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Click here to subscribeDrawing/Drafting Instruments, [CITES] an oak case, top tray containing a collection of good ivory-handled instruments including three dotting pens, two raod pens, a road pencil, agate tracer, and other items including beam compass ends, lower tray with ivory scale rules, ebony rolling rule and parallel rule, case 35cm; with a large part-set by Stanley with a telescopic turn-about compass etc (case distressed)
Six Sets of Drawing Instruments, [CITES] including a good set by Riefler with beam compass ends and proportional dividers etc., complete set by Lee Guiness, four sets in mahogany cases by Stanley and Thornton including ivory scale rules/protractors, parellel rules etc, but each with items missing
Five Sets of Drawing Instruments etc., set by Reynolds in figured walnut case, ivory protractor and scale rule/protractor in lower compartment; distressed burr walnut case by Archbutt, ivory parallel rule, sector and protractor in lowest compartment, middle tray empty, case distressed; part-set by Halden in burr walnut case; part set in rosewood case, unsigned but compass dated 1917 with broad arrow; a part set, 19th century, rosewood case distressed, middle tray with ivory parallel rule by Troughton & Simms and Protractor by Harris & Co; with a mahogany case with pens pencils and brushes
A Collection of Drawing Instruments, seven T squares, most in mahogany with ebony edges, with boxwood rule and scale rule, and three cased rolling rules, two in ebony and one in brass, a case of Board of Agriculture 'Square Yards', with a Keuffel & Esser Leroy lettering set in mahogany case, longest T square 85cm
Drawing Instruments, Military Interest, [CITES] six military sets, one by Stanley in mahogany case, ivory sector and scale rule/protractor, with Marquois scales below, one by Harling and one by A West & Partners (some substitutions), with three Stanley sets in Bakelite cases, one dated 1936, one incomplete, lid detached (6)
A Very Fine Set of Standard chemists / apothecary / Apothecaries Weights, English, dated 1891, the case with a label for 'THOS. CHESHIRE, SCALE MAKER, 146 DALE ST. LIVERPOOL', the case with an engraved plaque to the lid for 'STANDARD APOTHECARIES WEIGHTS, BOROUGH OF BURNLEY 1891', the large 10oz weight engraved '10oz TROY, BOROUGH OF BURNLEY1891' each weight stamped with the set number 1900 and profusely marked with standard stamps, the earliest being VR 1891, the case 30cm wide
A Stanley Fuller cylindrical calculator, with mahogany and brass fittings, in original case with label and instruction manual, 43 cm longCondition report: Some light discolouration and small nicks commensurate with age. Lacquer discoloured on the brass scale. No obvious faults, or signs of repairs or restoration.
Pietra dura-Kabinett im Barock-StilHöhe inkl. Museumssockel: 195,5 cm. Höhe ohne Sockel: 95,5 cm. Breite: 195 cm. Tiefe: 45 cm. Italien, 17. oder 19. Jahrhundert.Ebonisierter Holzkorpus mit Pietra dura-Einlagen und vergoldeten Bronzen sowie Messingzier. Auf gedrückten Kugelfüßen der kastenförmige Korpus mit risalitartigem Vorbau. Dieser architektonisch aufgefasst mit gesprengtem Giebel in Wellenleistenprofil und darunterliegender, von gedrehten Säulen gerahmter Tür mit Lapislazulibesatz und Hohlnische, mit Athene in vergoldeter Bronze. Dahinterliegend vier Schübe mit ornamentaler Pietra dura-Zier in Lapislazuli und gelbem und grünem Marmor, überfangen von weiterer Lapislazulihohlnische mit Segmentgiebel und eingestellter Götterfigur. Der mittlere Risalit flankiert von zwei zusammengefassten Schüben in der oberen und unteren Etage sowie zwei Türen, deren Giebel als weiterer Schub fungieren, sowie drei danebenliegenden Schübe. Die flankierenden Türen ebenfalls mit drei ornamental verzierten Schüben mit Wellenleistenprofil hinterfangen. Jeder der Schübe mit auf schwarzem Grund eingelegten Pietra dura-Arbeiten, großformatige Tiere zeigend, darunter Ochse, Hirsch, Leopard, Nashorn, Kamel, Elefant, Elch, Löwe, Wildschwein und ein im Kampf befindliches felines Wesen sowie zwei kämpfende Steinböcke. Nebst den Tieren häufig Blatt-, Baum- und Blumenzier in Pietra dura-Arbeit. Die Mitteltür flankiert von zwei gedrehten Säulen, die als Paar herausziehbar sind und jeweils vier, mit Wellenleistenprofil gerahmte Schübe bergen. Minimal besch. (12821132) (13)Baroque style pietra dura cabinetHeight incl. base: 195.5 cm.Height excl. base: 95.5 cm.Width: 195 cm.Depth: 45 cm.Italy, 17th or 19th century.Ebonized wooden structure with Pietra dura inlays and gilt-bronze and brass mountings. Chest-shaped architectural structure on compressed ball feet with risalit-like porch with a door decorated in lapis lazuli and framed by twisted columns and an alcove with gilt-bronze figure of Athena, surmounted by a broken pediment with ripple moulding. Every drawer is decorated with pietra dura on black background depicting large scale animals including an ox, stag, leopard, rhinoceros, camel, elephant, elk, lion, wild boar and a feline animal fighting two ibexes.
Nasa, Washington DC Nasa code 62-Apollo-12Preliminary model for the Apollo spacecraft, 196220 x 25 cm.Starting price: € 800This picture taken at NASA shows the preliminary model that was designed by North American Aviation, the prime contractor for the building of NASA spacecrafts to carry astronauts and control instruments. The module is about 4 meters large and 3,5 meters high and it is a full scale model. (1302153) (10)
Eugène Delacroix, 1798 Charenton-Saint-Maurice, Paris – 1863 ebendaDIE DANTEBARKE Öl auf Leinwand. 26 x 36 cm. Um 1840. In vergoldetem Louis XV-Rahmen.Die Gesten und Mimiken der beiden Männer, die in der Mitte eines Bootes stehen, sind von Schreck und Angst erfüllt. Sie befinden sich inmitten einer aufgewühlten See und versuchen, ihr Gleichgewicht zu halten. Die beiden werden von allen Seiten von wütenden Männern angegriffen, mit nackten und muskulösen Körpern, die sich an den Rändern des Bootes festklammern, sich bücken oder sich treiben lassen, teils wütend oder halb ertrunken. In der Ferne wird eine Stadt von einem Feuer heimgesucht, dessen Flammen für ein helles Licht sorgen, das den Schrecken der Szene noch verstärkt. Das Chaos ist vollkommen, die Elemente versuchen, das Boot zu destabilisieren, das von einem Fischer mit großer Mühe manövriert wird. Wir befinden uns hier in der Hölle und es ist Caron, ihr Wächter, der die beiden Dichter Dante und Vergil auf ihrer Initiationssuche über den Styx führt. Tief hinten brennt die Stadt der Toten in ewigem Feuer, während sich um sie herum die Verdammten tummeln, die die Laster der Gier, des Zorns oder des Neids verkörpern, die sie dazu verdammen, ewig in diesen trüben Gewässern zu verbleiben. Delacroix ließ sich für sein Gemälde vom achten Gesang der „Göttlichen Komödie“ Dantes inspirieren. Dantes Komödie, in der der mittelalterliche Autor, der Held der Erzählung, durch die Kreise der Hölle geht, geführt von dem antiken römischen Dichter Vergil. Durch die Wahl dieses epischen Themas bekräftigt der Maler seine literarische Bildung und die intellektuellen Ambitionen seines Werks. Sein schwungvoller und dynamischer Stil zeigt auch, was er seinen älteren Vorbildern verdankt, insbesondere seine Bewunderung für die kraftvollen Körper von Michelangelo, aber auch von Rubens, von dem er seinen Umgang mit der Farbe übernimmt. Durch die Hinwendung zur Historienmalerei bricht er mit dem Neoklassizismus. Der Klassizismus, in dem die antiquierten Themen, die in einer glatten und höflichen Art und Weise behandelt wurden, hatte die Kunst in eine Sackgasse geführt.Eugène Delacroix (1798-1863) war ein französischer Maler, der zu den bedeutendsten Vertretern der Kunst des 19. Jahrhunderts zählt und gilt als Anführer der romantischen Bewegung. Da Delacroix in den Jahren nach dem Fall des Ersten Kaiserreichs arbeitete, fand er eine Resonanz zwischen dem turbulenten aktuellen Geschehen in Paris und der historischen Vergangenheit der Antike. Er schuf ein außergewöhnlich vibrierendes Werk, das die revolutionären Künstler inspirierte. Er gab sein Debüt im Salon von 1822 mit dem Werk „Die Dante-Barke“. Das monumentale Gemälde (189 x 241,5 cm) wurde vom französischen Staat erworben und im Musée du Luxembourg gezeigt, das vier Jahre zuvor für die Ausstellung von Kunstwerken eröffnet worden war und begründete sofort Delacroix‘ Ruf als Talent zu einem bedeutenden Werk. Trotz des verkleinerten Maßstabs gibt die vorliegende Replik die Dramatik der monumentalen Komposition aus dem Louvre brillant wieder. (†)Provenienz: Sammlung Lily, Irland. Schenkung an das Art Institute of Chicago. (13013310) (13)Eugène Delacroix,1798 Charenton-Saint-Maurice, Paris – 1863 ibid.DANTE’S BARGEOil on canvas.26 x 36 cm.Ca. 1840.In gilt Louis XV frame The monumental painting (189 x 241.5 cm) was acquired by the French state and installed at the Musée du Luxembourg, which had opened four years earlier for the exhibition of works of art, and immediately established Delacroix’s reputation as a talented artist. Despite the reduced scale, this copy replicates the drama of the monumental Louvre brilliantly. (†)Provenance:Lily collection, Ireland.On loan to the Art Institute of Chicago.
***PLEASE NOTE MEASUREMENT IN PRINTED CATALOGUE SHOULD READ 70 x 110cm***Patrick Swift (1927-1983)Monte GordoOil on canvas, 70 x 110cmExhibited: Dublin, Irish Museum of Modern Art, 1993, cat. no. 52.In 1962, following a visit to Portugal, Swift and his wife Oonagh decided to move to the Algarve, where, with Portuguese artist Lima de Freitas, they set up Porches Pottery, a workshop dedicated to the production of hand-painted clay pottery, and to the revival of a local craft tradition that was, by the 1960s, in decline. Swift rarely exhibited thereafter, but continued to practice as a painter, and Monte Gordo is a good demonstration of the increasing lightness and fluidity of his later work. There is a brightness and warmth to this large-scale Algarve landscape that is unlike anything in his earlier, far more constricted and muted approaches to the natural world. A profuse wooded area, seen from above, occupies the lower half of the canvas; this playful foreground of swirling globe-like forms gives way to a more manicured garden in the upper part of the composition, surrounding a low-lying villa on top of the hill. There is a rhythmic, intuitive, sensuous quality to the brushwork in Swift’s later work which might have something to do with his newly-acquired knowledge and skill in relation to hand-painted ceramics. At the same time, there is a simple monumentality to Monte Gordo that perhaps echoes Cézanne’s treatment of Mont Sainte-Victoire and the landscape of Aix-en-Provence; certainly Swift felt a similarly intense and resonant connection to the landscapes of the Algarve, a connection that invigorated and transformed his late work. Monte Gordo was included in the major retrospective of Swift’s work at the Irish Museum of Modern Art in 1993, ten years after his death, which prompted a revival of interest in Swift and a new assessment of his practice, and legacy, beyond the better-known early work of the 1950s.Nathan O’Donnell. February 2022
Rory Breslin (b.1963)Artemision Horse StudyBronze, 71cm high x 74cm long x 28cm wide (28 x 29 x 11")Edition 3/3This sculpture is a study of the horse's head in one of the most popular and important displays in the National Archaeological Museum in Athens, the bronze Horse and Jockey Group. The group was found in a shipwreck off Cape Artemision, in North Euboea, which was discovered in 1926. The first parts of the equestrian statue were recovered in 1928, with more pieces found in 1936 and possibly 1937. The statue was reassembled, and after restoration went on display at the Museum in 1972.The Horse and Jockey Group is special in being one of the few original large-scale bronzes securely dated to the Hellenistic period. It is approximately lifesize in scale and consists of a horse in mid- gallop, on which is seated a youthful jockey, who looks back over his shoulder. The Horse and Jockey group is unusual in combining an athletic sculpture with an animal. The unknown sculptor of this masterpiece has captured the excitement and vitality of a horserace in mid-action. Some scholars have previously dated the group from the late fourth century B.C. to the first century B.C. The statues have been attributed previously to various sculptors, including Kalamis, Lysippos and the Pergamene school.
Joseph Nash (British, 1808-1878)Queen Elizabeth I and her privy council signed and dated 'J.Nash .1862.' (lower left)gouache and watercolour heightened with gum arabic56 x 94cm (22 x 37in).Footnotes:Joseph Nash was born in Great Marlow, Buckinghamshire, and attended Manor House School in Croydon which his father owned. Whilst in his early twenties, he studied drawing with Augustus Pugin, and it is therefore no great surprise that throughout his artistic career he specialised in watercolour depictions of British buildings, mainly historic. His works were widely reproduced in print, his success in this field culminating in 1849 with the completion of his four volume Mansions of England in the Olden Time. As in the present lot, this publication concerned itself with history through the accurate depiction of buildings and interiors populated by historical figures. These works give a sense of how buildings and spaces would have looked and been used in the past.In the present lot we can see a young Queen Elizabeth with her Privy Council of advisors; sitting to her right is her most trusted advisor, William Cecil, Lord Burghley. Although the council was made up of nineteen men, depicted here are twenty-four, perhaps indicating the presence of some other nobles or foreign dignitaries. Hanging on the walls around the room are portraits of the Queen's ancestors, notably her father, Henry VIII, can be seen to the far left; each portrait can be seen as a symbol of Elizabeth's claim to the crown. The level of detail is impressive, with exquisitely detailed costumes, wallpaper that can be seen to peel at its edges, crested paperwork strewn on the table, a glove fallen on the ground, and an expansive landscape shown through the stained-glass windows. Although it is not clear which building this council is taking place in, given its frequency of use by the Queen, proximity to the Thames, and the buildings on the far-side, it seems likely to be the Palace of Whitehall. Having said this, the sailing ships on the Thames, which would not have been able to pass Old London Bridge, may point to it being either the Tower of London or the Palace of Placentia at Greenwich. The present work is one of Nash's masterpieces. It epitomises his interest in history, interiors, and architecture, and it stands alone in terms of the scale and the level of detail achieved.For further information on this lot please visit Bonhams.com
John Emms (British, 1843-1912)Foxhounds and a hunt terrier signed and dated 'JNO EMMS/1901' (lower right)oil on canvas40.6 x 30.5cm (16 x 12in).Footnotes:Arguably one of the best painters of dogs of his generation John Emms stands alone in his ability to depict the hound. Although small in scale, this work is a classic example of the artist at his best. Full of character, empathy and understanding for the subject, the format and composition is one that Emms used frequently, but rarely to better effect. His unique ability to capture the majesty of the hound coupled with the humour and mischief of the terrier was derived from an intimate knowledge of his subject, drawn from years of experience working with the dogs that he painted and studying their character and physiognomy both in kennel and studio.For further information on this lot please visit Bonhams.com
Sir James Jebusa Shannon, RA, RBA, RHA (British, 1862-1923)Madge signed vertically 'JJSHANNON' (upper left), dated '1886' (upper left to upper right), inscribed vertically 'MADGE' (upper right)oil on canvas36.8 x 43.2cm (14 1/2 x 17in).Footnotes:ProvenanceF. H. Woodroffe.Christie, Manson, and Woods, 28 June 1907, The Choice Collection of Pictures and Watercolour Drawings of F. H. Woodroffe, Esq., Lot 50 (sold for 130 gns).William Permain (acquired from the above sale).Mrs. J. M. Hanbury, Hylands House, Chelmsford.Christie, Manson, and Woods, 20 November 1964, Lot. 50.With The Fine Art Society Ltd., London.The collection of George and Sonia Segal, USA.ExhibitedLondon, Institute of Painters in Oil Colours, 1885/86, no. 136.London, New English Art Club, 1886, no. 50.Despite the relatively small scale of this simple, yet arresting image, Madge garnered a modicum of critical note when it was shown at two London venues – the Institute of Painters in Oil Colours and the New English Art Club. Although works by the young American-born James Jebusa Shannon had been sporadically exhibited since his 1881 debut at the Royal Academy when he was still a student at the South Kensington School (now the Royal College of Art), 1886 may be considered the breakthrough year in his bid for professional recognition. Indeed, Shannon's paintings could be seen at each major exhibition venue in London throughout that season.Madge stands in contrast to the formal, commissioned portraiture that Shannon usually sent to the Royal Academy and the Grosvenor Gallery. Instead, this and another works of its type (for instance, Estelle, 1886, sold Bonhams, London, 13 July, 2011, Lot 175) were intended to showcase different aspects of Shannon's painterly talent. Here the artist depicts the head and shoulders of a distinct individual whose name provides the painting's title; yet the identity of the sitter is of no matter.Madge confirms Shannon's desire to align his art with what was sometimes called the 'Anglo-French' style, a progressive mode associated with painting techniques inspired by the 'square' brushstrokes of the innovative French artist Jules Bastien-Lepage (1848-1884). The bust-length profile of the young woman is set against a pale, scumbled ground, the rough surface of which is inscribed with the title, artist's name, and date, written in the block-letter manner characteristic of Bastien-Lepage and his followers. The figure's costume reveals Shannon's ambition to demonstrate his facility in defining form using a limited palette of blacks, a practice often employed by fin-de-siècle painters who emulated the art of the Spanish master Velázquez in that respect. The textured, irregular contour of the figure is relieved by the smoothly rendered face in which the warm reds of her cheeks and lips offer the only spots of bright colour. The sitter's olive skin and the prominent fringe of dark hair that signals her adoption of a less carefully coiffed version of the style that had recently come into vogue lend a somewhat exotic impression to the image. In all, the painting possesses an unusual degree of sensuality and conveys a vague hint of the Bohemian lifestyle that Shannon enjoyed at this early stage of his career.In view of the date inscribed on the painting, it is curious that the first critical notice for Madge appeared in December 1885, when a reviewer of the recently opened exhibition of the Institute of Painters in Oil Colours remarked that among the works not to be missed was 'the little head called 'Madge' (136) by Mr. J. J. Shannon, a young artist of ability, who is likely to do very good work in days to come.'1 (This discrepancy points to the possibility that the date was a slightly later addition.) A second critic mentioned the 'clever study of a girl's head, 'Madge' (136), by Mr. J. J. Shannon, whose name is new to me.'2 Just a few months later, the painting again earned mention when it was included in the inaugural exhibition of the New English Art Club, with one writer stating that 'Mr. J. J. Shannon's 'Madge' merits a word of praise.'3Madge was presumably purchased by F. H. Woodroffe directly from the artist and the painting received no further mention until the estate sale of a portion of Woodroffe's collection in 1907 from which it was bought for 130 guineas by the London art dealer William Permain.4 The painting was later owned by Mrs. John (Christine) Hanbury, a director of Truman, Hanbury, and Buxton brewers, and sold by her executors in 1964.5 1'Institute of Painters in Oil Colours', Times, 2 December, 1885. p. 8.2'The Royal Institute', Truth, 24 December, 1885, p. 19.3'Picture Shows', Truth, 15 April, 1886. p. 19.4See Christie, Manson, and Woods advertisement for the June 28, 1907, sale of 'The Choice Collection of Pictures and Watercolour Drawings of F. H. Woodroffe, Esq., deceased, late of 4 Down-street, Piccadilly. W.' (sold by order of the Executors), Morning Post, 24 June 1907, p. 14; also The Scotsman, 29 June, 1907, p. 10.5Typed notation on photograph record for Madge, Witt Photograph Library, Courtauld Institute of Art, London.We are grateful to Professor Barbara Dayer Gallati for compiling this catalogue entry.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
AFTER ANTONIO CANOVA (ITALIAN, 1757-1822), A NEAR PAIR OF BRONZE MODELS OF RECLINING LIONS LATE 19TH CENTURY On rouge marble baseseach 13.5cm high, 17.5cm longPlease note this is a "NEAR pair" not as previously cataloguedCondition Report: There are some minor marks, scratches, knocks, and abrasions consistent with age and use. There is a variance both of colour (one darker- the other lighter milk chocolate brown) and scale/size which would suggest these are best regarded as a "NEAR pair" not a true pair. Some wear to base edges Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A 'GRAND TOUR' CARVED MARBLE CISTERN OR WINE COOLER PROBABLY ITALIAN LATE 18TH/EARLY 19TH CENTURY Of oval lobed form,61.5cm long, 52.5cm wide, 21cm high.This form of wine cooler is a reduced scale model after a Roman 'labrum'- the cold water receptacle in a Roman bath complex. Traditionally they were constructed with the oval bowl on a spreading pedestal foot- as exemplified by the Milas Lilac labrum in the Vatican Museums. PLEASE NOTE DATE HAS BEEN AMENDED TO "LATE 18TH/EARLY 19TH CENTURY"SALE NOTICE- Condition Report: There are some marks, scratches, knocks, and abrasions consistent with age and use.Some wear and loss to edges- albeit quite minor. Base surface is worn quite hard with scoring and marks, colour decolouration to one corner of top rim- slightly dirtierCarving is quite sharp to the touch leading to suggestion that this may be slightly later than initially catalogued. Accordingly catalogue description amended to "Late 18th/early 19th century"Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
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