Jean ProuvéRare desk, from the offices of Compagnie Parisienne de Distribution d'Électricité S.A., Paris, 1934Painted steel, chromium-plated metal, linoleum.78.5 x 167.8 x 83.7 cmManufactured by Les Ateliers Jean Prouvé, Nancy, France. One leg with paper label printed EDF-CD31/64643.Footnotes:ProvenanceCompagnie Parisienne de Distribution d'Électricité S.A., Paris, 1934Phillips, London, 'Design', 28 April 2016, lot 126Acquired from the above by the present ownerLiterature'L'Immeuble de la C.P.D.E.', Arte et Industrie, January 1936, p. 15Galerie Jousse Seguin and Galerie Enrico Navarra, Jean Prouvé, Paris, 1998, p. 52Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 2: 1934-1944, Basel, 2000, p. 73Laurence Allégret and Valérie Vaudou, eds., Jean Prouvé et Paris, Paris, 2001, pp. 62, 230 Galerie Patrick Seguin, Jean Prouvé, Vol. 2, Paris, 2007, pp. 330, 332-333, 501This 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
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RARE JAPANESE 'BATMAN' TIN PLATE ROBOT,by Nomura (TN Toys of Japan), battery-operated, late 1960s, 30.5cm high, for restoration Missing battery compartment cover, cape, and on/off button cover, extensively faded, dents, oxidisation, rubbing and discolouration to face, battery compartment with internal crack and hole, images of battery compartment now available.Contacts missing one left hand side and present on right.
Rare Japanese Type 99 Arisaka 7.7mm bolt action short rifle, 26inch barrel, the receiver still with preserved Mon, fitted with folding anti aircraft winged folding rear sight, the bolt fitted with sliding dust cover, the stock with folding wire monopod, serial number 683363, abbreviated serial number 363 stamped to bolt and bayonet lug on nose capUK FIREARMS LICENCE WITH 7.7mm or 7mm VARIATION REQUIRED TO BUY THIS LOT.112cm long
Set of 6 Rare Hand Coloured Original HORTUS MALABARICUS Plates, Circa 1678Botanical Book plates, late 17th Century, circa 1678 each tItled upper left, some with inscriptions, with plate impressions to the margins and central fold. Finely framed and glazed 14.25 inches x 18 inches. Each visible sheet 36 cms x 46 cms.Note: See Sotheby's, Lot 90, Town and Country Sale, 14th December 2021 Sold for £5292 (inc. premium)Glazed 14.25 inches x 18 inches. Each visible sheet 36 cms x 46 cmsVery good condition with no issues
Dose aus Bergkristall, China um 1780-1800, Körper aus Bergkristall belegt mit landschaftlichen Darstellungen, teilw. stark beschädigt, ca. 4 x 3 x 2 cm, sehr seltenBox made of rock crystal , China approx. 1780-1800, body of rock crystal with landscapescenery applied, partly heavily damaged, approx. 4 x 3 x 2 cm, very rare
Salzgefäß, Silber, Augsburg um 1720, oktagonaler Fuß, getreppt, Godronierung, eingezogener Hals, Rillendekor, Handarbeit, aus dem Block gehauen, Tremoulierstich, H. ca. 6 cm, ca. 95 g, sammelwürdig, museal, seltenSalt jar, silver, Augsburg approx. 1720 , octagonal foot, stepped, hand-made, made of one piece, tremoulierstich, h. approx.6 cm, approx. 95 g, collectable, museum, rare
Jugendstil-Collier, ARNOULD, Frankreich um 1900, Silber, geprüft, Abhängungen in Form von sogn. Silbertalern/Judaspfennig, fein geprägt, rücks. sign. ARNOULD - berühmter, franz. Jugendstil-Juwelier, Maison ARNOULD, gegründet 1890, Bijoux ARNOULD, Paris, typ. Jugendstildekor, L. ca. 40 cm, selten, sammelwürdigArt Nouveau-Necklace, ARNOULD, France approx. 1900s , silver, tested, suspensions in the form of satin flowers, fine embossed, backsidesigned ARNOULD - famous, french Art Nouveau jeweller, Maison ARNOULD, founded 1890, BijouxARNOULD, Paris, typ. Art-Nouveau decor, l. approx. 40 cm, rare, collectable
![[GOLDSMITH (Oliver)] The Triumph of Benevolence or the History of Francis Wills, 2 vols in one, Berlin: A. Mylius 1786, small](https://cdn.globalauctionplatform.com/7f90c331-5071-4aed-b85d-ae6e00e5f45c/d4a2f42c-15e0-4f83-8ea9-ae6f012460d2/468x382.jpg)
Three bottles of blended whisky including KING OF SCOTS Proclamation rare extra old Scotch distilled, blended and bottled in ceramic flagon by Douglas Laing and Co Ltd 43% abv 70cl, KING OF SCOTS rare extra old Scotch 43% abv 70cl, and GRAND OLD PARR 12 year old de luxe Scotch 40% abv 70cl and matching miniature 5cl, each boxed, (4).
Jane Fonda signed 10x8 rare stunning black and white photo. Jane Seymour Fonda (born December 21, 1937) is an American actress, activist, and former fashion model. She is the recipient of various accolades including two Academy Awards, two British Academy Film Awards, seven Golden Globe Awards, a Primetime Emmy Award, the AFI Life Achievement Award, the Golden Lion Honorary Award, the Honorary Palme dOr., and the Cecil B. DeMille Award.Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Anna May Wong signed rare stunning 6x4 black and white photo. Wong Liu-tsong (January 3, 1905 – February 3, 1961), known professionally as Anna May Wong, was an American actress, considered to be the first Chinese American Hollywood movie star, as well as the first Chinese American actress to gain international recognition. Her varied career spanned silent film, sound film, television, stage, and radio. As one of the first women depicted on the reverse of the quarter in the 2022-2025 American Women quarters series, she will also be the first Asian American to appear on US currency.Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Ursula Andress signed 6x4 black and white photo rare image. Ursula Andress (born 19 March 1936) is a Swiss actress, former model and sex symbol who has appeared in American, British and Italian films. Her breakthrough role was as Bond girl Honey Ryder in the first James Bond film, Dr. No (1962). She later starred as Vesper Lynd in the 1967 Bond parody Casino Royale. Other credits include Fun in Acapulco (1963), 4 for Texas (1963), She (1965), The 10th Victim (1965), The Blue Max (1966), The Southern Star (1969), Perfect Friday (1970), Red Sun (1971), The Sensuous Nurse (1975), Slave of the Cannibal God (1978), The Fifth Musketeer (1979), Clash of the Titans (1981) and Peter the Great (1986).Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Joyce Grenfell signed 6x5 album page includes rare doddle by signature. Joyce Irene Grenfell OBE (née Phipps; 10 February 1910 – 30 November 1979) was an English diseuse, singer, actress and writer. She was known for the songs and monologues she wrote and performed, at first in revues and later in her solo shows. She never appeared as a stage actress, but had roles, mostly comic, in many films, including Miss Gossage in The Happiest Days of Your Life (1950) and Police Sergeant Ruby Gates in the St Trinians series (from 1954). She was a well-known broadcaster on radio and television. As a writer, she was the first radio critic for The Observer, contributed to Punch and published a volume of memoirs.Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
TOM PATERSON (SCOTTISH fl. 1900 - 1920S)CHILDREN IN AN AYRSHIRE VILLAGEoil on board, signedimage size 22cm x 29cm, overall size 32cm x 38cm Framed.Note: Tom Paterson was a Glasgow artist and worked in the city and in Ayrshire. His address is recorded in RSA exhibiting records as 196, St Vincent Street, Glasgow and he exhibited there (RSA) and at the Royal Glasgow Institute. Tom Paterson usually worked in watercolours, often of children playing on a beach, and his oil paintings are relatively rare.
WILLIAM SENIOR (BRITISH fl. 1940 - 1960),SHORE SCENEoil on board image size 28cm x 42cm, overall size 40cm x 54cm Framed. Note: William Senior was a Glasgow member of the 'New Scottish Group', formed around John Duncan Fergusson. His pictures are rare; although professionally trained, he had a day job in a theatre and described himself as 'lazy'.
* WENDY WOOD (SCOTTISH 1892 - 1981),WOODLAND LANDSCAPEwatercolour on paper, signedimage size 22.5cm x 14.5cm, overall size 37cm x 27cm Mounted, framed and under glass. Label Verso.Note: Wendy Wood, born Gwendoline Emily Meacham, was a campaigner for Scottish independence and one of the founders of the Scottish National Party. An eccentric and colourful figure, she was also a gifted artist, sculptor and writer. Her antics often created controversy. From 1956 Wood shared an artists studio and house with her partner, Florence St John Cadell in Edinburgh. Wood’s art was widely acclaimed and rare to the market. Her portrait is held by the Scottish National Portrait Gallery in Edinburgh.Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues.
An Extraordinarily Rare Gold and Enamel Memorial Ring with Hair Insert, Admiral Lord Nelson, English, 1805,rectangular head in black enamel with white border, bearing a Viscount's coronet above the initial 'N' and a Ducal crown above the initial 'B' over the word 'Trafalgar', the gold tapering hoop shank engraved on the outside PALMEM QUI MERUIT FERAT ('let him bear the palm of victory who has won it') and the inner surface engraved Lost to his Country 21 Oct 1805 Aged 47, Footnotes:The conventional memorial rings for Admiral Nelson with no hair insert were made by John Salter, the well-known London jeweller and sword cutler, and distributed by the Executors of Nelson's will to relations, close friends and pall bearers.It is believed that 58 were originally made and it is known that Salter also made a small number of rings that had the additional section of Nelson' hair inserted under the lettering 'Trafalgar'. These must have been made either by special request or for important individuals at added cost, as Nelson's hair samples were extremely rare.A number of standard rings have appeared at auction over the last twenty years and the National Maritime Museum, Greenwich have three in their collection. However, there is no record of one with hair insert being offered for sale or being in known institutional or private collections.For further information on this lot please visit Bonhams.com
Joseph Heard (British, 1799-1859)The barque Crown and the brig Bonanza in the left background oil on canvas71 x 91.5cm (28 x 36in).Footnotes:ProvenanceWith N.R. Omell Gallery, London.A.S. (Sam) Davidson Esq., thence by descent.ExhibitedLondon, N.R. Omell Gallery, Exhibition of Marine Paintings by British Artists of the 18th and 19th Century, no.36.LiteratureA.S. (Sam) Davidson, Marine Art & Liverpool, Wolverhampton, 1986, illustrated page 44 in colour as number 44a.Sam Davidson's book provides an excellent overview of the present work:'The barque Crown and the brig Bonanza in the left background. The hull of both vessels has the broad white stripe of the Brocklebank Line, and both display the house flag in its distinctive position at the foremast. Bonanza is hove to, awaiting to speak to her bigger sister, which is shortening sail and about to alter course to pass under the brig's stern and also heave to. Not only is this a most pleasing composition illustrative of Heard's early style, but it is full of historical interest. Both vessels were built at Whitehaven by Brocklebanks prior to their moving to Liverpool, the Crown (1821) and the Bonanza (1830). This famous firm must lay claim to being one of the oldest names in Liverpool shipping. Apart from these associations, the flag hoists are of great interest. Crown is displaying Marryat's Code 9,3,1, and this dates the incident as prior to 1837/9. About this period Marryat reorganised his code, following which Crown became 2,4,6,3. The flags at the brig's mainmast are those of the Watson's Code 3,6, denoting 'Bonanza, three masted schooner', the latter's rig being changed in the early 1830s to a brig.'The present work is important to scholars of marine history - particularly our understanding of the development of flag codes - as it clearly displays the simultaneous use of two different flag codes. As far as we are aware, this is an extremely rare if not unique occurrence in a marine painting from the period, and something which Joseph Heard would have ensured was accurately recorded in his detailed work. See also pp 53, 57 (where it is listed as no. 3 under Omell Gallery, London) and 66 ibid.For further information on this lot please visit Bonhams.com
* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957),CAFE, PARIS oil on board, signed image size 25.5cm x 34cm, overall size 46.5cm x 54.5cm Framed and under glass. Label verso: Thomas Murray & Sons, Dundee.Provenance: Private collection, Edinburgh.Note: A rare Paris painting from between 1920 and 1922 when Milne lived in the French capital. Seeing Cezanne's work for the first time was a eureka moment for Milne who until then had painted much like his father in a sedate and traditional style. He discovered a completely new freedom and walked the streets and sights of Paris painting what he saw, en plein air and with rapid, bold brush strokes. Above all, he discovered ''colour''. This very distinct Paris period saw Milne producing some of his most spontaneous and desirable work and usually on smaller scale artist boards. By 1922/3 he had moved to the French village of Lavardin and by 1924 he was in Cassis with Peploe, Cadell and Duncan Grant. Milne is often referred to as ''the fifth Scottish Colourist'' and yet his quality is at least the equal of much of the output of the other four. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont, several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as being his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing-room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, de Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Even though Milne's paintings were widely exhibited in his lifetime at the very best venues to great success, it's probably because he never established a long term relationship with any one gallery or dealer that his paintings have been undervalued for many years. It took until 1987 before the first Milne painting reached the £20,000 mark at auction when ''Busy Paris Street Scene with Figures (1922)'' was sold by Christie's, Glasgow (lot 664, 28th April 1987 £20,000 hammer). The John Maclauchlan Milne Estate is now represented by Tom Hewlett's Portland Gallery (London) and unsurprisingly, his profile and values have been growing. A major exhibition ''Milne And The Colourist Connection'' was staged at Portland Gallery (London) 21st September -13th October 2017. On 30th August 2017 we sold "A Paris Scene (a 35cm x 26.5cm oil on panel) for £25,000 (hammer) and in The Scottish Pictures Auction of 24th September, 2021 lot 2005 (Green Pool, Iona) sold for £29,000 (hammer).
* DOROTHY JOHNSTONE ARSA (SCOTTISH 1892 - 1980),BOUQUET IN AN ITALIAN JARoil on canvas, signed and dated 1978, titled versoimage size 62cm x 46cm, overall size 77cm x 62cm Framed and under glass.Label verso: Royal Scottish Academy Exhibition 1978. Note: Dorothy Johnstone was a pioneer of women’s art in the early 20th century; she was the star student at Edinburgh College of Art, graduating in 1912. Not long after the new College was created out of the old Trustees Academy. Johnstone was clearly aware of contemporary developments in Paris, and certainly, the College wasn't cut off from artistic European trends. Her older contemporaries in Edinburgh included the Scottish Colourists Peploe and Cadell. Although their example might have influenced her work, in reality, it was a woman artist who seemed to liberate both her style and palette, Laura Knight exhibited eleven pictures at the Royal Scottish Academy in 1916. Significantly too she had already shown a picture there in 1911 when Johnstone was still a student. It was called On the Rocks, a title that could fit several of Knight's marvellous paintings from that time of girls, rocks and the sea on the Cornish coast. The artist's seaside paintings were particularly vivid. For instance, A Dark Pool, housed in the Laing Art Gallery, depicts a girl in a bright orange dress standing beneath a vast blue sky and sea. When it came to colour, Knight acknowledged the impact of the Scottish artist Charles Mackie (1862–1920). Through his friendship with Paul Sérusier, the artist had close links to the French painters working alongside Gauguin at the turn of the century. Johnstone has works in many major public collections and her work is rare to the market.
Circle of MARCELLO VENUSTI (Como 1512 - 1515 - Rome)."Christ crucified".Oil on copper.It presents restorations.Measurements: 21,5 x 15,5 cm; 28 x 21,5 cm (frame).It is a painting belonging to the circle of Marcello Venusti, which can be deduced from the aesthetics with which the work has been conceived, which starts from a realistic pictorial language, very influenced by the art of sculpture, with a great symbolic sense that allows us two readings, the symbolic and the realistic one. There is an importance for detail, with a meticulous description of the objects, nothing escapes the painter's eye, and in this case, despite the sobriety of the scene, the treatment of the cross and the skull lying at its feet are delicately detailed, and refinement is also abandoned, and real beings appear without idealistic intentions.The crucifixion of Jesus has been depicted in religious art since the 4th century. It is one of the most recurrent themes in Christian art and the one with the most evident iconography. Although Christ is sometimes depicted clothed, his body is usually depicted naked, although with his genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of depicting the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" - not to be confused with the Maiestas Domini or the Pantocrator), Christus patiens ("resigned" - not to be confused with the Christ of patience) and Christus dolens ("suffering" - not to be confused with the Vir dolorum). The triumphans is represented alive, with his eyes open and his body erect; the patiens is represented dead, with his will totally emptied (kenosis), his head bowed, his face with a serene expression, his eyes closed and his body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in his mouth (curved). The present work, which belongs to the Andalusian school of the 18th century, shows an image full of pathos. A balanced and perfectly studied anatomy denotes the artistic ability of the sculptor, who reflects like no one else the suffering that Christ endured in the last seconds of his life.
Ɵ FRAYN, Michael. (b. 1933). Towards the End of the Morning. 1967. first edition, 8vo, (220 x 142mm), original blue cloth, dust-jacket unclipped, priced 21s., design by Charles Gorham, 255pp. The author's third novel, set in in the crossword and nature notes department of an obscure national newspaper during the declining years of Fleet Street, portraying a world of nefarious practices, very long pub lunches and the tyranny of the printers. HANFF, Helene. (1916 - 1977). 84, Charing Cross Road. 1971. first UK. edition, 8vo, (222 x 145mm), original red cloth, dust-jacket unclipped, design by Janet Halverson, half-title, 95pp. A series of letters recording the twenty year love affair between American writer, Helene Hanff and Frank P. Doel, the manager of Marks & Company, a London bookseller dealing in rare and second hand books, the couple never met and their correspondence ended only with Frank Doel's death in 1968. (Qty. 2). Condition Report: 1. Towards the End of the Morning - clean bright cloth, small crease to lower edge of front board, tail of spine bumped, dust-jacket bright, a little marked with four clean edge tears, toning to edges and pages, o/w. a clean copy.2. 84, Charing Cross Road - bright cloth with light marks, faded to top edge, tail of spine bumped, dust-jacket a little worn with chips to top edges and spine, toning to edges and pages o/w. a clean copy.Condition Report Disclaimer
Rare WW1 Rifle Mounted Trench Periscope, metal body periscope with field grey paint finish to the exterior. Angled glass lens to the bottom and top section. Complete with mounting fitting. Some dents and rusting but generally good condition. These periscopes were mounted to rifle blocks to enable troops to see what they were firing at without having to raise their heads above the trenches and draw fire from enemy snipers etc. Used by most of the combat nations, one of this type of periscope can be seen in use by a French soldier on the Western Front in the book “The French Army in the First World War 1914-18” by Mirouze & Dekerle page 366.
Extremely Rare Set of Mills Equipment Company Experimental Webbing with Remains of Sealed Pattern Tag, mint un-issued and un-blancoed khaki webbing comprising – belt, cross brace harness, water-bottle carrier (44 pattern style), pair long ammunition pouches (bren pouch in style and size) with zip fasteners, small pack, bayonet frog - all mint and stamped in black M.E.Co. 1950.
Rare and Extremely Unusual Straw Filled Mannequin Used for Early Cavalry Practice, the large wooden framed mannequin which is straw filled has an original early Victorian Crimean war period enlisted ranks coatee tunic with large stand up collar having embroidered scots star badges and cuffs with white braid. Stitched to the coatee is an original pair of buckskin breeches. The item shows excessive wear and patch repairs etc. These mannequins were set up for cavalry practice and would be lined up so officers and troopers could charge at them and slash with their cavalry sabres as they rode past. Very few surviving examples can be around today. Please note we are not able to offer in house post and packing on this lot.
Rare Lango Dinka Tribal Hide Shield Probably Brought Back by an Officer from the 1901 Lango Expedition, of conventional rectangular form with reinforced edges, braced on the inside with a stout wooden stick running for the entire length secured by hide lashings and partly covered with monitor skin strips, the outside with 3 copper bands secured by iron nails and pierced with KWOT, LANGO, ACON. Maximum 92cms x 20cms. Good condition.
Rare Early Royal Company of Archers Kings Body Guard of Scotland Bonnet Said to Have Been Worn By James Andrew Broun-Ramsay, 1st Marquess of Dalhousie (1812-1860), fine early large bottle green bonnet with fine gilt metal crowned bonnet badge with green translucent enamel backing to the pierced central motto, early badge with the Victorian crown but still the title of “Kings Body Guard of Scotland”. Black mohair style central band and crimson piping. Ostrich feather plume fitted behind the badge. Interior with thick Morocco leather sweatband and crimson cloth lining. Tied tallies to the rear of the bonnet. Cap shows some wear. Accompanied by a hand written note stating this bonnet belonged to James Andrew Broun-Ramsay, 1st Marquess of Dalhousie (1812-1860), also states that this headdress dates between 1822-1837, after which changed to Queens Bodyguard. Ex Bennett collection
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