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Lot 55
Woody Gwyn (American, b. 1944). Oil on canvas painting titled "Tourists II" depicting a scenic vista of the American southwest, 1991-92. Two tourists stand at the edge of an overlook, taking in the dramatic view. Signed along the lower right.Provenance: Katharina Rich Perlow Gallery, New York; Distinguished Corporate Collection, Minnesota.Lot Essay:Gwyn found early inspiration in New Mexico when he moved there in 1974. The sense of space and scale informed his vast landscapes. It is these landscapes that would lead to his recognition as one of America's foremost contemporary landscape painters. The purity of color in his works as well as radiant lighting, unconventional compositions, and inclusion of minute details has led him to be dubbed a "painter of clarity itself."His works usually start as plein-air sketches and watercolors and record the immediate details. From there, he moves to his studio where he begins to capture "the truth of the land" with color on canvas, panel, or paper. While his works capture the reality of his subjects, they are also imbued with a sense of hidden extraordinary. He finds the inherent beauty of the landscape in every work.Gwyn has been highly exhibited throughout the United States and his works are held in the collections of esteemed institutions including The Cleveland Museum of Art, Phoenix Art Museum, the Denver Art Museum, and many more.Sight; height: 60 in x width: 71 1/2 in. Framed; height: 61 1/2 in x width: 71 1/2 in.
Lot 266
• CHARLES MAHONEY (BRITISH 1903-1968) A STUDY FOR THE DELUGE pencil on paper 26 1/3 x 31cm; 10 1/2 x 12 1/4in 50.5 x 55cm; 19 3/4 x 21 1/2in (framed) Property from a London CollectionProvenanceThe artist's widow The Fine Art Society, London ExhibitedPreston, Harris Museum and Art Gallery; Canterbury, Royal Museum and Art Gallery; London, The Fine Art Society Charles Mahoney, 1999 to 2000 (ex-catalogue)Christened Cyril Mahoney, he became known as Charles establishing a reputation for large-scale mural work for which the present example is a study.
Lot 43
Gaetano Chierici (Italian, 1838-1920)A desperate venture signed and dated 'Gaetano Chierici 1879' (centre right)oil on canvas91.8 x 117.8cm (36 1/8 x 46 3/8in).Footnotes:ProvenancePrivate collection, UK.ExhibitedLondon, Royal Academy, 1880, no. 349.LiteratureH. Blackburn, Academy Notes, 1880. EngravedA. Bellenger, wood engraving, circa 1880.The first picture to be noticed particularly on this wall is by a foreign artist — no. 349, Desperate Venture, G. Chierici; remarkable for character and good painting. (H. Blackburn, Academy Notes, 1880)Gaetano Chierici trained at The Reggio Emilia School of Fine Arts in 1850 and then moved to Florence in 1858 and enrolled at Academy's scuola del nudo. He had a natural flare for depicting the human form and this, combined with his narrative skill, often depicting an interior scene with several generations of a family, led to a celebrated career as one of Italy's finest genre painters. First Steps is typical of his work; it is grand in scale, but loses none of the quality that defines his work and for which he is celebrated. The scene is set in a cottage as a toddler sets off across the room towards the outstretched arms of her father while the rest of the family look on. The artist would have been familiar with such a setting having had an impoverished childhood. The work displays exquisite detail in the depiction of the objects in and around the room and illustrates clearly why Chierici enjoyed an international reputation exhibiting widely not only in his native Italy, but in the United States and London.For further information on this lot please visit Bonhams.com
Lot 25
Andrew MacCallum (British, 1821-1902)Spring - The outskirts of Burnham Wood signed and dated 'AMacCallum/1860' (lower right); further signed and titled 'No 1 Seasons in the wood/Spring/The outskirts of Burnham Wood/Andrew MacCallum' (on artist's label attached to stretcher)oil on canvas93 x 132cm (36 5/8 x 51 15/16in).Footnotes:ProvenanceJ. Naysmyth Esq. Penshurst. Anon. sale, Sotheby's, London, 12 November 1992, lot 125. Private collection, UK.ExhibitedLondon, Royal Academy, 1861, no. 456. London, International Exhibition, 1862, no. 777 (lent by J. Naysmyth Esq. Penshurst).Andrew MacCallum was born in Nottingham and studied at the Government School of Art. He exhibited at the Royal Academy from 1850, travelling in Europe over a period of three years from 1854. On his return he concentrated on landscape painting in which he excelled. The present lot is an exquisite example of his work and shows clearly how the artist was influenced by the Pre-Raphaelites, in particular the work of William Holman Hunt and Ford Madox Brown. The meticulous attention to detail on such a scale is extraordinary and would not have been lost on the viewing public who saw it hanging in the West Room at The Royal Academy in 1861.Between 1870 and 1875 MacCallum travelled several times to Egypt where he painted scenes of rural life and during that time he accompanied Amelia Edwards on her dahabiya (manned houseboat) as she worked on her best selling book A Thousand Miles Up the Nile which was published in 1877; one of several trips to Egypt that he took in the 1870s. He was also commissioned by Queen Victoria to paint five views near Balmoral in 1875.MacCallum died on 22 January 1902 at 5 The Studios, Holland Park Road, Kensington.For further information on this lot please visit Bonhams.com
Lot 8
NEW ZEALAND – MAORI LAND TRANSACTION Land transaction signed at foot by fifteen Māori chiefs with their moko, being an agreement between eight named Māori chiefs and George Lyall, Stewart Marjoribanks, George Palmer and Robert Torrens, Trustees of the New Zealand Company, exchanging '...one double barrel gun, eight muskets & one barrel of powder...' for various parcels of land '...denominated the Islands of Pakatu, Taratora, Ponue & Pake situated in the district of Tamaki... bounded the East side by the Eastuary [sic] Named by Captain Cook The Thames & by the Natives Te Cuppa on the West side by the Strait of Pahneniche on the North side by the aforesaid Strait and Eastuary and on the South side by the Sound or Passage called by the Natives Mamidua. Together with all the trees growing on the said four pieces or parcels of Land... belonging together with the Creeks, Bays and Harbours on the said Islands & the sea for 3 Miles distant from their shores...', signed beneath by Thomas Shepherd, Richard Bell, Luther Lechmere, and signed and subscribed at foot by the interpreter Thomas Kendall ('...I hereby certify that I interpreted the above to the chiefs whose Marks are annex'd, and that they fully understand the... meaning of the contents...'); engraved with manuscript insertions, simple line map in ink of Wyheckee on reverse, showing the islands of Pake and Po-nue, with compass rose and scale, one sheet of vellum, recto and verso, dust-staining, water-staining, discolouration, worn and rubbed with some losses, folio (600 x 415mm.), '...on board the Rosanna, at Anchor off the Island of Wyheckee...', 23 September 1826 For further information on this lot please visit Bonhams.com
Lot 413
Stechzirkel mit Transversalmaßstab, Deutschland, 19. Jh.Zirkel Messing/ Eisen, punktuell korrodiert, L. 10,6 mm. Transversalmaßstab Messingplatte, graviert, 19 x 5 cm. Original-Etui Holz mit geprägtem Leder(?) bespannt, dtl. Alters-und Gebrauchsspuren am Etui. Dividers and transvers map scale, brass/ iron, 19th ct. In orig. case.
Lot 183
• MAURICE COCKRILL (BRITISH 1936-2013) Maurice Cockrill (lots 183-187) IntroductionPainted in 1984-85, the following five lots by Cockrill relate to the artist's first years in London when he was exploring legendary female figures in his work, including Ophelia, Judith, Medea and Venus. Lots 183, 185 and 186 are preparatory sketches for the resultant sequence of large-scale paintings on this theme. The works directly engage with the masters of the European tradition and appeared at a time - some forty years ago - when there was a wide revival of interest in expressive figurative painting that championed allegorical, historical and mythological subject matter. Cockrill's series followed his move south from Liverpool where he had taught for the previous eighteeen years. For the first half of his life - until the early 1980s - Cockrill had largely confined himself to the north. Born in Hartlepool, County Durham, and raised in Wales and the Midlands, his time studying at Wrexham School of Art and then in Liverpool had been broken only by three years at Reading University (1961-64). In the early 1970s he was working in a photo-realist style, but by the end of decade his work was becoming more loaded, more expressive. It was to test this nascent expressionism in a more demanding art world that he embarked on the move to London in 1982.Cockrill first took over Bridget Riley's old studio in Clerkenwell where Paula Rego was a neighbour and soon became a friend. The first work he produced in London continued in the vein he had begun, increasingly visceral and disturbing, but now with just the slightest hint of Rego's influence (lot 184). In 1984 Edward Totah gave him a one-man show, then from 1986-96 he was represented by Bernard Jacobson, under whose aegis Cockrill's style mellowed and his ideas proliferated. Natural imagery and the themes of growth and decay came to the forefront of his work. In 1995 he was the subject of a retrospective at the Walker Art Gallery, Liverpool, and in 1998 the last ten years of his work was shown at the Royal West of England Academy, Bristol. The following year he was elected an RA, and in 2004 he was voted in as keeper of the Royal Academy Schools. 183 MAURICE COCKRILL (BRITISH 1936-2013)OPHELIAsigned with initials and dated 84 lower right; titled Ophelia lower leftwatercolour38 x 28cm; 15 x 11in64.5 x 54cm; 25 1/2 x 21 1/4in (framed)
Lot 111
• TREVOR BELL (BRITISH 1930-2017) Trevor Bell (lots 111-122) One of the most important painters working anywhere today is Trevor Bell, and Bell’s first experiments in what we now call shaped canvases began in the late fifties. Patrick Heron, 1970IntroductionBell grew up in Leeds, where he studied at the College of Art (1947-1952) before teaching at Harrogate College of Art. In Leeds he met Terry Frost who was up from St Ives benefiting from a Gregory Fellowship at the university. On Frost's advice Bell and his wife moved to Cornwall in 1955. There Bell became a leading member of the younger generation of St Ives artists, exhibiting with the Penwith Society of Arts from 1956. Used to painting the grimey north of England, Bell responded with vigour and alacrity to the colour and light of his new surroundings capturing the atmosphere of the sea, coast and landscape of the south west in his distinctive and developing abstraction. An early mentor in St Ives for Bell was Ben Nicholson who encouraged him to show in London. Another there who admired his youthful painterly zest was Patrick Heron. Bell's first one man show at Waddington Galleries on Cork Street in 1958 was a sell out success. In the catalogue Heron described him as 'The best non-figurative painter under thirty'. The same year Bell was awarded an Italian government sponsorship; in 1959 he won one of six main painting prizes at the first Paris International Biennale of Young Artists and in 1960 he was awarded a Gregory Fellowship by Leeds University, and moved back north. During the following decade Bell enjoyed considerable commercial success both in the UK and abroad, including a succession of exhibitions at Waddington Galleries (1960, 1962 & 1964). It was during this period that he developed his interest in shaped canvases and the Tate Gallery purchased their first work by him. The decade culminated in a hugely successful show at the Richard Demarco Gallery in Edinburgh which toured to Northern Ireland and the Mappin Art Gallery, Sheffield. In the autumn of 1973 the Whitechapel Art Gallery mounted an exhibition of his recent paintings, and the following year he showed at the Corcoran Gallery, Washington DC. In 1976 Bell moved to Florida to take up the post of Professor for Master Painting at Florida State University in Tallahassee. Availed of a warehouse-sized studio and with time to really develop his painting he produced large-scale, intensely coloured works, reflecting the influence of the climate and landscape on him. A source of inspiration too were the rockets launched from Cape Canaveral, the first he saw being the night time launch of Apollo 17 in December 1972. This and subsequent rocket shots had a lasting influence on his work. Over the 20 years he spent in America exhibitions of his work were mounted at the Academy of Sciences in Washington, the Metropolitan Museum and Art Center, Miami, The Cummer Gallery, Jacksonville and the Museum of Art at Fort Lauderdale, Florida.In 1985 Bell was included in the the Tate Gallery's exhibition on St Ives 1939-64: Twenty-five years of Painting, Sculpture and Pottery and his work was featured in the Tate St Ives' inaugural show in 1993. Retiring from his Florida teaching post in 1996, he returned to Cornwall, setting up studios near Penzance. He was the subject of a full retrospective of his work at Tate St Ives in 2004 and in 2011 a further fourteen works were acquired by the Tate Gallery for their permanent collection. In the UK other examples of his work are in collections of The Arts Council of England, the British Council, the British Museum, Laing Art Gallery and the Victoria & Albert Museum.111TREVOR BELL (BRITISH 1930-2017)CENTRE GREENsigned and dated BELL 1961 lower left; signed, titled twice, inscribed and dated Centre Green / CENTRE GREEN / by / Trevor Bell 1961 / crayon on the reversecrayon and watercolour on thick paper53.5 x 42.5cm; 21 1/4 x 17in72.5 x 61cm; 28 1/2 x 24in (framed)
Lot 123
• MICHAEL UPTON (BRITISH 1938-2002) Michael Upton (lots 123-138)Tiny, intimist interiors and exteriors exquisitely coloured like some latter day Vuillard John Russell Taylor, IntroductionUpton grew up in Birmingham where he attended the College of Art before joining the Royal Academy Schools in 1958. In London he became close friends with David Hockney and Patrick Proctor, shared a flat with nascent pop artist Peter Phillips, and was awarded an RA Leverhulme Scholarship. His work was featured in the influential annual ‘Young Contemporaries’ exhibitions that Phillips masterminded over four years (1959-63). The reviewer of the 1962 show in The Times commented: 'The exhibition fairly bubbles with bright ideas and visual excitement... its weird mixture of impudence, whimsicality and beautifully tender painting is well exemplified by Derek Boshier [and] Michael Upton...' A year later, however, after completing six identical canvases, Upton abandoned painting entirely, turning instead to conceptual art. He spent 1967-68 in New York, the recipient of a grant from the Cassandra Foundation. Others who received grants from the Foundation included John Cage, Bruce Nauman, Christo, Eduardo Paolozzi and Richard Hamilton. Increasingly Upton's interests lay in performance, and in the 1970s he founded London Calling with Peter Lloyd Jones which became an influential part of London's performance art scene. One of his works included burying a number of his paintings on a Dorset hillside. But at the end of 1970s Upton returned again to painting, taking up a teaching role at the RA Schools. In this later period Upton's preference was for small scale works. He often used photocopy or newspaper print as the support and he regularly produced series of images, similar to stills from a reel of film (lots 123-126). Upton considered them 'conceptual paintings', and gained a new fan for his work in John Russell Taylor the influential art critic of The Times. In a review of 1979 Russell Taylor enthusiastically described Upton's paintings as 'tiny, intimist interiors and exteriors exquisitely coloured like some latter day Vuillard', and in his review of the British Council touring exhibition Picturing People, British Figurative Art since 1945, he singled out Upton as one of a handful of 'highly sophisticated stylists'. Also won over to Upton was the critic Mel Gooding who commented on Upton's 'subtle allusiveness (hints of Piero, Vermeer, Sickert)...another way of deepening the game, of adumbrating the mystery. An art of intimations'. As his work evolved so Upton also gave it more loaded political messaging, inspired in part by both his earlier pop art years and current events (lots 129 & 130). But following retirement and his retreat to Mousehole, Cornwall in 1996 his artistic focus shifted. He put aside subversive messaging, urban subject matter and his customarily muted palette. Instead the innate beauty of the local landscape and coastal views became his primary focus (lots 135-138). 123MICHAEL UPTON (BRITISH 1938-2002)THE STUDIO: BED - A PAIRthinned oil on boardeach: 18 x 13cm; 7 x 5in46 x 56cm; 18 x 22in (two framed as one) (2)ExhibitedLondon, Anne Berthoud Gallery (1980s)
Lot 29
• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 29-51)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. (Hans Feibusch) The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye and the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lot 50), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting The Resurrection and Scenes from the Life of St Peter at St Peter's Church, Pickford Lane, Bexley Heath (lot 48) and Angels with Infants for the baptistry of Christ Church and St Stephen’s, Battersea (lot 49). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, whether sketching his surroundings (lot 29), or studying the model before him (lots 30 & 31), he captures the scene before him with a fine eye for detail. And as a colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 35 & 36). But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The reference for the travelling exhibition abbreviated in lots 29-51 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96 29HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) VIEW FROM THE ARTIST'S STUDIOpencil on paper 16.4 x 33cm; 6 1/2 x 13in (unframed)There is a partial sketch of a seated female figure on the reverse.
Lot 15
Important et inédit groupe blanc de Capodimonte représentant Tancrède et Clorinde, vers 1755Modélé par Giuseppe Gricci, Tancrède portant une armure et un long manteau, un casque et une épée à ses pieds, tenant la main droite de Clorinde qui est assise sur une base en rocaille, son bouclier ovale avec un masque de lion et un casque à plumes à ses pieds.H. 28,5 cm - L. 24,5 cm An important and previously unrecorded large Capodimonte white group of Tancred and Clorinda, circa 1755Modelled by Giuseppe Gricci, Tancred wearing armour and a long cloak, a helmet and sword at his feet, holding the right hand of Clorinda who is laid on rockwork base, her oval shield with a lion mask and a plumed helmet at her feet.Footnotes:Ce groupe important et inédit fait partie d'une série de grandes sculptures ambitieuses de Capodimonte basées sur le célèbre poème épique du poète italien le Tasse, 'La Gerusalemme liberata' ou La Jérusalem délivrée. Publié pour la première fois en 1581, ce poème raconte une version largement mythifiée de la première croisade, au cours de laquelle des chevaliers chrétiens, menés par Godefroy de Bouillon, affrontent des musulmans afin de prendre Jérusalem.Le personnage fictif de Clorinde est une femme guerrière de l'armée sarrasine. Elle est introduite pour la première fois dans le deuxième chant du poème, lorsqu'elle sauve Sophronie et Olinde, deux amoureux chrétiens de Jérusalem, et réapparaît sous le commandement du roi de Jérusalem, Aladin, pour aider à la défense de la ville. Tancrède la voit sur le champ de bataille et tombe amoureux d'elle, refusant ainsi de la combattre. Mais le sort s'acharne : lors d'une bataille nocturne au cours de laquelle elle met le feu à la tour de siège chrétienne, elle est tuée par Tancrède, qui ne la reconnaît pas dans son armure et dans l'obscurité.Une version en terre cuite légèrement plus grande du groupe de Tancrède et Clorinde se trouve au Los Angeles County Museum, où elle est décrite comme provenant probablement de Naples et datant d'environ 1750. Il est probable que cette terre cuite ait servi de bozetto pour le groupe final en porcelaine, et que les autres versions en terre cuite et leurs contreparties en porcelaine aient toutes été conçues par Giuseppe Gricci comme faisant partie d'un ensemble plus vaste.Une grande sculpture de Capodimonte représentant Godefroy sur la tombe de Dudone se trouve dans la collection de la National Gallery of Victoria, à Melbourne (D4-1991). Elle est probablement apparentée à la figure en terre cuite conservée au Museo Arqueológico Nacional de Madrid, Inv. 2016/134/1, et attribuée à Giuseppe Gricci.Olinde et Sophronie ont également été modelées par Giuseppe Gricci, et un exemplaire en porcelaine se trouve au Museo Palazzo Madama de Turin, tandis que son modèle en terre cuite se trouve dans une collection privée italienne, et les deux sont illustrés dans A. Carola-Perrotti, 'Le porcellane dei Borbone di Napoli, 1743-1806' (1986), cat.no. 154 et 155. Carola-Perrotti illustre également (op.cit. cat.no. 156) un modèle en terre cuite d'une collection privée représentant Herminie écrivant le nom de Tancrède dans un arbre.This large and previously unrecorded group is part of a series of ambitious large-scale Capodimonte sculptures based on the famous epic poem by the Italian poet Torquato Tasso, 'La Gerusalemme liberata' or Jerusalem Delivered. It was first published in 1581 and tells a largely mythified version of the First Crusade in which Christian knights, led by Godfrey of Bouillon, battle Muslims in order to take Jerusalem. The fictional character of Clorinda is a warrior woman of the Saracen army. She is first introduced in the second canto of the poem, when she rescues Sofronia and Olindo, two Christian lovers of Jerusalem, and the reappears under the command of the King of Jerusalem, Aladine, aiding that city's defences. Tancred sees her on the battlefield and falls in love with her, thus refusing to fight her. But fate strikes, when during a night battle in which she sets the Christian siege tower on fire, she is killed by Tancred, who does not recognise her in her armour and the darkness. A slightly larger terracotta version of the group of Tancred and Clorinda is in the Los Angeles County Museum, there catalogued as likely Naples and circa 1750. It it likely that this terracotta may have served as a bozetto for the final porcelain group, and that other terracotta versions and their resulting porcelain counterparts were all conceived by Giuseppe Gricci as part of a larger ensemble. A related large Capodimonte sculpture depicting depicting Godfrey at the tomb of Dudone is in the collection of the National Gallery of Victoria, Melbourne (D4-1991). It is related to the terracotta figure held in the Museo Arqueológico Nacional in Madrid, Inv. 2016/134/1, and there attributed to Giuseppe Gricci.Olinda and Sofronia were also modelled by Giuseppe Gricci, and a porcelain example is in the Museo Palazzo Madama in Turin, whilst its terracotta model is in a private Italian collection, and both are illustrated in A. Carola-Perrotti, 'Le porcellane dei Borbone di Napoli, 1743-1806'(1986), cat.no. 154 and 155. Carola-Perrotti also illustrates (op.cit. cat.no. 156) a terracotta model in a private collection depicting Erminia writing Tancred's name in a tree.For further information on this lot please visit Bonhams.com
Lot 657
An 18-inch terrestrial globe on stand, by W & T M Bardin, early 19th century, the cartouche printed To the Rt. Honorable / SIR JOSEPH BANKS BAR. K. B. / President of the Royal Society / This New British Terrestrial Globe / Containing all the latest Discoveries and Communications, from the most / correct and authentic Observations and Surveys, to the year 1799 / by Captn. Cook and more recent Navigators. Engraved from / an accurate Drawing by Mr. Arrowsmith, Geographer / Additions to 1807 / Respectfully Dedicated / by his most obedient hble. Servants / W. & T.M. Bardin / Manufactured & Sold Wholesale & Retail W. & T. M. BARDIN / in Salisbury Square, Fleet Street, London, with two sets of twelve-coloured gores applied to the sphere mounted in a brass meridian, the horizon ring with engraved paper calendar and zodiac scale, supported on four later quadrants on a mahogany tripod base and brass castors, approx. 107cm highCondition Report: There is water damage to the globe and horizon ring, especially to Atlantic ocean from North to South Pole which also has bruises to the gores. Further damage and restoration around the equator, particularly in the Pacific ocean. Numerous scuffs, abrasions and small losses overall, including to horizon ring. Cracks to top and bottom where globe attaches to brass meridian. There is discolouration to the globe throughout and to the horizon ring. The quadrants are later replacements and one has repaired break to lower section. The attachment of the globe to the stand at the top of the pedestal is off-centre and there are visible holes from previous screws. Typical wear and tarnishing to brass fixtures. The base with scratches and knocks to edges, one foot with loss to back of tapering foot above the castor. Cracks to underside of base and with vacant screw holes where bracket would have formerly been positioned.
Lot 353
A Victorian tubular brass marine barometer, late 19th century, the dial with barometric inches and sliding scale, with mercury thermometer, on mahogany wall mount with porcelain plaques, 115.2cm high overallProvenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Please note Roseberys do not guarantee the working condition of barometers offered for sale. This lot contains liquid mercury. If you intend to ship this overseas it is classified as hazardous cargo and will require additional declarations alongside specialist crating/packing. Prior to bidding, please contact your shipper or talk to our specialists for more information.
Lot 474
A Russian gold-mounted gun metal cigarette case, by Eduard Wilhelm Schramm, St Petersburg, last quarter 19th century, 56 Standard, the case with fish-scale design and sapphire cabochon thumb-piece, 9.5cm wide Footnotes: Note: Edward Wilhelm Schramm was a German who was a well-known supplier to houses such as Fabergé and Bolin. He married a Russian called Elena Zacharova and qualified as a Master Goldsmith in 1874, when he opened his own workshop and worked as an independent master collaborating with the most renowned jewellers in St Petersburg. He was known to have supplied gold cigarette cases and small objects such as pillboxes to Fabergé. Condition Report: The gunmetal has evidence of rust to the exterior and interior of the case. The gold mounts have marks and an indistinct incised signature, and are in good overall condition with some light tarnishing. The thumb-piece opens the case easily, the hinge springs forward sharply. Additional images are available - click here.
Lot 229
A Portugese Model 1885 Kropatschek Bayonet, the 47cm fullered blade engraved ??? 1886 on the back edge, with two piece wood grip, the crossguard stamped P506, with steel scabbard stamped at the mouth TT193, with leather frog, 62cm; a Swedish M1867 Remington Socket Bayonet, the 50.5cm cruciform blade stamped on the arm with crowned C, lacks scabbard (2)1 - Some rust pitting to blade and hilt. One grip scale is cracked. Leather frog has a new retaining strap. 2 - Some pitting, lacks scabbard.
Lot 1
An early George I silver punch bowl. Robert Timbrell & Joseph Bell I, London, 1714. Designed with two rows of fluted bands to the circular body and raised on a fluted, circular foot, the cartouches with chased scale borders within scroll frames, one engraved with arms, possibly a variant of Enys impaling Nicholas (of Lazy Hill, Dublin), the other vacant, the underside scratch engraved with the initials E over IE, 1732 and the scratch weight 34=12, 25.2cm dia., 15cm high, approx. weight 34.1oztFootnotes: Arms: on a fess embattled 3 cinquefoils between and within 3 birds all within a bordure IMPALING on a chevron a crescent between and within 3 cross crosslets fitchy. Families: possibly a variant of Enys (with a bordure) IMPALING Nicholas (of Lazy Hill, Dublin). (With thanks to Pursuivant Research)cf: For a similar example by the same maker (albeit with Monteith rim) see Christie's New York, lot 587, French Furniture, 30th March 2011: https://www.sothebys.com/en/auctions/ecatalogue/2011/french-furniture-n08743/lot.587.html?locale=en Condition Report: The bowl is in good condition commensurate with age. Some general surface scratching, nicking and minor pitting noted. Heavier nicking and scratching to base inside the bowl. A ding to the lobed lower section of the body. Some other small dings and bruising noted to body and foot. Some dark marks and tarnish noted. Foot pushing in slightly and a small split beginning to form in one area where it has pushed in. Both cartouches look to have been applied with a layer/patch of silver over the original cartouches - some solder visible at edges. Possible erasure to the vacant cartouche. Engraved coat of arms to other cartouche is crisp (later). Some solder above the engraved cartouche which obscures some of the decoration. Hallmarks to underside of foot are clear. Wobbles slightly on foot. Some wear to decoration commensurate with age. Rim very slightly out of round. Overall an attractive punch bowl in good condition commensurate with age. Further images available to download via this link: https://we.tl/t-OGOjPrCZyR
Lot 48
CRUCHLEY'S NEW PLAN OF LONDON and its environs. A new edition improved to January 1st 1843. 1225mm by 1390mm (nearly 4 feet square). Hand coloured, on a scale of near 6 inches to a mile. Extending from Highgate in the north to Dulwich in the south, and from the River Lea to Hammersmith. With the original slip case, lacking bottom and one side. Howgego 317a (10), showing the proposed bridge at Charing Cross.Condition: Tiny holes at a few intersections but generally in very good codition. Condition:Tiny holes at a few intersections but generally very good.
Lot 388
A mahogany dome top mantel clock, 19th century, the painted dial signed 'Saml. Shortman, Newnham', Roman numerals, twin fusee movement with bell strike, side ring handles above arched brass scale fret panels, on ball feet 43cm highdial probably retouched/repainted. The front glass bezel hinge is weak. Movement not tested and stops after a few minutes so probably needs attention. A few age age marks to case. Old damage noted to rear door.
Lot 383
A mahogany bracket clock, early 19th century, single pad top arched case with carrying handle, white dial (retouched) marked 'Perigal, London', shaped hands, Roman numerals and Arabic minutes, bell striking fusee movement, pull repeat cord, rectangular brass scale side frets, on brass ogee feet36cm high, 28cm wideThe rear door-lock is loose. Ther front door lock does not secure properly. Seems to work, but not tested for duration.
Lot 1A
Peter Denmark (1950-2014) Acrylic on canvas "Crucifixion" 182cm wide by 248cm high Provenance, the painting was collected from the artist's widow at his home in the Cambridgeshire Fens. Peter Denmark exhibited in London at various venues and galleries from the late 1970s. These included the Colony Room Club and The Groucho Club in Soho. He continued to show in London yearly after moving to the Cambridgeshire Fens in 1999. Many of Peter’s paintings are in private collections, including those of fellow artists Damian Hirst and Gavin Turk. This painting is a statement piece and is very large, please see photos for scale!
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