Stafford, by his second wife, Lady Louisa, daughter of Scroop Egerton, 1st Duke of Bridgwater. In 1785, he married Elizabeth Gordon, suo jure Countess of Sutherland (1765-1839) being the only child of the 18th Earl of Sutherland. The couple had two sons and two daughters. He was a member of the Privy Council and Knight of the Garter. He was created Duke of Sutherland on 28th January 1833 and died on 19th July that same year.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
Henry Bone R.A. (1755-1834)George IV (1762-1830), King of England (1820-1830), when Prince Regent, half length, wearing a Field Marshal's red uniform with gold lace and sash, with the badge of the Order of the Golden Fleece and stars of the Orders of the Garter, Holy Spirit, Black Eagle and St Andrew. Enamel on copper, inscribed on the counter-enamel, His Majesty George 4th and further signed and inscribed indistinctly, Painted by Henry Bone/ Enamel ..... His Majesty/ ....painting....the Duke of/ Thos. Lawrence R.A. ...., gilt-wood frame. Rectangular, 187mm (7 3/8in) highProvenance:Sotheby's London, 4 December 1985, lot 161;Sotheby's London, 11 November 2003, lot 69;The Twinight CollectionFootnotes:The present lot is based on Sir Thomas Lawrence's portrait, painted for Lord Charles Stuart and exhibited at the Royal Academy in 1815 (Garlick 325c). Following the exhibition Bone immediately began making copies in enamel, the earliest recorded being dated November 1815. The Prince Regent evidently found the portrait most pleasing, and in the ensuing years gave away numerous copies as presents, leading to it becoming one of the iconic images of him. The present work, dated 1826, was painted eleven years after Henry Bone's first work. For other examples in the Royal collection see R. Walker, Miniatures in the Collection of Her Majesty the Queen,, 1992, nos.757-765.George was the eldest son of George III and Queen Charlotte. In 1811, George became regent after his father was declared insane and king in 1820. Throughout his adult life, George was an important artistic patron, acquiring an impressive collection of art. In the last years of his life George spent his time in seclusion at Windsor Castle. His only child, Princess Charlotte having died in childbirth in 1817 meant the crown passed to George's brother who became William IV.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
Ferdinando Paul Louis Quaglia (Italian, 1780-1853)Ignazio Degotti (d. 1824), celebrated scenographer at the Paris Opéra, wearing fur-trimmed coat, over embroidered red jacket and open-necked white chemise, seated in a gilded Empire fauteuil carved with lion heads. on ivory, signed and dated Quaglia f. 1812, gilt-bronze frame.. Rectangular, 217mm (8 9/16in) highProvenance: Helft Bensimon Collection, Paris With Leo R. Schidlof, from whom acquired by Ernst Holzscheiter in Paris, 5 May 1936 (inv. nos. MD/0682 and 465) Treasured Portraits from the Collection of Ernst Holzscheiter, Christie's London, 4 July 2018, lot 23The Twinight CollectionExhibited: Paris, Salon, 1812, no 750 (as a portrait of M. Degotti) Arenenberg, Napoleonmuseum, Miniaturen und Karikaturen, 1954, no. 33 (as a portrait of Talma) Geneva, Musée d'art et d'histoire, Chefs-d'œuvre de la miniature et de la gouache, 1956, no. 367, illustrated (as a presumed portrait of François-Joseph Talma) Zurich, Haus am Zurich, 1957-58 and 1961 Vienna, Albertina, Meisterwerke der Europäischen Miniaturmalerei von 1750-1850, 1965, no. 311 illustrated fig. 19 (as Talma) London, Royal Academy and Victoria & Albert Museum, The Age of Neoclassicism, 1972, no. 976 (as a portrait of Talma)Literature:Gabet 1831, p. 575Jeannerat 1922, p. 543, illustrated p. 545 (as a portrait of DegottiIsler-Hungerbühler 1961, pp. 32-33, illustrated fig. 4Schidlof 1964, II, pp. 657 (described as 'a masterpiece' and 'important'), and 1026, illustrated IV, pl. 468, fig. 962 (the sitter identified as the actor François Joseph Talma)Cavalli-Björkman 1981, p. 141, illustrated (as a portrait of Talma)Parisio 2012, pp. 35-36, illustrated (as Ignazio Degotti)Footnotes:Ignazio Degotti was born in Turin and was a celebrated painter and scenographer at the Paris Opéra specialising in perspective architecture and landscapes. Under the stewardship of Ignazio Galliari, he learnt the art of perspective painting at the Royal Academy of painting and sculpture in Turin. In 1796, he was appointed dessinateur des decorations at the Paris Opéra for the staging of Gluck's Alceste and he held this position until 1817. The present miniature was painted during this period and suitably positions the scenographer in a suitably theatrical fur lined cape sitting on an ornate gilded Empire fauteuil carved with lion heads.Ferdinando Quaglia was one of the most important miniature painters of the early 19th century. He studied in Parma, Florence and Milan before travelling to Paris in 1805 where he worked in Napoleon's court. There, he worked closely with Jean-Baptiste Isabey and was heavily influence by him. His portraits, much like the present work, are characterised by their level of detail and execution, expression and freshness of colour. The present lot is sold with a DEFRA Ivory Act 2018 certificate for a pre-1918 item of outstandingly high artistic, cultural or historic value. Certificate Number: YE3IML30Date of Issue: 16 November 2023We are grateful to Emma Rutherford of the Limner Company for her further research into the present lot.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Henry Pierce Bone (British, 1779-1855)The poet, John Milton (1608-1674), wearing black doublet and cloak, white collar. Enamel on copper, signed and inscribed on the counter-enamel, Milton/ London Novr 1847/ Painted by Henry Pierce Bone/ Enamel Painter to Her Majesty HRH/ Prince Albert &c &c From a picture/ in the possession of Mrs Dymoke/ Wells, ormulo mount with engraved floral and foliate detail, gilt-metal easel frame with blue enamel border. Oval, 120mm (4 3/4in) highFootnotes:Provenance: The Twinight CollectionAnother version of the present lot, signed by Henry Pierce Bone and dated 1845, was sold Christie's London, 2 December 2015 as lot 454. The counter-enamel of this earlier version describes the original portrait as a 'mutilated picture in the Possession Mrs Dymoke / Wells'. This version was slightly smaller and housed in a carved gilt-wood frame.Milton is regarded as one of the greatest English poets. Forceful and idealistic, he served the Commonwealth as Latin Secretary but was arrested upon the restoration of Charles II. He was a Puritan, and an opponent of the Catholics and of the Stuarts. His life followed a tragic path - an unhappy marriage, the premature death of his second wife and his eventual blindness in 1652. Milton is best known for his epics, Paradise Lost (1667), Paradise Regained and Samson Agonistes (1671). He died in London on November 12, 1674.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
Henry Bone R.A. (1755-1834)Mark Anthony (c.83-30 B.C.), wearing fur-trimmed black doublet over white chemise and black beret. Enamel on copper, enamel, signed on obverse, HBone, signed, date and fully inscribed on the counter-enamel, Marc Antonio/ London Jany 1802/ Painted by Henry Bone A.R.A. Enamel Painter to H.R.H. the/ Prince of Wales for Tho. Hope Esq/ after the original Picture by/ Raffaella in his Collection, gilt-metal frame. Circular, 86mm (3 3/8in) highProvenance:Bonhams London, 24 June 2004, lot 25;The Twinight CollectionFootnotes:Another version of the present lot was enamelled by Bone in 1805 for Admiral Lord Radstock. This enamel was sold Christie's, 13 May 1826, lot 3. cf. R. Walker, Henry Bone's Pencil Drawings in the National Portrait Gallery, LXI Vol. of the Walpole Society, 1999, p.335, no.340.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
Henry Bone R.A. (1755-1834)Mrs. Robert Hawthorn, facing right in white dress, fringed yellow shawl and blue lined purple cloak, her fair hair dressed in ringlets, sky background. Enamel on copper, signed on the obverse HBone and inscribed, signed and dated on the counter-enamel (partly obscured by the frame) [...] Wells [...] [wi]fe of Rob:t Hawtho[rn] London Oct.r 1825. [pai]nted by Henry Bone [...] [...] painter to His Majest[y] painter to His R. H. [Du]ke of York &c&c [...] [afte]r a miniature [...] Robertson in [...], hinged gilt-metal mount with plaited hair reverse within hinged gilt-metal case with engine-turned covers. Oval, 83mm (3 1/4in) highProvenance: Christie's London, 22 November 1999, lot 31;The Twinight CollectionLiterature:D. Foskett, 'Many 19th Century Miniaturists are Still Undervalued', Antique Collecting, 1988, p. 31 ('It is the only enamel I know of which is after Robertson'), illustrated p. 29, fig. 5.Footnotes:Henry Bone's drawing for the present lot, inscribed Mrs. Hawthorn 1815 is in the collection of the National Portrait Gallery (NPG D17746).The present lot is an unusual example of Henry Bone creating a copy of a portrait miniature by one of his contemporaries. Andrew Robertson exhibited a miniature of R. Hawthorn at the Royal Academy in 1825.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
A Meissen part tea and coffee service, circa 1760Each piece moulded with rococo cartouches in low relief and painted with birds and fowl in gilt-edged landscape vignettes and scattered flowers, gilt dentil rims, the teacups with a flower spray inside, comprising:a coffee pot and covera teapot and associated covera milk jug (lacking cover)a sugar bowl and covera tea canister and coversix large teacups and saucersone small teacup and saucerfour coffee cups and saucers, the coffee pot and cover: 27.5cm high, crossed swords marks in underglaze-blue, impressed numerals, incised R to coffee pot (one saucer restuck, a coffee cup with a haircrack to handle, tea canister cover restuck, some minor rim chips, some wear to gilt rims) (31)Footnotes:Provenance:Anon. sale, Lempertz Cologne, 17 November 1964, lot 1165;Property from a Swiss Private Collection (acquired by the present owner in the above sale)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
Henry Bone R.A. (1755-1834)John Williams Hope (1757-1813), facing left in blue coat with gold buttons and black collar, white waistcoat and frilled cravat, powdered hair. Enamel on copper, signed on the obverse, HBone, inscribed, signed and dated in full on the counter-enamel, Williams Hope Esq. Painted by Henry Bone ARA. Enamel painter to His R.H. the Prince of Wales after a Miniature painted in 1795 by R Cosway R.A. April 1806., ormolu frame, fitted red leather travelling case. Oval, 88mm (3 7/16in) highProvenance:Maxime Hébert, Paris, no. 1391. Ernst Holzscheiter, Meilen; Sotheby's, London, 9 June 1986, lot 38 Christie's, 10 December 2002, lot 37Exhibited: Arenenberg, Napoleonmuseum, Miniaturen und Karikaturen, 1954, no. 5 (lent by Ernst Holzscheiter)Footnotes:A miniature of the sitter by Richard Cosway, signed and dated 1796, was sold from the di Portanova Collection, Christie's, New York, 20 October 2000, lot 37 and is illustrated in D. Foskett, Miniatures: Dictionary and Guide, Woodbridge, 1987, p. 360, pl. 104C.Henry Bone's drawing for the present lot, inscribed - Williams Hope Esqre after/ Cosway - for Sir F. Baring-/ Decr 1806 is illustrated in R. Walker, Henry Bone's Pencil Drawings, The Walpole Society, LX, 1999, p. 331, no.277; and is the collection of the National Portrait Gallery (NPG D17601). John Williams Hope was a banker and merchant, a partner in Hope & Co, a famous Dutch bank that spanned two and a half centuries. The son of William Williams, he assumed the name of Hope on his marriage to Ann, niece and heiress of Henry Hope. A banker in Amsterdam, he was one of the eight statesman of Holland 1794-1806.Sir Francis Baring, 1st Baronet (1740-1810) who commissioned the present lot was an English merchant banker.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
Henry Bone R.A. (1755-1834)Sir Thomas Smythe (c.1558-1625), wearing black robes, cap and fur stole, his right hand resting on a globe, a ring on his left hand, which holds a pair of gloves. enamel on copper, signed, dated and inscribed in full on the counter-enamel: Aetis suce, 33__/ Sir Thos: Smythe Born March 28th 1512/ Died Augst 12th 1577__/ 1526__ Sent to Queens Coll: Cambridge__/ 1535__ Brought in a new manner of pronouncing/ Greek, which prevailed in the University/ 153*__ Made University Pastor__/ 1539__ Took the Degree of Dr of Civil Law at P[...]/ 1542__ Regi[...] Professor of Civil Law at Cambridge/ Preceptor to Edward 6th/ Master of Requests to the Duke of Somerset./ Steward of the Stanaries. Provost of Eaton./ Dean of Carlisle./ 1548__ Secretary of State & Knighted by Edward 6/ 1551__ Ambassador to France/ Allowed a Pension of £100 per annum in Marqis Reign/ 1558__ Employed by Elizabeth in the Settlement of Religion/ S[...] Ambassador to France/ 1571__ Made Chancellor of the Garter/ 1572__ Secretary of State - author of several Works/ & a Man of great Learning &c. &c./ London Decr 1814 Painted by Henry Bone R.A./ Enamel painter in Ordinary to His Majesty & Enamel/ painter to HRH the Prince Regent after the Original/ by Holbein in the Possession of Sir Willm Smythe [...]/ of Hill Hall Essex, gilt-metal slip engraved, ENAMEL HBONE, gilt-wood frame. Rectangular, 175mm (6 7/8in) highProvenance: The Collection of Lady Lanesborough, previously at Swithland Hall, LeicestershireLyon and Turnbull, 14 January 2015, lot 22;The Twinight CollectionFootnotes:Sir Thomas Smythe was an English merchant and politician. He was the first Governor of the East India Trading Company and was elected a Member of Parliament in 1614 and 1622. The present lot derives from a painting by Hans Holbein once at Hill Hall, Essex. A number of variants of Holbein's portrait exist, including one by Thomas Hudson in the Collection of Queen's College, Cambridge University and one from the Collection at Spains Hall, Finchingfield that was sold in these rooms on 24 October 2018 (lot 44).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
Henry Pierce Bone (British, 1779-1855)John Feckenham visits Lady Jane Grey in the Tower of London. Enamel on copper, signed and dated on the obverse, HP. Bone 1833, signed, dated and inscribed in full on the counter-enamel, Lady Jane Grey London, Septr. 1833. Painted by Henry Pierce Bone. Enamel Painter to Her Majesty and their Royal Highnesses the Duchess of Kent & Princess Victoria. From the Original by J. Northcote R.A. in the Collection of Joseph Neeld Esq. M.P., gilded slip engraved, ENAMEL H. P. BONE, gilded composition frame with scroll, acanthus leaf and floral detail, the inner mount hinged and accompanied by a key for the lock, reverse of frame with handwritten label inscribed, No I/ Lady Jane Gray in prison/ after Northcote/ Enamel/ H. P. Bone/ 12 Percy Street/ Bedford Square. Rectangular, 315mm (12 3/8in) highProvenance: Christie's South Kensington, 21 September 2010, lot 156The Twinight CollectionFootnotes:The whereabouts of the original painting by James Northcote R.A. are unknown, but an engraving by William Bromley (1769-1842) inscribed 'Published as the Act directs by R. Bowyer, Historic Gallery, London, May 20, 1795', a plate to Bowyer's edition of David Hume's History of England, 1795 is in the Royal Collection no. RCIN 601004.This scene took place on 10 Feburary 1554. John Feckenham, confessor to Queen Mary visited Lady Jane Grey in the Tower of London in the hope of converting Jane to the Catholic faith. The debate that took place between the two individuals was documented and apparently signed in Jane's own hand. Within months of her death, printed material containing the famous debate were being produced and circulated to demonstrate Jane's strong religious beliefs in the Protestant faith.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
Henry Bone R.A. (1755-1834)The sculptor, Sir Francis Leggatt Chantrey, RA. (1782-1841), in black morning suit, blue waistcoat with gold fob-seal, standing three-quarter length beside the bust of William Hyde Wollaston, F.R.S. (1766-1828) on a plinth. Enamel on copper, signed, dated and inscribed on the counter-enamel, Francis Chantrey Sculptor. RA./ London/ 1831 I Painted in Enamel by Henry Bone RA. / Enamel painter to His Majesty &c &c / after the Original by ).Jackson RA., frosted gilt-metal mount, engraved Sir Francis Chantrey RA/ Enamel HBone, RA., ormolu mount and gilded composition frame, the reverse with gilt-metal plaque engraved, Sir Francis Chantry RA/ THE SCULPTOR/ BY HENRY BONE RA/ THE GIFT OF HIS WIDOW/ Lady Chantry/ to A C BURDETT COUTTS, and a handwritten monogrammed note, With/ affectionate love/ from M.A.C./ to her ever kind friend/ Miss Burdett Coutts/ June 29th 1869. Rectangular, 242mm (9 1/2in) highProvenance: Lady Mary Chantrey (1787-1875), given in 1869 to Angela Georgina Burdett-Coutts, 1st Baroness Burdett-Coutts (1814-1902);The Rt. Hon. William Burdett-Coutts, M.P. (c. 1851-1921);Christie's London, 11 May 1922, lot 412 (40 gns. to Guerin);Leo R. Schidlof (1886-1966) Collection, Vienna, in 1924;Christie's London, 4 March 1992, lot 95;Christie's London, 10 June 2010, lot 135;The Twinight Collection Exhibited:London, Royal Academy, 1831, no.455London, New Gallery, Exhibition of the Royal House of Guelph, 1891 Vienna, Albertina, Internationale Miniaturen-Ausstellung in der Albertina Wien, 1924, no. 102 (lent by Leo R. Schidlof)Geneva, Musee d'Art et d'Histoire, Chefs-d'oeuvre de la Miniature et de la Gouache, 1956, no. 50. Literature:H. Clouzot, Dictionnaire des miniaturistes sur email, Paris, 1924, p. 31.L.R. Schidlof, The Miniature in Europe, Graz, 1964, I, p. 93.R. Walker, Regency Portraits, London, 1985, I, p. 105.R. Walker, 'Henry Bone's Pencil Drawings', The Walpole Society, LXI, 1999, p. 318, no. 99Footnotes:Sir Francis Leggatt Chantrey RA was the leading portrait sculptor in Regency era Britain, producing busts and statues of many notable figures of the time. His most notable works include the statues of King George IV (Trafalgar Square); King George III (Guildhall), and George Washington (Massachusetts State House). He also executed four monuments to military heroes for St Paul's Cathedral, London.In 1807, William Hyde Wollaston patented his design of the camera lucida, the scientific instrument used by Sir Francis Chantrey to project an image onto a plate from which a tracing could be made. As well as a great inventor, Wollaston was regarded as the most skilful chemist and mineralogist of his day and was responsible for the discovery of palladium and rhodium. A plaster bust by Chantrey of Wollaston is in the Ashmolean Museum (inv. no. 664-152) and is incised Died 22 Dec 1828 / WILLIAM HYDE WOLLASTON / M.D. V.P.R.S. FC, and a marble bust made in 1829 for Mrs Seymour Bathurst and presented by Lord Bathurst to the Royal Institution in 1879, is incised WILLIAM HYDE WOLLASTON / CHANTREY SC / 1830. Henry Bone's preparatory drawing of the present enamel is illustrated in R. Walker, Regency Portraits, London, 1985, II, pl. 231. The drawing, inscribed, J. Jackson RA/ FL Chantrey - 183*/ for Mrs Chantrey 1831 and a sketch of Bone made by Chantrey, are in the collection of the National Portrait Gallery (nos. NPG D17472 and NPG 316a [13b], respectively). The present lot derives from a portrait by John Jackson R.A., a version of which is in the Tate Gallery, London (inv. no. 3672).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
Platinum single stone round cut transitional cut diamond ring, stamped Plat, diamond approx 1.55 caratCondition Report:Approx 3.8gm, size Q-R, diamond bright with good movement and colour approx H, eye clean with some inclusions under 10x loop approx SI2 clarity, a couple of claws slightly receding back but sound otherwise good condition
Early 20th century platinum three stone old cut diamond ring, with diamond set shoulders, total diamond weight approx 1.20 caratCondition Report:Approx 4.2gm, size R-S, diamonds bright, very good movement, colour approx G-H, SI1-SI2 clarity, eye clean with some inclusions, one stone with very very small chip - visible under 10x loop only - not detrimental, a couple of claws receding back but secure, well presented ring in otherwise good condition
Early 20th century gold opal and milgrain set old cut diamond cluster ring, with twist scroll shoulders, stamped 18ct, total diamond weight approx 0.55 caratCondition Report:Approx 3.95gm, size Q-R, diamonds bright, well matched, slight grey in colour, some inclusions, opal good colour red / blue / green, some rubbing to surface but vivid (not dulled), head = 14.8mm x 12mm (excluding scroll setting), well presented ring, shank good
A Roman green glass sprinkler flask, a Roman pale blue-green glass flask, and a Roman colourless glass beaker Circa 1st-4th Century A.D.9.5cm, 10.2cm and 7.8cm high (3)Footnotes:Provenance:Sprinkler: with Rafi Brown Gallery, 1980's.Superior Galleries, Sale of assets of the International Diamond Corporation, LA, June 1986.Anonymous sale; Goldberg Auctions, LA, 4 June 2017, lot 2069 (ex Goldberg Auctions, 11 April 2006).Anonymous sale; Clearmont Auctions, Brooklyn, 14 April 2018, lot 392.Flask with pinched projections: with Aalderink B.V., Amsterdam. Mr. T. Claus & Mrs. L.W. Claus-Lievense collection, Capelle aan den Ijssel, no. AR33, acquired from the above 5th November 1984.Indented beaker: The William R. Crawford collection, prior to 1972 (The beaker is included in export license No. 006402 issued to Mr. William R Crawford by the Republic of Cyprus, Department of Antiquities, dated 5 October 1972).with Sands of Time Ancient Art, Washington DC, 24 September 2016.All: The Nico F. Bijnsdorp Collection (NFB 336, 358 and 367), acquired from the above.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
A Greek bronze Corinthian helmet Circa 600-525 B.C.24.5cm highFootnotes:Provenance:with Archea Ancient Art, Amsterdam.Kuizenga collection, the Netherlands, acquired from the above 19th November 1995.The style of the above helmet belongs to the Myros type, from mainland Greece. Another similar helmet was found near the west stadium wall at Olympia in 1940, now in the Olympia Archaeological Museum, inv. no. B2192; see R. Hixenbaugh, Ancient Greek Helmets, New York, 2019, p. 384, no. C329, and for examples of the Myros type see ibid pp.379-388, figs. C291-C361.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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