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![[WHITE METAL]. FOUR 1/43 SCALE KIT-BUILT MODEL RACING CARS comprising an MG Models Lotus 80 Martini Racing (Mario Andretti);](https://cdn.globalauctionplatform.com/bf69039a-a51c-4a89-8cfa-ae1b00eac540/4450bc48-ecdd-4c73-836b-ae4e00a5cc2e/468x382.jpg)
![[WHITE METAL]. FIVE 1/43 SCALE KIT-BUILT MODEL RACING CARS comprising a Tameo Williams Honda FW10, 1983 Monaco Grand Prix (N](https://cdn.globalauctionplatform.com/bf69039a-a51c-4a89-8cfa-ae1b00eac540/5a5bedbc-d4fe-425e-9654-ae4e00a5ccf5/468x382.jpg)
Lot 793
[WHITE METAL]. FIVE 1/43 SCALE KIT-BUILT MODEL RACING CARS comprising a Tameo Williams Honda FW10, 1983 Monaco Grand Prix (Nigel Mansell); Tameo Williams FW11b, Winner 1987 San Marino Grand Prix (Nigel Mansell); Tameo Williams FW14, 1991 Brazilian Grand Prix (Riccardo Patrese); Tameo Williams FW14b, 1992 World Champion (Nigel Mansell); and Tameo Williams F18, Winner 1996 Argentine Grand Prix (Damon Hill), each in a hard plastic case.
![[WHITE METAL & OTHER]. ELEVEN 1/43 SCALE KIT-BUILT MODEL RACING CARS comprising a Scale Racing Cars Matra Ford MS80 (Jac](https://cdn.globalauctionplatform.com/bf69039a-a51c-4a89-8cfa-ae1b00eac540/cc5526e4-bc00-4e28-85d8-ae5100d31bd7/468x382.jpg)
Lot 293
Two pairs of Royal Worcester scale blue ground fluted plates, painted in polychrome enamels with exotic birds and butterflies, puce marks, together with a similar Royal Worcester bowl painted with flowers, blue printed mark (5)Condition report: Bowl - with signed of re-firing to the footrim. Free from chips, cracks or repair. Date code for 1909. Plates free from chips, cracks or repair. With minor surface scratching. Three plates with date code for 1904, one with date code for 1905.
Lot 272
TERRAPIN ORNAMENT,by Animal Classics, 30cm longCondition report: Signature inscribed "UDC Miller" and dated 1987. General surface wear present, and some very small chips to the scale detailing. Missing two toes on one front foot and some chipping to the nails on the other. Additional images available.
Lot 1604
A group of English and Continental ceramics, 19th century and later, including two similar Berlin candlesticks, decorated with courting couples, one with blue scale detailing, the other with pink, height 13.8cm, a Furstenberg sepia painted water jug and a silver mounted stoneware harvest jug (some faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 427
Small George III mahogany-cased triple pad twin fusee bracket clock, John Johnson, London, circa 1780, 7-inch break-arched dial having a silver chapter ring with Roman hours and Arabic minutes framing a matted centre with mock pendulum aperture over silver axe-head signature cartouche and calendar square, within scroll spandrels, the arch with silvered Strike / Silent ring, the gut-driven knopped five-pillar movement with verge and crownwheel escapement and finely engraved signed backplate, in break-arched case, 34cm high excluding leaf-capped lacquered brass carry handle, sold with crank winder, two keys and verge-type pendulumFootnote: A John Johnson is listed, in Britten's Old Clocks and Watches. London, 1989, p. 502, as operating between 1770 and 1799 in Gray's Inn Passage.Condition report: Please inspect additional images in conjunction with this report and contact the Saleroom with any queries prior to sale day.Dial - general tarnishing to chapter ring, subsidiary ring and cartouche as per images. Verdigris stain to latter.Movement - verge and crownwheel escapement, tricky to say but often these are reconverted back having been initially changed from verge to anchor. Five knopped (but not finned) pillars. Gut fusee. Pendulum bob could be a replacement.Case - 39cm high (handle up), 34cm to roof. Wear to handle lacquer. Cracking to roof back edge and gapping to backs of two of the pads. Veneer wrinkling and cracking to the pads themselves. One moulding missing to front corner of arch. Minor cracking to dial door. Vertical crack down one side panel alongside arch.Glazed arched side panels and rear panel probably replace brass fish scale fretwork and silk backing. Feet possibly shortened.Loose internal address card for Middletons of Shepton Beauchamp - but no details of wehether restoration undertaken or whether simply retailers.Provenance - private house, North Somerset, recently inherited from deceased uncle.
Lot 96
Pair of Victorian silver beakers of tapering form with fish-scale decoration, sponsor's mark of Richard Martin & Ebenezer Hall, London 1889, 13cm high, 395g approxCondition report: Presentation inscription to the rim reading 'C.W.Wade. Y.L.T.A. 1890' and 'C.W.Wade. Y.L.T.A. 1904', possibly Yorkshire Lawn Tennis Association. Some small dents and surface scratches.
Lot 249
Harold Shelton, (American 1917-1999), Big Medicine, a cold painted cast bronze group of a native American bison hunt, with artist's name and titled in the design, numbered 42/76, 63cm high, 112cm wide, 56cm deep Please note this is on view in our Donnington saleroom not our Hambridge warehouse Condition Report: Please note this is on view and can be collected from our Donnington saleroom not our Hambridge warehouse Due to the scale-and substantial weight- we would recommend strongly this must be collected using professional couriers. There are loose elements and surface shows signs of dirt from handling and atmosphere. Additionally there is rubbing and some loss to painted surface Condition Report Disclaimer
Lot 647
A pair of Chelsea Derby porcelain figures of a shepherd and his companion: He is holding a lamb under his right arm, and a posy of forget-me-nots in his left. A basket behind him at his thigh and wears a green hat, a green lined lilac coat and scale pattern breaches. She is holding a basket of eggs in her left hand, forget-me-nots in her apron held out by her right, she wears a green lined white hat, pink bodice and floral dress with green overskirt held up, they have flowers sprigged small bocage behind and on green and gilt tinted scroll bases. Measuring 27.5 centimetres and 26.5 centimetres respectively. The bases are ground and she with additional pad marks. The vendor has provided notes from his late father, indicating the description above, and purchase price from a London dealer in the later part of last century of £2,200. Some minor damage, overpainting and restoration to both necks & hats was noted.
Lot 467
Worcester Porcelain. An 18th century Worcester porcelain cup and saucer, painted with floral panels on a blue scale ground, the base with a blue patch mark, the cup 8cm diameter, the saucer 13cm diameter, with similar coffee cup plus various Derby items including a miniature Bloor Derby bottle base decorated in gold with a bird on a dark blue ground, the base stamped 'Bloor Derby', 11cm highQty: (5)
Lot 551
Embroidered panel. A large and important redwork panel, British, circa 1620, embroidered in very fine wool thread dyed with cochineal beetle red, on a cream twilled fustian ground, with all-over pattern of flora and fauna, the former comprising: pomegranates, magnolia flowers, daffodils, harebells, aquilegia, lilies, and the latter: leopards, parrots, stags, squirrels, hounds, hares, and an elephant carrying a three-turreted castle on its back, fine line border to long sides, the outlines worked in stem stitch, with details in seeding, back, running, and lazy daisy stitches, 2 hand-stitched vertical joins with imagery continuous (each of the 3 widths approximately 49cm), hand-stitched horizontal join 35cm up from lower edge (embroidery not continuous), side and lower edges bound with linen tape (that to left hand edge largely frayed), neatly stitch-mounted to a double layer cream backing, with velcro along top edge, some loss to embroidery and consequently pencil outlines visible in places, but stitching largely intact (although renewed in 1 or 2 small areas with pale brown thread), occasional small marks and some perishing of fustian ground (with stitched areas of consolidation), 2 areas of embroidery carefully cut round and re-mounted on new backing (approximately 23 x 9cm and 59 x 16cm), overall size 216 x 149cm (85 x 58.5ins)Qty: (1)Footnote: Provenance: Private Collection.Exhibited: Royal School of Needlework Exhibition, Irish Linen Centre in Lisburn Museum, May 2009-May 2010. The piece has also been displayed at the Royal School of Needlework at Hampton Court Palace on a number of occasions.Redwork embroidery of the early 17th century is rarely offered for sale even in small fragments, and therefore the importance of this large-scale piece - new to the market - cannot be overstated. Redwork typically features detached but lively motifs regularly spaced in an organised design over a white linen or cotton ground, and was usually carried out by women who used it to decorate domestic furnishings such as bedcovers and hangings, cushions, workbags and curtains, as well as articles of dress.This substantial piece of embroidery, and its two companion pieces (see following lot) are likely to have been originally part of a set of bed hangings. Elaborate hand-work was treasured and handed down, and these pieces may have been modified in the 17th or 18th century in order to repurpose and infuse new life into them. Certainly they were subjected to a quite radical alteration, perhaps by a prudish Victorian owner, when the appendages protruding from the dogs were unstitched, in order to protect the sensibilities of the viewer! The outlines of tiny holes where the needle went through the fabric are still clearly visible, testament to a fascinating tale in the history of this panel.The broadly, but not perfectly, repeating design depicts stylised fruit and flowers, mostly of similar size, and a variety of beasts whose dimensions bear no relation to each other. This lack of proportional scale and freedom of distribution of motifs is typical of other work of the time. Both domestic and professional embroiderers took inspiration from pattern books, such as Richard Schorleyker's A Schole-House for the Needle published in 1624, although other publications such as emblem books, herbals, illuminated manuscripts and bestiaries would also have provided imagery which could be copied or modified for transfer onto cloth. Thus the variation found within the all-encompassing term of 'redwork' is wide, each piece reflecting the individuality of the stitcher.The lone elephant shown to the lower left of the panel is an unusual, and therefore unexpected, inclusion, although the elephant and castle motif was widely known at the time. Indeed, in the mid-14th century the symbol was included on the coat of arms of the city of Coventry. The elephant is associated with a number of attributes, including wisdom, loyalty, chastity, strength and power, so perhaps it is not so surprising that the maker here branched out to include such a magnificent creature.Early redwork pieces, particularly of this size, are few and far between in institutions, but there are two notable examples which bear a strong resemblance to the piece offered here: a bedcover held by The Art Institute of Chicago (reference number 1986.988); and a bed curtain housed in The Metropolitan Museum of Art, New York (40.88a-f). Smaller pieces are held by the Royal School of Needlework, the Embroiderers' Guild, and the V&A.
Lot 251
A RARE SILK EMBROIDERED CHESTNUT-GROUND CHILD'S DRAGON ROBE, JIFU, QING DYNASTYChina, late 18th - late 19th century. Finely woven in silk and gold thread with eight four-clawed dragons pursuing flaming pearls amid multi-colored clouds interspersed with bats, peonies, and Buddhist symbols, all above the terrestrial diagram, turbulent waves, and lishui stripe with peonies at the hem, the midnight blue-ground cuffs and collar bands worked with further dragons.Provenance: From the collection of a lady of title in the United Kingdom.Condition: Very good condition with minor wear, few loose threads, and little soiling.Dimensions: Length 99 cm, Width 151 cmExpert's note: The present robe is rare in that it appears to be based on official court clothing but was nevertheless made for a child, who would not have been permitted to attend court functions - except an Emperor himself in his minority, which would not have been the case before the mid-19th century. Compare a similar robe illustrated by M. Myers, Silks for Thrones and Altars, Blanchard, 2003, page 66, number 28, which the author describes as quasi-official, and suggests that it would have been worn at personal and seasonal celebrations within a family context. Such family occasions would mirror the court functions of the time, with the patriarch and matriarch viewed as emperor and empress within the family, and similar gradations of status conferred on family members and reflected in their apparel. This would achieve the sense of universal order and harmony within the family context which the emperor embodied on a larger scale for the nation. The close resemblance of a boy's dress to an adult's encourages the son to emulate the status and importance of the father.Auction result comparison: Compare a related chestnut-ground silk gauze child's robe, 92 cm long, dated to the Jiaqing period, at Bonhams New York in Chinese Paintings and Works of Art on 14 September 2015, lot 8091, bought-in at an estimate of USD 30,000-50,000. Compare a related chestnut-ground silk gauze child's robe, 92.3 cm long and 154.8 cm wide, dated to the late 18th century, at Christie's New York in Fine Chinese Ceramics & Works of Art on 19 March 2009, lot 664, sold for USD 11,875 (approx. USD 15,565 today after inflation). 清代栗色地兒童如意富貴龍紋吉服中國，十八世紀末至十九世紀末。圓領，大襟右衽，馬蹄袖端，雲龍雜寶領、襟邊和袖端。龍袍面為栗色地緙絲五爪彩雲金龍紋，間以八吉祥、蝙蝠、牡丹等紋樣，下擺江崖麗水紋。 來源：英國一位有爵位的女士的收藏 。 品相：狀況極好，輕微磨損，絲線鬆動，輕微污漬。 尺寸：長99 厘米，寬 151 厘米 拍賣結果比較：比較一件相近的嘉慶時期的栗色地兒童絲袍，長 92 厘米，見紐約邦翰思Chinese Paintings and Works of Art 2015年9月14日 lot 8091, 估價USD 30,000-50,000；比較一件相近的十八世紀末栗色地兒童絲袍，長92.3 厘米，寬154.8 厘米 ，見紐約佳士得Fine Chinese Ceramics & Works of Art 2009年3月19日 lot 664, 售價USD 11,875 (約現今USD 15,565)。
Lot 194
A BLUE AND WHITE 'MUSICIANS' DISH, KANGXI PERIODChina, 1662-1722. The shallow rounded sides rising from a short tapered foot to a wide everted rim, the broad floor filled with Daoist musicians and their attendants in the shade of a pine tree at a hillside, surrounded by a band of lotus flowers and Daoist emblems to the short cavetto, the gently sloping wide rim with additional Daoist figures framed within reserves against a geometric patterned ground.Provenance: Belgian trade, by repute from a local private collection.Condition: Fine condition with minor old wear and firing flaws, the rim with two hairlines, minuscule nicks to the foot.Weight: 1,412 g Dimensions: Diameter 39.5 cmIt is interesting to note that the Chinese musical tradition remained quite stable throughout the Qing dynasty before the New Culture Movement, as evidenced by the many similarities between the painting on the present dish and the musicians pictured in an old photograph taken in Shanghai during the 1860s (figure 1). The first major and well-documented flowering of Chinese music was for the qin during the Tang dynasty (618-907 AD), although this instrument is known to have been played already since before the Han period. Through succeeding dynasties over thousands of years, Chinese musicians developed a large assortment of different instruments and playing styles, including court, folk, and religious music as well as instrumental, opera, storytelling, and many other kinds. A wide variety of these instruments, such as guzheng and dizi, are indigenous, although many popular traditional musical instruments were introduced from Central Asia, such as the erhu and pipa. Musical instruments were traditionally classified into eight categories known as bayin. Traditional music in China is played on solo instruments or in small ensembles of plucked and bowed stringed instruments, flutes, and various cymbals, gongs, and drums. The scale is pentatonic. Bamboo pipes and qin are among the oldest known musical instruments from China. 康熙時期青花開光樂者場景大盤中國，1662-1722年。折沿，斜圓腹，中央開光青花描繪文人園中松下奏樂賞玩場景；折沿上錦地開光描繪農家樂；斜腹上蓮紋。來源：比利時古玩市場，據説來自當地私人收藏。 品相：狀況良好，有輕微的磨損和燒製瑕疵，邊緣有兩條細裂紋，足部有微小的刻痕。 重量：1,412 克 尺寸：直徑39.5厘米
Lot 173
Norbert Schultze signed two 6x4 white cards one inscribed with music scale. Norbert Arnold Wilhelm Richard Schultze (26 January 1911 in Brunswick - 14 October 2002 in Bad Tolz) was a prolific German composer of film music and a member of the NSDAP and of Joseph Goebbels' staff during World War II. He is best remembered for having written the melody of the World War II classic Lili Marleen, originally a poem from the 1915 book Die kleine Hafenorgel by Hans Leip. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 33
Anton van Wouw (South African, 1862-1945)The Bushman Hunter signed and dated 'A.v.Wouw 1902' (base); further inscribed 'G. NISINI-FUSE - ROMA -' (base)bronze49 x 30 x 33cm (19 5/16 x 11 13/16 x 13in).Footnotes:ProvenanceA private collection, UK.LiteratureUniversity of Pretoria, Anton van Wouw en die van Wouwhuis (Pretoria, 1981), p. 27 (another edition illustrated)A.E. Duffy, Anton van Wouw: The Smaller Works (Pretoria, 2008), pp. 36-38 (another edition illustrated)J Ernst, Anton van Wouw: 'n Biografie deur J. Ernst (Vanderbijilpark, 2006), p. 66 (another edition illustrated)A.J. Werth, PIERNEEF/VAN WOUW: Paintings and sculptures by two South African masters (Cape Town, 1980/81), plate 43 (another edition illustrated).Exemplifying the expressive detail and finely wrought textures associated with Anton van Wouw's masterly sculptural practice, The Bushman Hunter has become one of the artist's most admired works. The small-scale sculpture depicts a male figure in a contrapposto stance, his weight resting on his front leg. The hunter's head is thrust forward as if searching ahead, while his tensed muscles engage in the interplay of action and reaction characteristic of the sculptural scheme. Declaring '[n]ature is the only method that endures', van Wouw pursued a naturalistic mode of representation rooted in his European art training (van Wouw, 1926: p. 9). Indeed, the artist's treatment of the male nude has garnered comparisons to Auguste Rodin's John the Baptist (preaching) (1877-1878), asserting the influence of the French sculptor on van Wouw who had encountered his work while a student at the Academie van Beeldende Kunsten in Rotterdam. Such impetus towards realism represented by The Bushman Hunter positioned the artist at the forefront of the Western sculptural tradition in South Africa. The artist's pursuit of realism is further evidenced in his decision to use highly skilled European foundries to produce his bronzes. He favoured two workshops based in Rome that had developed strong reputations for fine craftsmanship: Galileo Massa and Giovanni Nisini. An inscription to the base of the present sculpture asserts that it was produced by the Nisini foundry. The accomplished casting process highlights van Wouw's masterly approach to capturing the minutiae of the subject's physicality: each forehead wrinkle, fold of skin, and curl upon the head of the hunter are finely articulated in bronze. Van Wouw worked from life, exercising a keen perceptiveness that allowed him to powerfully capture his subjects in diverse moods and situations. Following his emigration from the Netherlands to South Africa in 1889, the artist found himself compelled to represent the indigenous peoples he encountered. The present work depicts Korhaan (also known as Kiewiet) who worked for a year as a servant in van Wouw's household. During this time, he modelled for several works by the artist including a large bust and a body cast of the Bushman made for the Transvaal Museum in Pretoria. Demonstrating the precarity of the lives of the indigenous population in this period, Korhaan was subsequently enslaved and taken to America where he was exhibited in the P T Barnum & Bailey Circus for thirty years.Contextualising small-scale works such as The Bushman Hunter within van Wouw's wider oeuvre, A.E. Duffy opines that they 'do not only attest to Van Wouw's meticulous workmanship but also his profound knowledge of his subject matter' so that 'each individual work of art not only possesses minute detailing but also inner power and monumentality' (A.E. Duffy, 2008: p. 77). Indeed, Van Wouw understood his small sculptures to be a vital part of his oeuvre. It was this aspect of his practice that he chose to foreground in his first solo show which took place in Johannesburg in 1908, following the first presentation of The Bushman Hunter in November 1904 at the premier exhibition of the Pretoria Art Association. Van Wouw's best known sculpture remains central within the artist's body of work, with other Roman casts held in the collections of South African House in London, the Van Wouw Museum in Pretoria, and the Rupert Museum in Stellenbosch.BibliographyA.E. Duffy, Anton van Wouw: The Smaller Works (Pretoria, 2008)Anton van Wouw, 'Sculpture', in The Common Room Magazine (Summer, 1926), pp. 8-11.For further information on this lot please visit Bonhams.com
Lot 8
Abdoulaye Diarrassouba 'Aboudia' (Ivorian, born 1983)Untitled, 2016 mixed media on canvas178.5 x 182.5cm (70 1/4 x 71 7/8in).Footnotes:ProvenanceThe artist's studio, Brooklyn, NY;Acquired from the above by the present owner in 2016.Abdoulaye Diarrassouba, known as Aboudia, stands at the forefront of the landscape of contemporary art with his energetic paintings rendered in oil stick and acrylic. Born in Abidjan, the major urban centre of Côte d'Ivoire, Aboudia trained at the School of Applied Art in Bingerville before graduating from the Abidjan Institut des Arts in 2005. Aboudia recognises the influence of his experience growing up in Abidjan as central to his artistic practice. His canvases and works on paper fuse imagery drawn from the local street culture of his hometown with traditional West-African sculpture and voodoo iconography. Lines of brightly coloured oil stick articulate figures, traffic and animals atop ghostly passages of semi-opaque acrylic paint that, in places, reveal the layers of newspaper pages, magazine cut-outs, and educational materials typically pasted beneath. The gestural application of pigment and large-scale format favoured by the artist recall both the graffiti murals of Abidjan and the avant-garde formalist experimentations of artists central to the Western canon such as Cy Twombly, whose work Aboudia had greatly admired when visiting the permanent collection at the Tate Modern, London. Recognising the fusion of diverse cultural and artistic references in his work, Aboudia names his stylistic approach Nouchi – a term more typically used to describe the colloquial language spoken in urban Abidjan which blends several Ivorian languages with French. Now working between his studios in Abidjan and Brooklyn, Aboudia employs his artmaking as a vehicle to convey the experiences of the Ivorian youth following the violence of the 2011 civil war. 'As an artist, my contribution is to tell our story for the next generation. Writers will write, singers will sing. I paint' (Aboudia quoted in O'Reilly, 2011). He conceives of the figures that populate his work as representative of this next generation of children who he believes to be central to the future success of the country. Aboudia has achieved global appeal through his kinetic canvases bursting with colour. Since 2007 the artist's work has been widely exhibited in international solo and group exhibitions and is held in major collections including that of the Saatchi Gallery (London), the Nevada Museum of Art (USA), and the Jean Pigozzi Collection of African Art.BibliographyFinbarr O'Reilly, 'Ivorian artist paints as bullets whizz overhead', Reuters, 29 April 2011, online.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 711
WW2 German 1941 Coloured Map of Tunisia, fine example of 1:500,000 scale map of the Tunisian coast with various hand annotations made with positions etc. Map has been professionally framed and glazed measuring 77 ½ x 77 ½ cms. This map was found by the current vendor in a WW2 German officers map case. The collector had the item framed and glazed
Lot 390
A Samson hot chocolate pot and cover, decorated in the Chelsea style with exotic birds, gold anchor mark, 19cm high; together with a Samson-type teacup and saucer, decorated in imitation of Worcester with panels of Japanese style flowers against a scale blue ground, underglaze blue fret mark, saucer 13cm diameter (restoration to chocolate pot)
Lot 146
Elmore (Alfred W., 1815-1881). Collection of Original Studies and Drawings, 58 drawings and sketches, each mounted singly on rectos of album leaves, comprising ink and pencil drawings, watercolours, and red and black chalk drawings, including male and female nudes, landscapes, head and figure studies, genre scenes, architectural studies, sketches for large-scale works, etc., many annotated in pencil to lower margin with the artist's name, sheet size smallest 16.7 x 7.5cm (6 5/8 x 3ins), largest 35.5 x 25.5cm (14 x 10ins), front blank with mounted printed title label annotated in pencil 'Exhibited Royal Academy 1834-61', latter note repeated at head of page, endpapers foxed, late 19th or early 20th century black half morocco, scuffed and some marks, upper joint with 11cm split at foot (beginning to tear across spine), printed title label mounted on upper cover, folio Qty: (1)Footnote: Irish born Alfred Elmore was primarily a painter of historical genre scenes. He moved with his parents to London when he was 12, and entered the Royal Academy Schools in 1832. Elmore exhibited at the R.A. from 1834 until 1861, becoming an associate member of the R.A. in 1844 and a full member in 1857. He travelled in Europe between 1840 and 1844, visiting Munich, Venice, Bologna, Rome and Florence. It is thought that Elmore was briefly associated with 'The Clique', a group of young artists following in the footsteps of William Hogarth and David Wilkie. Amongst other subjects, Elmore painted scenes from Shakespeare, works relating to the French Revolution, paintings on the theme of technological innovation as opposed to pre-industrialism, and moralistic genre paintings. Later on, by the late 1860s Elmore moved more towards the classicism of artists such as Lawrence Alma-Tadema and Edward Poynter, and dabbled also in the vogue for Orientalism.
Lot 254
Sauter (Georg, Markt Rettenbach 1866-1937 Brannenburg am Inn). Venice with the Salute, early morning, 1924, oil on canvas, signed and dated lower right, 49.5 x 69 cm (19.5 x 27 ins), moulded painted frameQty: (1)Footnote: Provenance: Private Collection, Hampshire.Georg Sauter married Lilian Goldsworthy (1864-1924), the sister of the novelist John Goldsworthy in 1894, and lived in London where he was acquainted with a variety of artists including Herkomer, Lavery, Watts, Pennell and Whistler. He produced a series of views of Venice on a similar scale to the present work, in 1924.
Lot 76
Villamena (Francisco, 1566-1624). The Roman Antiquary; Johannes Altus (Johann Hoch?) standing before a view of Rome, 1623, engraving on fine laid paper, a fine impression, with thread margins or trimmed on the platemark, in good condition apart from a backed tear (unobtrusive recto) extending from the lower edge to above the mountain top at right, sheet size 37.6 x 51.8 cm (14 3/4 x 20 3/8 in) together with Allegory of Cardinal Pompeio Arrigoni (1552-1616), circa 1600, after Francesco Albani, engraving, a fine impression of this rare engraving, on fine laid paper, with narrow margins, in excellent, well preserved condiition, sheet size 31 x 46 cm (12.25 x 18.1 ins), hinge-mounted in a card window-mountQty: (2)Footnote: Literature:Nagler 64: Kühn-Hattenhauer, p. 222.A preliminary study for the 'Roman Antiquary' is held at the British Museum (accession number 1860,0414.1), with a dedication, dated 1623, to Cassiano dal Pozzo, in which the subject is named as "Joannem Altum, Militem Praetorianum, romanarum antiquitatum indagatorem, monstratoremque". He is shown standing with his back to the Piazza del Quirinale so that the palace is on his left, and the groups of the 'Dioscuri' to his right. Both this drawing and the engraving, which are in the same direction, are on the same scale and correspond closely except for the absence in the former of the crowd of figures and carriages in the piazza and the different arrangement of the foreground. In the engraving the colossal foot is moved to the left hand side, immediately beyond the man's right foot, and further to the left is an antique altar lying on its side, inscribed with Villamena's signature and the words "PHOEBO ET MUSIS.S.".The inscription on the engraving describes Johannes Altus as one of the Swiss Guard who also acted as cicerone to the antiquities of Rome. Since the Swiss Guard is recruited solely from the German-speaking cantons of Switzerland, 'Joannes Altus' must be a Latinisation of a German name. It seems highly probable that he is to be identified with the Johann Hoch of Lucerne who acted as guide to Dr Kaspar Stein when he visited Rome between 1619 and 1621.The Allegory of Cardinal Pompeio Arrigoni (1552-1616) is rare; no impression has been traced at auction.
Lot 103
A Victorian soup tureen, liner and cover The Barnards, London 1845, of baluster bombe form, applied cast acanthus, floral and C-scroll decoration throughout, with a centrally applied marital Armorials of Campbell and Bannerman, the scroll handles with applied similar decoration, raised on four foliate bold scroll feet, the pull-off lid with an interlooped handle numbered 2, with a plain liner, loop handles(Height: 35cm, weight: 201.8oz)Footnote: Heraldry Arms: (on the dexter) Quarterly 1st and 4th Gyronny of eight or and sable (for Campbell) 2nd and 3rd Argent a lymphad her sails furled and oars in action all sable flag and pennants flying gules (for Lorn) (on the sinister) Gules a banner displayed bendwise argent thereon a canton azure charged with a St Andrew’s Cross of the second (for Bannerman) Crest: A boar’s head couped or (for Campbell) Motto: Ne oblivis caris [Do not forget] (for Campbell) At the time of the manufacture of this tureen, Sir James bore these arms without authority, the arms being those of Campbell, Duke of Argyll. In order to correct this heraldic anomaly, he matriculated arms twice at the Court of the Lord Lyon, firstly on the 2nd September 1859 [Lyon Register – Volume 6, folio 15] and secondly on the 5th January 1869 [Lyon Register – Volume 8, folio 18]. Both these matriculations recognised Sir James in the territorial designation of ‘Campbell of Stracathro’. Note: The Victorian era epitomised social mobility. The wealth rapidly generated by individuals created new personal legacies and this was displayed through their charitable donations as well as their domestic settings, which were most often on a grandiose scale. The scale of this soup tureen in what would have been the latest fashion is a clear demonstration of success and wealth. The owner, Sir James Campbell was born into humble origins in 1790, but elevated his status as rose through the social ranks in classic Victorian fashion. Having been apprenticed to McLachlan & McKeand, who managed warehouse facilities in Glasgow, Campbell learnt his craft quickly and at the age of 20 started a clothier business with Matthew Paterson. Eventually, with his brothers, they formed J & W Campbell & co. which also retailed in drapery and dry goods. The success of his business ventures led to the post of Lord Provost of the City of Glasgow between 1840-43. He settled in Glasgow first at Kelvinside House, and then at Bath Street with his wife, who he married in 1822, where they had six children. Campbell’s investments in his work and personal life led to him becoming a well-respected member of society and his efforts were rewarded in 1843 when he was invited to St. James’s Palace to receive the accolade Knight Bachelor from Queen Victoria. In the space of one generation, the Campbell family had elevated their social status and this continued even further with the next generation; Campbell’s second son born 1836, Henry Campbell- Bannerman, became the First Lord of the treasury and Prime Minister of the Liberal Party in 1899-1905. In order to showcase newfound success overt displays of wealth were fashionable and what better way to do so than choose one of the most established silversmiths in London. The Barnard’s would become one of the great dynasties of British silver, able to trace their roots back to 1680 with Anthony Nelme, some of the most prominent silversmiths have been linked to the business over the years including Thomas Whipham, Thomas Chawner and the Emes silver dynasty. By 1910 the firm was converted into a limited liability company and in 1977 became a subsidiary of Padgett & Braham Ltd. (Pg29 The Directory & Silversmiths… John Culme’). Famous for reproducing iconic museum specimens such as The Warwick vase, the copy itself is now in the collections of the Victoria & Albert (2013,8016.1.a-b), the company was able to attract wealthy clients with their pre-manufactured wares, which in turn led to bespoke commissions. Pre-made casts and dies form part of the comprehensive archive which also includes corporate, financial and staff records; purchase, order, letter, stock and pattern books, all of which can now be found in the Victoria & Albert archives (reference: AAD5-1988, AAD7-1989.) While the Barnards produced a wide range of silver from small christening cups, table and tea wares their real skill can best be seen with the commissions requested from their clients. Their relationship with their clients can clearly be seen in their attention to detail, Lot 469 from The Ballyedmond Collection at Sotheby’s auction house on the 23rd May 2017, ‘A Soup Tureen of 1827’ has an impressive horse finial, achieving £7500 and lot 87 from a Bonham’s Silver auction on the 12th November 2014, A pair of Tureens with the finials modelled as wheatsheaves, plough harrow, barrow and a basket which made £31,250, indicate individual commissions with specific requests. By the time of the production of this soup tureen the firm had settled at Angel Street, St. Martin’s-le-Grand, right in the City of London off Cheapside. With members of staff skilled at casting, engraving and forging, the factory would have been a hive of activity. A personalised aspect of the tureen is the armorial fashioned by John Campbell it directly mirrors that of the Duke of Argyll. At the time of the manufacture of this tureen, Campbell bore these arms without authority, the arms being those of Campbell, Duke of Argyll. In order to correct this heraldic anomaly, he matriculated arms twice at the Court of the Lord Lyon, firstly on the 2nd September 1859 [Lyon Register – Volume 6, folio 15] and secondly on the 5th January 1869 [Lyon Register – Volume 8, folio 18]. Both these matriculations recognised Sir James in the territorial designation of ‘Campbell of Stracathro’. Campbell’s aspirations were never out of reach and two years after the commission of the tureens in 1847 the Campbell’s moved to an impressive estate in Stracathro. "Country Houses of Scotland," by John Connachan-Holmes, describes Stracathro "amongst the first rank of neo-classical architecture" and would have been a fitting home for such an impressive piece of silverware.
Lot 525
Dick Boak's 'Martin Guitar Masterpieces', celebrating the output of Martin's Custom Signature guitar division, published 2003; sold with a substantial set of individual page proofs in addition to further proofs of a projected edition at a larger scale, full body size (these enlarged editions sadly never materialised) *The David Costa Collection
Lot 201
An Art Deco style aquamarine and diamond ring. The ring set with an octagon step cut aquamarine flanked by diamond set scale steps to plain shank, in white gold. Twelve round brilliant cut diamonds estimated total diamond weight 0.60ct. Aquamarine measures approx 11.1x 8.8 x 6mm. Unmarked tests indicate 18ct gold. Weight 5.9g. Size Q.
Lot 115
DESCRIPTION"GRIP FACE"; DAVID OLIVER (Son Ferriol, Palma de Mallorca, 1989)."Neon Mask 01".Polyurethane resin, synthetic hair injection on pigmented silicone, pigmented velvet. With a yellow Plexiglas structure that can be completely separated from the sculpture.Measurements: 164 x 54 x 42 cm.Grip face is the alter ego of the visual artist David Oliver. His visual training, in which the American underground currents of the 90s, the counterculture, the punk graphics of the 80s and naïve Asian art, is filtered through the aesthetics of comics, illustration and graphic design. Through his work, Grip Face finds his own character, totally transgressive and renewing the aesthetic postulates of the moment, which becomes a true declaration of intent against everything he disagrees with, such as climate change, racism or immigration. His output ranges from works on paper, books and gallery installations to outdoor interventions, including large-scale murals. He uses disparate materials in his works: faces, hair and hands are recurring motifs. His creations are "a reflection of what I see around me", he explains. He currently has works installed in urban environments in Amsterdam, Naples, Vienna, Helsinki, Barcelona, Madrid (Solo Collection), Bilbao and Palma. Grip Face has also exhibited in prestigious galleries, such as the Ses Voltes Contemporary Art Centre, the Hyvinkää Art Museum (Finland) and the Miró Foundation in Mallorca. He was commissioned to create a site-specific work for Espacio SOLO in 2018.
Lot 96
MIQUEL BARCELÓ ARTIGUES (Felanitx, Mallorca, 1957)."Giorgione à Felanitx", 1984.Mixed media on paper.Titled and signed with initials in the lower margin.With Bischofberger gallery label on the back.Size: 24 x 31,5 cm; 44,5 x 54 cm (frame).The 1980s was one of the most important decades in Miquel Barceló's plastic art, as it meant his international recognition. He began with his establishment in Barcelona in 1980, and exhibited in several European cities. He took part in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986, he showed his work for the first time in the United States (specifically, at the Leo Castelli Gallery in New York). Two years earlier he had already exhibited his work for the first time with Bruno Bischofberger, and met and married Cécile Franken. In 1987 he settled in Paris, and the following year he travelled for the first time to Africa, another important geographical reference point in his career. The present work is a sketch for the imposing painting "Giorgione a Felanitx", a large-format canvas (300 x 200 cm) also painted in 1984, which alludes to Giorgione, one of the Mallorcan's most admired painters.A painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of just seventeen, at the Galería Picarol in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovered the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as "art brut", a style that was to exert an important influence on his first paintings. During these years he reads extensively, and is enriched by works as diverse as the writings of Breton and the surrealists, Lucio Fontana's "White Manifesto" and Arnold Hauser's "Social History of Literature and Art". In 1976 he held his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural protest actions. In 1977 he made a second trip to Paris, and also visited London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who becomes one of his best friends in the city. It was also in 1977 that he received his first large-scale painting commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sold his first works to some collectors and galleries, and finally moved to Barcelona. His international recognition began in the early 1980s. In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognised by the most distinguished awards, such as the Prince of Asturias Prize for the Arts (2003) and the Sorolla Prize of the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important contemporary art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, the Marugami Hirai in Japan, the Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the CAPC in Bordeaux, the Carré d'Art in Nimes, the Museum of Contemporary Art in Caracas and the Museum of Fine Arts in Boston, among others.
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