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Click here to subscribedating: about 1870 provenance: Kingdom of Italy, Round, rifled, 11 mm cal. barrel, high foresights; smooth, six-shot cylinder, with mark; frame with serial number '42XX,' marked 'G. GLISENTI / BRESCIA,' ACCIAJO FUSO' and 'G.G.' Extractor and loading gate. Grip with wooden grips embossed with the letters 'DS'; ring for the strap. Working mechanism. length 31.5 cm.
dating: 1915 provenance: Brescia, Octagonal, rifled, 10,4 cal. barrel, with foresight. Grooved, six-shot cylinder, frame marked 'TOSCHI CASTELLI BRESCIA 1915' (the first word double-marked) and with lion mark; checkered, wooden grips. Suspension ring. length 26 cm.
dating: about 1880 provenance: Brescia, Rifled, octagonal, 10 mm cal. barrel, with foresight; grooved, six-shot cylinder, smooth frame with mark 'GLISENTI' and 'BRESCIA' divided with a Sabaudo shield, serial number 'U 250,' fully browned (refreshed), wooden grips, suspension ring. length 28.5 cm.
dating: about 1880 provenance: Kingdom of Italy, Octagonal, rifled, 11 mm cal barrel, provided with front sight and 'SA' mark; six-shot grooved cylinder; frame marked 'MN108', 'GLISENTI BRESCIA', 'FB' under crown, 'CA' and another mark; provided with side extractor and loading gate; checkered wooden grips; girp with ring for the strap. Working mechanism. Rare. length 31 cm.
dating: 1893 provenance: Germany, Round, rifled, 11 mm cal. barrel, with octagonal base, with foresight, bearing two serial numbers and marks. Grooved, six-shot cylinder. Iron frame marked 'ERFURT 1893.' Serial number '18xx.' Screws and other items numbered. Safety lock with lever on left side. About 50% of antique browning. Smooth, wooden grips. Ring for the strap. length 28
dating: 1887-1890 provenance: USA, Round, rifled, 20' barrel, with foresight and folding and adjustable rear sight, company marking and patents up to 1887, in two lines, caliber inscription '44 Cal. ' at the base. Bore to be cleaned, visible rifling. Frame with lower tang featuring the serial number '57xxx' Working mechanism. Remains of browning, some pitting. Iron fore-end. Walnut butt. Saddle ring on the left side. length 94 cm.
dating: about 1855 provenance: England, Six-shot, 10 mm cal barrel/cylinder group with grooves and marks of the Birmingham test bench; frame of oval section signed 'J. R. COOPER'S PATENT' among floral engravings. Lower hammer with ring trigger. Wooden grips. length 20 cm.
dating: about 1855 provenance: Belgium, Group of four round, smoothbore, numbered, 9 mm cal barrels made of damask; frame of almost round section, finely engraved with floral motifs, lower hammer with ring trigger. Black wooden grips, frame marked 'MARIETTE BREVETE'. length 18.5 cm.
dating: about 1855 provenance: Belgium, Group of six round, smoothbore, 9 mm cal barrels in damask, with numbers; frame of almost round section, finely engraved with floral motifs, lower hammer with ring trigger. Black grips made of grooved wood, the frame marked 'MARIETTE BREVETE' and with serial number '15xx', iron mounts decorated en suite. length 21 cm.
dating: about 1870 provenance: France, Round, smoothbore, 9 mm cal barrel with front sight; six-shot cylinder engraved with floral motifs; frame engraved en suite and with serial number '32xx'. 75% of browning. Loading gate and ring trigger. Wooden grips, suspension ring. length 26.5 cm.
dating: about 1855 provenance: Belgium, Six-shot, 8 mm cal barrel/cylinder group; the central pin can be unscrewed to load the gun. Frame of oval section finely engraved with floral motifs on geometric motifs, black wooden grips. Lower hammer with ring trigger provided with folding finger support, frame marked 'MARIETTE BREVETE'. Very rare with rimfire and folding finger support. length 20.5 cm.
dating: provenance: Nuremberg, Smoothbore, two-stage, 12 mm cal. barrel, the first part octagonal with monogram 'P D' on the lateral sides, with a snake at the center, after a round ring and with slightly bell-mouthed nozzle; lock with external wheel, the lock plate with deep Nuremberg mark and 'KS' mark divided by a hare (Stöckel 8335, page 1254 found on a wheel gun around 1560/70). Carved spring, sliding pan cover. Stock entirely made of smooth iron, the pommel with straight base, curved towards the trigger guard. Replaced, iron ramrod. length 37 cm.
dating: 16th Century provenance: Nuremberg, Smoothbore, two-stage, 10 mm cal. barrel, the first part octagonal with remains of engravings at the base and Nuremberg mark on the left side, after a round ring with remains of engravings; lock with external wheel covered by a convex, circular shield, the lock plate with Nuremberg mark and one with crossed keys (Regensburg?); spring, safety lock and cock with engravings. Snap sliding pan cover. Stock entirely made of iron, with sphere-shaped pommel and belt hook. Ramrod also made of iron. Areas with pitting. Rare. length 25 cm.
dating: circa 1700 provenance: Northern Europe, Smoothbore, two-stage, 14.5 mm cal barrels, octagonal at the first part and decorated with brass plates engraved with floral motifs, then round, after a brass-coated ring; engraved brass rib with front sight; locks with external wheel and brass covering and engraved with floral motifs, sliding snap pan cover. Marked 'BK'with a clover inside. Fruit wood stocks with deer-horn mounts, iron trigger guards decorated with a brass plate en suite. Horn-tipped, wooden ramrods. length 50.5 cm.
dating: Late 16th Century provenance: Dresden, Smoothbore, two-stage, 15,5 mm cal. barrel, first octagonal, after round, with a carved ring at the girdle, the base with frame and star marks in three groups of three (Stöckel nr. 5889, vol. II, p. 1478); lock with flat lock plate with external wheel, engraved springs, with safety lock and snap sliding pan cover. Full stock made of blackened wood, scales engraved with bone inlays; sphere-shaped pommel with a bone medallion at the center bearing the Saxon royal coat of arms. Bone-tipped wooden ramrod and iron cartridge extractor. length 57 cm.
Four original WWI First World War era 1907 pattern Lee Enfield sword bayonets. The bayonets having a hooked steel pommels with push / release studs, wooden grips and cross guards with muzzle ring. The ricasso marked with Kings crown, 1907 date and Wilkinson makers. Broad arrow mark to the reverse. Housed in steel and leather wrapped scabbards with frog. Relic condition, heavily greased blades. Measures approx 58cm.
A WWII Second World War German Luftwaffe ' Fallschirmjager ' Paratrooper award / badge. Central eagle in flight and Swastika motif, surmounted by a ring of laurel leaves. Makers mark for G. H Osang, Dresden to the reverse. Note; from a large private collection of militaria. Due to the nature of some items, buyers are reminded for the need to satisfy themselves as to originality / origin / condition prior to bidding, irrespective of any description. No guarantees are implied nor offered and all lots remain sold 'as is'.
An original WWI First World War era 1907 pattern Lee Enfield sword bayonet. The bayonet having a hooked steel pommel with working push / release stud, wooden grip and cross guard with muzzle ring. The ricasso marked with Kings crown, 1907 date and Sanderson makers. Broad arrow mark to the reverse. Housed in a steel and leather wrapped scabbard with frog. Measures approx 58cm.
An original WWI First World War British 1907 pattern Lee Enfield rifle bayonet. Hooked pommel with working push release stud, wooden grips encasing the blade tang and cross guard with muzzle ring. Housed in a leather scabbard with steel locket and chape. Measures approx 58cm.
A collection of WWII Second World War Third Reich Nazi German SS Officer items comprising a cloth armband with RZM 70/36 label to the reverse side, metal matchbox holder with Death Skull and a boxed gentleman's ring with SS runes. Note; from a large private collection of militaria. Due to the nature of some items, buyers are reminded for the need to satisfy themselves as to originality / origin / condition prior to bidding, irrespective of any description. No guarantees are implied nor offered and all lots remain sold 'as is'.
An original 19th Century French M1886 Lebel rifle bayonet. The bayonet having a smooth brass grip with working catch mechanism and muzzle ring. The cruciform blade marked CF to the ricasso. Housed within the original cylindrical steel scabbard. Measures approx 65cm.
A 19th Century French 1866 pattern ' Chassepot ' rifle bayonet. The bayonet having ribbed brass hilt, muzzle ring and forward facing quillon. The recurved ' Yataghan ' style blade dated to the spine 1868 with French literature. Housed within an original steel scabbard. Measures approx 71cm.
A WWII Second World War Third Reich Nazi German Luftwaffe pilots badge. Central swopping eagle clutching a Swastika motif, surmounted by a ring of laurel leaves. No makers marks to reverse. A late war example. Note; from a large private collection of militaria. Due to the nature of some items, buyers are reminded for the need to satisfy themselves as to originality / origin / condition prior to bidding, irrespective of any description. No guarantees are implied nor offered and all lots remain sold 'as is'.
An original WWI First World War era 1907 pattern Lee Enfield sword bayonet. The bayonet having a hooked steel pommel with working push / release stud, wooden grip and cross guard with muzzle ring and forward facing quillon. The ricasso marked for James A. Chapman makers. Housed within a steel scabbard. Measures approx 53cm.
A Georgian pearl and topaz yellow metal cluster ring. Set to centre with an oval foil backed peach topaz in a closed back setting surrounded by twelve natural pearls, the pierced tri-split shoulders further set with six natural pearls flowing through to a grooved flat band. Unmarked. Gross weight 4.2g Size M
A Victorian 9 carat yellow gold amethyst and cultured pearl cluster ring. Set to centre with an oval mixed cut amethyst with an approximate carat weight of 4.22 carats, surrounded by twelve round cultured pearls, to tri-split shoulders flowing down to a flat shank. Hallmarked: 375, London,1903. Accompanied by heart shaped box. 4.7g Size L 1/2
A Victorian yellow metal carved half hoop ring set with three cushion shape mixed cut garnets with a combined approximate weight of 1.57 carats, further adorned with four mixed cut emeralds, to a pierced scrolling design with foliate design shoulders flowing through to an engraved shank. Ring size N 1/2.
Vlaho Bukovac (Croatian, 1855-1922)Nude resting signed and dated 'B. BUKOVAC 1892' (lower left)oil on canvas54.5 x 45.5cm (21 7/16 x 17 15/16in).Footnotes:ProvenancePrivate collection, UK.As Igor Zidic writes:In the wake of the well-known Young Patrician Lady (1890) an epitome of his neo-classical period, Bukovac painted a group of semi-nudes, shown both in the open air and indoors. They are tender and very appealing, and the present lot could certainly be described as forming part of this group. Bukovac often returned to this theme, because, during pauses while painting from the model, while she is resting, he is attracted to the ease and relaxation of the model, not present when he is painting an arranged standing nude.At first glance, this painting attracts the eye, it is even, we may say, 'commercial'. But love and deep feelings are also evident. The painting is executed with technical virtuosity, but not in a cold manner. I think it is a great example of its period.As Alex Kidson writes:Born Biagio Faggioni of mixed Italian and Dalmatian descent in the little Adriatic port of Cavtat in 1855, Bukovac showed such artistic promise as a young man that he was sponsored to study in Paris by Dalmatia's leading patron of the arts, Bishop Josip Strossmayer. He took the nationalistic name Bukovac, westernised his first name to Blaise, and remained in Paris for sixteen years, from 1877 until 1893. He studied with Alexandre Cabanel, creator of one of the most celebrated nudes in 19th-century French art, The Birth of Venus, and it was with a female nude, La Grande Iza, that he himself first made a sensation at the Paris Salon, in 1882. Bukovac's handling of the nude was central to his Western academic training and to his reception. Following his success with La Grande Iza he was 'picked up' by the London firm of dealers Vicars Brothers, who introduced him to their English clients and marketed him in titillating fashion as exotic and risqué. Female nudes appear regularly in Bukovac's work of the 1880s and studies for these figures are numerous. Photographs of his studio in Montmartre at this time often show Parisian models in a state of semi- or full undress. Among his celebrated works of this period was Une Fleur sold at Bonham's in 2006.What gives special fascination to the present study – especially given the work's almost certain English provenance; it has descended in the same family collection in Britain for four generations – is the model's uncanny resemblance to Laura, wife of Bukovac's Liverpool patron Richard LeDoux. Towards the end of his stay in the west, between 1890 and 1892, Bukovac visited the couple at their home in West Derby, affluent suburb of Liverpool, on several occasions, and at least three portraits of Laura dating from these years are known. Comparison of the likeness in this study with the formal portrait of Laura painted in the same year and shown at the Paris Salon in 1893 (Mrs Richard Le Doux, National Museums Liverpool; Walker Art Gallery) reveals striking similarities: the long curving eyebrow, reaching nearly to the centre of the face; the prominent rounded chin, the Empire hairstyle...Could Laura really have posed semi-nude for Bukovac, favoured guest in Liverpool as he was? There are certainly circumstantial hints that Laura's morals were advanced and that she and her Parisian protegé could have conducted a brief affair. What may have been Bukovac's first portrait of her, apparently commissioned by LeDoux's business friend Samson Fox of Harrogate, was given away after Fox's death to the family's housemaid – a seemingly telling fate. In 1892 when Bukovac travelled to West Derby with his new Dalmatian fiancée Jelica Pitarević, Laura presented her – almost as if in expiation – with a huge diamond ring. Is there a sense in Bukovac's salon portrait of Laura that her eyes are saying farewell; and that here, in this semi-nude study, she has turned away from the artist forever? While there are many scenarios in which Bukovac could have created this extraordinarily sensuous and intimate portrait, it is hard to imagine that it does not hold strong personal meanings; or that it is simply the kind of academic exercise that his practice as a figure-painter prescribed.We are grateful to Igor Zidic and Alex Kidson for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Marie Spartali Stillman (British, 1844-1927)The last sight of Fiammetta 'Above her garland and her golden hair I saw a flame about Fiammetta's head' (Boccaccio)signed with monogram (lower right), inscribed on an exhibition label (attached to the reverse)watercolour, bodycolour and gum arabic82 x 62cm (32 5/16 x 24 7/16in).Footnotes:ProvenanceAnon. sale, Christie's, London, 11 April 1967.With Abbott and Holder Ltd., London.Eric Smith (purchased from the above circa 1968).By family descent.Private collection, UK (gifted to the present owner, 2004).ExhibitedLondon, Royal Academy, 1876, no. 757.Manchester, Royal Manchester Institution, Exhibition of the Works of Modern Artists, 1876.Paris, Universal Exhibition, 1878, British Fine Art Section.The present lot has not been seen in public for decades, so it represents a welcome addition to the Stillman's oeuvre, at a moment when her reputation is rising. The finely painted fanciful half-length figure depicts a girl no older than early teens, wearing a rose-garland on her loose hair, who dreamily fingers a rose-entwined mandolin. The feeling is of harmony and repose. Art historian Pamela Gerrish Nunn declared of the work that it 'is surely destined to be regarded as her masterpiece [sic]'.Moreover, it belongs in a sequence of events consolidating the mutual regard between Spartali Stillman and Dante Gabriel Rossetti, as it prompted the last major canvas from the latter before his death in 1882. As observed in the 1989 publication Women Artists and the Pre-Raphaelite Movement, the existence of the present work was then known only from old exhibition catalogue listings. The exhibiting history of the work began at the Royal Academy in 1876. At the time, the significance of this work to Rossetti is indicated by the fact that, eighteen months after the exhibition, he asked Spartali to sit for him for his own version of Fiammetta. Since her reputation as a model has tended to obscure her career as an artist and since she is typically said to owe her pictorial inspiration entirely to Rossetti, it is worth noting that in this case her choice of subject evidently stimulated his own, and that by 'casting' Marie as Fiammetta, so to speak, Rossetti implicitly recognised her choice of the theme. ***Stillman and Rossetti met in the early 1860s, when she decided to pursue art practice, and through her father sought tuition from Rossetti. Given his lack of aptitude, Rossetti sensibly passed the request to Ford Madox Brown, who from 1864 welcomed her for twice-weekly sessions alongside his own children. Brown then encouraged her exhibition debut at the Dudley Gallery in 1867, and became a lifelong artistic mentor. She continued to exhibit after her marriage in 1871 to the American journalist, William Stillman, whose career as a foreign correspondent took the family to postings in Greece (Corfu) and Italy. In winter 1874-5 they visited the US, where her exhibited works were commended by Henry James in Atlantic Monthly and Galaxy. Back in Britain, when not overseas she divided her time between her parents' homes in Clapham and the Isle of Wight. Following his paranoid collapse in 1872, Rossetti stayed mainly at Kelmscott Manor, the secluded country home he leased jointly with William Morris, until in summer 1874 he returned to his London home in Cheyne Walk, and to his art practice. His translations from early Italian poetry, first published in 1861, were re-arranged and re-issued this year. The volume includes examples of Boccaccio's poetry, 'chosen for their beauty alone. Two of these relate to Maria d'Aquino, if she indeed be the lady whom, in his writings, he calls Fiammetta.' More probably, this was a fictive inamorata, the same name – 'little flame' – being given to the protagonist in Boccaccio's Elegy of Madonna Fiammetta, lamenting a faithless lover. Rossetti also used the title for a 'pot-boiler' executed around the same time as Monna Vanna and offered to George Boyce in December 1866.The present work is the first of Stillman's based on Rossetti's translations from Boccaccio, where a sonnet entitled 'The Last Sight of Fiammetta' describes what seems to be the death of the beloved:Round her red garland and her golden hairI saw a fire about Fiammetta's head;Thence to a little cloud I watch'd it fade,Than silver or than gold more brightly fair;And like a pearl that a gold ring doth bear,Even so an angel sat therein, who spedAlone and glorious throughout heaven, array'dIn sapphires and in gold that lit the air.Then I rejoiced as hoping happy things,Who rather should have then discern'd how GodHad haste to make my lady all his own,Even as it came to pass. And with these stingsOf sorrow, and with life's most weary loadI dwell, who fain would be where she is gone.In 1875 the artist sold a Renaissance-style image of her stepdaughter Lisa Stillman under the title Mona Lisa (Royal Academy, 1875, no. 719; Manchester, 1875, 40gns; untraced). So, looking forward to the 1876 exhibition season, a comparable theme was chosen for the present work, borrowing again from Boccaccio/Rossetti and in all likelihood using eleven-year-old Lisa as model. The chosen genre was that described by William Rossetti – pejoratively but accurate - as 'lovely ladies with floral accessories'; derived from Lely's Hampton Court beauties, this format became newly popular and saleable in the late nineteenth century. On 7 January 1876, Stillman ordered from the art suppliers, Robersons, a support of similar dimensions – 31 by 21 ins – prepared to her specifications with board covered in three sheets of paper – two cartridge and one seamless Whatman. This was likely for Fiammetta, because although Stillman was a painstaking artist who typically took a year or more to complete an exhibition piece, the present work has been enlarged with additional strips along the left side and lower edge. While not exact, this surely relates to her Robersons' order on 11 March, for '2 slips of wood fitted with [indecipherable] to fix on edges of drawing board covering with two surfaces of paper', at a cost of four shillings.The brushwork is notably delicate on the figure and mandolin, looser on the upper foliage and very much looser on the added strips. An undated letter from Rossetti to Brown mentions that the frame, with its reeded edge and 'Pre-Raphaelite' roundels, cost £3.10s. So, the enlargement probably relates to the availability of this frame. The picture was submitted to the RA in April. Accepted and hung, it was catalogued as 'no. 757 / The last sight of Fiammetta / Above her garland and her golden hair / I saw a flame about Fiammetta's head. – Boccaccio.' It was listed under the name 'Miss M.S.Stillman'. Amidst the scores of landscapes and still lifes in this section, it was favourably commended by W.M. Rossetti in his role as art critic, as 'one of the genuinely fine works of colour in the exhibition – warm, soft, pure flesh tints, admirably supported by the general colour scheme, the copper-yellow hair garlanded with red and pink roses, the charmingly-painted mandoline, the embowering foliage.' The overall standard at the RA that year was however not the most commendable. In 1877 Sir Coutts Lindsay launched his rival fine art show at the Grosvenor Gallery, and maybe on the strength of Fiammetta, Marie Stillman was one of two women invited to exhibit at the inaugural exhibition. Subsequently it was selected for the British Fine Art section of the Paris Universal Exhibition in 1878. Around this time, it was photographed and reproduced as a large-size sepia print, one copy being in the Bancroft Collection at Delaware Art Museum.The work also prompted Rossetti to renewed effort, despite poor health and very low spirits... For further information on this lot please visit Bonhams.com
Sir Alfred James Munnings, PRA, RWS (British, 1878-1959)A group of pencil studies comprising:i Up in the Clouds, signed and dated 'Alfred Munnings. 51.' in pencil (lower centre), drawn opposite page 15 of An Artist's Life and separately mounted.ii A study of horses being led in a paddock, drawn on the frontispiece of An Artist's Life and separately mounted.iii A menu card with a sketch of a cowboy (recto), sketches of dray horse and figures, signed and inscribed 'AJMunnings/To Harry Backhouse at Calgary' (in pencil, verso).iv A sketch of figures and horses at a racetrack, signed 'Alfred Munnings' (in pencil, recto), study of figures, signed, inscribed and dated 'In the saddling ring/Notes/Xmas 1949/Alfred Munnings/To Harry Backhouse' (in pencil, verso).all unframed;together with a copy of An Artist's Life by Sir Alfred Munnings (several pages removed) inscribed on the inside cover 'I inscribe this copy of my book to a friend whom I have never seen- who has written me wonderful letters. Who has sent me Christmas gifts beyond all hopes, beyond anything I could ever expect. He is in far away Calgary & his name Harry Backhouse! I wish him well. Alfred Munnings. Feb. 21 1951' (5)Footnotes:Although Harry Backhouse is not mentioned in any of the volumes of Munnings' autobiographies, Laura Knight, writing in her own autobiography Oil Paint and Grease Paint quotes a letter she receives from him Backhouse in March 1931. Written in pidgin English, the letter, addressed from The Ranchmens Club in Calgary, praises Knight for her recent Ballet Girl and Dressmaker, further noting 'you and good old Alf Munnins ave done more than anyone else to bring tears of joy to our eyes.'11L. Knight, Oil Paint and Grease Paint, London, 1935, pp.323-324.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
18 carat gold and enamel 'Harlequin' ring, having a marquise cut bezel set blue stone at the centre, with two small round cut diamonds to each shoulder in a diamond shape setting with a vibrant green enamel surround in the form of triangles, 3.07grams, ring size J 1/2,
A Turquoise forget-me-not bracelet and ring set in yellow metal. The bracelet is comprised of a forget-me-not flower mounted on a raised central plaque of foliate design, having nine further forget-me-not flowers accenting foliate links. weighing 11.47 grams. The ring features a forget-me-not flower to the centre, with tapered Celtic knots to the band. Ring size L, weighing 1.97 grams.
A 18 carat gold pirineu tourmaline and diamond ring, the head set with antique cushion cut pirineu tourmaline stone together with a row of diamonds either side and a diamond set into a heart to the side the shoulders with a pierced decoration, ring size N 1/2 weight 5.2 grams
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