Manjit Bawa (Indian, 1941-2008)Untitled (Man with squirrels) oil on canvas, framedsigned and dated 1992 verso121 x 152cm (47 5/8 x 59 13/16in).Footnotes:ProvenanceAcquired by the present owner in 2018 from the artists familyBorn in Punjab, India in 1941, Manjit Bawa developed his distinct style whilst training and working in India and England. He studied fine arts at the College of Art, New Delhi (1958-1963) and was trained under Somnath Hore, B.C Sanyal and Abani Sen. He developed his unique style and discipline under Sen's tutelage who emphasised the importance of drawing continuously and the exploration of figurative painting. Between 1964-1971, he studied at the London School of Painting whilst simultaneously working as a silkscreen printer and exhibited at several solo shows. Sufism, Indian mythology and poetry inspired his paintings. His works are devoid of landscape or other superfluous details recalling the style of Rajput and Pahari miniature painting. His preference for bright, monochrome, heavily-saturated colour are characteristic of India, a country awash with brightness. His figures suspended in this colour with subtle shading give them a luminous and at the same time dream-like presence. 'Being a turbanned Sikh from an ordinary middle-class family was daunting enough but to strike out against the prevalent forces of Cubism and the iconic Klee was to really ask for big trouble and I was hauled up time and again with strict instructions to toe the line. But I remained true to my calling, naturally annoying authorities. Even then in those formative years I was haunted by the spectre of mediocrity. I was willing to accept any challenge, but on my own terms. I was obsessed with one driving need – to create my own painterly language.' (M. Bawa, 'I Cannot Live By Your Memories, Manjit Bawa in Conversation with Ina Puri', Let's Paint the Sky Red: Manjit Bawa, Vadehra Art Gallery, New Delhi, 2011, p. 47)'...his protagonists do not emerge from an imagined background or prop themselves against the wide horizon of an opening world; rather, they manifest themselves suddenly, like apparitions, in a field that could well be an aura. This is why Bawa's figures, modeled in a surreal manner as they are, can safely be placed in a tradition of innovation and experiment that goes back through the prints and paintings of Kalighat and the Company School to the miniatures of the Mughal and Rajput ateliers.' (Ranjit Hoskote, Modern Miniatures, Recent Paintings, Bose Pacia Gallery Exhibition catalogue, 2000, unpaginated) 'Colour itself becomes a resonant variety of space: a luminous and neutral field, virtually unmarked by a specific sense of place, in which is isolated dream-figures can operate without labouring under the burden of allegiance to any single history.' (Ranjit Hoskote, Modern Miniatures, Recent Paintings, Bose Pacia Gallery Exhibition catalogue, 2000, unpaginated).The coexistence of man and animals is a recurring theme in Bawa's works, here exemplified by a seated man in traditional Punjabi clothing interacting with squirrels against a backdrop of pale blue. He questions how humans and animals, both of whom share the same surroundings can occupy separate mental universes and yet account for the others' presence. (Ranjit Hoskote, Manjit Bawa: Modern Miniatures, Recent Paintings, New York: Bose Pacia, 2000)'If Manjit Bawa's iconography seems to replay a series of classical themes inherited from Indian tradition, we ought not to forget that it also derives its potent charge from the attention he pays to the ever-pixellating textures of contemporary experience.'For further information on this lot please visit Bonhams.com
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Carolingian Gold Ring.Circa 9th century AD. Gold, 6.72 grams. 21.56 mm, internal 15.74 mm. A large lozenge-shaped bezel decorated with granulated beads around a smaller raised lozenge. The centre piece is set with a cabochon garnet within a serrated setting bordered on either side with a rope-style band and two larger granulated beads. The shank of the ring is a square sectioned braid with splayed ends that attach to the underside of the bezel. Ref: The closes comparison to this ring in terms of style is a ring that formed part of the West Yorkshire hoard. (PAS: SWYOR-F86A02). Both rings share the tiered lozenge bezel design and setting of a single cabochon garnet. From a private collection, Ex D. Grover collection, Originally purchased Munich, Germany.
A red Simplex stamp album containing a collection of Victorian and other revenue stamps including embossed Ireland and others, India share transfer, court fees, insurance and telegraph, also South Africa revenue, Cape of Good Hope revenue, early 20th Century Abyssinia and Canada, Nyassa, etc.
Box 71 - Whisky Golden Blue The Diamond Whisky Golden Blue The Sappirus Whisky Devil's Share Bourbon Whisky Cutwater rye Whisky Devil's Share American Whisky Boulder Spirits Bourbon Whisky Fistfull of Bourbon Whisky Gelston's 12yrs Irish Whisky Redemption wheated Bourbon Peaky Blinder Irish Whisky The Pogues Irish Whisky Kavalan Malt Whisky
RAOUL DUFY (1877-1953)Le retour des régates signed, inscribed and dated 'Deauville Raoul Dufy 1933' (lower left)oil on canvas46.7 x 110cm (18 3/8 x 43 5/16in).Painted in Deauville in 1933Footnotes:ProvenanceM. Bignou Collection (by 1936).Perls Galleries, New York, no. 3311.Anon. sale, Christie's, New York, 8 May 2002, lot 300.Kunsthandel Frans Jacobs, Amsterdam.Private collection, The Netherlands (acquired from the above on 24 October 2002). ExhibitedToledo, The Toledo Museum of Art, European Section of the Thirty Third Carnegie International Exhibition of Paintings, 1 March – 19 April 1936, no. 78. LiteratureM. Laffaille, Raoul Dufy, catalogue raisonné de l'oeuvre peint, Vol. II, Geneva, 1973, no. 864 (illustrated p. 351).Le retour des régates was executed in Deauville in 1933 and stems from one of Raoul Dufy's most iconic subjects. Boat races were painted by the artist on numerous occasions throughout both France and Great Britain: in fact, the subject first appeared in Dufy's work in 1907 and remained an important theme throughout his practice. Executed on a canvas measuring over a metre long, Les retour des régates is one of the largest regatta scenes ever to appear at auction and was painted at the height of the artist's career.In the early twentieth century, Deauville developed into a go-to resort for high society due to its proximity to Paris. With a racecourse, a casino and a harbour, the small town provided entertainment throughout the year. The many festivities that were held established an influx of tourists and formed the ideal environment for Dufy to paint en plein air. The artist could observe the pastimes of the French upper-class from behind the easel, and the joyous and dynamic atmosphere allowed him to experiment with movement and colour. Born on the northern coast of France in the city of Le Havre, the artist was fascinated by the ocean from a young age as he would stand on shore watching the activities around the water's edge. Dufy considered the sea as a backdrop for lively spectacles, and it formed the ultimate location to observe the ever changing light effects: 'Unhappy the man who lives in a climate far from the sea, or unfed by the sparkling waters of a river!...The painter constantly needs to be able to see a certain quality of light, a flickering, an airy palpitation bathing what he sees' (Dufy, quoted in D. Perez-Tibi, Dufy, New York, 1989, p. 158).Dufy scrutinised the boat racing theme over the course of his career, which resulted in an array of works on the subject. It allowed the artist to experiment with various structures and colour arrangements in his compositions and he mastered a uniquely free and dynamic style. In the present painting Le retour des régates, the viewer observes the sailing boats returning to the harbour after racing on a sunny day at sea. Dufy captures the scene as seen through the eyes of the sailors in the advancing boats, giving the viewer the sensation that they too are within the composition. With the wind blowing in their sails, the boats navigate towards maritime flags situating the harbour with the shore emerging in the background. Instead of carefully delineated details, Dufy employed bold and rigorous brushwork to create stylized forms on the two-dimensional picture plane. A dazzling palette of blue hues accentuate the sky and sea, evoking the atmospheric climate of his lively design. The present work is proof of the artist's masterful colour technique. In an interview with Pierre Courthion, Dufy elaborated on his choice of colour: 'Blue is the only color which keeps its own individuality across the spectrum. Take blue with its different nuances, from the darkest to the lightest; it will always be blue, whereas yellow darkens in shadow and fades out in lighter parts, dark red becomes brown and when diluted with white, it isn't red any more, but another color: pink' (Dufy quoted in P. Courthion, Raoul Dufy, Geneva, 1951, p. 52).Le retour des régates captures the spirit and influence of the Fauves, with whom Dufy exhibited following his encounter with Henri Matisse's seminal work Luxe, Calme et Volupté at the Salon des Indépendants in 1905. Being exposed to such daring work encouraged the young artist to experiment with a wider palette. As Dufy himself emphasised: 'colour captures the light that forms and animates the group as a whole. Every object or group of objects is placed within its own area of light and shade, receiving its share of reflections and being subjected to the arrangement decided by the artist' (Dufy quoted in D. Perez-Tibi, op. cit., p. 150).The 1930s are regarded as the apex of Dufy's career, as his work started to receive institutional attention and was widely acknowledged across continents. In 1932 the Musée de Luxembourg in Paris acquired one of his works for their permanent collection, and by 1936 Dufy received several important public commissions in Paris, most notably the mural for the Exposition Internationale des Arts et Techniques dans la Vie Moderne. In the same year, the present painting Les retour des régates was included in the thirty-third edition of the prestigious Carnegie International exhibition, held in the Toledo Museum of Art in Ohio. This show was initiated in 1896 by industrialist and philanthropist Andrew Carnegie and was the first exhibition with an international allure in North America. In 1936 the show served as an annual survey to identify international trends in avant-garde art to inspire and educate the public. Dufy's work was exhibited alongside paintings by artists such as George Braque and Pierre Bonnard. Other participants of the Carnegie International included Camille Pissarro, Salvador Dalí and Jackson Pollock.Raoul Dufy's spirited and bright compositions remain intrinsic to the art historical discourse of today, particularly his regatta paintings. Comparable works to Les retour des régates can be found in major public collections including the Musée d'Arte Moderne de la Ville in Paris, the Tate Modern in London and the National Gallery of Victoria in Melbourne.For further information on this lot please visit Bonhams.com
Alison Watt (British, born 1965)Study for Forbidden Fruit signed 'WATT' (lower right); titled and dated 'Study for Forbidden Fruit/1990' (verso)oil on board25.5 x 20.3 cm. (10 x 8 in.)Footnotes:ProvenanceWith Flowers East, LondonPrivate Collection, U.K.The present work is a study for the large triptych Cherries, Forbidden Fruit and Pear in a Landscape, which resides in Aberdeen Art Gallery. In the painting, the depictions of Venus, Eve, and the Virgin all share similarities with the artist, as was often the intention, creating her own personal mythology.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Chéri Samba (Democratic Republic of Congo, born 1956)Qui Cersent La Tombe de L'Afrique? (Who Digs the Grave of Africa?) signed and dated 'Chéri SAMBA/ SEPT/NOV/ 94' (lower left)acrylic and glitter on canvas 129 x 192cm (50 13/16 x 75 9/16in).Footnotes:Provenance:Acquired directly from the artist;The collection of Jean Pigozzi;Sotheby's sale, Contemporary African Art from the collection of Jean Pigozzi', 24th June 1999, lot 52;A private collection.Cheri Samba's colourful and bold works are characterised by their comic book style narratives. Often satirical, his scenes indict the leadership in his native country, the Democratic Republic of Congo, and simultaneously remind his audience of the destructive and far reaching consequences of European colonialism.This painting asks the following question:'Qui creusent la tombe de l'afrique? est-ce que les occidentaux ou bien les africains eux meme? (Who is it that digs Africa's grave? Is it the Westerners or the Africans themselves?)'The figure on the right is being force-fed from a bottle by two white Europeans. He protests indignantly:'Je ne veux pas manger cette nourriture democratique. Elle est trop amere, elle a beaucoup des lois. Elle ne m'interesse pas, je suis grand assez pour me choisir ma nourriture mais pas celle-ci. (I do not want to eat this democratic food. She is too bitter, she has too many laws. She does not interest me, I am old enough to choose my own food but not this one.'Meanwhile, the two emaciated bodies lying prone to his left lament that they are starving to death:'La democratie est une valeur irreversible mais elle est tres male venue en afrique. Les politiciens ne veulent pas s'entendre et pendant ce temps, nous peuples, ne faisons que mourir de faim. Les occidentaux ont aussi leur part de responsabilite parce que ils n'avaient pas resolu d'abord le problem d'ethnies. (Democracy is an irreversible value but it has come to Africa very badly. The politicians do not want to get along, and meanwhile all of us , the people, are starving. Westerners also have their share of responsibility because they did not first resolve the problem of ethnicities.'This lot is subject to the following lot symbols: * W* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.W Objects displayed with a 'W' will be located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Great Britain - KGV : (SG 456a) 1935 Silver Jubilee 2½d, the famous Prussian blue, superb mint small hinge trace full fresh original gum example (light historical pencil annotation), fabulous fresh colour, perfs and centering. Unusually we've been fortunate to handle probably more than our fair share(!) of this rare colour error stamp within the past five years. Barely an example encountered is in top condition, most come with minor imperfection / blemish. This is the second time that we have handled this example, the first time realising precisely £10,000=. No faults example, accompanied by clear 1956 BPA Expert Committee photo-certificate signed by philatelic 'glitterati' Robson Lowe amongst others. As fresh today, 64 years later. Accompanied by superb colour 'normal' for comparison. Magnificent and RARE Cat £12000 (image available) [US1]
Tom McNeely (Canadian, B. 1935) "Firemen Raising Flag over Rubble" Signed lower left. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the U.S. 37+8c Semi-postal stamp issued June 7, 2002. On the morning of September 11, 2001, the worst terrorist attack in U.S. history struck America at its core after four airliners were hijacked. Two were flown into the twin World Trade Center towers in New York City, one hit the Pentagon in Washington, D.C., and a fourth was brought crashing down into a Pennsylvania field by its heroic passengers. More than 2,800 people were killed. That day ordinary people performed extraordinary deeds, defying danger and death to save others. In a valiant rescue effort, courageous fire fighters in New York City charged up the stairs of the flaming towers of the World Trade Center, sacrificing their own lives when the buildings collapsed. A sense of grief and loss spread across the nation, evoking a surge of patriotism and a heartfelt willingness to share. This artwork captures New York fire fighters raising the U.S. flag amidst the rubble of the World Trade Center. The inspirational image of fire fighters raising Old Glory atop a heap of rubble, like that of Marines raising the Flag on rugged Iwo Jima during World War II, became a symbol of the indomitable American spirit. Image Size: 14 x 12 in. Overall Size: 21 x 18 in. Unframed. (B17001)
Marie Amalia (b 1961, French) A rhinoceros under fruit trees, reverse-painted on glass in oil, in oval planar frame, the latter signed, 54 cm x 43 cm framed [ An extract from the artist's website reads "I was born in 1961 in Paris in a family of artists, my father Cyrille Bartolini is a sculptor and winner of the Prix de Rome, my mother Suzy Bartolini was a painter under glass. After a BAC option art , I studied plastic arts at the University of Paris Sorbone, then I entered the Ecole Supérieure des Beaux Arts de Paris in the sculpture workshop of Georges Jeanclos. When I left school, I left sculpture to apply a rare technique, which my mother taught me: "to fix it under glass. "It consists of painting on one side of the glass and looking at the result on the opposite side. The difficulty lies in the fact of painting upside down, that is to say to start with the details, shadows and lights to finish with the background, contrary to classical painting. Very quickly I go back to the Benezit gallery (Paris 6°) where I exhibit for 30 years until the closing of the gallery in 2011. In the meantime I also regularly present my work in London, Brussels, Murrhart, Milan and in the USA (Washington, Palmbeach, Carmel). I live and work in Angoulême where I share my life with the painter Valéry Quitard dit VECU . Since 2015, I have been using fixed glass, which I have abandoned in order to paint only acrylics on canvas.]
Frankel Horse-Racing Interest - A racing plate worn by the legendary racehorse Frankel at the Royal Lodge Stakes, Ascot, 2010accompanied by a letter from trainer Sir Henry Cecil to the current vendor stating 'This is one of Frankel's two year old racing plates. He wore this in the Royal Lodge Stakes at Ascot. I hope that you enjoy having it. Yours sincerely, Sir Henry Cecil', with signature. The racing plate is a front shoe, made by Kerckhaert Kings Plate Extra Sound 32 (size 7), together with one of Frankel's training plates, (3)Footnotes:Frankel (foaled 2008) is a retired champion British Thoroughbred racehorse, who remained unbeaten in his 14-race career, being the highest rated racehorse in the world from May 2011.Nicknamed 'Usain Colt', he was bred by Juddmonte Farms, trained by the late Sir Henry Cecil at Warren Place, Newmarket, and is still currently owned by Prince Khalid Abdullah. He was named after the renowned late American trainer Bobby Frankel.Dubbed the world's greatest racehorse, Frankel's performance in the 2000 Guineas was described as 'one of the greatest displays on a British racecourse'. He earned nearly £3 million in prize money.Frankel is now retired to stud at Juddmonte Farms and charges a huge £175,000 a time stud fee. It is estimated that he is now worth £100 million, making him potentially the most expensive horse in history. Provenance: The vendor had a share in racehorse 'First Mohican' at Warren Place, Newmarket; the yard where Frankel was trained. They therefore knew trainer Sir Henry Cecil personally and the racing plate was gifted by Sir Henry, in person, to the vendors' daughter.Frankel's ex farrier has confirmed that during his time as farrier at Warren Place, he regularly used the Kerckhaert racing plates and indeed this plate is the style and make of the plates that he used to shoe Frankel. Frankel had unusually large feet and wore shoe sizes 7 and 7.5.A large selection of Frankel's racing plates were given to Sir Henry Cecil to be passed along to Juddmonte Farms, however it is uncertain as to what happened to these plates. It has been suggested that there are possibly now only two remaining racing plates of Frankel's that are not in the care of owner Prince Khalid Abdullah. It is thought that one sold at a charity auction and the other is the current lot for sale with Bonhams.Image of Frankel courtesy of:Author: Sjp22Title: Frankel goes to the post for the Juddmonte International at York, 2012https://commons.wikimedia.org/wiki/File:Frankel_at_York_2013.jpgPublic licence: https://creativecommons.org/publicdomain/zero/1.0/For further information on this lot please visit Bonhams.com
Bobby Bland / Little Milton 7" singles, approximately ninety 7" singles comprising approximately forty-five each by Bobby Bland and Little Milton including demos and promos and with titles including I'm Too Far Gone, Ain't No Love In The Heart of The City, The Soul of a Man, Share Your Love With Me, Let Me Back In, Many Rivers to Cross, I Play Dirty, I'm Gonna Cry a River and more - many in home made picture sleeves - various years and conditions
Folder of c1830's to 1950's stock and share certificates including 1832 Gravesend and Milton Steam Boat Co, 1809 Newcastle Banking Co, 1923 Derby Dome Wyoming Oil Co, Interest Warrant US Car Co, East India Annuities, Dunford Steamship Co, Bagnall Sheet Metal Co, Kent Coal Concessions Ltd, Northumberland Shipbuilding Co; Together with eleven parchment topographical Britain indentures (1609 to 1772), various family names (family tree interest) and Robert Morden Durham map 1722.
1906 Darracq 10/12 Model RReg. no. BB 1148Chassis no. 9466Engine no. 9435VCC dating Certification number 449Automobiles Darracq S.A. was a French motor vehicle manufacturing company founded in 1896 by Alexandre Darracq. Using part of the substantial profit he had made from selling his Gladiator bicycle factory, Darracq began operating from a plant in the Parisian suburb of Suresnes. The company started by building electric motor carriages until 1900 when they produced their first vehicle with an internal combustion engine to a Léon Bollée design. This was not a success and in early 1901 they launched a single cylinder 6.5hp light car. This was Darracq’s first successful model. In late 1902, a consortium of London financial interest initiated a takeover of Darracq resulting in the creation in early 1903 of A Darracq & Co. Ltd. The Darracq automobile company prospered and the 1904 "Famous Fifteen" was a production model of exceptional quality that helped the company capture a substantial share of the French auto market. Three years later, the company expanded to Britain, incorporating the A. Darracq Company (1905) Limited. In 1905 Ribeyrolles designed a 22.4 litre V8 with ohv which took the Land Speed Record on a public road at Arles with a speed of 108.5 mph. This brilliant engine can be considered as the ancestor of all subsequent V8s. The car later proved capable of 120 mph and can be seen in VSCC events ably driven by Mark Walker. In 1919 Darracq took over Clement Talbot including the British Talbot and Talbot models. Cars built at Suresnes were then marketed as Talbot-Darracq and in 1920 merged with the Sunbeam Motor Car Co. of Wolverhampton and the name of company changed to. S.T.D. Motors Ltd. The early history of chassis number 9466 seems to have been lost in time. However, two important parts are attached to the car. Firstly, a coachbuilder’s plate attributing it to A Vendrine & Cie, Carrossiers, Courbevoie, Paris and a supply plate of Garnet, The Motor Depot, Manchester. Little is recorded in the history file prior to the late 1950s when the buff logbook records a Mr Goodey of Twyford owning the car. The car was presented to the VCC for dating in 1954 and validated as 1906. Further investigations in 2014 have confirmed this date. Photographs from this time show the car with two-seater bodywork. By 1974 BB 1148 had found its way to the collection of renowned Irish collector Jimmy Boland. Subsequently acquired by Simon Thomas in 1994 the car found its way to Northern Ireland. Photographs on file show the car in well patinated condition. There are many bills on file and correspondence from other Darracq owners worldwide showing it's recommissioning and restoration. The car then returned to mainland UK and the vendors late father acquired the car in 2016. Now offered for sale in good condition, the car has the benefit of a detachable rear entrance tonneau body meaning four passengers can be carried in comfort. There is a current V5C, a VCC of GB dating certificate, an old-style buff logbook and an extensive history file with copies of period articles, old tax discs and a helpful starting and driving technique tips sheet. The new owner would be welcomed at many of the VCC events, especially the single and twin rallies for which the car is eligible as well as many French Events for cars of this age.
Dame Paula Rego R.A. (British, born 1935)Le Weekend signed and titled 'Le Weekend/Paula Rego' (on canvas verso)oil on canvas30.5 x 40.5cm (12 x 15 15/16in).(unframed)Painted circa 1952Footnotes:ProvenanceThe Artist, by whom gifted toDavid Wright, and thence by descentPrivate Collection, U.K.The present lot was gifted by the Artist to her friend and fellow student at the Slade School of Fine Art, David Wright, when the two were studying there in the 1950s. Wright gained entrance to the Slade in 1950, following two years of National Service with the RAF, and met Rego when he was in his second year there - she was in the year below him - and they went on to share a close friendship until his death in 2013. They often travelled together, and Le Weekend depicts the holiday the two took to France in 1952, the location deftly captured in the title.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A pair of fine and rare French banded amethyst quartz and ormolu mounted pot pourri urns and covers, 19th century, each domed cover with a pierced guilloche rim cast with flowerheads, descending to ovoid bodies festooned with fruiting vine and cast with twin satyr mask handles, above a waisted socle and square section plinth cast with imbricated laurel, 37cm high, 15cm wideProvenance: Private Collection, LancashireWith its striking colours and intricate figuring, amethyst quartz has been used by the finest bronziers and furniture makers throughout the late 18th and 19th centuries. A pair of vases by Matthew Boulton cut from the same, rare material, from the collection of the Earls of Portalington, was offered at Bonhams, 20 November 2007, lot 77 (£96,000). While the material was evidently used by important makers in England, the present lot is more likely French in origin. The model, with its fine fruiting garland in the style of Duplessis, and its distinctive wreath finials, has appeared at Sotheby's Amsterdam, 16 April 2007, lot 339, only the bodies were executed in white marble.Interestingly, the wreath finial and pierced rim adorned with flowerheads share distinct similarities with Meissen shapes of the late 19th century. Note for example the pair of cobalt-ground urns sold at Christie's New York, 9 June 2014, lot 286.An amethyst quartz topped gueridon by Maison Millet offered at Christie's London, 10 September 2013, lot 150 (£49,875), is a testament to this fine material's enduring popularity with renowned makers of the late 19th century.Condition Report: Each of the urns bears the usual minor marks, knocks and scuffs overall consistent with age and use, and the gilding is a little rubbed overall. It has a warm, slightly coppery colour in places.Both covers bear old chips and restorations (one of which with a lacking section of circa 1cm and old adhesive residue to the underside), and two of the corners on the bases are chipped on each urn (circa 0.5cm chips).The stone is naturally veined and variegated, with quartz inclusions, however there are areas of stabilisation and filling (in dark red) to the bodies where the stone may have chipped or was naturally irregular.One of the vases in particular has a horizontal split, which stretches approximately half way around the body, though it is not possible to ascertain how deep this fissure is. This being said, both urns are entirely stable overall.The protruding knops to the centre of the bows may have once suspended chains, though this is not certain. Condition Report Disclaimer
* Smith (John Raphael). African Hospitality, published Feby 1st. 1791, uncoloured mezzotint after George Morland, trimmed to the image on three sides, 475 x 620 mm, mounted, framed and glazedQty: (1)NOTESAn anti-slavery image of African natives saving a white English family from a storm which has shipwrecked them. Four lines of verse below the image read 'Dauntless they plunge midst the vengeful waves, and snatch from death the lovely sinking fair. Their friendly efforts lo! each Briton saves! perhaps their future Tyrants now they share'.
A rare Arts and Crafts oak architectural clock, designed by C F A Voysey (1857-1941), c.1902, with a domed top with a wood pinnacle, a shaped top moulding, the dial inlaid with pewter letters 'Tempus fugit', enclosing a simple clock movement with striker and pendulum, 26.8cm wide 17.7cm deep 50cm highVoysey first designed a clock of this form with a decorated face for his own home, 'The Orchard' in Chorleywood, in 1895. It is shown in a photograph of the hallway. The original design for this is now in the collection of RIBA, and the clock itself held by the Victoria and Albert Museum, London.The architectural form of the piece demonstrates Voysey's belief in simplicity of decoration without which, he said, 'no true richness is possible'. It can be compared to the clock tower he designed over the stable entrance at the Sturges house near Puttenham, 1896, his unexecuted 1889 design for a Tower House and the house he built for Mrs Forster at 14 South Parade, Bedford Park, Chiswick in 1891, all of which share the bold upright facia under an extended capped roof of this clock.In common with a number of Voysey's designs, which he reused for later commissions with or without minor amendments, a limited number of other versions were created. Two examples in oak are known, and a few are known to have been produced in aluminium by W Tingley, one of which was shown at the 1903 Arts and Crafts Exhibition.Condition report: See additional images and video.Reset to the right front moulding across the top. Hands discoloured. Clock not working. Scuffs to the keyholes. Striker resoldered.Acquired by the present owner from a restorer in 2008-9. Replaced movement. All the legs have be restored - visible lines horizontally below the apron height. These have been matched and stained in. More images of the legs are attched to the description.
SHARE CERTIFICATES A collection of 5 Share certificates from the 1940's and 1950's. 100 shares Tobacco Products Corporation 1929, 100 shares of International Nickel Company (Inco) 1941, 25 shares Boston & Albany Rail Road Company 1947, 5,652 shares Pittsburgh Lake Erie Rail Road Co 1950 and 50 shares Magma Copper 1959. Comes with a copy of the Morning Herald from the 21st August 1807. It is uncertain whether this is an original or a copy. Generally good
CLITHEROE Fixture card and balance sheet of Clitheroe Football Club from season 1889/90 . Clitheroe played matches against Blackburn Rovers , Everton , Newton Heath Central , Manchester Celtic , Nelson , Preston St James , Burnley Union Star , Preston St Joseph and others. Comes with a Clitheroe Football Club share certificate dated 2/1/1893. Generally good
Flemish school, David Teniers II and/or workshop (1610-1690): The guard room, oil on panel, 17th C. -- Description: Work: 64 x 48,8 cmÊ Frame: 81 x 65 cmÊ Ê The work is accompanied by two documents from Mr. Jan Bender, honorary chief restorer of the Royal Museum of Fine Arts in Antwerp. In the most recent document (May 2018), Mr Jan Bender, who also quotes Prof. dr. em. Roger D'hulst (Professor of Art History at Ghent University and for some time chairman of the Rubenianum in Antwerp), emphasizes David Teniers' share in the painting.Ê The work has been professionally restored by Mr. Jan Bender in 1991.Ê A signature (D. Teniers f...) at the bottom in the middle.Ê Ê The representation of a guard room is certainly not exceptional for the oeuvre of David Teniers and his workshop, see, for example: Rijksmuseum, Amsterdam, object number SK-A-398 (link). Ê
NO RESERVE India.- Singh (Sobha) See India/ Kangchenjunga near Darjeeling, lithograph printed in colours, 990 x 630 mm. (39 x 24 3/4 in), some damage and loss to upper left edge, other nicks and abrasions, not mounted on linen, unframed, published by Gov. of India, printed by Claridge & Co. Ltd. Bombay, [circa 1935]; together with 3 other posters, including The Netherlands. East Indies/ Their Share in World Production, a KLM aviation poster Amsterdam - Batavia, and Hogervorst's Tentoonstelling:Goudsche Glazen - Ontwer, lithographs, various sizes, all un-mounted, numerous nicks and tears, unframed, 20th century (4)
Mid 10th-late 12th century AD. A long double-edged sword of Oakeshott Type Xa and Petersen Type X with tapering elegant blade, shallow fullers running down within few centimetres of the point, inlaid letter 'O' to one side; undecorated cruciform cross-guard of style 1; stout tang and cocked hat type pommel of Oakeshott style E; German workmanship. See Petersen, J., De Norske Vikingsverd, Oslo, 1919; Oakeshott, E., The Sword in the Age of the Chivalry, London, 1964(1994); Oakeshott,E.,Records of the Medieval Sword, Woodbridge, 1991; a similar specimen in Scalini, M., A bon droyt, spade di uomini liberi, cavalieri e santi, Milano, 2007, pp.104-105; for further examples of type Xa see Oakeshott, 1991, pp. 37 ff. 1.5 kg, 89.5cm (35 1/4"). From a 1980s collection, acquired by the vendor’s family; thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato. In 1980, Oakeshott created a sub-variant of the Type X, which he designated as Type Xa; originally all examples of this variant were put into the type XI classification. The new Type Xa does not, however, share the Type XI's long slender blade profile. While it has the same broad blade profile as the Type X, the fuller of this subtype is distinctly narrower in width, yet it maintains the same length. This may be a fine distinction, being judged by the singular detail of the fuller's width, but Oakeshott felt that it was important enough to create a new category to his typology. This type of swords were typical in the period between 1000-1050 AD, and were very common in the central Europe (Scalini, 2007, p. 104"). Fine condition.
Tom McNeely (Canadian, B. 1935) "Great American Chiefs" Signed lower right. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood Art Print Great American Chiefs accompanied by the five 32c American Indian Dances stamps issued June 7, 1996. The American Indian. Iroquois . . . Seminole . . . Apache . . . Sioux . . . these are just a few of the Native American tribes and nations that developed their own cultures and ways of life long before the white man discovered the "New World." The Indians' history is as rich and varied as the histories of the many different peoples who later inhabited our land. Indian art, Indian values, reverence for nature, and Indian culture influence America even today -- and provide a rich heritage for all Americans to share. This magnificent painting depicts four famous Indian chiefs -- Sitting Bull, Crazy Horse, Red Cloud and Chief Joseph. Image Size: 19.25 x 17.5 in. Overall Size: 30 x 22.25 in. Unframed. (B12173)
Skip Whitcomb (American, B. 1946) "Summer Garden Flowers - Marigold" Signed lower left. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover for the 29c Marigold stamp issued April 28, 1994. Although the name Marigold as used in America refers to members of the Tagetes genus, which includes African and French Marigolds, the pot Marigold of the Calendula genus is the flower from which the name was derived. Originally dubbed Mary's Gold by ancient herbalists, this species and other unrelated plants also share the Marigold moniker. Interestingly, the varieties called French and African, which are among the most common garden flowers in North America, are misnamed. Both are in fact native to Mexico. Despite this confusion, the popularity of these fiery blooms of yellow, orange and red continues to thrive. Making distinctive additions to summer flower beds and window boxes, these handsome annuals flourish in porous soil in a sunny location. Marigolds varieties grow in varying heights from six inches to almost three feet, allowing for an assortment of uses. The flower heads also differ in size and petal type. Some resemble small carnations while others look like daisies. Many varieties also possess strongly-scented foliage that acts as a natural insect repellent. Image Size: 15.25 x 13 in. Overall Size: 18 x 15 in. Unframed. (B14712)
John Swatsley (American, B. 1937) "African Fish Eagle" Signed lower right. Original Oil on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork originally appeared on the Fleetwood First Day Cover for the U.S. 14c Official Mail Postal Card issued February 26, 1985. The grandeur of eagles has inspired men since the Stone Age when drawings of eagles first appeared in European caves. Indeed, the eagle is so respected that it is used as a symbol for everything from the seals of great nations to the human soul. And rightly so, for the eagle is the most majestic of all birds. Few if any other birds dare challenge this royal monarch of the skies, for while normally peaceful, the eagle is capable of defending his territory with frightful authority. Devoted parents, eagles carefully tend their young and share in the responsibilities for feeding and guarding the eaglets. The African Fish Eagle, depicted on this artwork, is one of the most striking of all eagles. Similar in appearance to the Bald Eagle, the Fish Eagle has a white head and breast but lacks the Bald Eagle's white tail. A native of the tropical regions of Africa, the African Fish Eagle is skilled at catching fish while skimming above the surface of rivers and lakes. Image Size: 14 x 12 in. Overall Size: 20.25 x 18 in. Unframed. (B09488)
British Military Authority 5 Shillings ND (1943), brown on blue & green underprint, virtually UNC , together with a a collection of British Armed Forces Vouchers comprising: 2nd series: £1 lilac with metal security thread, 5 shillings watermarked paper & sixpence with metal security thread; 3rd series: £1 with metal security strip, 4th series: £1 lilac & green, without punch cancellation & sixth series: 50p, 10p & 5p, all printed by Bradbury, Wilkinson & Co; all mint state as issued, together with The Royal Bank of Scotland plc 5 x consecutively numbered £1 27th June 2000, C/86 828912 - 828916, signatory F. Goodwin, mint state as issued & an unused motor fuel ration book, issued by the British Government as preparation for the possibility of petrol rationing during the 1973 oil crisis (coupons unused as rationing never came about), as issued & a share certificate for one £10 share in the Old Silkstone & Dodsworth Coal & Iron Company Limited, signed & dated 25th January 1883 as share No. 5096 to John Taylor of Fernholme Oldham, superb mint state as issued
Approximately 250 x Foreign Banknotes, wide range of countries, majority from circulation, together with Brazil a consecutively numbered run of 350 x 1 cruzeiro (serial No. 075651 - 076000), no date (1954-1958) Marques de Tamandare at obv. centre, sign: C de Souza Lemos & J M Alkimin UNC; 14 x imitation USA banknotes (for 3, 9, 25 million dollars etc) majority satirising various politicians (G W Bush, Hilary & Bill Clinton etc) & 22 x reproduction Confederate States notes; lot also includes 25 x UK postal orders (all QEII except 1 x George VI), various amounts 5p to £3 & all bar 4 unused & 42 x bond & share certificates, mostly British, American & French, majority dated 1940's to 1980's & one dated 1899 for 20 x £1 shares in The British Motor Company Ltd in the name of Eleanor A., Tennant, all in very good condition; all housed in a box file
Property of a deceased's estate c.1972 Aermacchi Racing MotorcycleFrame no. AERDAV350N*252925Engine no. noneAermacchi remained independent only until 1960, when Harley Davidson purchased a 50 percent share in the motorcycle division. The horizontally-slung engine became a marque trademark, and most of their output had this configuration, which created a low centre of gravity and made for a well-cooled engine unit. This Aermacchi racer is part of a deceased's estate, and has been standing, unused, for an indeterminate number of years. Thought to be a road-model frame and possibly either a 250 or 350 engine, it was purchased by the deceased owner at an unknown date. With its later-type disc brakes and Ceriani-type forks, we know only that it was paraded for the late owner by a friend. It has recently been started and run for a short period, when gears were found to select. A new owner should only need to carry out some re-commissioning and safety checks before returning to the track. There are no documents with this machine.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
c.1965 Aermacchi Harley-Davidson ML 125Frame no. 600398Engine no. 600398In 1960, an unlikely alliance between the Italian Aermacchi concern and Harley-Davidson resulted in the former's lightweight motorcycles being sold in the USA alongside H-D's traditional v-twins. Marketed as Harley-Davidsons in the USA and as Aermacchi Harley-Davidsons elsewhere, the first models offered were re-badged versions of Aermacchi's 250cc and 350cc four-stroke horizontal singles. The latter remained in the Harley range until the end of the 1974 model year, falling sales forcing their discontinuation. Aermacchi's two-strokes also formed part of the line-up until 1978, at which point H-D's new owners - AMF - sold off their share of the Italian concern to Cagiva. In recent years there has been an upsurge in interest in these Italian-built Harley motorcycles, some 50,000 of which were sold in the USA during the two firms' 18-year association. This Aermacchi Harley-Davidson ML 125 is offered for restoration and sold strictly as viewed. There are no documents with this Lot.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.This lot is subject to the following lot symbols: NN If purchased by a UK resident, this machine is subject to a NOVA declaration, undertaken by Bonhams upon a successful sale, to facilitate the registration of the machine here in the UK.For further information on this lot please visit Bonhams.com
1964 Montesa Impala Sport 175Frame no. 3M2389Engine no. 3M2389Montesa was founded in the mid-1940s in Barcelona by Pedro Permanyer and Francisco Bulto. When cutbacks forced the closure of Montesa's competitions department in 1958, Bulto left the company to found Bultaco, but before then his engineering genius had bequeathed Montesa a range of popular two-stroke roadsters. The company first entered road racing in the late 1940s with a successful 98cc single, which as followed by a 125, and in 1946 Montesa won both the 100cc and 125cc Spanish national championships. Successful forays into international Grand Prix racing's 125cc class followed. Introduced in 1962, the Impala was Montesa's saviour, clawing back market share from Bultaco to such an extent that Montesa had to build a new factory to satisfy demand. A simple 175cc two-stroke single, the Impala had an unremarkable specification, yet its success demonstrated that it was just what the public wanted. A 250cc version soon followed. Stung by the success of Bultaco's new Sammy Miller-developed trials iron, Montesa returned to competitions in the late 1960s but from then onwards its impact on motorcycle sport would be in trials and moto-cross. This Impala Sport 175 had already been restored when it was purchased in Spain. There are no documents with this Lot.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.This lot is subject to the following lot symbols: NN If purchased by a UK resident, this machine is subject to a NOVA declaration, undertaken by Bonhams upon a successful sale, to facilitate the registration of the machine here in the UK.For further information on this lot please visit Bonhams.com
c.1973 Yamaha TA125 Grand Prix Racing MotorcycleFrame no. 400-990905Engine no. AS3-990905Following the works team's withdrawal from Grand Prix racing at the end of the 1968 season, Honda and Suzuki having pulled out at the end of 1967, Yamaha continued to be well represented in GPs thanks to its over-the-counter racers supplied to privateers. However, while Yamaha catered for the 250cc and 350cc classes with the TD and TR series respectively, there was no official offering for the 125cc class at that time, although many privateers campaigned race-kitted YAS1 and AS2 roadsters. Following the introduction of the AS3 roadster for 1971, Yamaha at last took the opportunity to offer a proper factory-built, 125cc production racer – the TA125, introduced at the start of the 1973 season – although it continued to share many components with its road-going cousin. The Yamaha factory had officially returned to Grand Prix racing in 1970, and works rider Kent Andersson was given a pre-production TA125 to race in 1971. When the over-the-counter TA125 was withdrawn in 1975, it marked the end of the line for Yamaha's air-cooled production racers. This superb example of Yamaha's historic production racer had already been restored when it was acquired for the Museum. There are no documents with this Lot. Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.This lot is subject to the following lot symbols: NN If purchased by a UK resident, this machine is subject to a NOVA declaration, undertaken by Bonhams upon a successful sale, to facilitate the registration of the machine here in the UK.For further information on this lot please visit Bonhams.com
Whisky Miniatures - a 25 year aged lowland single malt by Auchentoshan Distillery, another 10 year, 5cl; Aberfeldy 15 year aged scotch; The Original Mackinlay 21 year finest scotch whisky; Aberlour 12 year aged and 10 year aged single highland malt scotch; Auchentoshan triple distilled lowland whisky; anCnoc 12 year; Dewar's; The Arran Malt; The Angel's Share; Avonside; Aberlour Glenlivet 12 years; others QTY
unmarked, the gold inlaid steel head with compressed gold inlaid pommel, with British crown surmounting initials ‘CE’ within arched and foliate borders, the lower panelled section of the head formed of finely inlaid foliate scrolls with inlaid ribbed and plain collars below, the tapered snake wood stick with inlaid gold eyelet and later brass ferule to point(Steel head 6.5cm long, pommel 3.3cm diameter, overall length 94.5cm)Provenance:By repute Prince Charles Edward Stuartand then gifted to a French Noble FamilyBy descent till circa 1905 - 1909Presented to Alfred William Cox (1857 – 1919)By direct descentExhibited: Stuart and Cromwell Relics, and articles of interest connected with the Stuart Period , Cambridge Antiquarian Society, Guildhall Cambridge 15th-20th May 1911, item 5 (lent anonymously) Note: Although many relics of the Jacobite Cause exist, few are directly and personally connected with the Stuart family, or a single member, so directly. This walking cane was no doubt an important and highly personal accessory of the fashionable Prince Charles Edward Stuart, used within the Courts of Europe when petitioning his cause. A history of portraiture illustrates the Prince as a young, fashionable, educated and confident man. With much of his life spent in Europe in the presence of many Royal courts, he was keen to portray an image of the upmost grandeur at all times. In the 18th century, it was de rigueur to own a fine walking cane; a reflection of one’s societal status, wealth and artistic interests. Sadly, no portraits can be found of the Prince which feature a walking cane, as these more often focus on official symbols of office and heraldry. However, in the Scottish National Portrait Gallery’s collection, Paolo Monaldi & Pubalacci & Silvestri’s exceptional painting, Prince James receiving his son, Prince Henry, in front of the Palazzo del Re , Prince Charles’ father James and his court can be seen with several walking canes, serving as a statement accessory; a clear indication of the fashionable taste amongst the Stuart’s social circles. It is remarkable to consider the cane’s long history with such few breaks in ownership. When it was exhibited in 1911, it was recorded as having been ‘used by Prince Charles when he was at the French court, and was presented by him to a French nobleman, in whose family it has remained until a few years ago, when it was presented by the present holder of the title to the lender’.For some time, the cane was considered to have been a gift to Prince Charles from King Louis, however it has not been possible to substantiate this. Despite this, the worked elements of the cane are certainly European, and draw comparisons to some of the finest gold inlaid and steel metalwork made in France and Germany. A closer look at the inlaid decoration is revealing: the placement of the British crown above his initials rather boldly indicates his rightful claim to the throne. Being the monarch's crown, it is possible that this cane was made for Charles after his father's death and he titled himself King Charles III. Indeed, other personal monogrammed items which survive feature the initials CP for Carlos Princepus . While there is some speculation as to whether the cane was gifted by King Louis, there is no doubt surrounding the quality of manufacture. Moreover, the gifting to a French noble family by Prince Charles successfully traces the provenance back to Charles’ own lifetime; a highly unusual feat and few comparisons exist outwith established museum collections. By the 1911 exhibition the cane was the property (although lent anonymously) of Alfred William Cox. Alfred was a remarkable character of Victorian society. Son of Alexander Robb Cox (1826-1880) he came from a long line of successful Scottish jute merchants and factory owners working in Dundee and Liverpool. In 1879, and on failing his entrance exams for the Military Academy at Woolwich, he was given £100 and an allowance to travel to Australia. His father's intention was for him to learn about the sheep trade and presumably set up his own. But before long he had fallen into his favourite leisure pursuit and was again involved in gambling on horse racing, which had perhaps originally led to his failed exams back in England. On hearing this, his father threatened to cut his allowance and seek his return. For a short time at least, Alfred went into sheep farming. This was not to last long however, his interests inevitably shifted over a game of cards in which he won a share in what became the Broken Hill silver mine, for a sum £120. He would return to England a wealthy man in the late 1880’s with his shares value then estimated at £1,260,000 (some £70m in today’s terms). On his return he became one of Britain’s most successful race horse owners and had many renowned winners, perhaps most famous is Bayardo, a short career which is still remembered today. Late Victorian and Edwardian horse racing at the highest levels was a highly a social event. A fashionable cane such as this would have served Alfred well when in attendance at the Royal Enclosure, and especially when in the company of the Prince of Wales (later King Edward VII) who frequented there. Alfred Cox had a small but fine collection of canes, this no doubt the highlight. How it came into his collection when it was ‘presented’ to him by the Noble French family remains a mystery, but family tradition has often held that it may have been in lieu of a debt for a horse, stud fees, or likely gambling.
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