* Wolsey (Thomas, 1470/71-1530). English archbishop, statesman and cardinal of the Catholic Church. Lord High Chancellor of England 1515-29. A very fine manuscript Document Signed, ‘Thomas Wulcy’, Richemount [Richmond], 25 November [1513], boldly penned in black ink in a secretarial hand on laid paper, being a Privy Council Warrant ordering [John Dauntesey] ‘Daunce’ to make payments in Flanders to Richard Fermour and William Brown, merchants of the Staple at Calais, of £1000 to be paid to William Copland for the purchase of ‘artillerye and other habilymentes of Warre’ and a further £1000 to be paid to Alan Kyng ‘for provision of Wyne for the kynges use’, a holograph receipt by Fermour and Brown (per me Rychard Fermer; per me Wyll[ia]m Browne junior) on the lower half of the document, dated 6 December 1513, Wolsey’s signature appears at the centre of the document alongside those of Thomas Howard, 2nd Duke of Norfolk (1443-1524, English soldier and statesman, Lord High Treasurer 1501-22, Earl Marshal 1509-24; signed ‘T. Norfolk’), Charles Somerset, 1st Earl of Worcester (c.1460-1526, Lord Chamberlain 1509-26; signed ‘C. Som[m]ersete’), Richard Foxe (1447/88-1528, Bishop of Winchester 1501-28, Lord Privy Seal 1487-1516, the founder of Corpus Christi College, Oxford; signed ‘Ri Wynton’) and Sir Thomas Lovell (c. 1449-1524, English soldier and administrator, Speaker of the House of Commons and Treasurer of the royal household; signed ‘Thomas Lovell’), filing hole touching one letter in second line, incorrectly dated at the head of the document in a hand of c.1800, some light browning and overall age wear, one short split to left upper margin not touching text,1 page, 4to (210 x 180mm), endorsed: ex[aminat]ur p[er] Dalison (examined by Dalison) [George Dalison, Auditor of the Exchequer]Qty: (1)NOTESProvenance: collection of Sir Joseph Dimsdale – ‘D’ (blind-stamp monogram collector’s mark with crest above to lower margin; not located in Lugt); subsequently part of the Ray Rawlins Collection of Historical Documents and Letters. The present document is illustrated in full in The Guinness Book of World Autographs by Rawlins (1977, p. 241). The document was included in the auction of the Rawlins Collection by Sotheby’s, June 1980 (Lot 67, £1,300, Thomas) and the small circular stamp of the Rawlins collection has been neatly removed from the lower left corner leaving a light, minor stain. Docketed in Rawlins’ hand in pencil to the verso as formerly part of the collection of Sir Joseph Dimsdale; XII 265; Alan G. Thomas (1911-1992) bookseller; Sotheby’s, London, 13 December 1993 (Lot 306, £2,000); International Autograph Auctions Ltd., 3 April 2011 (Lot 609, £5,600). In pencil, at top, c1850: Pl 2 No 1 implying illustration as Plate 2, number 1. The same hand has annotated the signatures of the privy councillors 1-5, and the same hand has written lines at right-angles below them, suggesting that the lower half of the document was not illustrated. Above the box formed by these lines is a short inscription of which only the words Thereabouts to be … can be made out. The left and bottom margins have been trimmed – note the straight cuts, the tightness of the trace of the circular stamp to the margin and the loss of a word in the left margin. Sir John Dauntsey (Daunce) (c.1484-1545) of Thame, Oxfordshire and London, rose from humble origins to the highest offices in King Henry VIII’s financial administration by way of the London company of Goldsmiths. ‘Richard Fermor (1480/84-1551) of Isham and Easton Neston, Northamptonshire and London, merchant of the Staple of Calais, merchant. Fermor was given a share in the contract for victualling the royal army during the Tournai campaign of 1513, and he exported large quantities of wheat, flour, beer barrels, cannonballs, harness, and saltpetre. As a reward he was given licences to export wool direct to Italy. … In 1524 Fermor was in Florence and gave financial assistance there to John Clerk, Wolsey's agent, who was negotiating for the cardinal's election to the papacy. At the time of his fall (1529), Wolsey owed Fermor £125 for various silks.’ For both Dauntsey and Fermor see History of Parliament Online for fuller details. George Dalison of Clothall in Hertfordshire, Cransley in Northamptonshire and Gray’s Inn, c.1480-1524. Gave 40 marks (£26 13s 4d) for the Auditorship of the Exchequer in 1507, and served in that office to 1521. Wolsey’s ability to keep a large number of troops supplied and equipped for the duration of the Anglo-French War (1512-14) was a major factor in its success. Wolsey also had a key role in negotiating the Anglo-French treaty of 1514, which secured a temporary peace between the two nations. Under this treaty the French king, Louis XII, would marry Henry VIII’s young sister, Mary. In addition, England was able to keep the captured city of Tournai and to secure an increase in the annual pension paid by France. The present document dates from the beginning of the power struggle between Wolsey and his co-signatory the Duke of Norfolk, who had fought for King Richard III at the Battle of Bosworth (1485), and made an important contribution, as Earl Marshal, to the coronation of King Henry VIII. Norfolk challenged Wolsey in an attempt to become the new king’s first minister, although eventually accepted the cardinal’s supremacy. Two months before signing the present document Norfolk had been instrumental in crushing James IV’s forces at Flodden, 9 September 1513. His signature, T Norfolk, is anomalous since his father’s dukedom was not restored to him until 1 February 1514. It was also at the time of signing this document that Wolsey was given a significant opportunity to demonstrate his talents in the foreign policy arena. The war against France had begun in 1512 and, although the first campaign was not a success, Wolsey learned from his mistakes and in 1513, with Papal support, a joint attack on France was launched. Thomas Lovell, one of the privy councillors who signed the warrant, supervised the procurement of artillery and the fortification of Calais between 1511 and 1514 (ODNB). A handsome document of exceptional rarity.
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* Theology manuscript. 'A Heroic Poem. On the Nativity of Christ or Christmas Day', c.1730? 4 pages, comprising 83 lines (approx. 700 words) written in a neat hand, containing four sacred texts 'A Heroic Poem. On the Nativity of Christ or Christmas Day' (19 lines), 'A Hymn. On the Circumcision of Christ. To the tune of the hundred Psalm' (9 four line verses), 'A Complement to my friend seeing me melancholy gave me share of a bowl punch' (12 lines) and 'On Contentment' (16 lines), fore-edge blank margin of first leaf torn, small folio (30 x 18.5 cm), together with: Funeral Sermon, Manuscript draft of a sermon to be preached 'At Mr Gould's Funeral January ye 15th 1704/05', 4 pages (approx. 600 words) written in one hand in English, few corrections, light dust-soiling, 4to (19.5 x 15.5 cm), Savoy Lutheran congregation, 'To the Kings Most Excellent Majestie. The humble Petition of the Ministers and Church-wardens in behalf of themselves and the Whole Lutheran Congregation in the Savoy', London, 12th Oct 1722, single page written to one side, old folds, dust-soiling, folio (27 x 20 cm), and two othersQty: (5)
Car Trust Realisation Company Limited - share certificates (75+), various denominations to include one in red, numbered 96, £1000, dated 9th June 1906, having orange embossed stamp, signed by Director and Secretary, together with fifty x £100 dated 1906; three x £100 dated 1908; three x £100 dated 1910 and twenty x £10 dated 1906.
A rare low production model and in a very desirable specification.Regarded as one of the last 'real' Bentleys, the flagship Bentley Continental R Mulliner was introduced in 1999 and manufactured until 2003 by Bentley Motors in CreweTurbo-charged 6.75-litre V8 offers 420bhp and a staggering 650 Lbs/ft of torque. 0-60mph in 5.6 seconds and a top speed of over 170 mphOne of just 131 examples produced and historically significant as one of the last hand-built Bentleys produced before the company's acquisition by VolkswagenPresented in the stylish combination of Metallic Blue paintwork with a cream leather interiorJust 43,809 miles covered; full service history, with 12 Bentley service stamps in original service booklet; major service at 41,259 miles costing £5,200 with a new head gasketOn offer from a privateer vendor and kept in a temperature-controlled garage and rarely used but started on a regular basisAll relevant service history, paperwork, owner’s manuals, and bills accompany the carIntroduced in 1991, the Continental ‘R’ was the first Bentley in 26 years to not share a body style with a concurrent Rolls-Royce and was inspired by the highly collectible Continental R-Type of the 1950s. The elegant two-door coachwork was styled by John Heffernan and Ken Greenley, a duo whose résumé included sports cars like the Aston Martin Virage. Five years later Bentley introduced a short-wheelbase version dubbed the Continental ‘T’ that was equipped with an uprated engine developing 420 hp and an impressive 650 foot-pounds of torque available at only 2,200 rpm.Bentley customers soon expressed interest in equipping the “wide-body” Continental R model with the T’s more powerful engine, and the Continental R Mulliner was consequently introduced at the 1999 Geneva Salon. The nomenclature was an homage to H.J. Mulliner, the British coachbuilder responsible for the original R-Type’s breath-taking fastback bodywork. The R Mulliner’s wide-body configuration offered spacious interior elegance, whilst the twin-turbocharged V8 could rocket the car to a top speed of nearly 170 mph, with brisk 5.6-second sprints to 60 mph from standstill. Individually tailored to customer order, the R Mulliner was Bentley’s ultimate 20th-century combination of luxury and performance, produced in a modest quantity of as few as 131 examples. Without question one of the finest Bentleys ever made, the Continental R is also historically significant as one of the last hand-built Bentleys produced before the company's acquisition by Volkswagen.The car presented here is a 2001 Bentley Continental ‘R’ Wide-bodied Mulliner Coupé (SCBZB25EX1CH63540) that has covered just 43,765 miles over the last 20 years in the hands of four previous owners, the current one since 2016.Our knowledgeable vendor knows the areas of potential concern with these special cars and consequently he had the sills/underside inspected as they were showing some minor scabbing. As a result, he had these professionally removed and replaced two years ago and, similarly, with head gaskets having been known to occasionally fail, during a routine service at Bentley Manchester, they fitted a new head gasket (£5,200) solely for peace of mind.The dealer's list price for these cars was a, not unsubstantial, £225,000 when new, with the entire production run (1992-2003) amounting to just 131 examples in 'wide-body' configuration. In exceptional condition throughout, having been maintained and stored regardless of cost, and in a delightful colour combination, this elegant Bentley is accompanied by a total and comprehensive service history including detailed invoices and numerous MOT Certificates.Our vendor is a long-term Bentley enthusiast and although the car is regularly used, it remains beautifully presented. This is an opportunity to acquire one of the very best Bentley 'Wide-body' examples on the road today.13/12/01 4,452 miles Ron Stratton & Co Ltd. Cheshire Bentley30/09/02 12,409 miles Bentley Manchester27/03/03 13,841 miles Bentley Manchester15/10/03 19,571 miles Bentley Manchester19/04/04 20,378 miles Bentley Manchester16/12/04 21,434 miles Bentley Manchester21/12/05 27,539 miles Bentley Manchester05/06/06 28,043 miles Bentley Manchester15/01/07 29,893 miles Bentley Manchester28/05/08 36,267 miles Bentley Manchester12/12/12 40,906 miles Bowling-Ryan Ltd. Bentley specialists19/08/18 41,694 miles GT Services, Cheshire, Bentley specialist SpecificationMake: BENTLEYModel: CONTINENTAL RYear: 2001Chassis Number: SCBZB25EX1CH63540Transmission: AutomaticEngine Number: 102094L410M/T2W Drive Side: Right-hand DriveOdometer Reading: 43765 MilesMake: RHDInterior Colour: Cream Leather with Blue PipingClick here for more details and images
State of the art, open two-seat track-day car offering Le Mans levels of handling and grip yet still suitable for a novice. Designed by Jonathan Palmer and Peter Sneller of Zeus Motorsport3.0-litre Cosworth V6 quad-cam producing 277bhp. 0-60mph in 3.6 seconds. 0-100 in 7.6 seconds6-speed sequential Hewland FTR. Powerflow LSD. Weighs approx. 695kg. Adjustable rear wingTIG-welded space-frame chassis. 3-section composite bodywork. High downforce-low drag aeroMaintained in-house by Harwoods Jaguar under their ownership as well as by PalmerSportUsed for corporate entertainment at Goodwood. Driven by professionals Duncan Tappy and Joe SaccoBought by our vendor from Silverstone Auctions in 2018 and subsequently serviced by PalmerSportBespoke ECO trailer with winch and Powertouch Evolution all-wheel-drive remote control for ease of manoeuvring.With 83 Formula 1 starts to his name, plus a second at Le Mans in 1985, when Jonathan Palmer was considering a purpose-designed track car for the driving experience events that his company, PalmerSport, held at Bedford Autodrome, he knew what he wanted, and that was something as close as possible to the cars he’d driven at La Sarthe, yet suitable for novices on the tight Bedfordshire circuit.Palmer found what he was looking for with the Zeus Challenger. Produced in Oxfordshire by Zeus Motorsport Engineering and designed by former racing driver and company boss Peter Sneller, it was powered by a four-cylinder 2.0-litre Toyota engine and was, by all accounts, very fast, its aerodynamics offering competition levels of grip. There was only one, albeit considerable, problem: it was a single-seater and Palmer needed room for the driver and an instructor. For Palmer, the answer was simple – to buy Zeus Motorsport Engineering, and have Sneller widen the steel tube space-frame chassis to make room for a second seat, with help from PalmerSport’s technical team.The choice of Jaguar’s torquey and free-revving 3.0-litre V6 to power the car was almost inevitable given JP’s long involvement with Jaguar, Le Mans and the Jaguar F1 team and, in fact, it was Jaguar’s public affairs team who produced the press release where Stuart Dyble, the company’s then director of communications, is quoted as saying “The Palmer Jaguar JP1 captures perfectly the performance spirit of Jaguar”.While eight cars were put to work at Bedford Autodrome (all of which PalmerSport has retained and still uses for track-day events) a handful were built for private customers and, in 2015, Harwoods Jaguar, one of the largest main dealers in the South East of England, purchased this example for corporate hospitality guests to share the 'Circuit Experience' at Goodwood and elsewhere. Guests were treated to exhilarating laps of the famous circuit by either Duncan Tappy or Joe Sacco and general maintenance was either carried out in-house or by PalmerSport at Bedford Aerodrome.It's powered by a track-spec Jaguar Racing Cosworth 3.0-litre, V6 quad-cam producing 277bhp fed through a 6-speed sequential Hewland FTR gearbox and Powerflow LSD. The chassis is a TIG-welded space frame clothed in three-section composite bodywork with high downforce-low drag aerodynamics and an adjustable rear wing. It weighs approx. 695kg and, depending on set up, offers 178mph and 0-100 in 7.6 seconds on Super Unleaded fuel metered by Pectal engine management.Purchased from a gentleman who had used the car sparingly, Harwoods themselves found it surplus to their requirements and it was subsequently bought by our vendor from Silverstone Auctions in February 2018. His plan was to use it for track days with his son, however, a 200 mile job relocation meant that the car was only enjoyed on one occasion and the decision has been taken to sell it to help fund his first house.Under our vendor's custodianship, the car has been serviced by PalmerSport at a cost of £1,627. It will be offered for sale complete with its bespoke race car trailer which has been serviced and fitted with a Powertouch Evolution, all-wheel-drive, remote control system, all at a cost of £2,300.SpecificationMake: JAGUARModel: JP1 TS1Year: 2004Chassis Number: JPMAM1759X001008Transmission: SequentialDrive Side: Right-hand DriveMake: RHDInterior Colour: BlackClick here for more details and images
An Early, embroidered Grand Cross Breast Star of the Military Division (from 1815), 110x98 mm, the rays made of rich silver broderies, paillettes and wires, small loops to the tips; the centre in gilt-silver wires and polychrome embroidered centre medallion; the reverse with original paper backing (minor losses.An important, visibly worn piece, in extremely fine condition.The Order of the Bath, instituted in 1725, to reward the merits towards the Crown of both civil and military, by order of the George, Prince Regent, was divided into two different division to better signify the appreciation of the Sovereign towards the merits shown in the campaigns against Napoleon: “…to the end that those Officers who have had the opportunities of signalizing themselves by eminent services during the late war may share in the honours of the said Order, and that their names may be delivered down to remote posterity, accompanied by the marks of distinction which they have so nobly earned.” (The London Gazette, n. 16972, pages 17-20). II RR!
LEONORA CARRINGTON (1917-2011)Operation Wednesday signed and dated 'Leonora Carrington March 1969' (lower left) and extensively inscribed (to the foreground); signed, inscribed and dated 'Operation Wednesday, Dr. Fernando Ortiz Monasterio., Leonora Carrington, March 1969.' (on the reverse)oil and tempera on board61.1 x 45.1cm (24 1/16 x 17 3/4in).Painted in March 1969Footnotes:The authenticity of this work has kindly been confirmed by Dr. Salomon Grimberg. This work will be included in the forthcoming Leonora Carrington catalogue raisonné of paintings, currently being prepared by Dr. Grimberg.Please note that this work has been requested for an upcoming Leonora Carrington exhibition at the Arken Museum of Modern Art, Copenhagen, 17 September 2022 – 15 January 2023, later travelling to the Fundación MAPFRE, Madrid, 8 February – 14 May 2023.ProvenanceDr. Fernando Ortiz Monasterio Collection, Mexico City (acquired directly from the artist).Thence by descent from the above; their sale, Sotheby's, New York, 28 May 2013, lot 29.Private collection, US (acquired at the above sale).ExhibitedDublin, Irish Museum of Modern Art, Leonora Carrington, The Celtic Surrealist, 18 September 2013 – 26 January 2014 (later travelled to San Francisco).Liverpool, Tate, Leonora Carrington, Transgressing Discipline, 6 March – 31 May 2015.San Francisco, Gallery Wendi Norris, Threads of Memory, One Thousand Ways of Saying Goodbye, 21 October – 15 November 2017.Mexico City, Museo de Arte Moderno, Leonora Carrington Magical Tales, 21 April – 23 September 2018, no. 68 (later travelled to Monterrey).New York, Gallery Wendi Norris, Leonora Carrington, The Story of the Last Egg, 23 May - 29 June 2019.The painting Operation Wednesday (1969) by Surrealist artist and writer Leonora Carrington (1917-2011), is a work that presents a wonderful fusion of Christian, Mayan, and esoteric symbolism. It also marks a critical decade in Carrington's career when her art increasingly took on a socio-political message, demonstrating a firm allegiance to her adopted homeland, Mexico, where she had lived since 1943. The title is deceptively simple and its caption, written on the work in Spanish, reveals more: 'no olvides Tlatelolco.. les tres culturas,,, no tenernos tumba... campo military número 1' (Don't forget Tlatelolco... the three cultures...we don't fear the grave... military camp number 1).' These words make clear that Carrington's painting pays homage to the student movement or Movimiento Estudiantil, led by the students and staff of the Universidad Nacional Autonoma de Mexico (UNAM), which began on July 22, 1968. She commemorates those killed and injured in the massacre in Plaza de las Tres Culturas (Plaza of the Three Cultures) in Mexico City on Wednesday October 2, 1968, and those rounded up, detained and tortured in Military Camp One. On October 2, 1968, ten thousand students gathered in the Plaza in Tlatelolco to begin a peaceful protest march through the city only to find themselves surrounded by Federal troops, many in tanks, who opened fire as night fell. They were protesting against the nation's one party government under Gustavo Díaz Ordaz and the lack of political freedom; he in turn was determined to quash months of student protests, especially in the lead up to the opening of the Olympic Games, scheduled for 12 October. Some 200-400 protestors, innocent bystanders, children (the precise number has never been firmly established) were killed, an estimated two thousand students rounded up, imprisoned, beaten and tortured. In her book documenting this massacre, Elena Poniatowska writes of October 2, 1968: 'There are many. They come down Melchor Ocampo, the Reforma, Juárez, Cinco de Mayo, laughing, students walking arm in arm in the demonstration [...] carefree boys and girls who do not know that tomorrow and the day after, their dead bodies will be lying swollen in the rain.'1Carrington's own sons, Gabriel and Pablo, were involved in the student protests and had been printing anti-government propaganda leaflets and posters on the mimeograph belonging to their father, the Hungarian photographer Emerico 'Chiki' Weisz (1911-2007), in their family home. Carrington asked Gabriel to introduce her to his student circle in the aftermath of the massacre and together they planned a silent protest by marching through the city centre, all dressed in black. However, soon she and her family were in danger of arrest too: one morning they received a phone call warning them that the writer Elena Garro had denounced Carrington and Gabriel to the police; they quickly arranged to leave the country, flying to New Orleans, where they stayed until Chiki advised them it was safe to return.2In addition to commemorating the student protestors, Carrington's painting pays homage to those who supported and saved some of the wounded students, notably Dr Fernando Ortiz Monasterio (1923-2012), to whom the painting is dedicated. Monasterio's 'operation' was radically different to Díaz Ordaz's oppressive regime, of course. He is presented as a medical and humanitarian shaman. He dominates the composition in his tall slender form as the healer at a time of military terror, or an intermediary between a violent moment in history and a better future. Fernando Ortiz Monasterio was a surgeon and teacher who specialized in cranio-facial surgery, assisting many children born with facial abnormalities or suffering tumours. He worked for the Ministry of Health in Mexico and was affiliated with the Graduate Division of UNAM as well as the Hospital General Gea Gonzalez, in the Tlalpan district. Monasterio was known for his interest in music, literature, anthropology and sociology, and for his determination to understanding how and why so many Mexican children were born with cranial deformations.3Carrington's choice of medium for this work also pays homage to the humanism and skill of the doctor. She uses egg tempera, a technique which involves an emulsion of pigment and a water soluble binder – here the binder is egg yolk. Whilst a difficult process, prone to dry flaking, tempera had great symbolic significance in bringing art and science, the feminine (symbolised by the egg) and the masculine (the technical skill), together. Tempera and temperament share a common Latin root - temperare, to mix - and both involve the binding of things whether humors and tempers or pigments. In being associated with the feminine, her choice of tempera technique also serves as a striking counterpoint to the mechanical violence of the massacre. Tempera speaks to an old, life-giving process through the alchemical symbolism of the egg and by extension may be read as a means to challenge an emphatically modern, masculinist, political regime. Tempera was a popular medium in Surrealist circles, especially for women painters, and once Carrington moved to Mexico in 1943 it became a staple technique in her studio there. One friend described her studio as a 'narrow little room in old Mexico, the most dream-saturated place I know here'.4Carrington's recourse to diverse cultural symbols ensures the viewer is intrigued by her use of dramatic colour and detail alike and searches out the stories behind them. We find English and Spanish text in the foreground, some of it in mirror writing; a palette dominated by bands of white and black - the doctor and his assistant are in white which symbolises light, and the androgynous patient they assist is dressed in a black cloak, the colo... 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
GUNTHER GERZSO (1915-2000)La Isla signed and dated 'Gerszò 45.' (lower right)oil and enamel paint on board laid on board56.2 x 70.8cm (22 1/8 x 27 7/8in).Painted in 1945Footnotes:ProvenanceEstate of Luis Lindau, Mexico City.Thence by descent to Juan Lindau, Colorado.Acquired from the above by the present owner in 2008.ExhibitedMonterrey, Museo de Monterrey, Exposición retrospectiva de Gunther Gerzso, January - March 1981.New York, Mary-Anne Martin Fine Art, Gunther Gerzso, In His Memory, 12 October - 11 November 2000, no. 7.LiteratureD. Du Pont, Risking the Abstract, Mexican Modernism and the Art of Gunther Gerzso, Santa Barbara, 2003, fig. 27 (illustrated p. 48).Gunther Gerzso was born in Mexico City to a Hungarian father and a German mother, five years after the birth of the Mexican Revolution, and identified as a chilango – a native to Mexico City – throughout his life. After the arrival of André Breton in 1938, Mexico became a sanctuary for the Surrealists – a pre-modern utopia far removed from the ravages of World War II. Exiled émigrés such as Remedios Varo, Alice Rahon and Leonora Carrington found fertile creative ground in Mexico's seductive landscapes and rich Pre-Columbian mythologies. Gerzso joined this circle of exiles in 1943, gathering regularly at the home of Varo and Benjamin Péret to share notes on painting and play Surrealist parlour games such as Exquisite Corpse.La Isla exemplifies Gerzso's Surrealist interest in anthropomorphising ancient landscapes, distilling their eerie beauty with the spiritual incantations of his brushwork. A spectacle of unruly terrain, the island appears to breathe and swell, its life force charged by the flowing tides and currents that envelop it. Abstracted humanoid figures appear to sprout from the upper-left quadrant, sheltering beneath a spiralling, geometric structure. Gerzso's energetic layering of cool grey, teal and azure over earthen tones invokes fertility and abundance, while the glossy sheen of the enamel paint is a fitting vessel for La Isla's geological and crystalline forms. Gerzso's use of enamel was motivated by social realist painters like David Alfaro Siqueiros, who used industrial paints to generate 'art for the people', whilst his thick black outlines and piercing, vivid forms echo the zeals of Mexican Muralism.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
America.- Unrecorded stamp duties.- Treasury Department. Stamp Duties...Washington 1st September, 1800. Public notice is hereby given...of an Act of Congress, passed on the 23d day of April, 1800, entitled "An Act to establish a General Stamp-Office", 2ff., the second f. pasted to rear board, water-stained, lightly browned, Washington, 1800, bound at end of Dwight (Nathaniel) A short but comprehensive system of the geography of the world: by way of question and answer. Principally designed for children and common schools, 'The second Albany edition', advertisements to pp.[189-192], P6 small piece torn from upper corner, with loss of a few letters, water-stained, some foxing, browned, contemporary calf-backed boards, joints split, spine worn, some water-staining, 12mo, Albany, Printed by Charles R. & George Webster, 1799. ⁂ I: Unrecorded list of stamp duties, printed shortly after the Federal Government moved to Washington. We have traced a 1798 Philadelphia version (itself rare, with only three copies recorded), which ends with the same item ('Any certificate of a share in any insurance company...if above twenty dollars...'). This version is signed at end. We are unable to establish if the same is true of ours, or whether there is any further text due to it being mounted on the rear board. II: Rare, with ESTC recording only four copies, none of which in UK.
* Belleroche (Albert de, 1864-1944). Portrait of Alice Milbank, the artist's mother, oil on canvas, head and shoulders portrait of a woman wearing a low cut gown and with her brown hair piled up on her head, some small surface scratches and consequent minor losses, 64 x 47.8cm (25.25 x 18.75ins)Qty: (1)NOTESProvenance: Estate of William de Belleroche (1913-1969), son of the artist; estate of William's partner Gordon ‘Andy’ Anderson. Celebrated socialite Alice Sidonie Milbank Vandenburg née Baruch (circa 1840-1916) was said to be blessed with beauty "almost legendary". Her first marriage, to Edmund Charles, Marquis de Belleroche, was an unhappy one, although it produced a son, artist Albert Gustave de Belleroche. In 1871 she married Harry Vane Milbank, a celebrated duellist, huntsman and adventurer as well as an inveterate gambler. The family moved to Paris, where they entertained on a lavish scale, noted personalities such as Oscar Wilde, Edward VII, and John Singer Sargent frequenting their soirées. In fact the latter became a lifelong friend of Albert de Belleroche, the two artists going on to share studios in Paris and London, and each showing influences of the other in their work. In Paris Belleroche was a founder member of the Salon d'Automne, where he exhibited alongside the Impressionists and associated with the likes of Emile Zola, Albert Moore, Renoir, Degas, and Toulouse-Lautrec. Artist and printmaker William de Belleroche was greatly influenced by Frank Brangwyn, and he and his partner Gordon ‘Andy’ Anderson maintained a large circle of friends, many of them well-known artists, authors, actors and personalities of the post-war era, for example Duncan Grant, Augustus John, Dirk Bogarde, Judy Garland, and the Oliviers, to name but a few.
The Irish Hand by Timothy O'Neill, Dolmen 1984 (dj); Dictionary Of Living Irish Artists by Robert O'Byrne, 2010; Carmel Mooney - That Space Between 2001 (signed, dj); The Bed That Went Whoosh Bernard Share & William Bolger, 1964 Allen Figgis and The Bed That Went Whoosh To Moyle by Share & Bolger, 1965 (5)
Limerick: The Shannon Navigation by Ruth Delaney, 2008; The Diocese Of Limerick From 1691 to the Present Time by John Archdeacon Begley, 1938 (green cloth); Flora Of County Limerick by S Reynolds, 2013; The Limerick Compendium by Kemmy; Portrait of Limerick by Mainchín Seoighe, 1982 (dj) x 2 copies - 1 signed; Bunratty - Rebirth of a Castle by Share 1995; A Hop, Skip and Jump History of St. Michael's National School, Limerick, 2005; and Dowd's History Of Limerick by O'Carroll, 1990 (9)
Glossy porcelain figurine with pink porcelain lace accents. A lady and gentleman share a drink. Gold gilt accents on an oval ceramic base. Broken sections of porcelain lace on the bottom right of the woman's dress. Artist: VolkstedtIssued: 20th c. Dimensions: 7"HManufacturer: VolkstedtCountry of Origin: Germany
BRIAN EPSTEIN SIGNED DOCUMENT AND BEATLES USA LTD SHARE CERTIFICATE. A collection of documents relating to the resignation of Sondra and Walter Hofer as directors of Beatles USA LTD to include a page signed by the aforementioned as well as Brian Epstein. Also an original share certificate for the company. All in excellent condition.
Mahatma Gandhi (1869-1948) - two pairs of mid-20th century c1940s gold plated circular rimmed spectacles, by repute owned and worn by Mahatma Gandhi. The first pair of spectacles being gold plated, with sprung arms, the glass lenses united by a shaped bridge section. The lenses featuring inset bi-focal lenses for reading. Housed in a period metal glasses case. The second pair of spectacles being identical in form, but the bridge stamped ' NGE ' and 1/8 '14ct' (referring to 14k gold plating) and the lenses being simple (non-reading) prescription lenses. This second pair of spectacles has one broken arm, but is also presented in a similar period metal case. Supplied with a full and detailed letter of provenance from the vendor.Spectacles formed an important and iconic part of Gandhi's overall appearance. It was well known that he would often give away his old or unwanted pairs to those in need or those who had helped him, as an abundance of spectacles were always on hand for him - opticians would readily make Gandhi spectacles whenever required, very often without charge. A rare and important lot.Provenance; these spectacles were once owned by Satish Chandra Roy, famous Indian politician and freedom fighter. Several documented meetings between Gandhi and Satish Chandra Roy are known. In 1945/46 Mahatma Gandhi stayed with Satish Chandra Roy at his house in Narsingdi Gram (district), now Bangladesh, for a period of three days. Whilst staying with Satish Chandra Roy, Gandhi carried out all his meetings with local politicians and dignitaries. As a 'thank you' and a reward to Roy's actions and activities, Gandhi gifted him these two pairs of spectacles. A full and comprehensive letter of provenance is supplied by the vendor (a relative of Satish Chandra Roy), and the vendor is happy to share their contact information with the winning bidder should any further provenance be required. The exact contents of the provenance letter will be supplied to the winning bidder only. Our View: In August 2020 we sold a similar pair of spectacles also reputed to have belonged to Mahatma Gandhi. In comparison to these two pairs there are some interesting points to note. These glasses post-date the previously sold pair by twenty years or so, and are clearly of a higher prescription (consistent with aging eyesight). These two pairs contain a similarly slightly-contoured bridge section, which would be almost unique to Gandhi's face - consistent with the pair previously sold in August 2020. The bi-focal lenses seen in one of these pairs presented is also consistent with the style Gandhi wore from the 1940s onwards to aid his reading.
Eugene CernanCommand Module 'Charlie Brown' as photographed from the Lunar Module after the separation in lunar orbit. This is the first spacecraft to be photographed with the Moon in the background22 May 1969Vintage chromogenic print on fibre-based paper, 22.5 x 20.2 cm (10 x 8 in), [NASA photo no AS10-27-3873], with A KODAK PAPER watermark on the verso (NASA/North American Rockwell) Footnotes:Charlie Brown is seen over the western edge of Smyth's Sea.'How did it feel for that guy to be there, to take the picture? That's another thing. The pictures alone don't do the whole job, they don't properly record the emotional or the spiritual part of the history that took place, but they sure do carry their share of the load.' Eugene CernanCondition Report: Very goodCondition Report Disclaimer
James IrwinTwo views of David Scott near the Lunar Rover at St George Crater, station 2, EVA 131 July 1971Two vintage gelatin silver prints on fibre-based paper, each 25.4 x 20.3 cm (10 x 8 in), one BLACK NUMBERED NASA AS15-85-11451 in margin; [the second one NASA photo no AS15-85-11437] (NASA Manned Spacecraft Center)Footnotes:Station 2 near St George Crater was one of the most spectacular stations traversed during the Apollo missions. The Rover is parked near a meter-sized boulder sitting on the hillside about fifty meters above the Hadley-Apennine valley floor and offering a perfect site for sampling (first photograph). The location, on the edge of Hadley Rille, provided an extraordinary panorama toward the lunar canyon (second photograph). Thanks to the Rover-mounted TV camera, Scott and Irwin could share the view with watchers back on Earth, exulting over scenery long characterized as barren and drab.
Irene Hoff Downstream, 2021 Mixed Media on Canvas Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) For self-taught Dutch artist Irene Hoff, the world is out of balance, which is evident in the human & environmental challenges with which we are currently faced. Hoff craves a world where compassion, intuition and harmony are the key elements for living. She feels her art is filled with hope and inspiration and this has the potential to positively change viewers to become aware of their own feelings and beliefs, making space for their own true self. Hoff's 'Her Women- Innertotem' series came about through her desire to reconnect and to bring everyone closer to nature and by drawing on the vast potential of who we truly are. Her aims are to encourage and support people to reclaim their power, to overcome their limiting beliefs, and to discover their talents with the intention of moving toward a unique purpose in life. Only then, Hoff believes, will we authentically connect and create with each other, thus enabling us to inspire others and to share our gifts, which in turn has the power to impact humanity for the better. This insightful and intuitive attitude to the world is partly explained by the fact that Hoff has lived in Asia with her two daughters on the beautiful 'Island of Gods' in Bali for more than 20 years. She speaks the Language of the West whilst simultaneously sensing the subtle unspoken energies of the East. No art education. Miami, NY, Canada, London, Amsterdam, Dubai 'In my world, art bridges my inner source of wisdom and the outer world in which I live. My paintings are more than visual creations; they are a mean of conveying energy and insights to those attracted to my work by triggering positive thoughts and aspirations. The canvass becomes a personal totem to the one who chooses it. It empowers to look deeper and access the essence of who we truly are, giving inspiration to our journey.'
Irene Hoff Birds Eye, 2021 Mixed Media on Canvas Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) For self-taught Dutch artist Irene Hoff, the world is out of balance, which is evident in the human & environmental challenges with which we are currently faced. Hoff craves a world where compassion, intuition and harmony are the key elements for living. She feels her art is filled with hope and inspiration and this has the potential to positively change viewers to become aware of their own feelings and beliefs, making space for their own true self. Hoff's 'Her Women- Innertotem' series came about through her desire to reconnect and to bring everyone closer to nature and by drawing on the vast potential of who we truly are. Her aims are to encourage and support people to reclaim their power, to overcome their limiting beliefs, and to discover their talents with the intention of moving toward a unique purpose in life. Only then, Hoff believes, will we authentically connect and create with each other, thus enabling us to inspire others and to share our gifts, which in turn has the power to impact humanity for the better. This insightful and intuitive attitude to the world is partly explained by the fact that Hoff has lived in Asia with her two daughters on the beautiful 'Island of Gods' in Bali for more than 20 years. She speaks the Language of the West whilst simultaneously sensing the subtle unspoken energies of the East. No art education. Miami, NY, Canada, London, Amsterdam, Dubai 'In my world, art bridges my inner source of wisdom and the outer world in which I live. My paintings are more than visual creations; they are a mean of conveying energy and insights to those attracted to my work by triggering positive thoughts and aspirations. The canvass becomes a personal totem to the one who chooses it. It empowers to look deeper and access the essence of who we truly are, giving inspiration to our journey.'
Irene Hoff Murni, 2021 Mixed Media on Canvas Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) For self-taught Dutch artist Irene Hoff, the world is out of balance, which is evident in the human & environmental challenges with which we are currently faced. Hoff craves a world where compassion, intuition and harmony are the key elements for living. She feels her art is filled with hope and inspiration and this has the potential to positively change viewers to become aware of their own feelings and beliefs, making space for their own true self. Hoff's 'Her Women- Innertotem' series came about through her desire to reconnect and to bring everyone closer to nature and by drawing on the vast potential of who we truly are. Her aims are to encourage and support people to reclaim their power, to overcome their limiting beliefs, and to discover their talents with the intention of moving toward a unique purpose in life. Only then, Hoff believes, will we authentically connect and create with each other, thus enabling us to inspire others and to share our gifts, which in turn has the power to impact humanity for the better. This insightful and intuitive attitude to the world is partly explained by the fact that Hoff has lived in Asia with her two daughters on the beautiful 'Island of Gods' in Bali for more than 20 years. She speaks the Language of the West whilst simultaneously sensing the subtle unspoken energies of the East. No art education. Miami, NY, Canada, London, Amsterdam, Dubai 'In my world, art bridges my inner source of wisdom and the outer world in which I live. My paintings are more than visual creations; they are a mean of conveying energy and insights to those attracted to my work by triggering positive thoughts and aspirations. The canvass becomes a personal totem to the one who chooses it. It empowers to look deeper and access the essence of who we truly are, giving inspiration to our journey.'
Angela A'Court From Here To There, 2021 Screenprint on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "I am an artist and printmaker who works predominantly in soft pastel, whether painting, printing, collaging or paper making. Originally from London, New York has been home for the last thirteen years, with a recent break of eighteen months spent in Tokyo. My evolution has been influenced by living in and experiencing different cultures, which have offered up a visual and emotional dimension to the work. As an onlooker, I have observed in each the routines and customs that provide a structure for day to day interactions and our need for connection. I am interested in re-defining soft pastel as a modern medium for reflecting contemporary life by distilling and exalting its intrinsic immediacy and tactile distinctiveness. I move slowly in the studio, so that ideas can free-float. There is a rhythm and pace here that enables me to feel my way around a painting. With a sensibility rather than an single idea, I'll begin painting so that randomness and equilibrium work along side each other. My working process is an explorative, intuitive mix borrowed from several disciplines, combining and alternating pastel with print or collage. My information comes from careful observation, from reflecting on a familiar scene and drawing a narrative from it. The scenes are not staged but usually stumbled upon, perhaps a friend's window sill, kitchen table or a glimpse of two people engaged in conversation. It is the overlooked aspects of everyday life that draw me in, a stolen glance of another's day to day and the rhythm of routine that we all share. My experience in Japan is evident in my more recent work. Prompted by curiosity and a need to adapt to a different culture, I tentatively explore the surrounding new, in contrast with older recollections. I place a beloved cup next to a chicken wire lantern, unearthed at a Japanese flea market, and a new conversation begins. It's about absorbing change and finding a way through, using the spaces in between. The resolution comes in recognizing when a balance is found and there is a connection between the contrary: the new and old, the unfamiliar and familiar. I gather my visual language from the grace of everyday ordinariness, private worlds, unguarded moments, the unsaid - the trace of human presence. I paint what makes me curious and seek to render the truest emotional response that made me first stop and take note."
Angela A'Court Tokyo Days, 2021 Screenprint on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) "I am an artist and printmaker who works predominantly in soft pastel, whether painting, printing, collaging or paper making. Originally from London, New York has been home for the last thirteen years, with a recent break of eighteen months spent in Tokyo. My evolution has been influenced by living in and experiencing different cultures, which have offered up a visual and emotional dimension to the work. As an onlooker, I have observed in each the routines and customs that provide a structure for day to day interactions and our need for connection. I am interested in re-defining soft pastel as a modern medium for reflecting contemporary life by distilling and exalting its intrinsic immediacy and tactile distinctiveness. I move slowly in the studio, so that ideas can free-float. There is a rhythm and pace here that enables me to feel my way around a painting. With a sensibility rather than an single idea, I'll begin painting so that randomness and equilibrium work along side each other. My working process is an explorative, intuitive mix borrowed from several disciplines, combining and alternating pastel with print or collage. My information comes from careful observation, from reflecting on a familiar scene and drawing a narrative from it. The scenes are not staged but usually stumbled upon, perhaps a friend's window sill, kitchen table or a glimpse of two people engaged in conversation. It is the overlooked aspects of everyday life that draw me in, a stolen glance of another's day to day and the rhythm of routine that we all share. My experience in Japan is evident in my more recent work. Prompted by curiosity and a need to adapt to a different culture, I tentatively explore the surrounding new, in contrast with older recollections. I place a beloved cup next to a chicken wire lantern, unearthed at a Japanese flea market, and a new conversation begins. It's about absorbing change and finding a way through, using the spaces in between. The resolution comes in recognizing when a balance is found and there is a connection between the contrary: the new and old, the unfamiliar and familiar. I gather my visual language from the grace of everyday ordinariness, private worlds, unguarded moments, the unsaid - the trace of human presence. I paint what makes me curious and seek to render the truest emotional response that made me first stop and take note."
Angela A'Court Trois Fois, 2021 Mixed Media on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) "I am an artist and printmaker who works predominantly in soft pastel, whether painting, printing, collaging or paper making. Originally from London, New York has been home for the last thirteen years, with a recent break of eighteen months spent in Tokyo. My evolution has been influenced by living in and experiencing different cultures, which have offered up a visual and emotional dimension to the work. As an onlooker, I have observed in each the routines and customs that provide a structure for day to day interactions and our need for connection. I am interested in re-defining soft pastel as a modern medium for reflecting contemporary life by distilling and exalting its intrinsic immediacy and tactile distinctiveness. I move slowly in the studio, so that ideas can free-float. There is a rhythm and pace here that enables me to feel my way around a painting. With a sensibility rather than an single idea, I'll begin painting so that randomness and equilibrium work along side each other. My working process is an explorative, intuitive mix borrowed from several disciplines, combining and alternating pastel with print or collage. My information comes from careful observation, from reflecting on a familiar scene and drawing a narrative from it. The scenes are not staged but usually stumbled upon, perhaps a friend's window sill, kitchen table or a glimpse of two people engaged in conversation. It is the overlooked aspects of everyday life that draw me in, a stolen glance of another's day to day and the rhythm of routine that we all share. My experience in Japan is evident in my more recent work. Prompted by curiosity and a need to adapt to a different culture, I tentatively explore the surrounding new, in contrast with older recollections. I place a beloved cup next to a chicken wire lantern, unearthed at a Japanese flea market, and a new conversation begins. It's about absorbing change and finding a way through, using the spaces in between. The resolution comes in recognizing when a balance is found and there is a connection between the contrary: the new and old, the unfamiliar and familiar. I gather my visual language from the grace of everyday ordinariness, private worlds, unguarded moments, the unsaid - the trace of human presence. I paint what makes me curious and seek to render the truest emotional response that made me first stop and take note."
Scoresby (William). An Account of the Arctic Regions, with a History and Description of the Northern Whale-Fishery, 2 volumes, 1st edition, Edinburgh: Archibald Constable, 1820, half titles, folding engraved frontispieces, 22 engraved plates including 3 folding maps and charts (first map with short closed tear along fold), 2 plates numbered XII, 3 folding tables, bound without advertisement leaf, occasional light spotting, offsetting to titles, bookplate of Alexander Browne, Callaly Castle (in Northumberland), contemporary brown calf, spines with green labels and anthemion decorations in blind, joints cracking, 8voQty: (2)NOTESArctic Bibliography 15610; Lande 2036; Sabin 78167. Classic early work on Arctic exploration. "The first volume of this work relates to the progress of discovery in the Arctic regions, and the natural history of Spitzbergen and the Greenland sea, the second is devoted to the whale-fishery as conducted in the seas of Greenland and Davis's Strait. Mr. Scoresby, the commander of a Greenland whaler, has here displayed much judicious and active observation, combined with no ordinary share of acquired knowledge and scientific attainment, and prompted by an ardent and generous zeal for useful discovery." (Sabin).
Sunsparkle on Porthminster mixed media on canvas 80 x 100cm Footnote: Before studying art at Homerton College with Kay Melzi (a pupil of Michael Rothenstein) Elaine studied the harp with David Watkins at the Royal Opera House, and in Paris with Solange Renié-Siguret before receiving a scholarship to go to the Royal Academy of Music. Elaine and her partner Christopher Marvell share their time between their house and studio in St Ives in Cornwall and Cambridge. "To make a painting look simple and spontaneous is difficult. The more I paint the less I need on the canvas. Colours excite me and inspiration comes from the things I love - every objects, souvenirs from travels, patterns, and walking the romantic, wild countryside around our home".
A STONE STELE OF BUDDHA SHAKYAMUNI, NORTHERN QIChina, 550-577. Depicted with an alluringly peaceful countenance, downcast eyes and a benevolent smile. The figure outstretches now-lost hands over which drape the billowing sleeves of his monastic robes, covering both shoulders and rendered simply in descending rows of graceful W-shaped folds. Surrounded by a radiating aureole formed of gently curving vertical lines and surmounted by a halo of lotus petals.Provenance: From a French private estate. Condition: Extensive weathering, erosion, losses including both hands, pitting, remnants of polychrome pigments and ancient gilt, small old fills. Two sections of the lower border of the stele have been re-attached a long time ago. Good natural grown patina.Dimensions: Height 78 cm (incl. base) and 67 cm (excl. base)Mounted on a modern base. (2)The iconography of this stele was quite prevalent during the Northern Dynasties period and can be seen in a number of comparable stele including one in the Detroit Institute of Arts, illustrated in Chinese Art in Overseas Collections: Buddhist Sculpture, National Palace Museum, Taipei, 1990, p. 67, no. 62, where it is dated Sui dynasty; and two others dated Eastern Wei, illustrated by S. Matsubara, Chugoku bukkyo chokokushi ron (The Path of Buddhist Sculpture), vol. 1, Early Six Dynasties, Tokyo, 1995, pl. 286 a and b. The sculptures discovered in a large cache at the Longxing Temple, Qingzhou, Shandong, in 1996, also included stele of Northern Wei to Northern Qi date that have the same iconography. See, Masterpieces of Buddhist Statuary from Qingzhou City, The National Museum of Chinese History, Qingzhou Municipal Museum, Beijing, 1999, pp. 56-73. In all of these, Buddha Shakyamuni is shown standing on a small plinth flanked by two bodhisattvas, most likely Avalokitesvara and Samantabhadra, the two most closely associated with Shakyamuni.The present figure shows the more rounded face and the simply defined, light, clinging robe of the Northern Qi style, which was influenced by Gupta sculpture. For a detailed discussion of the drastic change in artistic style between the preceding Northern Wei dynasty (386-535CE) and the Northern Qi characteristics of the present lot, see Angela Falco Howard et al., Chinese Sculpture (New York: Yale University Press and Foreign Languages Press, 2006), 274: “Under the influence of the Gupta style (300-600) of India ... lotus-like eyes and voluptuous lips gracing elegant, sensitively modeled torsos became an alternative to the prevailing aesthetic... [exhibiting] more naturalistic and fuller body forms, embellished with unobtrusive and elegant surface patterns.”Literature comparison: Other examples which share these characteristically Northern Qi rounded and full features and the very simply rendered, water-like flowing attire of the present lot are published in Matsubara Saburo, Chugoku Bukkyo Chokoku Shiron (Tokyo: Yoshikawa Kobunkan, 1995); specifically: the figure of an arhat in the collection of the Cleveland Museum, 450; the figure of a standing Buddha in the Nezu Museum, 493; and the figure of the seated Buddha in the Victoria and Albert Museum, 490. For a closely related stone stele of Buddha Shakyamuni, see Imperial China - The living past, p.95, no. 72.Auction result comparison: Compare with a related but larger figure at Bonhams San Francisco in Fine Asian Works of Art and Paintings on 19 December 2016, lot 8198, sold for USD 47,500. Compare also with a related stele, of smaller size but with the flanking bodhisattvas still preserved, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 13-14 September 2018, lot 1133, sold for USD 62,500.北齊釋迦牟尼石碑 中國，550-577年。釋迦面相豐潤，雙眼低斂，稍稍內收的唇角，蘊含著親切的笑意。石像圓肩寬胸，雙手丟失，衣裙覆蓋雙肩，刻劃洗鍊流暢。背光的雕飾富麗精美，疏朗的火焰紋和花瓣紋相結合，由柔和的垂直線彎曲而成，極具裝飾之美。 來源：法國私人收藏 品相：大面積風化、侵蝕，包括雙手的損失，多色顏料和古代金彩的殘物，小的舊時填料。石碑下邊界的兩個部分很久以前已經重新安裝。 良好的自然生長的包漿。 尺寸：含底座高78 厘米，不含底座厘米 現代底座。 拍賣結果比較：一件相似但更大的石像見舊金山邦瀚斯Fine Asian Works of Art and Paintings 拍場2016年12月19日lot 8198, 售價USD 47,500； 另一尊稍小但菩薩相伴的石像見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2018年9月13-14日，lot 1133, 售價USD 62,500。
Republican & Irish History: O'Donoghue (D.J.) Life of Robert Emmet, 8vo, D. 1902, illus., cloth; Mc Hugh (R.)ed. Dublin 1916, 8vo, L. 1966, cloth; Lee (J.J.) Ireland 1912 - 1985 Politics and Society, 8vo, Cambridge 1991, ptd. wrappers; [Anon] With the I.R.A. In the Fight for Freedom 1919 to the Truce, 8vo, Tralee (Kerryman) n.d., ptd. wrappers; Moloney (Ed.) A Secret History of the I.R.A., In the Fight for Freedom 1919 to the Truce, 8vo, Tralee (Kerryman)n.d., ptd. wrappers; Moloney (Ed.) A Secret History of the I.R.A., 8vo, L. 2002, illus. cloth & d.j.; Hopkinson (Michael) The Irish War of Independence, 8vo, D. 2002, illus., cloth & d.j.; Share (Bernard) The Emergency, Neutral Ireland 1939-45, 4to D. 1978, illus., cloth & d.j. as a lot, w.a.f. (7)
WE ARE LIVERPOOL lettering originally part of a Bill Shankly quote and 'signature' wall display from the Main Reception Area at Liverpool Football Club's Melwood Training Ground,aluminium lettering, each approx. 45cm. high; sold with a certificate of authenticity issued by Liverpool Football ClubThe Original display contained the full Bill Shankly quote in white sticker lettering and an applied facsimile signature of the club legend. The full quote read: ABOVE ALL, I WOULD LIKE TO BE REMEMBERED AS A MAN WHO WAS SELFLESS, WHO STROVE AND WORRIED SO THAT OTHERS COULD SHARE THE GLORY, AND WHO BUILT UP A FAMILY OF PEOPLE WHO COULD HOLD THEIR HEADS UP HIGH AND SAY ... WE ARE LIVERPOOL
A collection of assorted framed currency and share certificates, comprising a 1910 1000 Mark Reichsbanknote, a Tobacco Products Corporation Certificate for 10 Shares, a 1922 5000 Mark Reichsbanknote, a 1914 20 Mark Reichsbanknote, a 1920 100 Mark 1910 Reichsbanknote, an International Nickel Company of Canada 10 Share certificate, a Gulf, Mobile and Ohio Railroad Company 100 Share Certificate, a North Butte Mining Company 40 Share Certificate, a Sperry Corporation 25 Share Certifcate and a Mission Development Company 1 Share Certifcate, together with a 1982 Historische Werte part calendar of world banknotes.
David Bowie 'Ziggy Stardust and the Spiders From Mars' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 76 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Led Zeppelin - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 53 x 74 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Andy Warhol's Velvet Underground 'Live at Max's Kansas City' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 64 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Jim Morrison and The Doors 'Light my Fire Crystal Ship' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 76 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Deep Purple 'Machine Head' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 69 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
The Rolling Stones 'Exile on Main Street' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 57 x 68 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Keith Reynolds (American, B. 1929) "Missionary Packet Morning Star" Signed lower right. Original Oil painting on Canvas Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This is the original painting which appeared on the Republic of the Marshall Islands 29c Missionary Packet Morning Star stamp issued June 24, 1993. "The long looked for missionary ship was a thing of life and beauty, adorned with nearly her full complement of snow-white sails, and sitting so daintily upon the water." This account comes from Rev. E. Bond's meeting with the Morning Star, en route to the Marshall Islands to fulfill the mission for which it was built. In August 1856, just eight months earlier, an appeal had been made to the American Board for a missionary packet. To finance this endeavor, the children of the United States were invited to take a ten-cent share of joint ownership in the new vessel. The project met with great enthusiasm and success. Within three months, the Morning Star was completed and on its way to spread Christianity to the islands of the Pacific. Overall Size: 16 x 20 in. Unframed. (B14318)
Brian Clinton (Australian, B. 1942) "Fishing for Pleasure" Original Watercolor painting on Hot Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day Cover for the Australian 35c Fishing For Pleasure stamp issued October 24, 1979. Prehistoric men fished for food, and stone age men caught fish with water traps. Hundreds of years before Christ, the Chinese spun silk fish line and the Egyptians used flax to weave strong nets for the same purpose. Fishing is as old as man himself and for centuries has influenced man's way of life. Few other outdoor activities offer the same combination of grueling anticipation, bursts of sudden excitement, and periods of restful relaxation, that fishing does. In fact, the pleasures of fishing are as varied as the people who participate in the sport. Every fisherman has his own reason for fishing. Sport fishermen, for example are attracted to the excitement of hooking a real sea lunker. They use complicated equipment and topographic maps to determine where the fish are and when they will bite. Other fishermen simply enjoy the chance to escape the pressures of the workday world and bask in the quiet of a lonely cove while their simple fishing line dangles in the water. For others it is the beauty of the coastline on a lovely summer day that brings them fishing. Whatever their reason for fishing, all fishermen share an equal chance with lady luck. No one fisherman, in the centuries since man first fished, ever managed to convince her to promise special favors. The small barefoot boy fishing with a cane pole from a pier and the avid sport fisherman with expensive boat and steel rod have an equal chance. Neither knows what he will catch -- if anything. Image Size: 12 x 14.25 in. Overall Size: 16 x 20 in. Unframed. (B05578)
Albert Namatjira (Australian, 1902-1959)A ghost gum on Washwood Stn. (Mt. Bowman) near Haasts Bluff, Central Australia signed 'ALBERT NAMATJIRA' (lower right)watercoloursheet 28 x 39.1cm (11 x 15 3/8in)Footnotes:ProvenancePrivate collection, UK.The sheet verso also bears title and further inscription 'Scene on Washwood Stn. (Mt. Bowman) near Haast Bluff Central Australia (sold by Mrs S.A.Bawke/Alice Springs N.T.)'Namatjira's mentor, teacher and friend Rex Battarbee, suggested in his diaries that the artist's framing of scenes was influenced by his interest in photography. It is a convincing premise when considering the present work - one feels almost as if we are viewing the scene and its distant landscape through the camera's viewfinder. Namatjira crops the top of the monumental ghost gums which stand tall beyond sight, the pale green leaves cascading into view suggesting far-reaching branches above.Alison French observes; 'The trees in Namatjira's work are often subjects in their own right and play a pivotal role in leading our eye into the inner recesses of the image... In most instances, a giant river gum fills the frame to the left or right of the composition, in the shallow viewing space that Namatjira invites us to share. We gaze past this tree and the intervening middle ground to another motif: a mountain range...'1. Unlike in the works of many European artists of the time, in Namatjira's work, landscapes do not serve a purely decorative function, but as accurate 'maps' of his sacred ancestral Arrente Country for which he was custodian and both trees and mountain ranges are imbued with a spiritual presence.1 Alison French, Seeing the Centre: The Art of Albert Namatjira 1902-1959, National Gallery of Australia, Canberra, 2002, p.117For further information on this lot please visit Bonhams.com
SPEKE (JOHN HANNING)Correspondence and papers retained by Christopher Palmer Rigby, British Consul on Zanzibar relating to the Speke/Burton feud, comprising: i) Group of five autograph letters and a note signed ('J.H. Speke') to Christopher Palmer Rigby, the first announcing that he has '...in conjunction with Mr Petherick undertaken to go to Nyanza again and to connect it with the Nile - I going up the west side of the Lake from Unyamyembe whilst he goes down southwards from Gondokoro... This would be a glorious tour!...' and praising Rigby for his success in quashing the Burghash rebellion ('...you are the father of Zanzibar and the Sultan your eldest son...'), the rest taken up with his feud with fellow-explorer Richard Burton, writing gleefully that '...Burton has got the dumps and is cutting himself at every turn...', speaking of his reluctance to accompany Burton ('...I had seen enough of his blackguardism at that time to for ever despise him...'), calling him a 'cunning ingrate, and double blackguard' and complaining of his conduct ('...I gave him [Burton] every collection, observations and my original diary... and printed my diaries to swell his own book with, and this too without ever asking my consent... It is true Burton touched up some of my diaries on return from the Nyanza as they stood in the original... but by practice in writing I improved my style...'), his resentment at Burton receiving a Gold Medal ('...I alone had brought back all the geographical results of that expedition, and Burton had not shown himself capable of doing anything but making ethnological remarks...'), explaining in detail the confusion with regards to the payment of the porters, returning specimens and '...the last of the tots... send them off as contented as their discontented dispositions will permit...', announcing the publication of his account of the first two expeditions in one volume ('...The Hindu map published by Wilford has turned out a forgery, so in the Second Edition it will be left out...'), asking Rigby to speak with the Sultan about 'the unjustifiable interference of the Arabs' in the African interior ('...only perpetrated as a pretext to loot...'), including a list of specimens returned ('...Gun case of Bird & Snake skins... female head of Eland... skins of head are separate from the skulls...'), and much else; with two envelopes, one bearing the remark that the porters have run away, 24 pages, creased with spotting and some small tears along folds, 8vo and 4to, Illminster, Kinanga Ranga, Kazeh, Grand Hotel, Paris, 19 January 1860 to 20 April [postmarked 1864]ii) Autograph letter signed ('M. Grant') to Rigby's widow ('My dear Mrs Rigby'), asking if she has copies of Rigby's letters 'reporting the conduct of the late Sir Richard Burton' so that she can 'contradict what Lady Burton has written about Speke in the Daily Graphic... her husband could not have told her that he had attempted the life of Captn Speke by asking one of their followers to put poison into his medicine. This is well too well-known to the family of Captn Speke...', 6 pages, on mourning paper, 8vo (177 x 114mm.), Househill, Nairn, 15 January 1891iii) Draft document signed ('C.P. Rigby') to 'H. L. Anderson Esquire/ Chief Secretary to Government/ Bombay', 'Reporting the libels and calumnies contained in a Book entitled 'The Lake Regions of Central Africa' recently published by Brevet Captain Burton... & his treatment of his followers during the late Expedition in Central Africa', with various additions and amendments, 25 pages, docketed 'no. 73 of 1860', joined at head by green silk thread, folio (335 x 210mm.), British Consulate, Zanzibar, 16 November 1860; with two duplicate letters from H.L. Anderson confirming that it will be forwarded to Her Majesty's Secretary of State for India, assuring him that '...you have fully vindicated yourself... your reputation has... been in no degree affected by Captain Burton's untrustworthy statements...', one with the subscription 'Transmitted to Colonel Rigby/ Lewis Pelly/ Zanzibar/ 30th October 1861', 4 pages, folio (225 x 210mm.), Bombay Castle, 18 March 1861; and another uncompleted draft letter from Rigby regarding the perceived damage to the reputation of Mr Apothecary Frost, the Medical Officer, through claims made by Burton in his book.Footnotes:'I HAD SEEN ENOUGH OF HIS BLACKGUARDISM AT THAT TIME TO FOR EVER DESPISE HIM'The unresolved feud between explorers Speke and Burton is well documented. After their expedition to the lake regions of Central Africa, Burton published their joint achievements as his own and was awarded a Gold Medal from the Royal Geographical Society which Speke felt should belong to him. Speke also accused Burton of refusing to pay the porters and reneging on promises to reward other members of the expedition ('...now I have repaid him for that as well as all of the half expenses of the Expedition; and had the Govt. not paid the men at Zanzibar, I should have paid my share to them likewise... you know only too well how things have been done...').These letters not only illustrate the bitterness of the feud but also reveal the considerable extent to which Rigby was involved in fanning the flames of the acrimony between the two explorers. Rigby had known Burton in India and his friendship with Speke was strengthened by their mutual dislike. Rigby's journal, included in this sale (see Lot 82), mentions long, almost daily walks with Speke and he helped him with supplies and the organisation of the expedition. In return, Speke talks with admiration of Rigby and his work ('...you are the father of Zanzibar and the Sultan your eldest son...'), giving him permission to publish a letter which, he writes, 'may have the effect for reforming Burton: at any rate it will check his scribbling mania, and save his soul the burthen of many lies'. Rigby's influence in encouraging the feud is clear and it has been said that it was his report to the Secretary of State for India, a copy of which is included here, that 'made the breach between the two explorers... unbridgeable' (Tim Jeal, Explorers of the Nile: The Triumph & Tragedy of a Great Victorian Adventure, 2011). What is also revealing that, thirty years after Speke's death, the feud was still not laid to rest, with the widows of the protagonists continuing to air their accusations in public and with the wife of James Grant here accusing Burton of contriving to poison Speke whilst on their expedition. Speke's letters are published, in part, in a memoir written by Rigby's daughter (Mrs Charles E.B. Russell, General Rigby, Zanzibar and the Slave Trade, 1935). However, whether to spare the sensibilities of her readers or of Speke's family, she omits the stronger accusations revealed here.For further information on this lot please visit Bonhams.com
Original vintage travel advertising poster for BOAC with the slogan "You Too Will Love - The BOAC VC10", with cheesy artwork showing a plan cabin scene where a pair of lovers share an intimate moment in their plane seats, with the man feeding the woman a red cherry from a cocktail. The slogan is house in a heart shaped trace with bold blue and white lettering. British Overseas Airways Corporation (BOAC) was the British state-owned airline created in 1939 by the merger of Imperial Airways and British Airways Ltd. It continued operating overseas services throughout World War II. After the passing of the Civil Aviation Act 1946, European and South American services passed to two further state-owned airlines, British European Airways (BEA) and British South American Airways (BSAA). BOAC absorbed BSAA in 1949, but BEA continued to operate British domestic and European routes for the next quarter century. A 1971 Act of Parliament merged BOAC and BEA, effective 31 March 1974, forming today's British Airways. The Vickers VC10 is a mid-sized, narrow-body long-range British jet airliner designed and built by Vickers-Armstrongs (Aircraft) Ltd and first flown at Brooklands, Surrey, in 1962. Although only a relatively small number of VC10s were built, they provided long service with BOAC and other airlines from the 1960s to 1981. They were also used from 1965 as strategic air transports for the Royal Air Force, and ex-passenger models and others were used as aerial refuelling aircraft. Acceptable condition, tape paper damage, creasing, tear on image, tears at margin. Country of issue: UK, designer: Unknown, size (cm): 76x51, year of printing: 1960s
Nachlass im Karton - Schwerpunkt bei den Euro Münzen Ausgaben, meist 2 Euro Stücke, mit etwas besseren, z.b. Monako, dazu auch ein klein wenig Silber und Sonstiges. der nominale Anteil Euro Münzen liegt bei ca. 470 Euro. Am besten mit etwas Zeit kalkulieren! In the box - focus on euro coins issues, mostly 2 euro pieces, with some better, eg Monako, plus a little bit of silver and miscellaneous. the nominal share euro coins is about 470 euros. Best to calculate with some time!
VI: Original struck Dunbar Medals by Simon, Battle of Dunbar, 1650, a small oval struck gold medal by T. Simon, bust left, battle scene in background, signed t.simon.f below, the lord of hosts word at dvnbar septem y 3 1650, rev. view of the Long Parliament, 25 x 21mm, 8.33g ([Pembroke, T., 8th Earl], Nummi Anglici et Scotici...et Montis Gomerici Comes [1746], pl. iv, 19, this piece; Lessen, BNJ 1981, p.117 and pl. vii, 2, this piece; MI I, 391/13; E 181b). Extremely fine and extremely rare; only 3 specimens believed known in gold, one of which is in the British Museum £10,000-£15,000 --- Provenance: Earl of Pembroke Collection, Sotheby Auction, 31 July-19 August 1848, lot 259; G. Sparkes Collection, Sotheby Auction, 2-3 February 1880, lot 329; J.P. Heseltine Collection, Sotheby Auction, 29 May 1935, lot 102; Sotheby Auction, 5 December 1966, lot 29. There are two others known of this small size in gold, and one each in silver, copper, pewter and an unknown alloy. These pieces share the reverse die as the small naval reward, MI I, 390/12. Uniface examples are eighteenth century restrikes from the original die
λ VAZY (BRITISH 20TH CENTURY)TOGETHER WE CAN HOWL AT THE MOONSpray paint and acrylic pen on canvas 50 x 40cm (19½ x 15½ in.)Vazy, or better known on Instagram as Crazy Vazy, is an emerging artist who plays foremost with text, letters and repetition. The effect created through overwriting and repeating text absorbs the message and creates a visual playground across the canvas. Vazy recently took part in an exhibition hosted by the Jealous Gallery & print Studio titled 'UP'. Proceeds of the exhibition went to support the Big Issues UK and was curated by Ben Eine, with whom Vazy used to share a studio space. Condition Report: There are no visible signs of damage or restoration. Condition Report Disclaimer
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