Balkrishna Vithaldas Doshi (Indian, B. 1927)Encounters signed 'Doshi 2014' lower right and edition 17/25 lower leftserigraph in 7 colours on paper, framed77.5 x 108cm (30 1/2 x 42 1/2in).Footnotes:ProvenanceArcher Graphic Studio, Ahmedabad.Born in Pune, B.V Doshi OAL studied architecture at the Sir J.J School of Architecture in Mumbai. He worked under Le Corbusier and Louis Kahn, and is considered to be a pioneer of modernist and brutalist architecture in India. In a career spanning seven decades, he has completed over 100 projects. Some notable constructions include, the National Institute of Fashion technology, New Delhi, the Indian Institute of Management, Bangalore, Amdavad ni Gufa, Ahmedabad and the IFFCO township in Kalol, Gujarat. His drawings and paintings have been exhibited at museums worldwide, and in 2014, the National Gallery of Modern Art, New Delhi held a retrospective of his works, titled Celebrating Habitat: The Real, the Virtual and the Imaginary: Retrospective Exhibition on B.V. Doshi. He is the recipient of numerous awards some of which include the Padma Shri, 1976, the Officer of the Order of Arts and Letters; France, 2011, the Padma Bhushan, 2020 and recently, the Royal Gold Medal; UK, 2022.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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Dinosaur Tail With Streamer Feathers in Amber99 million years old (Cretaceous) Origin: Hukawng Valley, Myanmar Weight (approx): 2.91 grammes / 14.55 carats Dimensions (approx): 40 x 13 x 8mm Shape: Freeform Verification: Confocal microscopyFrom Advanced Amber Kretaceous Zoologia archive, a burmite amber fossil specimen containing immaculate feathered dinosaur remnants. Most protofeathers found in Cretaceous amber are very small indeed and often need magnification. This piece of amber contains various unidentified vertebrate remains but the highlight is the incredible tail that has a perfectly aligned and perfectly preserved set of streamer protofeathers. This piece has a tail that does not need scanning or magnification to be appreciated and hits the viewer with a real WOW effect. The photo provided shows the magnificent tail feather looking at the front of the amber specimen, and the reverse side has partial remnants of the dinosaur that sported this tail. If you would like to see the reverse side of this high-end museum piece you are going to have to purchase it. Other highlights include the fact that this amber is highly transparent without any darkness and just a pleasing light golden colour. The picture you see is not just a feather, the central shaft has dozens of streaming feathers coming out symmetrically on both sides of the central tail shaft. Perfect for making jewelry such as a pendant making this the ultimate gift for those that prefer genuine dinosaurs in real gemstones rather than a cheap replica. Natural History, Fossils, Minerals
Manuel García y Rodríguez (Spanish, 1863-1925)Puerta del Privilegio del Real Alcázar de Sevilla signed 'García y Rodríguez' (lower left)oil on canvas101 x 125.1cm (39 3/4 x 49 1/4in).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
Porson (Richard) The Devil's Walk; A Poem, 1830; bound with Coleridge (Samuel Taylor) and Robert Southey. The Real Devil's Walk, 1830; and "A Barrister". The Devil's Visit, 1830, and 14 other plays, together in 3 vol., plates and illustrations by Robert Cruikshank, some light foxing, contemporary half morocco, a little rubbed, 8vo.
BILLIARDS & SNOOKER, Walter Lindrum. Real photographic postcard of Lindrum captioned 'A Souvenir of my Australian tour in aid of the Red Cross and Comforts Fund, sponsored by the distributors of Black & White Cigarettes 1942'. Nicely signed in ink to the verso with dedication, 'Walllie Lindrum'. sold with an original advertising postcard of Lindrum produced by 'Janus' billiard cloth. Old tape marks to edges and small adhesive marks to verso, otherwise in good condition. Qty 2 Walter Albert Lindrum was an Australian professional billiards player who held the World Professional Billiards Championship from 1933 until his retirement in 1950, some staining to the card, G, 2
MIXED SPORT, selection, inc. Arsenal FA Cup Final scarves (2), v Aston Villa 2015 & Chelsea 2017; cufflink sets (2), Real Madrid & UEFA with tie pin (each in box); Formula 1, British Grand Prix 2022, two each of hospitality & parking; Wimbledon card game by Pepys, 1940s-1950s (complete), G to EX, 9
FOOTBALL, Welsh press photos, many 1950s, inc. teams, action, portraits; Wales, v England 1955, v Scotland 1952; training 1954, Cardiff City boarding plane for match v Real Zaragoza 1965, Alan McKintosh 1964, George Johnston 1964, Bert Williams 1951 etc., each with annotation to backs, mixed sizes, mainly b/w, some a.m.r., G to VG, 27*
FOOTBALL, Nottingham Forest selection, mainly international, inc. 1979 European Cup Final, programmes (2), Malmo information brochure, newspaper covering Forest win; home programmes, Dynamo Zagreb, Valencia, Vancouver Whitecaps; away programmes, Real Madrid, Brugge, Malmo, Bayern Munich; domestic & FA Cup match programmes etc., G to EX, 22
FOOTBALL, selection, inc. 2012 Olympics football programmes; menus, 1998 Chelsea v Real Madrid (Super Cup), Gala (Monaco), programme for Presentation of International Caps; World Cup (9), commemorative covers, 2002 (2), 2014 (blank envelope with stamps & cachet); blocks of postage stamps; philatelic covers, Scotland v Brazil, Argentina v England, France v Croatia (signed by Didier Deschamps) etc., EX to MT, 14
NEW WAVE / COOL POP / ROCK - LP COLLECTION. Nice collection of around 48 x (almost entirely) LPs to include complete run of 14 x backtrack Reissue LPs. Artists / Titles include Laurie Anderson inc. United States Live, Strange Angels, Home of the Brave, Mister Hearbreak and Big Science, Lol Creme / Kevin Godley - Consequences, Kevin Godley - History Mix (Vol. 1), Goodbye Blue Sky, Birds of Prey, Ismism, Freeze Frame, Music From Cosequences, Backtrack 1 - 14, Simple Minds - Real to Real Cacophony, Simple Minds - Sparkle in the Rain and Simple Minds - Real Life. The condition is generally VG+ to Ex+ with some sleeves dropping slightly below this.
MUSIC ON VINYL - NEW WAVE ALBUM PACK. A fantastic pack of 4 x LPs released on the fabulous Music On Vinyl Label. Artists / Titles include Japan - Quiet Life (MOVLP176), Faith No More - Angel Dust (MOVLP813), Faith No More - The Real Thing (MOVLP886) and The Only Ones - The Only Ones (MOVLP308). The condition is generally Ex+ / As New
60's / 60's ARTISTS - LP COLLECTION. Lovely collection of 31 x (almost entirely) LPs. Artists / Titles include Bob Dylan inc. Biograph (Box Set - CBS 66509), The Freewheelin' (CBS62193), Real Live, Highway 61 Revisited, Hard Rain, Another Side of Bob Dylan, Shot of Love, Blood On the Tracks, Slow Train Coming and Greatest Hits, The Who inc. Tommy, Meaty Beaty Big & Bouncy, The Story of The Who, Quadrophenia, Who's Next (2 x copies), The Singles LP, Who Are You (2 x copies) and Tommy (Original Motion Picture Soundtrack). The condition is generally VG+ to Ex+ with some sleeves dropping below this.
PROMOS / DEMOS - 7" COLLECTION. Nice collection of around 32 x 7". Artists / Titles include Real McCoy - Quick Joey Small (Run Joey Run), P. J. Proby - Viki Hoeky, Eddie Cochran - Twenty Flight Rock, Frida - To Turn the Stone, ABBA - Chiquitita, ABBA - Gimme, Gimme, Gimme (A Man After Midnight), Diana Ross - What You Gave Me, Kim Carnes - More Love, Jim Diamond - I Should Have Known Better, Gladys Night - Am I Too Late, Freda Payne - I'd Do Anything For You, Bonnie Tyler - Married Man, Michael Jackson - Almost Like Being In Love and Kenny Johnson - One Chain (Don't Make No Prison). The condition is generally VG+ to Ex+.
DISCO / SOUL / FUNK & BOOGIE - 12" COLLECTION. Get ready to boogie with this collection of around 95 x 12". Artists / Titles include Grace Jones - Pull Up to the Bumper, Incognito - Always There, Shannon - Let the Music Play, Ruby Turner - Bye Baby (Remix), Loose Ends - Magic Touch (Club Mix), Colonel Abrams - Trapped, Donna Allen - Serious, Rose Royce - Magic Touch, Johnny Guitar Watson - The Real Deal, Cameo - She's Strange, Debra Laws - On My Own, Animal Nightlife - Love Is Just the Great Pretender, Gene Page - Close Encounters of the Third Kind, The Conway Brothers - Turn It Up, Shakatak - Invitations and George Benson - Feel Like Making Love. The condition is generally VG+ to Ex+.
VAN MORRISON AND RELATED - LP COLLECTION. An expansive collection of 41 LPs by Van the man and related. Van Morrison titles include Live At The Roxy (WBMS 102, promo. Record Ex/ sleeve VG+), Live In Montreux (TSP 081-2), Astral Weeks (K46024), His Band And The Street Choir (K46066), Roll With The Punches (602557718522), You're Driving Me Crazy (190758200415), Avalon Sunset, Moondance, A Period Of Transition, Real Real Gone, Nobody's Child, Enlightenment, No Guru No Method No Teacher, Days Like This, Tupelo Honey, Copycats Ripped Off My Soul, Into The Music, Common One, A Sense Of Wonder, Live At The Grand Opera House Belfast, Beautiful Vision, Hard Nose The Highway, Poetic Champions Compose. Them inc The Angry Young, Bad Or Good, Featuring Van Morrison, Them Again. Condition is generally VG to Ex+.
Hornby - A boxed Real Steam Stephensons Rocket # G100-9140 The model shows signs of use and is dusty from storage and would benefit from cleaning. It appears in Good condition and is complete with funnel, tool, gas cylinder and instructions in a Good box with some storage wear. (This does not constitute a guarantee)
Corgi, Matchbox, Lindberg, Lledo, Conrad, Quality Craft Models - 28 x original boxed and postage boxed die-cast model vehicles - Lot includes a boxed #56501 Corgi Collectable 'Leyland' truck, a boxed #53450 Corgi 'Pointers Real Fast Food' van, 9 x boxed Lledo vehicles, and similar. Boxes range from good to excellent condition. Die-cast models appear in excellent condition. (This does not constitute a guarantee)
Norton model 18 motorcycle. 1929. Frame No. 35804Engine No. 42932This bike is part of the Ian Dettmer collection and is being sold due to ill health. The bike featured in a 6-page spread in the Real Classic magazine in 2018. This Norton has overgone an extensive restoration over the last 4 years, the 490cc engine has been completely rebuilt, many parts powder coated and in excess of £10,000 spent on it. Unfortunately due to Ian's health the bike hasn't quite been finished, it just needs a bit of chrome work before heading out on the roads. The bike c/w The Real Classic magazine where the bike was featured, letters from the Norton Owners Club and a folder full of history. Reg. TE 6265. V5 and old log book
Dolls House Interest comprising Victorian Street Scene. 1/24 scale by Valerie Thompson (the only scene she created in 1/24 scale). This is the only house Val created in the 24th scale. It is an absolute delight, with a small shop on the ground floor and basic living quarters to the first and second floors. It is lit both inside and outside, to create real atmosphere. The snow on the ground and roof, together with the Christmas tree, ensure this would make a wonderful Christmas decoration or a unique and special Christmas gift. Dimensions: Diameter: 40 cm Height: 42.5 cm Please note this is an off-site listing and is not at our saleroom.
Michaelina Wautier, Charles Wautier, Porträt von Don Francisco Fernandez de la Cueva (1619-1676), 8.Öl auf Leinwand. 68,5 x 56,2 cm.Oben links Signaturreste: Wa ....ProvenienzSammlung Don Francisco Fernandez de la Cueva (1616-1676). - Im Erbgang Ana de la Cueva Diez de Acero (1727) und Francisco Fernandez de la Cueva (1733). - London, Privatsammlung.LiteraturJahel Sanzsalazar: Encarar el miedo. Don Francisco Fernandez de la Cueva, VIII duque de Albuquerque: Sobre su estancia en Flandes y su retrato por los hermanos Michaelina y Charles Wautier, in: Philostrato. Revista de Historia y Arte 7, 2020, S. 61-98, Abb. 1. In englischer Sprache erschienen in Art & Deal, Okt. 2021, S. 40-59, Abb. 1.- Jahel Sanzsalazar: The Stuarts and the Wautier Siblings. Portraits of a Royal Family in Exile / Los Estuardo y los Wautier. Retratos de una familia real en exilio, in: Philostrato. Revista de Historia y Arte 9, 2021, S. 41-43, fig. 8.Ein bemerkenswertes Büstenporträt des 8. Herzogs von Albuquerque, Don Francisco Fernandez de la Cueva, später Vizekönig von Neuspanien und Sizilien, der während seines Aufenthalts in Flandern zwischen 1640-1643 zum General der Kavallerie ernannt wurde und an der berühmten Schlacht von Rocroi (1643) teilnahm. In dieser Zeit posierte er für die Wautiers, Maler des flämischen Barocks, nach dem Vorbild seiner Verbündeten General Andrea Cantelmo (der von Michaelina Wautier porträtiert wurde, 1643) und Charles Albert de Longueval, Graf von Bucquoy (der von Charles Wautier porträtiert wurde). Von einem Mann, der eine so zentrale Rolle bei der Etablierung Spaniens in der Neuen Welt spielte und dessen Interesse an der Kunst groß war, würde man nicht weniger erwarten, denn er leitete den Bau der Kathedrale von Mexiko-Stadt.Der Herzog mit dem langen, gelockten Haar, das von einem Hut gekrönt wird, trägt einen langen Spitzenkragen, eine Schärpe aus roter Seide über einem Mantel aus gepanzerter Rüstung und einen zeremoniellen Kommandostab, traditionell das Zeichen eines hochrangigen Offiziers. Der Stil der Geschwister Wautier ist hier leicht zu erkennen, und ihre Urheberschaft wird durch die Reste einer Signatur "Wa[...]" in der linken oberen Ecke bestätigt. Diese Art von Schrift ist eher die von Michaelina, da ihr Bruder normalerweise in Großbuchstaben signiert. Dennoch ist es umstritten, ob das Werk Michaelina oder ihrem Bruder Karl zugeschrieben werden soll. Wir erkennen vor allem die Pinselführung und den Impasto der Augen, die mit denen der Heiligen Agnes auf dem Gemälde "Zwei Mädchen als Heilige Agnes und Dorothea" (Museum Antwerpen) von Michaelina Wautier vergleichbar sind. Die charakteristischen Elemente dieses Porträts und der Vergleich mit den signierten Werken legen nach Ansicht von Sanzsalazar nahe, dass es sich um ein Werk von Michaelina handelt. Trotz des militärischen Charakters dieses Porträts, das Macht und Autorität ausdrückt, gibt es auch ein Gefühl von Emotion und Intimität, wobei die Darstellung der Augen des Dargestellten ein Gefühl der Verletzlichkeit verleiht, das ganz ihr eigen ist. Das Porträt des Herzogs von Alburquerque weist deutliche Parallelen zu dem Porträt eines Mannes (Antonio Pimentel de Prado, Museum der Schönen Künste in Brüssel, signiert und datiert 1646 von Michaelina) auf, und zwar in Bezug auf Komposition, Farbpalette und Stil. Sanzsalazar hebt als besonders vergleichbar die Behandlung der Haare, den Aufbau des Gesichts, die Plastizität der Hauttöne und die Gestaltung der Augen hervor, die eine sehr charakteristische Klarheit aufweisen, die ihnen eine emotionale Tiefe verleiht. Der frontale Blick wird vermieden, wie es bei Michaelinas Porträts von Martino Martini und ihrem Bruder Pierre Wautier der Fall ist; ganz anders als bei den signierten Porträts von Charles Wautier (siehe das Porträt eines Mannes von 1656 im Museum der Schönen Künste in Brüssel oder das Porträt des Abtes Michel Neutre, Museum der Schönen Künste in Mons).Unbestreitbar ist, dass die Geschwister Wautier ihre Arbeit, ihr Atelier und ihr Leben miteinander teilten und dass sie Zugang zur höchsten militärischen Elite hatten, wobei Erzherzog Leopold Wilhelm zu ihren wichtigsten Förderern gehörte. Obwohl Michaelina und Charles nicht nur in Brüssel, sondern auch darüber hinaus sehr produktive und talentierte Künstler waren, scheint die Anerkennung und Wertschätzung, die sie sich im Laufe ihres Lebens erarbeitet haben, für lange Zeit verflogen zu sein; sie gerieten in den Chroniken der Kunstgeschichte jahrhundertelang in Vergessenheit und wurden erst kürzlich mit Werken wie diesem brillanten, von kompromissloser Wahrheit geprägten Porträt wiederentdeckt. Die Echtheit dieses Werks, das von einem der Geschwister Wautier stammt, wurde von Jahel Sanzsalazar bestätigt und war Gegenstand zahlreicher Studienartikel.
A 19th century oak dresser base of small proportions: slightly overhanging top above single drawer and two panelled doors below, on plinth style base (117cm wide x 45cm deep x 83cm high)The overhanging top has been cut quite roughly along the sides, the front is finished and polished. There are dark areas to the ends of the top leading the Auctioneer to believe that it probably had a superstructure at some stage. There are a couple of splits (one about 7" or 8") running along the grain, the other is where two planks of wood are separating. The handles have obviously been changed on the single central top drawer and the two panelled doors open to reveal a shelf which may well have been replaced some time ago. It is noted that the piece is, in the Auctioneer's opinion, quite a vernacular piece not with any 'real' sophistication. The piece is noted to have panelled sides with no return mouldings to the bottom leading the Auctioneer to suspect that the piece may well have been custom-built for a particular alcove or location. Colour pleasing and in the Auctioneer's opinion the piece should be bought as a nice item of furniture and not a pure 'antique'.
A large bronze iron and wood palm tree standard lamp, late 20th century, with large brass shade above real palm tree column, held up with iron rods, raised on circular iron and bronze stepped base, 208cm highIt is the buyer's responsibility to ensure that electrical items are professionally rewired for use. Please refer to department for condition report
United States Congress, 19th Century, 'Report Of The Board On Fortifications Or Other Defenses Appointed By The President Of The United States Under The Provisions Of The Act Of Congress Approved March 3, 1885'. May have been very nicely rebound in blue cloth. Contents are all excellent. Contains many wholly original fold-out diagrams of the 'defenses'. This is the real thing and not a reprint (possibly excepting the boards, as mentioned). Difficult to find. Pencil price from bookseller probably 30 years' or more ago: £120 on ffep.
An Edwardian album of postcards with real photographic cards including Omnibus for Golden Hotel with bystanders, J Gould coffin maker and undertaker, also street scenes, train derailment, family, comical, military etc, also a similar period album of views, London, Stratford Upon Avon etc. (2)
An album of over one hundred and fifty early 20th Century real photographic postcards, mainly Hastings and Sussex, but also some London, North Wales, Warwickshire and Worcestershire to include Leamington Spa, Holt Fleet and Bewdley, a single LMS Royal Scot postcard and a small bundle of loose Brook Bond tea cards. (qty)
U2 - A signed Joshua Tree LP, signed by Bono, Adam Clayton, The Edge and Larry Mullins Jr, Island U26, Makin Tracks label to the front. Provenance - The current owner who resides in Ireland acquired the album from his uncle on his death, he tells the story in his own words.'Stewart was someone who introduced me to music and a wide variety of bands. In 1987 in or around March there was much anticipation about U2's new release. Stew, through his contacts, found out that the band were going to play a small gig for BBC2 Whistle Test on Sunday 8th March 1987 at the BBC studio Balmoral Showgrounds in South Belfast. He thought he could swing some tickets for me too but ended up that he only managed to get himself a ticket despite his alleged best efforts!The gig went ahead on that Sunday evening ahead of the release of Joshua Tree the next day on 9th March. After the gig they headed to a now defunct record shop called Makin Tracks in the centre of Belfast. There was a real tradition for the shop to open at midnight so fans could purchase the album and the band were there to meet and greet fans. Stew got the band to sign his vinyl'.
Jan Sluijters (1881-1957), 'Laantje' / A colourful forest lane, oil on canvas, 47x40 cm, Literature:-Jacqueline de Raad, Digital catalogue raisonné, ‘Oeuvrecatalogus van de schilder Jan Sluijters’, RKD Studies 1998, where erroneously dated 1909. Provenance:-With Kunsthandel G.J. Nieuwenhuizen Segaar, The Hague., signed and dated 'Jan. Sluijters 10' (upper left), After receiving a thorough and classical art education, Jan Sluijters manages to win the prestigious Prix de Rome in 1904. That same year he travels by means of his just received Prix-allowance through Italy and Spain, yet without really getting artistically inspired: it was all the same boring past, while Sluijters longs for the more exciting present. It is only in Paris that he finally finds the answer to his artistic aspirations. Here he becomes captivated by the Post-Impressionists and Fauvists and gets greatly inspired by the work of various modern painters, among whom fellow Dutchman Kees van Dongen. The modern Parisian nightlife, the bright electric and coloured light, the swirling dancers on the café floor must have been mesmerizing for Sluijters. He wants to capture it all in his paintings and at the same time give his spectators the idea of not only watching the scene, but of being part of it as well. With loose brush strokes and bright colours, Sluijters paints lively and exciting café scenes, such as Café Olympia and Bal Tabarin. However, the conservative Prix de Rome jury is not amused and accuses Sluijters of “celebrating the false ingenuity of the latest French trend” and of ‘‘trying too desperately with new colour schemes in his search for raw passion”. With the denouncement of his work comes the announcement that his allowance will be cut short. Back in Amsterdam in 1906, Sluijters receives some negative reviews, being considered to be too avant-garde. For Sluijters the criticism is the very proof that his choice to embrace modernism and to experiment with new styles is the right one. In a letter to a friend he writes “Alas […] a couple more of these refusals and I will become a famous man.” By then he already knows that negative attention is also publicity, what-so-ever. Despite the criticism Sluijters continues to exhibit his work along with that of his contemporaries, like Piet Mondriaan and Leo Gestel, and by doing so contributes greatly to a shift in the rather traditional artistic climate in the Netherlands. For many thinkers and artists, the beginning of the twentieth century also heralded the beginning of a search for new spiritual meaning and for some this meant that real life, as depicted in all its materialistic glory, was too decadent and too superficial. Spiritual depth, according to them, was not to be found in immoral city life, but should be sought after and could only be found in nature and nature alone. Always open to new ideas and looking for new subject matter, Sluijters would often trade Amsterdam for rural Renkum in Gelderland or Heeze in Brabant. For months on end he would paint non-stop in the woods where he, by his own account, found his way back to nature. The ruling thought of the day was that, for putting ‘soul’ into one’s work, the artist should use his senses first and then translate them onto canvas. Colour was used to express the felt sensations, not to depict reality. With all the new techniques and ideas picked up in Paris, intertwined with his new philosophical approach of depicting his surroundings in a more spiritual way, we see Sluijters produce numerous vibrant works in the years 1907-1908. They are beaming and bursting of colourful dots and strokes of bright, unmixed colours, always with the emphasis on the representation of light. However, the peak of this phase is reached in 1910, when Sluijters lives in Laren. Not the depiction of a realistic world is his main concern, but the use of form and colour to express the sensory perception of the world. Or in Sluijters own words: “Als ik bijvoorbeeld de zon zou willen schilderen op het landschap, zou ik dit landschap eerst wel mijn rug willen toekeren, om daarna, wanneer ik de sensatie, welke het glanzen der zon op het landschap in mij opwekte, voel, te gaan componeren in gelen en blauwen en groenen, waaruit ’t landschap tevoorschijn zou komen.” Still trying to gain a modern foothold in traditional Holland, Sluijters, together with his brothers in arms, Jan Toorop, Conrad Kickert, Leo Gestel, Kees Spoor and Piet Mondriaan, establishes ‘The Moderne Kunstkring’ in 1910. The following year the group organizes an exposition. Again Sluijters’ work is badly received in the press and four paintings are even refused by the mayor of Amsterdam to be part of the exhibition: two by Leo Gestel and two by Jan Sluijters, apparently because of their immorality (read: nude female figures). Another art critic attacks Sluijters as follows: “Het valt te betreuren dat deze man, met onmiskenbaar groot talent, niet aflaat met op de meest onbesuisde manier zijn onderwerpen te kiezen en zijn indrukken en passies onbekookt en fel op het doek te werpen”. (“It is to be regretted indeed that this undoubtfully well-talented man would choose his subjects carelessly and then would hurl his impressions and passions onto a canvas raw and fiercely!”) Well, we do not regret it at all, especially not when we look at the present lot ‘Laantje’, that Sluijters made in 1910. Sluijters used to call his colours ‘Gevoelskleuren’ and what a feeling of sheer joy he must have had when walking down this very forest lane! For here is a Summer’s day you will never forget; with unbridled strokes of exploding colours that seem to whirl and twirl over the canvas, Sluijters has created an ever-ongoing dance of light, leaves, sky, wood and sand, in one happy celebration of nature on a glorious day. If there has ever been painted an anti-depressive on canvas it is this very painting. Sources:-Frouke van Dijke a.o., ‘Kleur ontketend: Moderne kunst in de lage landen, 1885-1914’, The Hague 2015.-Jacqueline de Raad, ‘Jan Sluijters, 1881-1957’, Laren 2011.-Carel Blotkamp, ‘Meesters van het licht: luministische schilderkunst in Nederland en Duitsland’, Rotterdam 1996.-Anita Hopmans, ‘Jan Sluijters 1881-1957 : aquarellen en tekeningen, Zwolle 1991.‘Kunst in de Hoofdstad: De tentoonstelling van den Modernen Kunstkring’, In: De Maasbode, 14 October 1911.-‘Geweigerde schilderijen’, In: De Tijd: godsdienstig-staatkundig dagblad, 07 October 1911.
Cornelis Springer (1817-1891), The Jewish Quarters in Amsterdam in winter, oil on panel, 41x34 cm, Literature:-Pieter A. Scheen, ‘Lexicon Nederlandse Beeldende Kunstenaars 1750-1950', The Hague 1970, ill. no. 187.-W. Laanstra, H.C. de Bruijn and J.H.A. Ringeling, ‘Cornelis Springer (1817-1891)’, Utrecht 1984, ill. p. 105, no. 56-10, as: ‘Een straatje in een Jodenbuurt bij winter'. Provenance:-Collection C.F. Roos, Amsterdam, acquired directly from the artist on 30 November 1856 for Dfl. 175.-Auction, S.J. Mak van Waay, Amsterdam, 26 May-5 June 1964, lot 461.-With Kunsthandel Pieter A. Scheen, The Hague, August 1965, cat. no. XIX, no. 39, where acquired by the family of the present owners. Please compare to two different, but similar, preparatory drawings by the artist:I. Auction, Christie's, Amsterdam, 29 October 1997, lot 25, dated 25 October 1855 (40,5x34 cm)II. Willem Laanstra, 'Cornelis Springer, Geschilderde Steden', Amsterdam 1994, ill. p. 116, as: 'Een straatje in een Jodenbuurt in Amsterdam bij winter', dated 1856 (34x28 cm). Lots 56-83: A Distinguished Collection, signed and dated 'C Springer ft 56' (lower right), When looking at this magnificent winter scene by Cornelis Springer, we are invited to use, apart from sight, all our senses. We are smack in the middle of the bustling Jewish quarters in Amsterdam and although the sounds are slightly muffled by the snow, we can hear the market people loudly announcing their ware, the buyers negotiating, the man pushing the sledge loaded with heavy barrels, groaning, and then there is the ever-present chattering and gossiping of the market visitors. It is a racket! It is cold too: a mother hides her hands under her cape while her son carries the groceries. The weak wintery sunlight shining in the background on the market stalls has been unable to warm her, but in the shadow of the buildings she feels the cold even more. Still, despite the cold, we see a window wide open on the left upper sight of the painting, revealing the very Dutchness of this painting, for the Dutch are known to be lovers of cleanliness and fresh air, even in the very heart of winter. And for this very reason they also hang the laundry outside in icy weather. Do you see the clothes hanging on the pole on the right-hand sight of the building? The blankets are also out to air, right over the open market stall in front, and will be frozen stiff when it is time to take them in. This winter scene could be seen as a very appropriate illustration of a Charles Dickens book, but there is nothing in it that even touches the caricatural tone of a Dickens story. The realistic atmosphere is mostly due to the splendid and detailed architectural depiction of the buildings: every brick of every gable seems to have been scrutinously observed before being painted, and this is exactly what Springer did. Springer’s keen interest in architecture was rooted in his upbringing, and in his later artistic education. His father was a carpenter/builder and Springer’s first official apprenticeship was with a decorative house- and carriage painter. His interest in drawing, especially perspective, was stimulated by his architect brother who gave him drawing lessons. To professionalize his drawing skills, Springer also took lessons at the Stadstekenschool. His first exhibition in 1834 was followed by a new apprenticeship in 1835 with the well-known and celebrated architectural painter Kasparus Karsen. It is Karsen who taught him the tricks of the trade of painting capriccio city views that were laced with topographically correct elements. However, from the 1850s onwards we see Springer losing the fantasy elements and focusing more on representing topographical locations in great detail. With his choice for more subtle and subdued colours and thus depicting a more realistic atmosphere, Springer soon outdid his former master. Continuing this path, Springer grew to become the townscape painter of his time. Throughout his career he takes rather detailed notes of his artistic process so we know how meticulously he worked to get every exacting detail correct. He used to make numerous sketches on the spot which he later elaborated into full-scale compositions. In addition, he made detailed figure studies of the people and groups of people he wanted to portray before finally starting with the real painting job. This whole process could take months. The study for this painting, rendered in black chalk, immediately shows the virtuosity of Springer’s artistic talent. The many Springer admirers who passionately applaud his excellent architectural painting skills are more than correct, but in their enthusiasm they often forget to mention Springer’s phenomenal compositional expertise. The present lot is an excellent example of his well-balanced compositions. By the vague glow of the wintery sunlight upon the white market stalls in the background, the spectator’s eyes are drawn into the street. With one or two touches of a whiter shade indicating the hoods of female buyers, Springer deepens the perspective even more, while the white tones of the background are well-balanced by the bright and untouched white snow on the roof in the foreground. Groups of people seem to be scattered randomly in the scene, but on second view are cleverly grouped to anchor the composition. The white laundry hanging in the air is contrasted by the black hanging streetlight, both breaking up the view and serving to give depth to the composition at the same time. Time and time again Springer shows himself to be the master of perfection when it comes to architectural renderings, but also to be a true genius of perspective who knows how to create a totally convincing city view. With this lively scene Springer invites the viewer to join in Amsterdam’s nineteenth century street life. You will never know if this Christmas will be white, but with this great winter scene by Springer you can be sure of it. Source:-Willem Laanstra, ‘Cornelis Springer, geschilderde steden’, Amsterdam 1994.-Willem Laanstra, ‘Cornelis Springer en het getekende stadsgezicht’ in : Tableau, 1989, no. 6.-W. Laanstra, H.C. de Bruijn and J.H.A. Ringeling, ‘Cornelis Springer (1817-1891)’, Utrecht 1984.
Jan van Os (1744-1808), A still life with flowers, fruits, insects, a mouse and a bird's nest, oil on panel, 70x56 cm, Exhibited:-Amsterdam, Kunsthandel P. de Boer (22 April-30 May 1983)/Braunschweig, Herzog Anton Ulrich-Museum (15 June-31 July 1983), 'A fruitful past, A survey of the fruit still lifes of the northern and southern Netherlands from Brueghel till Van Gogh', no. 69. Lots 56-83: A Distinguished Collection, signed and dated 'J. van Os. fecit 1774' (lower left), Painter Jan van Os was already a famous artist when he was visited by admirers in his house in The Hague at the end of the eighteenth century. When they asked who had been his tutor, the answer was surprisingly short: “Nature”. Now this was not quite true of course, as Van Os was taught to draw and paint by the animal, still life and decorative painter Aert Schouman (1710-1792) in The Hague. In 1773 Van Os became a member of the Confrérie Pictura in the same city, which also gave him status enough to send pictures to the Society of Artists in London. These quickly earned him quite a reputation with England’s and France’s aristocracy and even resulted in a commission by the Russian Tsarina, who – rumour had it – paid him with 1,000 Dutch florins or even more! Initially Jan van Os painted seascapes and river views based on seventeenth century paintings, but he soon became most famous as a painter of flower and fruit still lifes. In 1775 Van Os married Susanna de la Croix, a very respectable artist herself, and the daughter of the portraitist Pieter Frederik de la Croix. With two artistic parents - father Van Os was also a poet - it is no wonder that the three Van Os children, Pieter, Maria Margaretha and Georgius, all became reputable artists. Looking at this delightful lot we know the Tsarina paid not a cent too much for such great talent. We also begin to understand why Van Os saw nature to be his real tutor. The profusion of luscious fruit and flowers is painted with such delicacy and accuracy that you have to prevent yourself from trying to pick some of the delicious grapes, or from smelling the exquisite pink roses. Van Os’ lavish choice of fruit and flowers include both the exotic, such as the cockscomb and pineapple, and the more common, such as the hollyhock and plums.Some elements, like the cockscomb, pineapple and bird’s nest, are strong reminders of Van Os’ great example, fruit and flower painter Jan van Huysum (1682-1749), as are the arrangements of the background and foreground. However, Van Os had a virtuosity of his own and some details are rendered with such great technical skill that in certain aspects he is even outdoing his famous predecessor. The pewter plate on the right reflects both the rose and a bunch of white grapes, with the pips showing through. The waxy coat of the plums and grapes is applied with such great skill that they look as if they were freshly picked just before they were painted. Other elements like the split melon and the cracked walnuts are depicted meticulously and, again, bring seventeenth century still lifes to mind, as does the little mouse in the left hand corner. Two bluebottle flies, one perching on a grape and one on a hollyhock, seem at first to disturb the equilibrium of the beautiful piece, but then they are also proof of the painter’s great technical virtuosity and simultaneously his ode to nature in which after all, all things are bright and beautiful, all creatures great and small. Sources:-Sam Segal, ‘Flowers and Nature : Netherlandish flower painting of four centuries’, The Hague 1990.-A. Hallema, ‘Uit de bescheiden van de familie Copes van Cattenburch: Te weinig bekende Haagsche beelden en typen uit de 18de eeuw’, In: Het Vaderland: Staat- en letterkundig nieuwsblad, 10 July 1937.
The Rolling Stones: A Concert Poster,31st May 1982,Harvey Goldsmith Productions, printed on paper, for the band's show at the 100 Club, Oxford Street London, 20in x 30in (51cm x 76cm)Footnotes:Provenance:The Craig Duffy CollectionHarvey Goldsmith recalls, 'This was a surprise show just before their tour when they also played Wembley Stadium. I remember it well as we put the posters up at lunchtime and had to start a whisper campaign in McDonalds on the corner of Oxford Street and Tottenham Court Road that it was real before anyone would buy a ticket.'For further information on this lot please visit Bonhams.com
Martin Wiener (1913-2001): The Rolling Stones Hands1970,ink on paper, depicting hand-drawn 'hands' from the artists' 'Hands Series' in which he got musical personalities to sign their hands, with large signatures by Mick Jagger, Bill Wyman and Charlie Watts in black inks, 40in x 27in (101.5m x 68.5cm)Footnotes:Provenance:Gifted by the Artist's Estate to the current vendor who was a long-term friend of the artist and his family.Raised in Brooklyn, Wiener found art when he moved to California having drifted into writing plays and comedy sketches for radio, television and films. 'The only incident that sticks in my mind is the weekend I spent with Roy Rogers, American Cowboy singer in San Francisco', says Wiener. 'Then one day lightning struck! I was assigned to write a comedy sketch for Dinah Shore and Peter Lind Hayes...This new experience of drawing opened my eyes and heart to the one activity that now had real meaning to me.' After moving through drawing, watercolours and oils, he gave up his Hollywood activities and moved to Paris to focus on his art.The subject of 'hands' was a recurrent theme in Wiener's work. He had an exhibition called 'A Show of Hands' (an exhibition of musical drawings) held and displayed at the Royal Opera House Covent Garden for a number of months in 1971. Other notable people's hands include the Stan Getz Quartet, Yehudi Menuhin, Sir Colin Davis, Golda Meir and many other great musicians, conductors and political figures of the 60's and 70's. His work has been exhibited at numerous institutions in the UK, USA, France and beyond, including the Tate, Barbican, BFI, American Embassy Cultural Centre in Jerusalem, the San Diego Museum, Bodley Gallery in New York, and Oxford University, among many more.Literature:Wiener, Martin, 'Taking a Line for a Walk', Scarecrow Press, London, 1985.For further information on this lot please visit Bonhams.com
Follower of Govaert Flinck, Dutch 1615-1660- A man, head and shoulders, in a brown cloak, velvet cap and gold chain; oil on panel, bears old typed label '1 Head of Bergomaster, by Ferdinand Bol (signed)' on the reverse, 15.8 x 12.4 cm. Provenance: Anon. sale, Christie's, London, 26 September 1980, lot 50 (as 'BOL').; Private Collection, UK. Note: Renowned as one of Rembrandt’s most talented protégés, Flinck was his pupil from 1633 until 1636, when he set up as an independent master. Like many of Rembrandt's best pupils from his early Amsterdam phase such as Ferdinand Bol (1616-1680) and Jacob Backer (1608-1651), Flinck evolved a style that is distinctive and personal, but until at least the end of the 1640s remained palpably Rembrandtesque. The present work is a tronie, or fancy-dress study, based on a real likeness. Rembrandt developed the tronie and painted many of them from his Leiden period onwards, though they fell out of fashion after the 1640s. Flinck, along with many of Rembrandt's pupils from the first decade of his Amsterdam period, continued to produce tronies in large numbers, presumably to meet the great demand for them, and indeed, students and studio assistants as well as friends and family no doubt provided his models. Simon Schama certainly had the Rembrandtesque tronie at the forefront of his mind when he remarked to camera ‘Dutch art has a very large hat department.’ (‘The Face of Britain’, broadcast BBC2, 28th October 2015). This tronie, of an elderly gentleman in exotic dress, is a confident example of the type. The sitter, with his engaging eyes and pleasing countenance, looks towards the viewer. His features are softly modeled by a light that illuminates the scene from the upper left, casting shadows that define his face. In overall type, the painting may be compared with both Flinck’s ‘Head of an Old Man’ in the National Gallery of Ireland, Dublin, c.1642 (NGI.254) and his ‘Bearded Man with a Velvet Cap’, 1645, at the Metropolitan Museum of Art [25.110.27]. See, also, Rembrandt’s ‘Self-portrait’, 1633, in the Louvre, Paris [INV 1745 ; MR 937] for an example of the tronie type developed by the older master. Please refer to department for condition report
Five albums containing a large quantity of Edwardian and later postcards, predominantly topographical, mostly printed but some real photographic including street scenes, George Studdy 'Bonzo', WW1 soldiers and Lord Kitchener, portraits and groups, novelty pull-outs, shipping, comic, Mabel Lucie Attwell etc (5)Condition Report:Condition varies but most reasonable consistent with being postally used and storage.
Nine albums containing a large quantity of Edwardian and later postcards, predominantly topographical, mostly printed but some real photographic including street scenes, comic, churches and interiors, novelty pull-outs, postmarks including British Empire Exhibition 1924 and paquebots, some modern reproductions etc (9)Condition Report:Condition varies but most look to be reasonable consistent with being postally used, storage etc
Very large quantity of Edwardian and later postcards, predominantly printed topographical, but some real photographic and generalCondition Report:Condition varies but most look to be in reasonably good condition consistent with age, postal use and storage.A large proportion is relatively modern but there are some older interesting cards amongst them.
Over one-hundred Edwardian and later topographical postcards of East Yorkshire, Hull and the East Coast including Hornsea, Beverley, Brantingham/Elloughton, Bridlington, Scarborough etc, early real photographic Hydro-Plane Hornsea, Funeral of Arthur Wilson, Yarm 1911 Coronation Sports and Fair etc; and a quantity of other postcards; in modern loose leaf album with additional leavesCondition Report:Condition is consistent with age, use and being postally used.Minor mouse damage to bottom of album and one or two cards.
Modern album containing over four hundred Edwardian and later postcards including fourteen Mabel Lucie Attwell, Margaret Tarrant, Home Guard silhouettes, multiple babies, comic, applique, real photographic and printed topographical, greetings etcCondition Report:Condition varies from poor to good with most in reasonable condition depending on age.
Large quantity of loose Edwardian and later postcards including early Gruss Aus, chromolithograph, real photographic and printed topographical, street scenes, comic, glamour, military etc; and quantity of cigarette cards in plastic sleevesCondition Report:Condition varies but it very consistent with age, being postally used and then stored in loose form.
Various cigarette and trade cards, Texaco Trophy Cricket Cards, various other cricket cards, The Sporting Champions part set, to include Wilfred Rhodes, other early cricket cards, Churchman Cricketers, Sun Ripe cigarettes Waddington single card, Wills Cricketers, Player and Sons, Rover Top Form Footballers single card, Barratt Wilf Mannian card, Famous British Footballers real photograph single card, Philips In the Public Eye part set, various others, Grandee British Mammals, Cadet Sweets, Footballers, Rington's, Sovereigns Consorts and Rulers of Great Britain, other Disney cards, etc. (1 album)
![[Todd, James]. Journal of a Soldier of the 71st, or Glasgow Regiment, Highland Light Infantry, from 1806 to 1815, 2nd edition](https://cdn.globalauctionplatform.com/2387bab2-4269-4067-987a-af3a01109e57/0ae5ef45-7ffa-4bdf-a637-af4000b08915/468x382.jpg)
[Todd, James]. Journal of a Soldier of the 71st, or Glasgow Regiment, Highland Light Infantry, from 1806 to 1815, 2nd edition, Edinburgh: Balfour & Clarke for William and Charles Tait and others, 1819, 232 pp., title and advertisement leaf re-guarded, a little light toning front and rear, modern blue half calf gilt, 8voQTY: (1)NOTE:This Journal is often attributed to Captain Thomas Pococke or Thomas Howell. Subsequent research has revealed that in fact Thomas Howell was the editor rather than the author. G. Jones in the Bulletin of the Military Historical Society for May 1992 wrote that the Royal Highland Fusiliers own a copy of the third edition inscribed by Howell who writes 'the real name of the hero is not Thomas, the Christian name used in the Journal - James Todd is the individual I got the greater part of the journal from.'
Gilpin (William). Three Essays: On Picturesque Beauty; On Picturesque Travel; and on Sketching Landscape, to which is added a poem, on Landscape Painting, 1st edition, London: R. Blamire, 1842, 7 plates (5 in colour), explanation slip at p.85, contemporary ownership inscription of 'E.J. Belli?' to front pastedown and title, light scattered spotting, some plates and leaves loose, contemporary mottled calf gilt, front board loose, spine cracked, worn, 8vo, together with:Price (Uvedale). An Essay on the Picturesque, as compared with the sublime and the beautiful; and, on the use of studying pictures, for the purpose of improving real landscape, 1st edition, London: J. Robson, 1794, lightly spotted, front free endpaper and blank torn to upper right-hand corner with loss, contemporary calf gilt, front board detached, rubbed, 8vo, withGilpin (William). An Essay on Prints, 4th edition, London: R. Blamire, 1792, frontispiece and engraved plate (bound from another work?), half-title, lightly spotted, some modern marginalia in pencil, ownership inscription of 'F L Bevan' to front free endpaper, 19th-century vellum, title label lettered in gilt (chipped with loss), lightly marked and rubbed, 8voQTY: (3)
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