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Lot 124
A good and rare late 20th century gilt and patinated brass limited edition 150th Anniversary Atmos clock with original handmade glass dome and case.Jaeger-LeCoultre Number 603466, Model 540. The white enamel Roman chapter ring with counterpoised blued steel hands and open centre revealing the front plate signed Atmos, Jaeger-LeCoultre, Fourteen (14) Jewels Swiss 540, the jewelled drum movement with Swiss lever escapement supported by patinated brushed columns framing the slow-beating torsion pendulum with cylindrical bob set with six timing screws, mounted on a circular base with spirit level between twin applied medallions N.A. 138 and 150, the plinth with curved inscription plaque reading Presented to H. Michael P Miles, Tai Pan with respect and appreciation, Dean D. Thornton, President Boeing Commercial Airplanes, under the original hand blown glass dome. Together with the original fitted presentation/carrying case. Running. Height to the top of the dome 35cms (13.5ins). (2)This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 39
JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Square Suite Large A". 1968 - 1969Ink on paper.Signed on the back.Work referenced in the artist's online catalogue with number: 0651.Size: 70 x 70 cm; 89 x 89 cm (frame).In this composition Joan Ponç's imaginary is synthesised in all its splendour. The perspective of time has reaffirmed the relevance and exceptionality of his work, as well as the intensity of his voice and the need for its rediscovery.A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was such a success that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). In his work Ponç manifests himself as a sorcerer artist, who conceives art as magic, as an extraordinary power, an incantation, something supernatural. But the great Catalan master was not only that; his art is also an exploration of the negative, an attraction to the perverse and the diabolical, a reflection of a universe plagued by monstrous and evil beings, satanic and perfidious spirits, a reflection of the fascination the artist felt for evil.
Lot 40
JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Square Suite Large A". 1968-1969Ink on paper.Signed on the back.Work referenced in the artist's online catalogue with number 3537.Size: 70 x 70 cm; 102 x 102 cm (frame).In this composition Joan Ponç's imaginary is synthesised in all its splendour. The perspective of time has reaffirmed the relevance and exceptionality of his work, as well as the intensity of his voice and the need for its rediscovery.A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was such a success that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). In his work Ponç manifests himself as a sorcerer artist, who conceives art as magic, as an extraordinary power, an incantation, something supernatural. But the great Catalan master was not only that; his art is also an exploration of the negative, an attraction to the perverse and the diabolical, a reflection of a universe plagued by monstrous and evil beings, satanic and perfidious spirits, a reflection of the fascination the artist felt for evil.
Lot 6
A small Central European spirit flask, probably Swiss, 18th centuryPerhaps Flühli, in translucent cobalt-blue glass, the slender rectangular form with canted corners and rounded shoulders, decorated with bands of trailed and combed opaque white lattimo threads, the neck with a pewter screw mount, 13.3cm highFootnotes:A very similar flask is illustrated by Heinz Horat, Flühli-Glas (1986), p.127, no.147 and another by Thomas Dexel, Gebrauchsglas (1977), p.178, fig.241 (left). Others are in the collection of the Musée Ariana in Geneva.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
Lot 600
A Victorian silver tea and coffee service, comprising: teapot, coffee pot, spirit kettle on stand; cream jug and two-handled sugar bowl, by Atkin Brothers, Sheffield 1892/3, all of fluted oval form with embossed floral decoration, all the pots with ebonized handles and finials, 81.8oz gross (burner metal and not included in weight), kettle on stand 29cms high.
Lot 449
A collection of silver dressing set items, all decorated with Reynold's angels, including a silver portable curling tong heater, the spirit burner section stamped E.P Paris, Birmingham 1902, maker's mark rubbed, a hair and clothes brush by William Comyns, London 1898, silver vanity jars, a silver tray, various makers and dates, weighable silver 210gms (10) Condition Report:Available upon request
Lot 923
Two identical square silver plaques engraved "There is no limit to what a man can achieve in his waking hours - providing he is awake. Walter Amstutz to Peter Angelkort Xmas 1965", maker WW, London 1965, two Concorde spirit labels, "Gin" and "Whisky", one other and a sterling silver propelling pencil, weighable silver ___4.5oz.
Lot 388
A collection of assorted plated items, including a three-piece tea set, comprising spirit kettle and heater stand, teapot and sugar bowl, a Sheffield plate inkwell, a Sheffield plate wine funnel and a chamberstick.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 49
An important George II giltwood side table with a specimen top comprised of assorted hardstones, marbles and minerals including Blue JohnThe table 1735-1740, the top 18th centuryThe geometrically veneered top inset with assorted specimens, comprising a triple tablet centred by an octagon, flanked by square and rectangular blocking, encompassed by an octagonal pattern border, within a conforming square and rectangular block surround, above an egg-and-dart moulded top edge, over a Vitruvian scroll frieze with acanthus spray angles, the drapery swagged apron below centred by a classical female mask against a draped surround, on four volute scroll eared cabriole legs each headed by a clasped carved lion mask above an acanthus spray and bellflower pendant, terminating in lion paw feet with hairy hocks, some losses to the border of the specimen top, the gilding has been applied to a mahogany base, 131cm wide x 67cm deep x 82cm high, (51 1/2in wide x 26in deep x 32in high)Footnotes:ProvenanceRipley Castle, located near Harrogate in North Yorkshire.The boldly carved Vitruvian scroll frieze bracketed by acanthus leaf ornament features on a side table of earlier date. It was designed by the architect William Kent for Ditchley Park in circa 1726 and was carved by James Richards. It features in S. Weber, William Kent Designing Georgian Britain, New Haven, 2013, fig. 18.31, p. 491. A related giltwood and gilt gesso side table, which is attributed to Benjamin Goodison (c.1700-1767), forms part of the Royal Collection and is illustrated in The First Georgians, Art and Monarchy, 1714-1760, ed. by D. Shawe-Taylor, 2014, London, fig. 109, pp.'s 202-203. Dating to circa 1730, this impressive Royal table incorporates closely comparable elements such as the Vitruvian scroll frieze with acanthus angles, the central classical female mask on a draped background and the distinctive drapery swags to the apron. This table along with a similar gilt variant companion of the same date, the latter also attributed to Goodison, are noticeable in an 1816 watercolour by Charles Wild which depicts The Queen's Drawing Room at Windsor Castle, Ibid, fig. 45, p. 202. Both, despite their elaborate gilt gesso tops, are shown in this watercolour with two ship models from George III's collection positioned on top of them. Although evidently, they were transferred from this location to the Queen's Audience Chamber shortly afterwards and probably as soon as during the reign of George IV in the 1820s. During the early 20th century, the celebrated English furniture collector, Percival D. Griffiths, assembled under the auspices of the furniture historian, Robert Wemyss Symonds, a collection which at the time was considered the finest in the country. Griffiths developed a penchant for certain elements associated with the Neo-Palladian style (often categorised as 'lion mask furniture'), typified by those aspects exhibited on the offered lot. Indeed, key items in his collection paralleling this style are illustrated in R.W. Symonds' seminal work, English Furniture from Charles II to George II, 1929, London, fig.'s 69-72 and 177-180. The Griffiths Collection was sold at Christie's in 1939 after Griffiths died while hunting with the Whaddon Chase on 11th December 1937.Furthermore, another table, a mahogany console with a marble slab top dating to circa 1735, has a number of shared characteristics with the present example and this appears in English Furniture from Charles II to George II, 1980, Woodbridge, fig.'s 147 & 177, pp.'s 159 and 180. Both have very similar egg-and-dart moulded top edges, Vitruvian scroll friezes and perhaps most notably each one is on cabriole legs carved with lion masks and acanthus leaves which terminate in hairy hocks and lion paw feet. In fact, this particular mahogany table, which previously formed part of the renowned Griffiths collection, sold Christie's, New York, 17 October 2008, Important English Furniture, lot 20.It is also interesting to note that a mahogany drop-leaf table, that is likewise dated circa 1735, has lion masks carved to its legs and comparable lion paw feet which are certainly more akin in their appearance and execution to those featuring on the offered model than on the previous table. This related drop-leaf features in Ibid, fig.'s 71 & 127, pp.'s 96 and 141.A pair of tables in the collection at Temple Newsam [LEEAGFU.1954.009] - the design of which has been attributed to Henry Flitcroft (1697-1769), who was commissioned to conceive the interiors of Ditchley Park - were completed during the period 1736-1741. A table probably designed by Flitcroft and attributed to Matthias Lock (1710-1765), combining related Vitruvian scroll and swag ornament sold Christie's, New York, The Ann and Gordon Getty Collection, 22 October 2022, lot 331. Flitcroft, a former assistant to Kent, was likewise a protégé of Richard Boyle, 3rd Earl of Burlington (1694-1753). The latter became a leading exponent of the Neo-Palladian style following his final Grand Tour of Italy in 1719 when he rebuilt Burlington House as a homage to the architectural designs in Andrea Palladio's I Quattro Libri dell'Architettura, first published in 1570. Moreover, two designs for pier or side tables, completed by William Jones for his 1739 publication, 'The Gentleman or Builder's Companion', pl.'s 27 and 28, possess some attributes which are analogous to those of the present model. Between the two designs these attributes include: a Vitruvian scroll frieze, central classical female mask, swagged apron, cabriole-like legs and similar feet. Both drawings feature in Pictorial Dictionary of British 18th Century Furniture Design, 2000, Woodbridge, pl.'s 27 & 28, p. 263. A further giltwood table, evidently conforming in numerous details and definitely close in spirit to such William Jones designs, is illustrated in A. Bowett, Early Georgian Furniture, 1715-1740, Woodbridge, 2009, pl. 5:30, p. 215. This version is dated by the author to the period 1735-1750 and clearly combines Neo-Palladian motifs such as the classical mask, prominent shell and Vitruvian scrolling with early 'indications' of the then burgeoning Rococo style. However, arguably the above table is perhaps nearer to circa 1735, since it seems to fuse the late Baroque style with Neo-Palladianism, so effectively such an integration suggests a slightly earlier date of execution in comparison to the former. The Specimen Tabletop and 'Blew John'The marvellous 18th century specimen top surmounting the offered lot appears to be comprised of an assortment of hardstone, marble and mineral types which are seemingly predominantly, or possibly exclusively, of indigenous origins. Although most of these segments are difficult to currently identify with any real degree of certainty, it is nonetheless probable that a minimum of two varieties of Blue John are included therein, and they are most likely to be 'Old Tor Vein' and 'Treak Cliff Blue Vein'. However, there is perhaps an argument to suggest that there are signs of 'Odin Vein' as well. Blue John is a variety of the common mineral fluorspar, which is composed of calcium fluoride (CaF2). Fluorspar can be in any colour, but it is known as Blue John when it is bluish purple with a white banding, thought to be caused by inclusions or impurities. The name Blue John was not recorded until 1766, when Lady Mazarine, one of th... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 72
A Medieval Nottingham alabaster relief carved rectangular panel depicting The Coronation of the VirginLate 15th centuryThe enthroned Virgin clad in a folded draped robe and flanked by God the Father and God the Son holding the crown over her head, each wearing draped robes and elaborate crowns and standing on architectural plinths, the holy spirit in the form of a dove hovering above, the panel with some minor traces of polychrome, mounted on a later metal plate fixing, the plaque 40cm high x 25.75cm wideFootnotes:ProvenanceThe collection of Sir Michael and Lady Oppenheimer DD (3rd Baronet, British, 1924-2020), Jersey, thence by family descent. Sir Michael Oppenheimer's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire which was the Harvey Baronet's main family seat from 1788 until 1945.Sir Michael's paternal family wealth was derived from mining interests in South Africa and his father Bernard Oppenheimer, as Chairman of the South African Diamond Corporation, received a baronetcy from George V in 1921 for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The Oppenheimer family was involved with the prestigious De Beers brand over the subsequent decades of the 20th century and Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.From the late 1300s up until the Reformation alabaster carving was a major production in the Midlands -specifically in Nottingham. Altarpieces and smaller panels were produced for the market at home, but a great number were exported -there are even some surviving examples in Iceland. They were usually painted and gilded and had a distinctive iconographic style. During the Reformation such works were hidden in England or completely destroyed. It is largely thanks to the preserved European examples that historians and academics have been able to uncover the history behind these fascinating objects.Similar panels depicting 'The Coronation of the Virgin' feature in Francis W. Cheetham's books, 'English Medieval Alabasters, A Catalogue of the Collection in the Victoria and Albert Museum' and 'Alabaster Images of Medieval England'. The author illustrates a number of examples of 'The Coronation of the Virgin'. Some are more simplified, including one with only Christ as God the Son crowning the Virgin. However, on the present lot the trinity comprised of God the Father, God the Son and God the Holy Spirit are shown above the Virgin's head. A close comparable shows the Virgin wearing a crown and a cloak, with the Holy Spirit above her head and God the Father and God the Son flanking either side of her. Closely related to the offered lot, this panel also shows these two figures with their bare feet resting upon pedestals and both wearing similar elaborately tiered crowns. Comparable LiteratureF. W. Cheetham 'English Medieval Alabasters, A Catalogue of the Collection in the Victoria and Albert Museum', Boydell Press, 2005F.W. Cheetham, 'Alabaster Images of Medieval England', Gli Ori, 2001This 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
Lot 1071
‘It is a source of great satisfaction to me that I have fought my way here at the head of my forces and have borne my share in the conquest of our mutual enemies. It is with a sense of deep thankfulness to Almighty God that I stand today in my palace from which the Fascist forces have fled’ HAILE SELASSIE I: (1892-1975) Ethiopian Regent Plenipotentiary 1916-30 and Emperor 1930-74. An extremely rare and historically important printed folio copy of the speech made by Haile Selassie upon entering Addis Ababa on 5th May 1941, following the defeat of Italy and the liberation of Ethiopia, four pages printed in Amharic and with the Conquering Lion of the Tribe of Judah at the head, the text stating, in part, 'My People: It was on this day five years ago that the Fascist forces entered my capital and at once Mussolini proclaimed the establishment of the “Roman Empire” in our country of Ethiopia…..In those dark days you, my people, never abandoned hope. Small bands of warriors with old rifles ranged the hills. For five long years the Italian enemy never dared to penetrate the mountainous regions where Ethiopian patriots maintained their freedom in hardship and privation….Immediately before Italy entered the war to snatch what she could from a defeated France, she poured into Ethiopia men, money and munitions……Confident that these mighty armaments could not be assailed the Fascist Government proceeded with its work…..But a mighty change was at hand. It was to be in Ethiopia, for the first time, that the power of the power of the spirit was to be manifested as the ruling power in modern war. It was in Ethiopia that the will of a whole people was first to co-operate with the expert military genius of a valiant and humane nation to form together an irresistible force which should succeed in destroying an army far superior in numbers and equipment. It was long before the British forces, fighting for the cause of humanity in other theatres of war, could come to the rescue of Ethiopia……when the forces of our great Ally were at last released for an effectual attack upon the enemy….I again entered my country and marched with my forces from the far-off frontier on the Sudan into the heart of the Gojjam…..My forces were outnumbered by 20 to 1 and we were without artillery or aircraft. My appearance amongst the patriots at once brought thousands to my side and the enemy's fear magnified these to as many more……I proceeded at once to collect my forces which were scattered in pursuit of the enemy, and to move towards my capital which I have today entered. It is a source of great satisfaction to me that I have fought my way here at the head of my forces and have borne my share in the conquest of our mutual enemies. It is with a sense of deep thankfulness to Almighty God that I stand today in my palace from which the Fascist forces have fled. It is my firm purpose to merit the blessings which I have received: firstly to show my gratitude to my allies the British by returning the benefit done me; by releasing their Imperial troops for warfare on other fronts and by my supplying them with armed forces wherever they may need them; and, secondly, by re-establishing in Ethiopia Christian ethics in Government, liberty of conscience and democratic institutions. Lastly to you, my people, I say with a full heart, today is a day of rejoicing, today is a day of triumph over our enemies. Let us therefore rejoice but in the spirit of Christ……Do not stain the name of Ethiopia by acts worthy of our enemies. I shall see to it that they are disarmed and are given a safe passage to the place from which they came. And while you treat your enemies with forbearance, you must treat our Allies with the kindness that you show to a brother and a saviour. St. George who slew the dragon, is the patron saint of both our countries. Let us unite in everlasting friendship and amity to oppose this new dragon of Godless brutality that has assailed mankind'. Signed by Haile Selassie in fountain pen ink to a clear area at the head of the first page and dated 1941 in his hand. Also featuring an inscription in Amharic to Captain Richardson. Accompanied by a contemporary printed English translation of the speech. An extremely rare signed copy of what is undoubtedly the most important speech made in the modern history of Ethiopia. Some very light, extremely minor age wear, about EX
Lot 35
CAPRA FRANK: (1897-1991) Italian-born American film director, Academy Award winner. An early T.L.S., Frank R. Capra, one page, 4to, Hollywood, California, 20th September 1928, to Whitney Williams, on the printed stationery of Columbia Pictures Corporation. Capra enthusiastically announces 'Success! I have always looked forward to a review on one of my pictures which wasn't qualified by “ifs” and “buts”; and your review of “Submarine” fulfills (sic) my dreams' and continues 'How can I thank you enough? I know that you wouldn't have spoken so well of “Submarine” unless you felt that way about it - ahem - so it becomes doubly difficult for me to offer my gratitude. Please stop out at the studio soon so I can thank you orally, liquidly, or edibly. At best my words of gratitude would be insufficient, but be assured that the spirit is there. My only fear is that “Submarine” will be awfully hard to top - if it's as good as you say it is'. Some light staining, only very slightly affecting the signature, about VG Submarine (1928) is a silent drama film directed by Capra and starring Jack Holt and Dorothy Revier. It was the director's first attempt to make an “A-picture” and the film was released with a synchronised music score and sound effects.
Lot 358
JACKSON MICHAEL: (1958-2009) American pop singer. A dark red Hanes t-shirt featuring a black and gold embroidered design to the left breast incorporating a full-length silhouette of Jackson in a dance pose, signed ('Love, Michael Jackson') by Jackson in black ink with a large signature across the centre of the t-shirt. VG Provenance: Acquired by our vendor from a Christie's auction of Popular Culture: Rock & Roll Memorabilia, 12th June 2012 (part lot 30) and with their lot label still tied to the t-shirt's manufacturer's label. The lot is also accompanied by a letter of provenance from a previous owner, Jennine Elcock-Haskell, in full, 'Michael Jackson changed the music world forever. He for decades continued to entertain the world with an innovative vision that has never been duplicated. In this spirit of giving of himself Michael once again lent his name, and his time, to a charity event, (meet and greet) at which he appeared and to be photographed with a few people, at that event, of which I was one. During this event he signed this t-shirt for me'.
Lot 501
GERMAINE DE STAEL: (1766-1817) Also known as Madame de Stael, her real name being Anne Louise Germaine de Stael-Holstein. French leading Salonniere, a woman of letters and political Theorist. She was the daughter of Banker and French Minister Jacques Necker. A voice of moderation during the French Revolution, her intellectual collaboration with Benjamin Constant between 1794 and 1810 made them one of the most celebrated intellectual couples of their time. She lived many years in exile, first during the Reign of Terror and later escaping from Napoleon´s persecution. Rare A.L., one page, 8vo, n.p., n.d., `this Friday´, to Mr. Mackintosh, in French. Germaine de Stael states in part `Vous me manquez beaucoup, my dear Sir, vous êtes pour moi la belle Angleterre, celle de l´esprit et de l´âme. N´oubliez pas que j´attends vous et Lady Mackintosh demain a diner, vous me donnez mes jours de fête….´ ("I miss you very much my dear Sir, you are for me the image of the beautiful England with spirit and soul. Don´t forget that I am waiting for you and Lady Mackintosh tomorrow for dinner, you bring me my happy days..") Further ´referring to her son, very emotionally saying `Je vais diner lundi chez Lady Liverpool, voudriez-vous être de la partie? Il y a de bien grandes Nouvelles, ah mon pauvre fils eut été bien heureux de se battre a présent, cela me serre le coeur jusqu´au point de le briser.. ´ ("I am going to have dinner on Monday at Lady Liverpool´s home. Would you like to join us? There are great news, alas my poor son would have been very happy to be fighting right now. That constricts my heart to breaking point..") One stain, only affecting one word, otherwise G
Lot 527
STANHOPE PHILIP: (1694-1773) 4th Earl of Chesterfield. British statesman, diplomat and man of letters, and an acclaimed wit of his time. A fine A.L.S., Chesterfield, one page, 4to, Bath, 1st January 1758, to a lady (Mrs. Kirkby?). The Earl announces 'This day I have eat my share of the best Turkey that ever was eat, for which accept my hearty thanks', continuing to give his best wishes for the health and happiness of his correspondent and her family over many returning years, and further remarking 'Your Cheese which waits for me, in Town, is I am sure by my experience of the last, as good in it's kind; and as for the Ham I do not regret it, being in that respect, by the Law of my Doctors, a Jew'. An excellent letter of 'delicious' content, written in the spirit of a jubilant New Year's Day. VG
Lot 946
DESGROUETTES PÉPIN: (?-1805) Pierre Athanase Desgrouettes, also called Des Grouettes, was one of the most odious figures of the French revolution during the Reign of Terror. A stool pigeon in the prisons of terror. Malignant and misshapen, he was imprisoned during the reign of Louis XVI for prevarication and later again imprisoned in La Bastille for printing pamphlets, but became with the French revolution a judge in few revolutionary tribunals as member of the Commune. Rare A.L.S., `Pépin Dégrouhettes´, two pages, 4to, n.p., [Paris], 8th October 1792, First year of the Revolution, to the Minister of war, in French. Desgrouettes, on behalf of several “good citizens”, denounces their boss and indicates his address in order to arrest him, stating in part `Permettez que je vous adresse la réclamation de plusieurs bons citoyens… les sacrifices qu´ils ont fait pour la chose publique ont réduits á la nécessité de travailler à la journée au camp sous Paris, et dont un chef infidèle retient le salaire et par consequent les moyens de subsistance. Ce chef est le S. Chevreau, demeurant rue de Fauxbourg Saint Denis nº 24…´ (“Allow me to address to you the complaint of several good citizens... the sacrifices they have made for the public affairs has reduced their lives to the need of having to work by day in the camps beneath Paris, and their salaries are withheld by an unfaithful boss and consequently their livelihoods too. This chief is S. Chevreau, residing rue de Fauxbourg Saint Denis nº 24…“ Desgrouettes explains in detail the days they worked, the small amount received on account, and the refusal of Chevreau to pay the amount agreed and due and the way he harshly ousts them, and further again states invoking the principles of the revolution `Il n´entre point dans l´esprit de la Nation et de ses ministers que les citoyens malaisés qui servent la Patrie soient volés et maltraités; je vous prie donc avec instance, citoyen minister, de faire justice… et de punir l´infidèle et brutal Chevreau. Dans une République bien organisée il faut que tout homme….´ (“It is not in the spirit of the Nation and its ministers that the weak citizens who serve the Fatherland are robbed and mistreated; I therefore beg you insistently, citizen minister, to do justice... and to punish the unloyal and brutal Chevreau. In a well-organized Republic every man must...”) Desgrouettes adds beneath his signature that he acts in his capacity as `Membre du conseil general de la Commune et Président du tribunal criminel´ (“Member of the General Council of the Commune and President of the Criminal Court”). In very fine condition, about VG Desgrouettes is well-remembered and described by imprisoned people in Paris, as a provocative agent and a stool pigeon of the revolutionary committees. During the Reign of Terror, Desgrouettes was picking out at the prison of Saint Lazare the arrested persons to be executed. It is reported that when the number of executions was important he was celebrating with joy and wine and returning home drunk and singing.
Lot 981
‘I desire them as much good as they wanted to do me harm’FOUCHE JOSEPH: (1759-1820) 1st Duc d'Otrante, 1st Comte Fouche. French statesman and revolutionary who served as Minister of Police (1799-1810, 1815) under Napoleon Bonaparte. A good manuscript draft of an autograph letter, signed with his initials, JF, two pages, 8vo, Prague, 25th October n.y. (1816), to the Princess of Vaudemont. Fouche writes, in part, 'Do not pity me for being in Prague, we are quiet here and I have enough fortitude to remain here motionless. Sacrifices that are imposed on me, it is no doubt a very great one, to be separated from a few true friends, but I find it pleasant enough to be freed from the sight of a crowd of people who cannot inspire only feelings of disgust. I desire them as much good as they wanted to do me harm; events will only avenge me too much for their injustices….If I were permitted to speak to you of political affairs I would tell you my whole thoughts on the measure that dissolved the Chamber. I know France, it is quite indifferent today to the form of its government. As long as it believes in its stability it cannot exist without justice, without good faith, what has been done to reconcile opinions and to unite interests around the throne? It is only blind people who collide at the whim of fate and who trample under foot the corpse of the fatherland. I congratulate myself on having satisfied your wishes by the explanation I gave you. I cannot yet publish my memoirs, it would be necessary to resolve to deletions which I do not want to make. I prefer esteem to favour moreover, I have the project of dedicating them to the King, that is to tell you in what spirit they are written. Farewell, preserve your health and hope since hope is not yet prescribed. However, I think much more of the ills of France than of my personal privations. I am in no hurry to return there, I have suffered so much there that I fear my own impressions…..' A manuscript of interesting content written in the wake of Fouche being proscribed after the royalist authorities had deemed Fouche's services useless. Some light overall age toning and minor staining, about VG
Lot 90
Mixed Lot: George V faceted glass spirit flask with detachable beaker base and screw-down lid, 13cm tall, max width 7cm, London 1912 by the Goldsmiths & Silversmiths Company together with two differing size Georgian circular salts by the same maker each supported on three hoof feet, London 1746/47 by David Hennell (one with liner), (3) weighable silver 172gms
Lot 138
7" Singles, approximately one hundred and fifty singles, mainly from the 1980s including Limited Editions with artists including Talk Talk, REM, A-Ha, Siouxsie and the Banshees, Little Angels, Joy Division, The Lilac Time, Bauhaus, The Clash, The Cure, The Sound, Ad Infinitum, Style Council, Night Ranger, Fleetwood Mac, Prince, Spirit, Blue Zone, Mega City Four and more - various conditions but largely Excellent
Lot 276
Rock / Prog LPs, approximately fifty-five albums of mainly Classic Rock, Prog and Fusion with artists including Yes, Stray, Patto, Wishbone Ash, Peter Green, Derek and the Dominos, Lloyd Langton Group, Spirit, Robin Trower, Sassafras, Weather Report, Jaco Pastorius, Stanley Jordan, Split Enz, Lone Star, Jeff Beck, Steve Morse, Marillion, Sweet, Rick Wakeman, Strangeways, All About Eve, Steve Winwood and more - various years and conditions but largely Excellent
Lot 61
Heavy Rock / Metal LPs, approximately fifty albums of mainly Heavy Rock and Metal with artists including Black Sabbath, Led Zeppelin, Motorhead, AC/DC, Alice Cooper, Big Star / Alex Chilton, Lou Reed, Rush, Uriah Heep, UFO, Ten Years After, Spirit, Rory Gallagher, Paul Kossoff, SAHB, Thin Lizzy, The Who, Queen and more - various years and conditions
Lot 131
Doggie People - Robert Harrop - DPCP01 The Canine Partners Bulldog Spirit - Limited Edition To 50. Highly detailed resin statue / figurine. Statue appears mint, with no damage. Boxed. Note; from a large collection of Robert Harrop & other statues / figurines. Condition is stated within each description, however buyers are reminded that such statements are not forensic reports and all items will remain sold 'as is'. As a rule, statues do appear mint and undamaged, but this is not guaranteed. Boxes range in condition, and some have wear from storage. In all instances buyers are required to satisfy themselves. Certificates / paperwork are present if photographed, if there are no photographs of certificates then one isn't present.
Lot 320
Rouen, circa 1470 A.D. A finely detailed vellum leaf from a Rouen Book of Hours, comprising a three-quarter page arch-topped miniature composed of a complex Gothic archway, enclosing the Annunciation scene with the Virgin kneeling before her prie-dieu in a richly decorated Gothic interior, gazing at an open book, the Angel before her holding a sceptre, the Holy Spirit in the form of a small white dove descending from the highest corner of the room where God appears; full tessellated border with acanthus leaves, foliage and fruit on dull-gold or white backgrounds, two hairy wild men to the field, one holding a sword and the other a mirror, one four-line white initial; verso with fifteen lines with four one-line initials on burnished gold grounds with line-fillers in same, and two two-line initials containing shoulder-length portraits of two men; mounted in a glazed framed with a glazed window to the reverse showing the verso. 848 grams, 31 x 24.8 cm (12 1/4 x 9 5/8 in.). UK art market. with Sotheby's, 3 December 2008, lot 12(a). Private collection of the late David Miller, a prominent Hertfordshire collector and numismatist.
Lot 352
15th century A.D. or later. A gilt-bronze 'pax' or miniature shrine comprising a portico and niche with bust on the pediment, flanking columns beneath the entablature and applied silver discs with busts of puttos, figure of a bishop with mitre, crozier and book, tiered base; applied rosettes and inset glass cloison to the centre of the base; strap handle to the reverse. 422 grams, 16 cm high (6 1/4 in.). Carlo de Carlo, London, UK, circa 1980. Ex central London gallery. The 'pax' was used in the mass to be kissed in turn by members of the congregation. The person holding it would say Pax tecum (Peace [be] with you) and receive the response Et cum spiritu tuo (And with your spirit). [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]
Lot 437
1st-6th century A.D. A bichrome ceramic stirrup vessel in the form of a llama, modelled standing with stylised anatomical features and saddled with panniers; Moche culture. Cf. Berrin, K. ed., The Spirit of Ancient Peru, Treasures From The Museo Archueologico Rafael Larco Herrera, Thames & Hudson, 1998, p.96, for similar; Miller, R., Art of the Andes, from Chavin to Inca, Thames and Hudson, 1994, p.116; Sotheby’s, Pre-Columbian Art, New York, May 1998, lot 2, for a further example. 531 grams, 21.5 cm long (8 1/2 in.). Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members. This attractive vessel conveys a sense of respect and admiration for the llama which was frequently depicted and would have served as a source of food, wool and transportation. In addition to this example, some vessels depict mother with calf, demonstrating a poignancy and deep connection to the llama. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]
Lot 440
3rd-5th century A.D. A bichrome ceramic stirrup vessel, the body formed as a mountainous backdrop to the cacti painted on the front and rear faces; tiers of three and four bulbous protrusions likely representing snails which featured on a number of vessels and Moche murals. Cf. Berrin, K. ed., The Spirit Of Ancient Peru, Treasures From The Museo Arqueologico Rafael Larco Herrera, Thames And Hudson, 1998, p.119, for similar. 709 grams, 22 cm high (8 5/8 in.). Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]
Lot 13
TOILET JAR ETC. A silver mounted cut glass toilet jar, a plain silver spirit label & two silver thimbles, one boxed. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Lot 92
STAMP CASE ETC. A silver 'stamps' case, a silver caddy spoon (lacks handle) & a modern silver spirit label for sherry. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Lot 1092
Late 19th Century Scottish silver tea service comprising: teapot, hot water pot, cream jug and sugar basin, Edinburgh 1890 / 91, maker GE & S, together with an associated and near matching silver spirit kettle, Glasgow 1892, maker DE GE, 91 troy oz, in the original oak and metal bound fitted case, Ivory Self Declaration Submission Ref: 13WRKT41
Lot 60
BVLGARI B.zero1 necklace in 18kt yellow gold.Formed by a chain that goes through the characteristic cylinders of the B.zero1 model, and rings with the name and logo of the brand. Carabiner clasp. Contrasts and original marks.Measurements: 26 cm total lengthWeight: 21 grInspired by the world's most famous amphitheatre, the Colosseum, the B.zero1 necklace is a statement of Bulgari's creative vision that challenges the very essence of jewellery design. The purity of its distinctive spiral is a metaphor for the harmony of past, present and future, a reflection of the majesty of the Eternal City, and the emblem of the collection's avant-garde spirit.
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