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Lot 272
Rare vintage Microphones. A 1960s Sennheiser MD421-N cardioid dynamic microphone with the original case, and a 1950s Cadenza ribbon mic.The Sennheiser has been tested and is working, the foam insert inside the case has deteriorated, some of which has become stuck in the microphone grille. It is also lacking its stand.The Cadenza is in need of repair, the wires running from the microphone to the stand are damaged so unable to be fully tested. The original cables for both microphones are included.
Lot 12
The Vipers Skiffle Group, Cumberland Gap/Maggie May 7" single. 1st Pressing, 45-R.4289, 1957, in VG condition and with a rare handpainted sleeve.The Vipers were one of the first skiffle groups to emerge in the UK during the late fifties, becoming one of the most popular bands in the scene throughout the country, leading to a rivalry with Lonnie Donegan. Released in 1957, this particular version of Maggie May was banned by the BBC for its raunchy content, which the band tried their best to limit. This song was later covered by another skiffle group named The Quarrymen, which would later go on to become The Beatles, who were directly influenced by the Vipers, Paul McCartney named them as one of their favourite bands at the time.
Lot 47
An excellent collection of 12" vinyl albums. Approximately thirty vinyl albums, containing a number of 1st pressings, rare and classic albums, some of which include: The Beatles; Sgt. Pepper's Lonely Hearts Club Band (PMC 7027, original cut-outs included, 1967), The Beatles; Abbey Road (PCS 7088, 1969), Elvis Presley; Rock N Roll (CLP 1093, 1956), The Rolling Stones; England's Newest Hit Makers (LK 4605, 1964), The Rolling Stones; No.2 (LK 4661, 1965), The Rolling Stones; Let It Bleed (SKL 5025, 1969) Bob Dylan; The Times They Are A-Changin' (BPG 62251, 1964) Bob Dylan; Highway 61 Revisited (BPG 62572, 1965), Johnny Cash; At Folsom Prison (63308, 1968), Fats Domino; Carry On Rockin' (HA-P2041, 1956), along with other albums. The condition is generally G/VG/VG+Additional photographs have been added.
Lot 32
Irma Stern (South African, 1894-1966)Young Pondo Man signed and dated 'Irma Stern 1929' (upper left)oil on canvas 57 x 44cm (22 7/16 x 17 5/16in).(framed)Footnotes:ProvenanceA private collection, South Africa.Undoubtedly one of Irma Stern's most beautiful studies of an African figure, the present work most certainly represents a young Pondo man. In 1929, Stern spent a few weeks in Pondoland where she made several studies of Pondo men and women in both charcoal and oil paint. Reference to contemporary newspaper reports adds important details to this outline. The Zionist Record of 15 March 1929 reported that Stern had just left for 'a month's work' in Pondoland; and on 10 May 1929, the South African Jewish Chronicle recorded that:Irma Stern has just returned from a painting expedition to Pondoland. Motoring from Port St John, she came across a beautiful valley called Mgweyana.... To her intense delight she did find one house and a shop there. It was owned by a Jew. This Jewish storekeeper and his daughters, on being asked for accommodation, had a little discussion, then diffidently offered her the best they could – two rondavels.... Here she worked for some weeks and found rich material in the numerous natives who came every day to the Jew's store to buy and barter. Irma Stern clearly learned some ethnography during her time in Pondoland. In discussion with the artist after her return, Hora (pseudonym for Stern's friends Hilda Purwitsky and Roza van Gelderen) declared that Pondo people would wear white as a token of mourning; that both sexes had their face slit in childhood (to appease the ancestors); and that they wear their hair in long mournful tails. Stern's Pondo Woman in White (sold at Bonhams in 2008), an oil painting of the exact same size as the Young Pondo Man, and a possible pendant to it, most likely depicts mourning attire; and the white shawl over the young man's shoulder may also have this reference.The newspaper accounts of Stern's visit to Pondoland explain further details of the works she made there. Whereas on other excursions Stern would visit African homesteads and record domestic activities and ritual occasions, her residence at the Pondoland store allowed her to select subjects out of their home context as they were visiting the store to make purchases. The Young Pondo Man, the Pondo Woman in White and several head-and-shoulders charcoal drawings resemble honorific portraits in the organization of the figure in the format and the attention given to individual expression reflecting the pictorial encounter in the artist's rondavel studio. The rare instance of Stern providing the name of her sitter 'Yekiwe' (i.e. 'Belonging') in one of her drawings confirms that this approach allowed the artist to get unusually close to her sitters. Moreover, Stern's work at the Pondoland trading store is unusual in her oeuvre in that there survive a number of finished drawings that are very close to completed oil paintings. For example, the design of the 'Pondo Woman in White' is repeated in a large charcoal drawing Pondo Woman drawn in 1929; and the painting and matching drawing from 1929 that have been identified as a Swazi Youth almost certainly represent a languorous Pondo Youth made on this same excursion. Too little is known of Stern's painting practice to be certain but it is clear that in 1927 she created compositions in her Cape Town studio from drawings made during her trip to Swaziland (Composition, Repose, etc.); and the finished state of these Pondoland drawings would have allowed her to do the same with them. But the rarity of such repeated images thereafter permits the suggestion that Stern made both drawings and paintings in Pondoland – and thus started her practice of painting directly from the model: in fact, Hora recorded in the Ivri Onouchi article that 'she brought back with her a tremendous number of completed pictures' from this trip. The 'Young Pondo Man' and the languorous 'Pondo Youth' are also unusual in Stern's oeuvre in representing male African subjects. Except for her representation of Arab subjects in Zanzibar, the huge majority of Stern's African figure studies are of women – and young women at that. Part of the beauty of these paintings is undeniably the fine, almost feminine quality of their features and the patent sensitivity of their expression. There are other very fine male subjects from this trip and one can only guess why Stern rarely chose to depict African men thereafter.The 'Young Pondo Man' and other works from the 1929 expedition do not feature in the Irma Stern archive. Hora noted that the Pondo works had not been exhibited several months after Stern's return to Cape Town; and that she intended to take them with her when she left for the continent in a few weeks' time. But there are no lists of works exhibited in Europe in the artist's Scrapbooks; and none of the works she exhibited at the Burlington Gallery, Cape Town, in August 1930 when she returned. Moreover, Stern did not start her Cashbook and Expense records until 1935, several years after the Pondoland expedition. This lack of documentation explains the obscurity surrounding the early circulation of the 'Young Pondo Man': its moment of creation amongst the beautiful mountains of Pondoland is abundantly clear.We are grateful to Professor Michael Godby for the compilation of the above footnote.BibliographyKarel Schoeman, Irma Stern: The Early Years, 1894-1933, (Cape Town: South African Library, 1994), p. 91. The Umgwegwane river is to the east of Port St Johns in the district of Lusikisiki. A Sketchmap of Pondoland by H.C. Schunke, dated 1902, in the University of Cape Town Libraries, shows the former British Residency, a former German settlement, and St Andrew's Mission in the area. There is also a residence marked 'Dorkin'.Hora, 'A South African Jewish artist: an interview with Miss Irma Stern', Ivri Onouchi, (1 September 1929), p.28. Marion Arnold, Irma Stern: A Feast for the Eye, (Vlaeberg: Fernwood Press, 1995), pp.68-69, 119.Irma Stern's Scrapbook, (National Library of South Africa, Cape Town), MSC 31,18.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 18
Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)Blind Minstrel inscribed, signed, titled and dated '15/BLIND MINSTREL/OIL ON BOARD/by/Y. GRILLO/ 1966' (verso)oil on board90 x 53.5cm (35 7/16 x 21 1/16in).(framed)Footnotes:ProvenanceAcquired in Lagos in the 1960's;A private collection. ExhibitedLagos, Goethe-Institute, (9-31 December 1966), 15.London, Commonwealth Institute Art Gallery, Contemporary Nigerian Art, (20th June - 21st July 1968), 62.LiteratureIkpakronyi, Simon O., Master of Masters, Yusuf Grillo: His Life and Works, ed. Paul Chike Dike & Patricia Oyelola, (Nigeria: National Gallery of Art, 2006), pp. 65-66. (illustrated)Commonwealth Institute Art Gallery, Contemporary Nigerian Art, An exhibition assembled by the Society of Nigerian Artists, (London: Commonwealth Institute Art Gallery, 1968) (illustrated) Simon O. Ikpakronyi identifies the subject of this work as 'Kokoro', a blind musician who became well known in Lagos. Ikpakronyi documents him as travelling around neighbourhoods, knocking on doors and collecting money. With some people paying him lots of money in order to support him, it can be concluded that Kokoro became a familiar face of the community. Remembered today in music circles Kokoro, who became blind from the age of 10, left a legacy in Yoruba music circles, particularly for being an early pioneer for juju, a popular music genre, singing about urban life, love, poverty, and conflict.It could be concluded that, in line with the artist's own love of music and interest in musical instruments, Grillo saw KoKoro as an appropriate subject given his fascination with social documentation, as he said:'I used to go close, watch and join the music, look at the dancers and join them too. They made a very, very strong impression, an indelible impression. And what interests me most is what the drummers do when they are not actually playing. That is, when they have an interval at which time they try to re-tune their instruments, that is, the drum skins, which they place over a small fire. They wold get some rough paper together, light it and place the drum over it so that the skin would be taut. The fact is that when they have been drumming, the skin goes a little slack, so the sound is not what it should be. Hence, they do all that just to warm it and make it taut, to bring back the desired sound. These are some of the things in traditional drumming that interest me most.' (Professor Yusuf Grillo, 13th November 2005). Indeed, the role of the male drummer is a recurring theme within the artist's work as seen in 'Drummers and Dancers' 1964, throughout his career to Lead Drummer (2003-09). In respect to the prior mentioned paintings, a commonality is detectable within these works in that the drummers are usually male figures in groups. Thus, the present work is rare example under this subject matter as it is a portrait of a strikingly identifiable character within the artist's body of work. Grillo's seemingly preferential use of the drum above other instruments may be due to its rhythmic interplay as with Yoruba language, hence why the traditional drum iya ilu translates to the 'talking drum'. Therefore, the artist's patronage to his Yoruba heritage may also indicate his desire to include a musical and performative element of specifically the drum to this work. Furthermore, in keeping with the iconic blue palette that distinguishes the artist from his contemporaries, Blind Minstrel holds a prominent and important position in the artist's oeuvre. A fantastic example of his geometrically compositional works, where by planes of blue hues assemble to create an image, the present work is indicative of the dynamism that is catalysed by Grillo's love of mathematics and art. BibliographySimon O. Ikpakronyi, Master of Masters, Yusuf Grillo: His Life and Works, ed. Paul Chike Dike & Patricia Oyelola, (Nigeria: National Gallery of Art, 2006)Toyin Falola, Culture and customs of Nigeria, (London: Greenwood Press, 2001)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 9
Ibrahim El-Salahi (Sudan, born 1930)Untitled signed and dated 'Salahi/ 69' (lower right)pen, ink and wash on paper fixed to card 28.6 x 27.2cm (11 1/4 x 10 11/16in).(framed)Footnotes:ProvenanceThe collection of Ella Winter Stewart;A private US collection. Combining traditional forms of Islamic written language and calligraphy into his contemporary artworks, Ibrahim El-Salahi recounts his lineage while looking forward to the future, creating a new narrative of self representation. Born and brought up in a Muslim household from Sudan, the written word of the Quran held an ever presence throughout his childhood. Do they not look at the birds, held poised in the midst of [the air and] the sky? Nothing holds them up but [the power of] Allah. Verily in this are signs for those who believe. (Quran, Chapter 16, Sūrat al-nahl [The Bees], Verse 79 , translated by Yusuf Ali).Indeed, the Arabic calligraphy would manifest itself within his work later on in his life. Upon his education in Fine Art received from both Gordon Memorial College from 1949-1950 and the Slade School of Fine Art in London from 1954-1957, Salahi subsequently became exposed to modernist and art forms.Executed in 1969, the current work employs elements and motifs that are familiar to the artist's series By His Will, We Teach Birds How To Fly (1969). The late sixties was a period of creative freedom for the artist, whereby he felt that that he was able to let go of any formal training in favour of the freedom of immediate expression. The repetitive motif of a bird is used throughout this series, recalling the imagery that arose for the artist when observing his father at prayer; pointing his fingers out from clasped hands resembling a bird. Therefore, while the bird represents a self-presence of El-Salahi within his own works, it also displays a coherence with the new found artistic freedom that the artist was embarking upon.'I am very much obsessed with my work. I am a painter and have no other profession. I go to bed dreaming of figures, forms, and colours and wake up to translate my visions and dreams into works of art.' (Ibrahim El-Salahi in Salah Hassan, Ibrahim El-Salahi: A Visionary Modernist, exhibition catalogue, (Museum of African Art, New York, 2012)).This work was originally owned by prominent German journalist Ella Winter Stewart who contributed to The Carmelite, a controversial and rebellious Californian newspaper for its time. Stewart wished to offer liberal and dynamic points of view against a singular vein of opinion that seemed to dominate 1920's America. Often criticised for her activist views, Ella also wrote on issues of racism and heightened the necessity for fair treatment of marginalised communities. Winter Stewart was the driving force behind the ground-breaking 1969 Camden Arts Centre exhibition, Contemporary African Art and also loaned works by El Salahi from her collection to the Smithsonian Museum of African Art in Washington for their 1974 exhibition Contemporary African Art.BibliographyS. Hassan & T. Clarke, By His Will, We Teach Birds How to Fly, Ibrahim El-Salahi in Black and White, (London: Vigo Gallery, 2018).Donald Ogden Stewart and Ella Winter Papers, (Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library), online.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 125
Austin Osman Spare (British, 1886-1956)Red Roofs, Firenze signed with initials, dated and inscribed 'A.O.S-FIRENZE-'06' (lower left)watercolour, pen and ink and pencil on paper38 x 27cm (14 15/16 x 10 5/8in).with a further unfinished watercolour of a cityscape, on the reverse, by the same handFootnotes:ProvenancePickford Robert Waller (1849–1930), probably acquired directly from the ArtistSale; Sotheby's, London, 12 March 1975, lot 1070Sale; Bonhams, Knightsbridge, 15 November 2011, lot 215, where acquired by the present owner Alan Michael HarrisSpare seldom travelled overseas, but it seems likely that after he left the Royal College of Art in 1905, he ventured to Italy to round-off his art education. Architectural studies are rare in Spare's oeuvre, but the present lot and lot 126 appear to be among the earliest. Pickford Robert Waller (1849-1930) was an amateur artist, successful property developer, and an early patron for Austin Osman Spare.We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 126
Austin Osman Spare (British, 1886-1956)Houses by the Arno signed with initials, dated and inscribed 'Lung ARNO - A.O.SPARE.'06.' (lower left)watercolour, gouache and pen and ink on paper38 x 27cm (14 15/16 x 10 5/8in).Footnotes:ProvenancePickford Robert Waller (1849–1930), probably acquired directly from the ArtistSale; Sotheby's, London, 12 March 1975, lot 1069Sale; Bonhams, Knightsbridge, 15 November 2011, lot 216, where acquired by the present owner Alan Michael HarrisSpare seldom travelled overseas, but it seems likely that after he left the Royal College of Art in 1905, he ventured to Italy to round-off his art education. Architectural studies are rare in Spare's oeuvre, but the present lot and lot 125 appear to be among the earliest. Pickford Robert Waller (1849-1930) was an amateur artist, successful property developer, and an early patron for Austin Osman Spare.We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 131
Walter Richard Sickert A.R.A. (British, 1860-1942)The Artist's Home in New Orleans pen and ink, charcoal and white heightening39 x 33.5cm (15 3/8 x 13 3/16in).Executed circa 1913-14Footnotes:ProvenanceWalter TaylorProbably Dr Robert EmmonsWith Arthur Tooth & Sons, LondonLord CottesloeSale; Sotheby's, London, 14 July, 1965, lot 69, where acquired byM. Knoedler & Co., New YorkSale; Sotheby's, London, 15 December 1971, lot 21, where acquired byP. SolomonSale; Christie's, London, 13 June 1980, lot 50 (as Degas at New Orleans)Sale; Sotheby's, London, 2 May 1990, lot 48 (as Degas at New Orleans)Private Collection, U.S.A.With Hirschl & Adler Galleries, New YorkSale; Swann Auction Galleries, New York, 8 March 2016, lot 43, where acquired by the present ownersPrivate Collection, U.S.A.ExhibitedLondon, Carfax Gallery, Paintings and Drawings, 1914, no. 8Probably London, Thomas Agnew & Sons, Exhibition of Paintings and Drawings by W.R. Sickert from the Collection of Robert Emmons, May-June 1947, no. 16New Orleans, Museum of Art, Degas and New Orleans: A French Impressionist in America, 1 May-29 August 1999; this exhibition travelled to Copenhagen, Ordrupgaard, 16 September-28 November 1999LiteratureW. Baron, Sickert, Phaidon, London, 1973, p. 367, no. 354W. Baron, Sickert Paintings and Drawings, New Haven and London, 2006, p.409, no. 419, illustratedThe present drawing depicts the interior of Sickert's Granby Street studio which he used between 1908 and 1914.In a letter to Anna Hope (Nan) Hudson in February 1914 Sickert wrote: 'The daylight is coming back to London which shifts my centre of activity ... to my theatre in Granby Street...' The term 'theatre' is revealing. To Sickert each of the many rooms he rented as studios in houses in and around Camden Town was a stage. He rearranged the furniture – iron bedsteads, bedside cabinets, mantelshelf ornaments, chests of drawers, a sagging chaise-longue, washstands, even a grand piano - to create individual stage sets. It took little to spark off his imagination. In this case, it seems to have been the black model who between 1912 and 1914 features in the work of several painters besides Sickert, including Glyn Philpot and Malcolm Drummond. Black models were uncommon at this period. Sickert immediately thought of a place where black people were not rare, the Deep South of the United States, which in turn led him to remember his mentor, Edgar Degas, whose mother was Creole from New Orleans. Hence the allusive title: in his mind's eye, Sickert visualised his own Camden Town studio as the Degas family home. The same corner, alternatively staged, and the male model standing by the fireplace, 'Hubby', both feature in Sickert's Ennui (Tate, London).We are grateful to Dr. Wendy Baron for her assistance in cataloguing this lot.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 3034
HAMP, Pierre. Kitchen Prelude (Mes Métiers)… translated from the French by Dorothy Bolton. London: Constable & Co. Ltd., 1932. First U.K. edition, 8vo (185 x 120mm.) 2pp. publisher's advertisement to rear. (Toning, faint spotting to preliminaries, odd spots of minor staining.) Original pale blue cloth (sunned to spine), dust-jacket (spine panel browned with chipping to ends and small, closed tear, slight spotting to lower panel). Note: rare. Known for writing about the working conditions of his age, Pierre Hamp [Henri Bourrillion] here writes of his early years as a pastry chef and cook at the Savoy and Berkeley hotels in London, the Restaurant Marguery in Paris, and also the Metropole in Brighton.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Lot 3013
WAUGH, Evelyn. A Handful of Dust. London: Chapman and Hall Ltd., September 1934. First edition, 8vo (184 x 114mm.) Frontispiece, 3pp. advertisements to rear. (Toning, occasional minor spotting, crease to front-free endpaper.) Original snakeskin patterned cloth (faint spotting to margins), dust-jacket (small closed tear to spine panel, toning to spine, vertical crease to lower cover panel). Note: rare in the dust-jacket. Waugh's masterpiece, arguably.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Lot 1168
Attributed to Mayhew and Ince: a rare George III maple Harlequin Pembroke table, banded in mahogany and harewood, with boxwood stringing, the rectangular double-flap top with rising panel, enclosing a fitted section of two rows of three short drawers centred by pigeonholes, also with raising book rest, above candle rest and single oak-lined drawer to each end, fitted with locks stamped 'E. Gascoigne', on inlaid square tapered legs, block feet and brass castors, 59 (closed) 113 (opened) x 76 x 78cms high (closed).Note: the action is currently not working as it needs to be restrung but as the stay for the right-hand flap is pulled out it raises the superstructure. There is also a brass lever beside it to raise the bookrest. Similar pieces have been sold by Christies, Lot 150, 20th September 2001; Lot 273, 19th May 2016; and 315, 20th November 2013.Provenance: The Hirsel, Coldstream, sold by direction of Lord Home, Michael David Alexander Douglas-Home, 16th Earl of Home.
Lot 113
A Rare Pair of Second World War Lace-up Nubuck Long Boots, possibly for use by a high altitude Spitfire pilot, with integral leather vamp and sole, fourteen pairs of metal eyelets, the stitched edges bound in canvas, the interior stamped with WD broad arrow, 172, size 10 and maker's name STRICKLANDS, NORTHAMPTON, 1942
Lot 236
A Rare 19th Century 12 Bore Side by Side Double Barrel Percussion Centrefire Sporting Gun by Hewson of Taunton, circa 1835-40, with 72cm two section steel barrels, faintly signed lock plates, walnut half stock with chequered grip and fore-end, angular steel trigger guard and nickel escutcheon to the underside of the butt, with brass tipped wood ramrod, 114cmActions work, hold at full and half cock. Pitting to barrels and steelwork. The right side of the fore-end is missing a sliver of wood along the barrel. Split through the chequering to the right side of the grip, stock extended at the butt end.
Lot 207
A Rare Second World War RAF Servicing Commando Fighting Knife by W & S Butcher of Sheffield, the 15cm clip-point steel blade stamped with broad arrow, dated 1943 and with maker's name at the ricasso, one side of the stacked leather washers grip stamped 575586, the opposing side with inspector's mark of 8 over a broad arrow, with stag horn pommel and leather scabbard, 28cmScabbard with some loss of stitching at the tip.
Lot 74
Hector Archibald MacDonald - the Private Who Became a General:- A Collection of Related Items, including a Robinson & Leadbeater parian bust; a trinket box made from the hoof of his charger "Knowall", with a silver plated hinged cover enclosing the sole and engraved with an inscription; a Gordon Highlanders officer's brass crossbelt plate set onto an oak plaque with a brass plaque engraved "THIS BOX WAS MADE FROM THE COFFIN USED TO INTER THE REGIMENTAL COLOURS OF THE OLD 'NINETY TWA' IN 1881. IT WAS GIVEN TO ME IN 1950 BY HECTOR MacDONALD, SON OF THE GENERAL OF THE SAME NAME", together with a book Fighting Mac, The Downfall of Major-General Sir Hector MacDonald, which references the mock funeral; six various other related publications; a rare silk Stevengraph; a cabinet card; an unframed Vanity Fair print by Spy "A General Group"; postcards, a hand written letter from him dated May 13th (1901) and a quantity of research materialFootnote:- Hector MacDonald was born 4th March 1853, the son of a crofter, he left school before he was 15 and was apprenticed to a draper in Dingwall. He enlisted with the Gordon Highlanders as a Private at the age of 17 and rose through the ranks on his own merit and professionalism to become a Major-General. He distinguished himself during the Second Afghan War and was offered the choice of the Victoria Cross or a commission. He chose the latter, but never quite fitted in with his fellow officers. He was posted to Ceylon as Commander-in-Chief of British forces, but committed suicide in 1903 following accusations of homosexual activity with local boys. This was almost certainly an invention prompted by jealous and cruel suggestion! His suicide caused great public shock, as did the discovery that he had secretly married in 1884 and had fathered a son. He was buried in "secret" at Dean Cemetery, Edinburgh, but 30,000 people turned up to pay their last respects.
Lot 78
A Rare Queen Alexander's Household Division 1914 Christmas Tin, with gilt finish, the hinged cover set with a colour printed portrait of the Queen, with facsimile inscription "With best wishes from Alexander", containing twenty four original cigarettes, each inscribed with her name and with folding lining papers; an H.R.H. The Princess Mary's Christmas Fund Tin, with gilt finish, the hinged cover set with original yellow paper label, containing part contents of four monogrammed cigarettes and a greetings card (2)
Lot 196
A MID 20TH CENTURY DIAMOND, OPAL, AND RUBY TIARAThe scrolled gold coloured tiara with graduated old cut diamond and polished cabochon opal clusters, with further rose cut and old mine cut diamond accented settings, approximately 10.32 carats total, with circular cabochon, circular cut and step cut ruby accents, the principal oval cluster removes from the setting, with additional screw in brooch fitting, the two smaller diamond and opal clusters unscrew, with fold out stud fittings verso, unmarked, in a partial box, with sticker verso stating Marquis Jean P. De Chambrun, Vernon Manor Hotel, Cincinnati, Ohio 45219 Size/dimensions: the front section 7.8cm high, principal opal, diamond and ruby cluster 3.8cm longGross weight: 211.4 grams Provenance: The Late Jean Pierre François Joseph Pineton de Chambrun, Marquis de Chambrun, Marquis d'Amefreville (1903 - 2004) and Muriel, Marquise de Chambrun. Thence by family descentJean Pierre Pineton was the eldest son of French politician and diplomat Charles Louis Antoine Pierre Gilbert Pineton de Chambrun (1865-1954) and his American wife, Margaret Rives Nichols (1872-1949). The de Chambrun family had a distinguished history as important French politicians in the French Senate and French Chamber of Deputies and were direct descendants of Gilbert du Motier, Marquis de Lafayette. Margaret Rives Nichols was born into the 19th century millionaire Longworth Storer family in Cincinnati. Although profoundly deaf, Jean Pierre studied biochemistry at the Institut Pasteur and art at the Horace Vernet school. As a member of at the Cercle de l'Union Artistique in France, Jean Pierre became an acclaimed painter and designer of jewellery, wrought iron and crystal for Baccarat. He married his first wife the French heiress, Gisèle Hugot-Gratry (1909-2005), in the late 1920s and they had three sons together. The family left France during World War II as Jean Pierre was a staunch opponent of the wartime Vichy Government in France, and they settled in Cincinnati for the duration of the war. After the war Gisèle returned to France with their sons and their marriage ended in divorce. Jean Pierre lived in Lucca in Northern Italy with his sister Marthe de Chambrun, Principessa Ruspoli-Poggio Suasa, in the 1950s although they subsequently moved to Tangier. Whilst living in Tangier Jean Pierre was introduced to Muriel McIntosh Villar. Muriel had moved to Tangier after the war, having lost her first husband during the Malayan Emergency, to live with her retired Sergeant Major father. Muriel and Jean Pierre married in 1963 and would spend their 40 year marriage between France, the United States and the Algarve in Portugal. When they stayed in America between the late 1960s and early 1970s, they would always stay at Vernon Manor Hotel in Clifton, Cincinnati. Interestingly the base of the tiara box offered with the tiara has a label stating the Marquis of Chambrun's name and confirming the address as the Vernon Manor Hotel. Jean Pierre and Muriel toured America lecturing about his ancestor the Marquis de Lafayette, and Lafayette's role in defeating the British during the American Revolution and War of independence. Muriel also became a celebrated poetess and won several awards including Ohio Poet of the year in 1976 for her Book Of Poems "Sudden Spring", and an award from Cincinnati University in 1970 for her first book "Salisbury Cathedral". Jean Pierre and Muriel were fêted by American society at large, and were known to several American President's including Ronald Reagan, Bill Clinton and George Bush Junior for their work in promoting Franco-American relations. Opal tiaras are extremely rare, and only one other tiara set with opals is known. The Princess Marie of Denmark opal tiara was an exuberant Art Nouveau creation of large, towering opal set floral sprays. The tiara was re-set by Princess Marie's daughter-in-law Princess Viggo, into a simpler diadem. This opal diadem was passed down to the Count and Countess Flemming of Rosenborg, and has not been seen being worn in public since it was last worn at the wedding of King Harald V and Queen Sonja of Norway in 1968.Condition Report: The seven graduated opal and diamond clusters appear to have originally been part of an earlier piece, and have been soldered onto the gold scrolling tiara. There is evidence of lead solder being used to attach these clusters, but the soldering is all very tidy. The clusters are in our opinion late 19th century/early 20th century. The removable central panel and earring clusters were originally fixed to the body of the tiara, and then the bar supports and screw in fittings later added in order to make the tiara convertible. There are very small areas of lead solder repair below the cluster to the central front panel, one of the joins is visible to the front of the tiara. The opals have surface reaching and internal crazing that is visible to the naked eye, no chips nicks or scuffs. The diamonds are all present and correct, bright and lively, mostly VS-SI, some with inclusions visible with a 10x loupe. One of the smaller diamonds is chipped. The rubies are all present and correct, well matched in colour, one square cut ruby is cracked right through. The setting is unmarked, but is in our opinion 18 carat gold. Condition Report Disclaimer
Lot 325
A rare Poole Pottery Freeform vase designed by Alfred Read and Guy Sydenham, shape no.724, waisted cylindrical form with flared asymmetrical top rim, glazed Ice Green, the interior Alpine white, printed factory mark, 36cm. high LiteratureLeslie Hayward & Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 104 for an identical example.
Lot 470
Richard Batterham (1936-2021)a rare porcelain miniature pot and cover, covered in a pale oak ash glazeunsigned, applied paper label 268 number5cm. diam. (2) ProvenanceRichard Batterham Exhibition of Stoneware and Porcelain, British Crafts Centre, Earlham Street, London, 27th September-14th October, 1972.The Estate of Richard Batterham
Lot 86
A rare Wedgwood Pottery Annular coffee set designed by Tom Wedgwood and John Goodwin in collaboration with Keith Murray, ribbed form, covered in a Matt Straw glaze, comprising; coffee pot and cover, milk-jug and sugar basin, six cups and saucers, and a Wedgwood Pottery part coffee set designed by Keith Murray covered in a matt white glaze, printed factory marks, restored, 16cm. high (coffee pot), (a lot) ProvenanceChristie's South Kensington, 21st February 2005 lot 366 (Matt Straw set) LiteratureMaureen Batkin Wedgwood Ceramics 1846-1959, Richard Dennis Publications, page 209 plate 515 for a comparable set illustrated, circa 1932.
Lot 98
A rare Wedgwood Pottery vase designed by Keith Murray, shape no. 4325, footed, flaring cylindrical form, covered in a silver grey moonstone glaze, the rim and base bands of silver, impressed and printed factory marks, facsimile signature, professional restoration to base of vase, 32cm. high LiteratureAndrew Casey, 20th Century Ceramic Designers in Britain, ACC Books, page 210 figure 232 for a comparable vase glazed Moonstone, designed 1939.
Lot 150
Sir Laurence Whistler CBE (1912-2000)an early rare glass decanter and stopper and six glasses, dated 1938, made as a wedding present for Eve & Christopher Hassall from Jill & Laurence Whistler, smoked grey glass, the decanter diamond point engraved with columns of stylised bell flowers, an oval cartouche inscribed Eve and Christopher Hassall for December the 28th 1938 from Jill and Laurence Whistler, the stopper with radiating star and central H, the six footed glasses each with a different classical border to the top rim and foliate scrolling monogram,23.5cm. high (decanter and stopper)8cm. high (glasses), (8) ProvenanceThe son of the illustrator John Hassall, and brother of Joan Hassall, Christopher Hassall was a recognised actor, dramatist and poet. He formed a successful musical partnership with Ivor Novello whom he originally worked with in a touring company. This early decanter set was made for the wedding of Eve & Christopher in 1938 when Laurence was only twenty six years old.
Lot 129
'Buffalo' a rare Wedgwood Pottery black basalt figure designed by John Skeaping, modelled standing on rectangular base, impressed factory marks, J Skeaping, 22cm. wide. LiteratureMaureen Batkin, Wedgwood Ceramics 1846-1959, Richard Dennis Publications, page 188 plate XLVIII for this model glazed by Norman Wilson in tan and grey.
Lot 129
Rare Zenith Diver chronograph stainless steel gentleman's wristwatch reference no. A277, circa late 1960's, black 'reverse panda' dial, black bi-rotational bezel, signed crown, manual wind movement, Zenith emblem to the case back, Zenith 'ladder' bracelet with fliplock clasp, 40mm bezel (560329-4-A)-Movement - currently functioning.Dial - generally good, surface marks to the subsidiary dials.Glass - light surface marks.Hands - light surface marks.Case - some surface marks, scratches, dings and indentations to the bezel - see images, bezel lacking the dot at twelve, light surface marks.Crown - adjusting correctly, start/stop push button functioning correctly, reset push button is stuck and not operating - requires attention.Bracelet - light surface marks, small indentation to one end link, wrist size 7.75'' approx.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 6
A group of seven Pink Floyd and associated framed CDs comprising Pulse (discs 1&2), Unmagumma Live, Soundtrack To The Film More, A Collection of Great Dance Songs and Roger Waters The Wall Live In Berlin (discs 1&2), 32cm x 23cm, bought from Reddingtons Rare Records circa early 2000s and never displayed.
Lot 322
A RARE JOHN REEVES & CO. .465 PERCUSSION WHITWORTH RIFLE, the 28" octagonal barrel with heavy top rib bearing incremental marks numbered 6 to 20 and engraved "WHITWORTH RIFLE", adjustable front sight, five rear leaf sights, action bearing maker's name, half cock slide safety, pistol grip, butt compartment, walnut half stock and horn foreend tip, 44" long, in fitted mahogany case, with brass fittings, flasks and tools, case 33 1/2" x 10" (Illustrated) (Est. plus 21% premium inc. VAT)Generally good condition. mild pitting to action. repaired split to barrel tang. crack to horn tip. Action holds strongly in half and full cock, then fires with strength
Lot 48
Rare Japanese metal tsuba sword guard, intricately decorated with gold inlay and with pierced decoration in the form of a manji.Diameter: 3 in.Condition: The item is in good condition with no visible dents, cracks, or losses. No visible dents along the edge. Light wear throughout as expected. Light metal erosion. No visible sign of restoration when inspected under UV light.
Lot 5
Gabriel Viardot (French, 1830-1906). Aesthetic movement chinoiserie cabinet. The rectangular top with raised ends houses a bronze dragon with pierced fretwork over a glazed door and opening to an arrangement of shelves, with one drawer with an archaistic style taotie mask pull with a red velvet backing. On a pierced fretwork apron and shaped bracket feet.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went.Height: 61 in x width: 38 1/2 in x depth: 16 in.Condition: The cabinet is in good condition overall. The structure is stable and sturdy. There are no major losses and no visible repairs. The locking mechanism has been removed. The dragon is present but unattached. The drawer and door open and close smoothly. The glass is in good condition, with no chips, cracks, or scratches. Some wear to the velvet. Some wear and splitting to the veneer along the shelves; the bottom shelf shows signs of moisture exposure. Wear throughout as expected with age and use.
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