Dampfwagen Clayton Undertype No. 1 im Maßstab 1:6 Kabine mit vertikalem, kohlebefeuertem Messingkessel, mit Wasserstandsglas, Manometer, Sicherheitsventilen, Schornstein, Handschalthebel, Lenkrad, montierter Wassertank hinter der Hinterachse, Fahrgestell auf Blattfedern und 4 Speichenrädern mit Vollgummireifen, Vorderräder über Ackerman-Gestänge lenkbar, großer Zweizylindermotor mit Kettenantrieb auf die Hinterräder, grün lackierter Aufbau mit goldenen Verzierungen, "New Abbey Steam Cartage" in Gold an der Vorderseite, Herstellerplakette "Herries Mc Gullock, Griffel Inn, New Abbey", Maße 88 x 33 x 52 cm. Komplett, guter Zustand, ungetestet. Start Price: EUR 1200 Two-Inch Scale Model of a Clayton Undertype No. 2 Steam Wagon Cab with vertical coal-fired brass boiler with water glass, pressure gauge, safety valves and chimney, large twin-cylinder engine with chain-drive to rear wheels, hand-operated gear lever, steering wheel, the rear with mounted water tank, chassis with leaf springs and four spoked wheels with solid rubber tyres, the front wheels steered via Ackerman linkage, finished in green with gilt pinstriping and "New Abbey Steam Cartage." in gold to front, maker's plaque "Herries Mc Gullock, Griffel Inn, New Abbey", size 34 ½ x 13 x 20 ½ in. Complete, good condition, untested. Start Price: EUR 1200
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Radioempfänger Ingelen Geographic 39W, um 1938 Elektrotechnische Fabrik Ing. Ludwig Neumann GmbH, Wien. 5 Röhren, Langwelle, Mittelwelle und Kurzwelle, Netzbetrieb (110-240 Volt), eingebauter Lautsprecher, magisches Auge, Abstimmanzeige mit Glimmstab, Skala mit Länderbezeichnungen, aufleuchtende Punkte der eingestellten Sender, Holzgehäuse (sehr kleine Fehlstelle am Furnier), komplett mit Röhren und Rückwand. Start Price: EUR 450 Ingelen Geographic 39W Radio Receiver, c. 1938 Elektrotechnische Fabrik Ing. Ludwig Neumann GmbH, Vienna. Five tubes, long wave, medium wave and short wave, mains operation (110-240 volts), built-in loudspeaker, magic eye, tuning indicator with glow stick, scale with country names, illuminated points of the set transmitter, wood case (very small chip on veneer), complete with tubes and back panel. Start Price: EUR 450
2 Waagen, 19. Jh. 1) Antike Messing-Briefwaage, signiert: "Gargary, 41 Bull Street, Birmingham"; Achat-Verzierungen, mit 4 Gewichten, guter Zustand, Sockelmaß 14 x 10 cm. - Und: 2) Englische Münzwaage, Messing und Stahl, Mahagonigehäuse, komplett mit Gewichten. Start Price: EUR 240 Two Scales, 19th Century 1) Antique letter scale, marked: "Gargary, 41 Bull Street, Birmingham", with agate decoration, four weights, good condition, base measuring 5 ½ x 4 in. - And: 2) English folding coin scale, brass and steel, self-raising in mahogany case, complete with weights. Start Price: EUR 240
Dampfwagen Clayton Undertype No. 2 mit Anhänger im Maßstab 1:6 Kabine mit vertikalem, kohlebefeuertem Stahlkessel, mit Wasserglas, Manometer, Sicherheitsventilen, Dampfpfeife, Schornstein, Handschalthebel, Lenkrad und Flügeltüren, montierter Wassertank hinter der Kabine, Fahrgestell auf Blattfedern und vier Speichenrädern mit Vollgummireifen, Vorderräder über Ackerman-Gestänge lenkbar, großer Zweizylindermotor mit Kettenantrieb auf die Hinterräder, grün lackierter Aufbau mit goldenen Verzierungen, "Hall Bros. Ravenstone Leics." in Gold an der Vorderseite, Kesselzertifikat bis 1984, Anhänger mit Öl- oder Kraftstofftank aus Stahl, Länge: Zugmaschine 82 cm, Anhänger 84 cm, vorne und hinten mit Kennzeichen BH1981. Start Price: EUR 1200 Two-Inch Scale Model of a Clayton Undertype No. 2 Steam Wagon with Trailer Cab with vertical coal-fired steel boiler with water glass, pressure gauge, safety valves, steam whistle and chimney, large twin-cylinder engine with chain drive to rear wheels, hand-operated gear lever, steering wheel and hinged doors, the rear with mounted water tank, chassis with leaf springs and four spoked wheels with solid rubber tyres, the front wheels steered via Ackerman linkage, finished in green with gilt pinstriping and "Hall Bros. Ravenstone Leics." in gold to front, boiler certificate through to 1984, trailer with oil or fuel steel tank, tractor unit 32 in., trailer 33 in., front and rear with license plate BH1981. Start Price: EUR 1200
Transportable Lokomobile von Allchin im Maßstab 1:16, um 1975 Michael Holden Limited Engineers, Banbury, England. Kleines funktionsfähiges Modell einer englischen pferdegezogener Dampfmaschine. Gußmetall, polierter Stahl und Messing, Kohlebefeuerung, Flammrohrkessel, ein Zylinder, Stephenson-Steuerung, Druckanzeiger, Wasserstandglas, Speisepumpe, Speichenräder Ø vorne 56 mm - hinten 75 mm, Schwungrad Ø 88 mm, Gesamtmaße 245 x 102 x 340 mm. - Ein detailgenaues Modell mit sämtlichen Armaturen. Start Price: EUR 280 ¾-Inch Scale Model of a Horse-Drawn Portable Engine by Allchin, c. 1975 Michael Holden Limited Engineers, Banbury, England. Small working model of a British Allchin single-cylinder engine, polished steel, cast-iron and brass construction, coal-fired, flame-tube boiler, Stephenson valve gear pressure indicator, water gauge level, feed pump, folding chimney, spoked wheels, front Ø 2 1/5 in., rear Ø 3 in., flywheel Ø 3 1/2 in., overall 9 3/5 x 4 x 13 3/5 in. - A detailed live steam model with all its fixtures and fittings. Start Price: EUR 280
Kraftmesser "Mercury Athletic Scale", um 1950 USA, münzbetriebenes Standmodell, drei verschiedene Tests: Handgelenksdrehung, Bodenheben und Grifftest. Metallgehäuse, Höhe 131 cm, kein Kassenschlüssel, Gehäuse mit Gebrauchsspuren, funktionstüchtig. Start Price: EUR 800 "Mercury Athletic Scale" Strength Tester, c. 1950 Coin-operated American floor model with three different tests: "wrist twist", "floor lift" and "grip test", in metal case, ht. 52 in., no cash box key, case with signs of use, working. Start Price: EUR 800
Seltene Gewirette mit Xenon 2/4,5 cm, um 1935 Wirgin, Wiesbaden. Für 3 x 4 cm auf 127er-Film, ohne Bezeichnung, mit Schneider Xenon 2/4,5 cm Nr. 758539, Compur-Rapid läuft, Glas sauber, Entfernungseinstellung ähnlich der Nagel Pupille, Feet-Skala. Sucherlinse mit Sprung, sonst gut erhalten. Seltene Version! Start Price: EUR 400 Rare Gewirette with Xenon 2/4.5 cm, c. 1935 Wirgin, Wiesbaden, Germany. For 3 x 4 cm on 127 film, without name, focusing similar to Nagel Pupille, with Schneider Xenon 2/4.5 cm no. 758539, Compur-Rapid working, glass clean, feet scale, viewfinder lens cracked, otherwise in good condition. Rare version! Start Price: EUR 400
Interessante Nikon SP Ausrüstung Nippon Kogaku, Japan. 1) Nikon SP, Nr. 6218052, Verschluß läuft, Weitwinkelsucher etwas trübe, Ent-fernungsmesser ohne Funktion, mit Gehäusedeckel (selten) und Tasche. (3/3) - 2) Nikkor-S 1,4/5 cm, Nr. 410471, schöner Zustand. Meter-Skala, mit Gegenlicht-blende, Vor- und Rückdeckeln und Köcher. (2/3) - 3) W-Nikkor 3,5/2,8 cm, Nr. 717222. Auch hier schöner Zustand. Klare Linsen, nur minimal Staubpartikel zwischen den Linsen. Mit Original-Karton, beiden Deckeln und Köcher. (2/3) - 4) Seltener Nahvorsatz für Nikkor 1,4/5 cm. Mit Etui und Original-Karton. (2/2) - 5) Sucher 2,8 cm mit Etui. (2-/2-) - 6) Nikon-Belichtungs-messer, Nr. 955626, mit Verstärkern, beide funktionieren, mit den Diffusoren, Etuis und Kartons. (2-/3) - Und: 7) Filterhalter für Serienfilter, mit Sonnenblende für Nikkor 1,4/5 cm. Mit Etui. Start Price: EUR 1400 Nikon SP Outfit Nippon Kogaku, Japan. 1) Nikon SP, no. 6218052, shutter working, wide-angle viewfinder somewhat fuzzy, distance meter inoperative, with body cap (rare) and case. (3/3) - 2) Nikkor-S 1,4/5 cm, no. 410471, good condition, with meter scale, sunshade, front and back caps and case. (2/3) - 3) W-Nikkor 3,5/2,8 cm, no. 717222, clear optics, only light dust between the elements, otherwise good, with maker's box, both caps and case. (2/3) - 4) Rare close-up device for Nikkor 1,4/5 cm, with case and maker's box. (2/2) - 5) Viewfinder 2,8 cm with case. (2-/2-) - 6) Nikon exposure meter, no. 955626, with boosters, both working, diffusors, cases and maker's boxes. (2-/3) - And: 7) Filter holder for serial filters, sunshade for Nikkor 1,4/5 cm and case. Start Price: EUR 1400
Britische Echtdampflokomotive GWR 1451 im Maßstab 1:12 Personenzuglokomotive der Great Western Railroad, GWR 1400 Class, Achsfolge 0-B-1, Spurweite 127 mm, innenliegende Stephenson-Steuerung und Doppelzylinder, Kohlenfeuerung, gelöteter Kupferkessel mit Armaturen einschließlich Dampfregler und Kesseldruckmanometer, gefederte Speichenräder aus Metallguß, schwerer Metallrahmen, Wassertank und Kohlebunker, Gesamtlänge 78 cm, lackiert in Great-Western-Grün. - Wasserstandglas fehlt, Brennkammer vermutlich nicht komplett. - Das Modell ist als Echtdampflokomotive gebaut, wurde aber von uns nicht unter Dampf getestet. Start Price: EUR 1600 Well-Engineered 1-Inch Scale British Live Steam Locomotive GWR 1451 Great Western Railroad passenger train locomotive no. 1451, 1:12 scale, 5 in. standard gauge, 0-4-2 wheel arrangement, inside Stephenson's link reverse and twin-cylinder, coal-fired soldered copper boiler with fittings including steam regulator and boiler pressure gauge, spring-loaded cast-metal spoked wheels, sturdy metal frame, water tank and coal bunker, total length 30 3/4 in., finished in Great Western green, without water level glass, firing chamber probably not complete. - This model is built as a working engine but has not been tested under steam prior to the auction. Start Price: EUR 1600
Fahrbare Lokomobile von Allchin im Maßstab 1:16, um 1975 Michael Holden Limited Engineers, Banbury, England. Kleines funktionsfähiges Modell einer englischen Dampfmaschine. No. 408, Gußmetall, Stahl und Messing, Fahrtrichtung steuerbar, Zweigangschaltung, über Ketten lenkbare Vorderachse (Kette lose), Kohlebefeuerung, Flammrohrkessel, ein Zylinder, Stephenson-Steuerung, Druckanzeiger, Wasserstandglas, Speisepumpe, Speichenräder Ø vorne 72 mm - hinten 120 mm, Schwungrad Ø 83 mm, Gesamtmaße 345 x 161 x 225 mm. - Ein detailgenaues Modell mit sämtlichen Armaturen. Start Price: EUR 450 ¾-Inch Scale Model of a Live Steam Traction Engine by Allchin, c. 1975 Michael Holden Limited Engineers, Banbury, England. No. 408, small working model of a British Allchin single-cylinder engine, steel, cast-iron and brass construction, coal-fired, flame-tube boiler, pressure indicator, water gauge level, feed pump, Stephenson’s slide-valve gear, two-speed gearbox, fusee and chain steering (chain loose), reversible traction, spoked wheels, front Ø 2 4/5 in., rear Ø 4 3/4 in., flywheel Ø 3 1/4 in., overall size 13 3/5 x 6 1/3 x 8 7/8 in. - A detailed live steam model with all its fittings and fixtures. Start Price: EUR 450
Skelett-Telephon von Ericsson, Modell 375, ab 1892 L.M. Ericsson, Stockholm. Einsprechtrichter, Blitzschutz, Fliehkraftschalter, Ebonitplatte, Kurbelinduktor, Doppelwecker. - Ein sehr frühes Modell, nur 4 Anschlußklemmen, keine Streben zwischen den Magneten, großflächige Dekoration, sehr guter Originalzustand. Start Price: EUR 450 Skeleton Telephone by L.M. Ericsson, 1892 onwards L.M. Ericsson, Stockholm. Model 375, handset with speaking horn, lightning protection, centrifugal switch, ebonite plate, crank inductor, double alarm clock. - A very early model, only four terminals, no struts between the magnets and large-scale decoration, in very good original condition. Start Price: EUR 450
Large scale portrait miniature of 3 children (William, Charles Hardcastle (?) & Elizabeth Hewitt sons & daughter of William & Elizabeth Hewitt of Carlton Hall, Suffolk) by Walter Stephens Lethbridge (1771-1831) who attended a print shop / drawing school created by Rudolph Ackermann at 96 Strand, London in 1795+ ~ 17.5cm x 14.5cm -In a black antique frame with original hand blown glass. hHand written details to the reverse. The portrait is slightly bowed & chip to 1 corner of frame & 'nick' on side of frame
Black and chrome version, 1933, with horizontal tuning scale, circular fret, side handles, in jet black bakelite case, twin knobs, fret and handle ends with chrome highlight detail, (tuning control lacking chrome); and an Ekco Type ACT96 receiver, brown bakelite version, with slanted side handles and arc tuning scale. (2)
Swatch Maxi's - A large scale vintage 2000 Sydney Olympic Swiss Swatch wall hanging watch clock of plastic construction in the form of a wristwatch. Large face with Olympic colours to the center and Arabic numeral chapter ring with quartz movement to the back. The straps being white with previous Olympic decorations. Wear commensurate with age. Measures approx; 217cm x 32cm.
A collection of mid 20th Century German white porcelain vases to include West German Kaiser floral decorated fluted vase, KPM Royal Porzellan Bavaria textured cylindrical vase with gold band, Royal Bavaria waisted fish scale decorated sleeve vase, Thomas Of Germany textured and cylindrical vase along with a Royal China hexagonal vase. All appear in good condition.
DAMIEN HIRST (B. 1965)8435. Dilemma Here 2016 signed, titled, dated 2016, numbered 8435 and stamped on the reverseenamel paint on handmade paper21.4 by 29.8 cm.8 7/16 by 11 3/4 in.This work is number 8435 from a series of 10,000 unique examples. The corresponding non-fungible token has been burned.Footnotes:ProvenanceHENI, LondonAcquired directly from the above by the present owner in 2021Damien Hirst has often been considered the definitive enfant terrible and impresario of contemporary art since his monumental rise to global stardom in the 1990s as the figurehead of the Young British Artists (YBAs). His exhibitions and ventures have consistently drawn broad acclaim and criticism, such is the nature of his practice to polarise and activate the passions of his audience. He has never shied away from ideas that would be deemed too unwieldy or all-encompassing for the purview of fine art, approaching life, death, the psyche, and the nature of mythos with a confidence that is nothing short of inspirational. In such a vein, presented here is Hirst's most recent and ingenious project: his first NFT 'drop', titled The Currency. Launched in 2021 and endorsed by Mark Carney, former Bank of England governor, Hirst produced 10,000 unique works – attractive abstract spot paintings on heavyweight paper that are instantly recognisable as Hirst's iconic motif – that exist both as the physical work and a corresponding Non-Fungible Token (NFT). Upon purchase, the buyer was forced to choose between the physical or the digital asset, with the leftover piece being destroyed or burned. The entire 10,000-piece drop sold out and has since become one of the most appreciating and highly sought-after works by NFT and art collectors alike. The work presented here is 8435. Dilemma Here – a physical piece whose corresponding NFT has been burned and only the tangible work remains. Ranked by machine-learning artificial intelligence, the pieces are graded on their colour composition, the weight of the paper, as well as their titles. 8435 boasts an exceptional ranking of 103rd for green pigments, 167th for number of words in the title, as well as 2521st for weight, giving the piece an appealing mass for its handsome scale. The present work represents one of the most exciting enterprises by Hirst, himself one of the pioneers of contemporary artistic practice in the 21st century, to challenge not only the hegemony of capital and financial instruments, but also of the nascent divide between the physical and virtual worlds.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
DANIEL RICHTER (B. 1962)Der alte Expressionist 2009 signed and dated 2009 on the reverse; titled on the overlapoil on canvas35.2 by 45.1 cm.13 7/8 by 17 3/4 in.Footnotes:ProvenanceContemporary Fine Arts, Berlin (DR/K 576)Acquired directly from the above by the present owner in 2009ExhibitedBerlin, Contemporary Fine Arts, Oh La La, 2009There is an aching beauty and pulsating expressionism that resides at the heart of Daniel Richter's practice. In Der alte Expressionist, this feels palpably close to the surface as the artist enacts a vivid dialogue with the phantoms of history that manifest in his canvases. Gestural and intense, Richter has revived a narrative form of painting that conjures the sublime yet remains tethered to the social and political currents of the day, speaking to the work of Peter Doig, Adrian Ghenie, Neo Rauch, and Tal R. In the present work, the rebellious psychedelia, musicality, and symbolist imagery that Richter has become so acclaimed for is executed over an elegant scale, representing a supremely collectible work by one of the most in-demand contemporary painters. Richter stands at the cutting edge of a German avant-gardism that spans generations of post-war Neoexpressionist painters including Georg Baselitz, Jörg Immendorff, and Markus Lüpertz. Embedded in this influential, energetic milieu – studying under Werner Büttner at the Hochschule für bildende Künste in Hamburg from 1992–1996, before working as a technician in Albert Oehlen's studio – Richter has developed a style that is captivatingly unique and is in the present work suffused with a range of brushmarks and sweeps of paint that is testament to his generational talent. Taking Emil Nolde as its subject – the 'other expressionist' of its title – Der alte Expressionist is a vivid and enchanting painting that humorously captures the spirit of early Expressionism seemingly as a character. The spectral presence feels at once a menace and a transhistorical embrace, a contemporary painting with the earie Romanticism of Kirchner or Munch. Der alte Expressionist is a sterling work from one of the most prominent passages of Richter's practice that engages deeply with his touchstones and inspirators. With pieces held in international museum collections that include the MoMA, New York; Centre Pompidou, Paris; and the Hamburger Kunsthalle, Hamburg, Richter's paintings are as beautiful as they are timeless, and his legacy as one of the principal painters of the last three decades is without question.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A matching pair of crotal bells bearing the initials FL, with fish scale decoration on the lower hemisphere and a sunburst pattern on the upper. Each 32mm diameter, 33.3g and 33.8g. Both are complete with pea and ring. 16th - 17th century, cf. PAS WILT-A93F68 https://finds.org.uk/database/artefacts/record/id/993513
17th century crotal bell bearing the initials HW, with fish scale decoration on the lower hemisphere and a sunburst pattern on the upper. Most likely a product of William Seller's foundry at York, the initials H. W. are thought to be those of Seller's foreman 1683 - 1687. 34mm diameter, 44.8g. Still retains its original pea and rings. Cf. PAS SUSS-85876D https://finds.org.uk/database/artefacts/record/id/740810
Aristide Maillol. - Longus: Les pastorales de Longus ou Daphnis et Chloé. Version d'Amyot revue et complétée par J.-L. Courier. Paris: Gonin 1937. 22 x 13,5 cm. Mit 48 OrTextholzschnitten und 7 Hz.-Initialen von A. Maillol. 3 w. Bll., 1 Bl., 217 SS., 1 nn. S., 5 Bll., 1 w. Bl. Lose Bogen in illustr. OrUmschl.ag in Pp.-Decke und Schuber. (Wenig staubfleckig. Blätter der Suite teils gering altersfleckig.)Nr. 372 v. 500 Ex. auf Papier Maillol, im Druckvermerk von Künstler und Verleger signiert. Mit einer Suite der 48 Holzschnitte, davon einer in zwei Druckzuständen. - Rauch 141. Carteret IV, 243. The Artist and the Book 174: „Small in scale, it is perhaps the most harmonious of Maillol's illustrated books“.
William Keith, Scottish-American (1838-1911) "Landscape with River and Cattle, California, U.S.A." c. 1900 signed l.r. "William Keith S.F.", 52cms h x 66cms w (21" x 26"). Although the location of the tree-lined river depicted here by William Keith has not been confirmed, it is almost certainly in California, where he spent most of his life, achieving fame for his depictions of the natural beauty of countryside, rivers and mountains. Based on comparison with other paintings by Keith, this is a late work, dating from around 1900-1905 and probably depicts a scene either near Berkeley, where the artist lived, or on the Monterey Penninsula, where Keith went on sketching expeditions with his friend, the artist Lewis Josselyn. The painting is characterised by Keith's deft handling of paint, and his ability to convey effects of light and shade. On the left, a cloud hovers over trees, with a sudden downpour of rain indicated by vertical brush marks of grey. In the distance, a blue mountain range can be glimpsed through the trees. With its suggestion, rather than detailed delineation, of cattle grazing and a house in the trees, the painting reflects Keith?s debt to artists of the Barbizon school such as Theodore Rousseau, Jules Dupré and Constant Troyon, as well as to the American painter George Innes. Keith sought to evoke in his landscapes a sense of otherworldliness, a mood that reflected his quest for spiritual enlightenment. Like Innes, he was a member of the Swedenborgian church, to which he had been introduced by the Rev. Joseph Worcester, a leading advocate of the Arts and Crafts movement in Northern California. Born in Scotland in 1839, aged eleven, Keith emigrated with his mother and sisters to the United States. After training as a wood engraver, he returned to Scotland and worked briefly for the London Daily News, before sailing for San Francisco in 1859, where he set up an engraving business. He studied painting with Samuel Marsden Brookes and Elizabeth Emerson, and later married Emerson. By 1868 he was painting in oils and received a commission from a railroad company to paint landscapes in the Pacific Northwest. In 1869 he and Elizabeth travelled to Dusseldorf in Germany, where he studied under Albert Flamm. They also spent time in Paris, where Keith was inspired by the plein air paintings of the Barbizon School. After returning to the US in the early 1870's he shared a studio in Boston with William Hahn, before heading back to California, where he formed a lifelong friendship with a fellow Scots-born artist, John Muir. Keith excelled in painting large-scale panoramas of Californian mountains and canyons, and often included invented elements, such as glaciers and canyons, for pictorial effect. After the death of Elizabeth in 1882, her married a law graduate and suffragette, Mary McHenry, and over the following years campaigned for the protection of the Sierra Nevada and the Yosemite valley. Although many of his paintings were destroyed in the San Francisco earthquake of 1906, he was a prolific artist and a large collection of his work is preserved in the art museum at St. Mary's College in Moraga. He died at Berkeley in 1911. Dr. Peter Murray, 2022
MUSIC - ETHEL SMYTHCollection of printed music and songsheets, including: Ethel Smyth, The March of the Women/ Dedicated to the Women's Social and Political Union...For meetings and processions, to be sung in unison, printed libretto, published by The Woman's Press, Charing Cross Road, London, W.C., 1911; with a group of printed sheet music and song sheets, some published by the WPSU, including Woman This, and Woman That, The Women's Marsellaise, The Purple, White and Green, The Ragtime Suffragette, and Suffragettes. Humorous One or Two Step by Montague Ewing, 355 x 255mm. and smaller, c.1911 (10)Footnotes:'SHOUT, SHOUT, UP WITH YOUR SONG! CRY WITH THE WIND FOR THE DAWN IS BREAKING''For as long as socially and politically aware citizens have gathered to protest laws and voice dissent, music has served a paramount role; the women's suffrage movement proves no exception. From local community suffrage meetings, to large-scale city-wide marches, to prison cells -- suffragists consistently unified, rallied, and asserted their unbreakable spirit in song' (Library of Congress website). As this collection shows, many of the suffrage songs were to be sung to the melodies of popular songs, others were specially written by members of the movement (Florence Macaulay's The Women's Marseillaise for example). The movement's rallying cry, Ethel Smyth's March of the Women with stirring words by Cicely Hamilton (the songsheet of which sold for a penny), was first performed in public on 21 January 1911 at a social evening at Suffolk Street Galleries to welcome those imprisoned after the events following Black Friday in November 1910. Votes for Women called its union of revolutionary spirit and religious solemnity 'At once a hymn and a call to battle' (Crawford, p.644). Later in 1911 Smyth served two months in Holloway for her part in a window smashing protest. When her friend the composer Thomas Beecham visited her, he found suffragettes marching around the quadrangle to the tune as Smyth leaned out of the window conducting furiously with a toothbrush.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
PROCESSIONS & PROTESTCollection of photographs and ephemera pertaining to suffragette protest, including:Printed 'Souvenir and Official Programme for 'Women's Sunday! Mass Meeting and March to Hyde Park on Sunday June 21!', advertising 'The Great Shout at 5 o'clock. 'VOTES FOR WOMEN!'', 8vo (215 x 130mm.), published by Mrs S. Burgess, [1908]; Printed programme entitled 'Memento of Women's Coronation Procession to demand Votes for Women', 4to (278 x 220mm.), published by The Women's Press, 1911, including 'Order of March' insert and related handbill; handbills 'Parliament of Women/ Caxton Hall' 11, 12, 13 February [1908]; 'Deputation of Women... House of Commons/ Tuesday June 29th [1909]'; 'Deputation of Women... House of Commons to interview Mr Asquith and Mr Lloyd George/ Tuesday Nov: 21st [1910], etc.; with ten press photographs, many with captions and press stamps on reverse such as 'Outside the Old Bailey, Mrs Pankhurst's trial, 1913', 'Arrest of Mary Phillips (alias Mary Paterson) possibly for a flour throwing incident', 'Coronation Procession, Boudicea', three of Barbara Duval and Miss Fox 'Bill Sticking for Liberty', 'Suffragettes being turned away from Buckingham Palace' suffragists on horseback, and the leaders of the WSPU at Queen's Hall, 195 x 250mm. and smaller; stereograph depicting the Great Suffragette Demonstration in London, George Rose, 1911, 98 x 180mm.; three gelatin silver prints of the Demonstration in Hyde Park on 4 July 1912 led by Sylvia Pankhurst, depicting protestors carrying 'Red Caps of Revolution' on poles, two annotated in ink on reverse, 117 x 74mm.; postcards and other ephemera (quantity)Footnotes:'I CALL UPON MEN AND WOMEN IN THEIR THOUSANDS TO COME TO PARLIAMENT SQUARE ON TUESDAY NOVEMBER 21ST, TO SEE FAIR PLAY, TO PROTECT WOMEN FROM BEING BRUTALLY VICTIMIZED BY POLICE IN UNIFORM AND IN PLAIN CLOTHES AS THEY WERE ON BLACK FRIDAY': A group of souvenir programmes and handbills from landmark processions and large-scale demonstrations in support of women's suffrage including Women's Sunday, the deputation to the House of Commons following Black Friday and the Women's Coronation Procession, which was the only event in which all the suffrage movements took part.For further information on this lot please visit Bonhams.com
Belle Époque sculpture. France, ca. 1880."Jeunesse.Carved alabaster.Size: 31 x 30 x 17 cm.Sculpture in carved alabaster of the Belle Époque period and style, representing the bust of a young lady with thick hair contained in a curly up-do, undulating in harmony with a floral diadem of beautiful petals. The sculpture has some gilded details.The term Belle Époque refers to the period in European history between the last decade of the 19th century and the outbreak of the Great War in 1914. It reflects a nostalgic vision that tended to idealise the pre-1914 past as a paradise lost after the brutal trauma of the First World War. In art, it was the time of development of the three pictorial currents that would mark the 20th century: Expressionism, Fauvism and Cubism, as well as Modernism. While avant-garde painting and large-scale sculpture were dominated by the avant-garde, decorative sculpture and objets d'art were mainly influenced by modernism in all its forms.
JOSEF HOFFMANN (Brtnice, Czech Republic, 1870 - Vienna, 1956).Jugendstil side cabinet, ca. 1900.Mahogany wood.Measurements: 113 x 31 x 26 cm.An auxiliary piece of furniture in the Jugendstil style, Central European modernism, made of mahogany wood and characterised by the clean lines and the play of geometric volumes typical of Jugendstil, which is combined with a vertical structure, based on closed and open spaces, which is common to the whole of Europe at this time. The base appears open, raised on two stipe legs with horizontal carved grooves, with a closed moulded base, like a plinth, and a shelf at mid-height. The central area is occupied by a closed cupboard with a translucent dark glass door, moulded with an irregular organic-looking irregular finish. Finally, above the cupboard is an open shelf with a barred base and truncated pyramid-shaped finials to match the legs.An architect and industrial designer, Josef Hoffmann studied at the Academy of Applied Arts in Vienna, where he was a pupil of Carl Freiherr von Hasenauer and Otto Wagner, whose theories of functional, modern architecture would profoundly influence his work. He won the Prix de Rome in 1895, and the following year he joined Wagner's office, collaborating with Olbrich on some projects for the Metropolitan. He established his own office in 1898, and taught at the School of Decorative Arts in Vienna between 1899 and 1936. He was also a founding member of the Viennese Secession. In 1900 he travelled to London, where he came into contact with the English school and discovered Mackintosh. On his return, he set up a workshop for the production of objects based on designs by artists of the Secession, and thus the Wiener Werkstätte was born, a workshop which had a great influence on 20th-century industrial design. By 1903, production began on an international scale. In the course of his life, Hoffmann produced a variety of projects for buildings and furnishings, and exhibited his creations all over the world. He is currently represented in the MAK and the Leopold Museum in Vienna, the Metropolitan and MoMA in New York, the Brohan in Berlin, the Courtauld Institute in London and the Victoria & Albert in London, among many others.
SCOTLANDROBERTSON (JAMES) Topographical and Military Map of the Counties of Aberdeen, Banff, and Kincardine; with parts of those of Forfar, Perth, Inverness and Moray, LARGE SCALE MAP, engraved on 6 double-page sheets (each 910 x 720mm.), off-setting, contemporary half morocco, original printed title label on upper cover, scuffed and worn, covers detached [Rodger 611], folio (720 x 475mm.), James Robinson, 1822Footnotes:Scarce large-scale map of 1 inch to the mile, of Aberdeenshire and neighbouring east coast counties, with only one complete copy traced on Rare Book Hub.For further information on this lot please visit Bonhams.com
LEIBNIZ (GOTTFRIED WILHELM)Autograph letter signed ('Leibniz') to Thomas Burnett ('Monsieur'), in French, pleased and surprised to hear that he is in a place of safety, presuming that his failure to thank the Electress and the Queen of Prussia for their help in obtaining his release from the Bastille must mean '...that you are unaware of your own history...' and explaining in detail how his freedom came about through various envoys and royal connections ('...I wrote about the matter too to the Bishop of Salisbury, who answered that he would try and persuade the Queen [Anne] to exchange you for someone... several attempts having completely failed... I asked M. d'Alefeld, the Danish Minister in Berlin to write about it to M. de Meiercron, Minister of his master the King at the Court of France to get him to talk to the Marquis de Torcy and the Queen also spoke to M. d'Alefeld in my presence... that envoy committed himself with zeal... the Electress wrote to the Queen [of France] on your behalf...'), giving reasons for his imprisonment ('...you were known to have evil designs, and were mixed up in suspicious activities, having come to France also without a passport... I said that one part of the report was slanderous and it looked as if the rest might well be too... your character was too well known in our courts for there to be any possible suggestions that you had malicious designs against the Government and the State...'), concluding by saying that his name was now clear ('...certain spies who haunted Paris taverns had thought they were doing themselves a good turn by denouncing you...'), going on to thank Burnett for information on scholars in Geneva and discussing various books such as John Ray's Wisdom of God and Cosmologia sacra by Nehemiah Grew ('...These are good books as they go into detail about nature and don't at all content themselves with generalities...'), noting he has reread Locke's book translated into French as he only had an old English edition ('...I see numerous things with which I totally disagree... I am pro innate ideas and anti tabula rasa...'), commenting on Locke's views of substance ('...he speaks cavalierly...'), liberty ('...good things... but does not explain it enough...'), identity and self consciousness ('...not at all correct...'), ending '...Finally there are endless things I would like to explain to myself quite differently from Mr. Lock. I often find his reflections a little too superficial and his philosophy a little too accommodated to the taste of some people...', admitting that there are many fine reflections in Locke's work and that the Essay is '...one of the finest philosophical books of our time...', with mentions of Rowland Guinn, troop movements and other matters, with many amendments and deletions, 4 pages on a bifolium, pencilled date at head [1704], dust-staining and other marks, creases, small tears and holes at folds, 4to (200 x 155mm.), [Hanover, 3 December 1703]Footnotes:'UN DES PLUS BEAUX LIVRES PHILOSOPHIQUES DE CE TEMPS': LEIBNIZ ON LOCKE, & HIS FRIEND'S RELEASE FROM THE BASTILLE.In the latter part of this letter to his friend Thomas Burnett, Leibniz notes he is re-reading Locke in a new French translation and whilst he sometimes finds him 'too superficial', he concludes here that it is '...one of the finest philosophical books of our time...'. Much has been written on the relationship between Leibniz and Locke. For years, Burnett had acted as an intermediary between the two and has been described as having a significant influence on the way that the men viewed each other. Despite Leibniz's stellar reputation in European intellectual circles, Locke refused to reply directly to Leibniz's responses to his Essay Concerning Human Understanding, first published in 1689, and indeed professed to be rather intellectually disappointed in Leibniz. It has been argued that some of Leibniz's papers written between 1695 and 1700 in response to Locke were in fact a response to Burnett's interpretation of Locke, and even that Burnett mistakenly ascribed works to Locke that were by others (Stewart Duncan, Toland and Locke in the Leibniz-Burnett Correspondence, September 2017, online). According to Nicholas Jolley, Burnett '...clearly had a stake in playing up his contacts with Locke, and in emphasizing Locke's good will, for he wished to come across to Leibniz as a valuable correspondent with access to inside sources of information. But even if we allow for an element of ingratiation on Burnett's part, it still seems to be the case that Locke's personal attitude towards Leibniz was not as distant or as aloof as... might suggest...' citing Locke's interest in Leibniz's metaphysical theories, his wish to know his opinion on his controversial exchange with Stillingfleet and even his offer to obtain for him an ecclesiastical benefice in England as examples (Nicholas Jolley, Leibniz and Locke, 1984, p.38-41). Leibniz in turn was clearly interested in Locke's views on a wide range of topics including money, education and politics and not just religion. In response to our letter, Burnett wrote back to Leibniz encouraging him to compose a full-scale commentary of the Essay (Jolley, p.44).At the time of writing, Thomas Burnett had been recently released from a fourteen-month imprisonment in the Bastille, and much of the letter is taken up with informing him of the circumstances of his release and describing how Leibniz had employed his considerable influence and web of connections to that end. Burnett had been passing through Paris in uncertain times. The succession crisis in England prompted by the death of Queen Anne's only surviving child in 1700 meant that the next protestant in line to the English throne was Leibniz's patron, the Electress Sophia and, with the French favouring Anne's half-brother James as heir, Anne was to declare war on France in May 1702, just six weeks after Burnett was arrested. Anyone with a close connection to the Hanoverian court was therefore under suspicion and prey to 'certain spies who haunted Paris taverns', and the only crime Burnett was guilty of was perhaps not having a passport. On his release, he wrote to Leibniz from Geneva on 5 November 1703 describing the circumstances of his arrest and his ordeal: '...they accused me of nothing despite the fact they interrogated me about everything... To tell you I suffered in this prison would be a long story... I noted myself that they insisted on these two points in particular... my relationship with the Bishop of Salisbury and the honour of being given such a good reputation at the Courts of Hanover and Berlin...' (Susan Burnett, p.13-14). This account prompted our reply from Leibniz which bears the pencilled date of 1704. Gerhardt, however, places it as having been written from Hanover on 3 December 1703.Our letter is published in Gottfried Wilhelm Leibniz: Allemeiner politischer und historischer Briefwechsel, Akademie Verlag, 1998 (no.412, p.705-710), in Gerhardt, C. J., Die philosophischen Schriften von Gottfried Wilhelm Leibniz, 1887, vol. 3, no. XXVI, p. 289, and partly quoted from in Susan Burnett, Without Fanfare: The Story of my Family, 1994, p.16-18 and elsewhere. It has been held in the archive at Kemnay House, Aberdeenshire, until now. Provenance: Thomas Burnett, 2nd of Kemnay (1656-1729); and thence by descent.For further information on this lot please visit Bonhams.com
A horn pair case pocket watch, the white dial with black Arabic numerals and outer scale 0-60, to a key wind verge movement signed Ja's Stretch, Birmingham, the gilt metal and horn outer case decorated with figures in a garden setting, bordered by beads and foliage, outer case diameter 5cmCondition report: Movement only: currently runs when wound, but is untested for working order, which cannot be guaranteed.
A gentleman's 18ct gold 'Speedmaster Day-Date' automatic bracelet watch by Omega, the circular black dial with gilt baton markers, centre seconds hand, outer calendar scale and subsidiary dials at 6, 9 and 12 for seconds, 30 minute and 12 hour recording, to a rose gold case with tachymeter bezel, numbered 59113958, on a rose gold brick-link bracelet, clasp numbered 1562/850, with 18ct gold convention marks and Swiss gold marks to case and bracelet, the dial, case, winder and bracelet signed, accompanied by maker's box and retailer's receipts, case width 3.9cmCondition report: Minimal wear to dial, light surface wear and scuffs to glass with occasional nicks to rim. Scuffs, scratches, chips and nicks throughout bezel, case and bracelet, commensurate for use. Grease residue to bracelet and clasp, clasp closes tightly. Case measures 4.4cm length x 3.9cm width. The movement is currently running but is untested for working order, which cannot be guaranteed. The case back has not been removed and the movement has not been seen, therefore originality of the movement cannot be guaranteed. The pushers and winder appear to be currently functioning. Gross weight approx. 174gm, including movement. Signs of wear to maker's box. No spare links or maker's papers included.
A Lee Metford M1888 Type II Bayonet by Wilkinson, London, the blade stamped with maker's name, issue date for February 1899, bend mark, broad arrow and inspection mark, the spine with two further inspection marks, the pommel stamped 3, with steel mounted leather scabbard and crushed brown leather frog stamped ICD 2026; another Example, with issue date for October 1892, lacks scabbard; a Lee Enfield 1903 Pattern Bayonet by Chapman, Sheffield, the blade stamped with maker's name, bend mark, broad arrow, inspection mark and issue date for March 1905, the pommel stamped 80, with steel mounted leather scabbard and webbing frog (3)Condition report: 1 - Minor pitting to blade, steel fittings on hilt and scabbard with some rust pitting, one grip scale is split, otherwise good.2 - Pitting to blade and hilt fittings.3 - Black patching and grease marks to blade, steel fittings on hilt and scabbard with some rust pitting, otherwise good.
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