Rory Breslin (b.1963)General Michael CollinsBronze, 71cm high, 63cm wide (28 x 24¾")SignedEdition 3/3Michael Collins bust is based on the interpretation of two images of him. The first is believed to have been taken not long before the Treaty negotiations where his countenance is determined, his gaze fixed and his hair slightly tousled. The second from a Pathé news reel possibly taken in Richmond Barracks in full uniform.By combining elements of the images; the aura of resolve and tenacity, the uniform and subtly adjusting some aspects of the presentation, i.e., bowing the head slightly in thought, and unbuttoning the uniform; the bronze depicts a Collins resolute yet perhaps reflective. Deep in thought, he emanates the presence of a man with many things to contemplate and difficult decisions to make. “To me the task is a loathsome one. I go in the spirit of the soldier who acts against his best judgment at the orders of his superior.” On being sent to Downing St. for the negotiations.
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Make & Model: Toyota Yaris T-Spirit 5drDate of Reg: VU11 UBOColour: Redcc: 1329MoT: 17-02-2023Fuel Type: PETROLMileage: 86kTransmission: MANUALSummary: Three reg'd keeper, current reg'd keeper since Feb 2017. Service Book with ten stamps (incl eight Main Dealer stamps).Vehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=157694
Pete Best signed Beatles collection or Four 2007 Internetstamps FDCs. Each has different pair of stamps and cachets, Spirit of 6os, Cavern Club, Abbey Road, Penny Lane postmarks. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Post-Byzantine Orthodox cross, Mount Athos, 17th century.Cedar wood.In the 19th century it was mounted inside a silver-plated metal cross.Measurements: 7 x 4.5 cm; 21 x 10 cm (blessing cross).The cross has two sides: one depicting an archaic crucified Christ with stiff legs at whose feet is the skull of Adam; on Christ's side is the profile of the Virgin; the other depicting the baptism of Christ with St John and the dove of the Holy Spirit.Post-Byzantine crosses are rare on the market, often kept in museums. They are small crosses carved from olive, cedar or boxwood and depict scenes from the life of Christ.They were originally intended as pectoral crosses, but were later incorporated into objects for liturgical use: in our case, it was transformed into a blessing cross in the 19th century by inserting it into a solid silver and silver-plated structure (the structure is made of silver-plated metal, the decoration of the leaves is solid silver). This cross has been the object of deep devotion; the sculpted figures show the wear and tear of the relief due to rubbing against the pectoral of the wearer.
Spanish school; mid-16th century."Road to Calvary".Oil on panel.Size: 102 x 87 cm; 108 x 94 cm (frame).In this painting from the Renaissance period, the theme of the Stations of the Cross is represented without any pathos, as was customary in the pre-baroque period. It was not until the 17th century that the suffering of Jesus carrying the cross, being scourged or falling to his knees, morally and physically weakened, was emphasised. Here, on the other hand, his demeanour retains a noble bearing and full strength of spirit as he advances towards his destiny, although his face, immersed in his own thoughts, conveys a silent shock. The painter has focused his attention on depicting the architecture of Judea with simple strokes and geometric stylisation, as well as the vertical rhythm given by the soldiers' spears and the beautiful equine anatomy of the white horse. The finely delineated faces of the soldiers and the Jewish people recall the angularity of Andrea Mantegna's figures. The palette has also been reduced to ochre and crimson tones, with a preeminence of whites and tans, contrasting cool and warm tones to lead the viewer's eye across the planes, from Christ's draped tunic to the glaucous, mottled sky.
A GEORGES CARETTE MODEL VERTICAL STEAM PLANT, GERMAN, EARLY 20TH CENTURY,the spirit-fired vertical brass boiler with conical top and tall chimney, fitted with safety valve, whistle, water gauge glass, pressure gauge with maker's mark G.C.Co.N., D.R.G.M., double firehole doors, boiler feed pump gear-driven from crankshaft, steam feed cock to single vertically-mounted double-acting engine with lubricator and eccentric-driven slide valve, all supported on heavy cast iron stand, the model 14 1/2in x 7in x 5 1/2in (37cm x 18cm x 14cm)cased 17in x 12in x 9 1/2in (43cm x 30.5cm x 24cm) For further information on this lot please visit Bonhams.com
France Jouets Military Boxed 207 Automatic Canon, light metallic green body, in very good original condition, missing missiles, with two spirit levels, lidded box is poor to fair, 201 boxed Pacific military crane, drab military green, in excellent original condition, lidded illustrated box is fair to good and boxed Pacific Articulated cannon transporter, with missile launchers, drab military green body, missing missiles, in good original condition, box missing one end flap is fair.(3 items)
Hazlitt, William A collection Select Poets of Great Britain. London: T. Tegg, 1825. 8vo, contemporary green morocco gilt, slightly rubbed, g.e.; The Plain Speaker. London: H. Colburn, 1826; first edition, 2 volumes, 8vo, contemporary half calf, slight loss to head of title of volume 1; Conversations of James Northcome. London: H. Colburn and R. Bentley, 1830, First edition, modern red quarter Morocco; Liber Amoris. London, 1893, 8vo, half vellum; The Spirit of the Age, or Contemporary Portraits. London: H. Colburn, 1825. First edition, 8vo, contemporary calf, rebacked; The Spirit of the Age, or Contemporary Portraits. London: H. Colburn, 1825. Second edition, 8vo, contemporary red half calf gilt; Notes of a Journey through France and Italy. London: Hunt & Clarke, 1826. 8vo, contemporary diced calf, rubbed; Characteristics. London: J. Templeman, 1837. 12mo, original green cloth, part of endpaper cut away; Hazlitt. W. Carew. Memoirs. London: R. Bentley, 1867. First edition, 2 volumes, 8vo, original cloth, rubbed, hinges brokenNote: Provenance: From the library of the late William St Clair, FBA, FRSL.
Royal Hampshire Regiment 2/7 Gurkha Rifles Malaya DSO Group of 7 Medals. Awarded to Lieutenant Colonel John Hamilton Allford who was awarded the DSO for operations as a Battalion Commander of the 2/7 Gurkha Rifles Malaya 1954. Comprising: Distinguished Service Order (EIIR), 1939/45 Star, Africa Star, 1st Army Clasp, Defence Medal, War Medal, General Service Medal, Three Clasps PALESTINE 1945-48, MALAYA, CYPRUS, MID OAKLEAF, (LT COL J.H. ALLFORD R. HAMPS), EIIR Coronation Medal. Group mounted as worn have been lacquered. The Citation for the awarded of the DSO was raised on the 13th November 1953. Lieutenant Colonel John Hamilton Alford 2/7 GR Lieutenant Colonel Allford assumed command of his Battalion in January 1953 and between April and October commanded operations against the communist terrorists in the Bentong District of Pahang, Malaya. Throughout this period of six months Lieutenant Colonel Allford inspired his Battalion by outstanding leadership, level headed skill and fine personal example. He maintained a magnificent fighting spirit throughout the Battalion area. These operations culminated in the death in action of two of the terrorists most important leaders a severe blow for the enemy, not only in the Bentong district but throughout Malaya. Lieutenant Colonel Allford who led a number of operations himself has set a magnificent and outstanding example of determination, skill and leadership. He has by his personal efforts made a notable contribution to the campaign in Malaya. Mention in Dispatches London Gazette 14/7/59. Lieutenant Colonel John Hamilton was commissioned into the York & Lancs Regiment October 1940, In 1946 he was appointed a Captain with the Hampshire Regiment and was posted to Palestine. The medal roll shows during this period he held the rank of Major Acting Lt. Col and was serving with the 1st Bn Royal Hampshire Regiment. The Battalion returned to the UK in October 1947. A year later in 1948 he was attached to the 7th Gurkha Rifles. In 1958 he is noted as serving wit the rank of Lt. Col at Polemidhia Camp, GOC Cyprus. It is assumed his MID is for services during his tour in Cyprus.
JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Pyrenean Nocturne", 1980-83.Oil on canvas.Titled and dated on the back.With the label of the Galeria Dau al Set on the back (with faults).This work was in the exhibition held at the Galeria Dau al Set entitled "Joan Ponç Precursor 1946-47-48" between October and November 1983, in commemoration of the tenth anniversary of the gallery.Measurements: 89 x 147 cm; 92.5 x 150 cm (frame).In this canvas, which belongs to Joan Ponç's last creative period (1980s), the personal symbolism with which the singular artist gave birth, from the early 1940s, to a world of his own inhabited by phantasmagorical visions and imaginary beings of a visual impact as unique as it is disturbing, is fully developed. After a long stay in Brazil, the decade of the 1980s was marked by growing vision problems, which, far from intimidating him, brought syncretism and intensity to his work, addressing in it his rebelliousness and obsessive fear of illness and death. In this case, and with that particular style of his, which is halfway between a certain primitivism and the second pictorial avant-garde, Ponç offers us a nocturnal scenography in which he constructs an apotheosic and almost apocalyptic vision of his universe, full of diabolical, tortured and premonitory beings through which Ponç explored the darkest areas of the human being, which, as in this case, are intimately related to his situation, which is ever closer to death.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. He held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which marked his definitive consolidation 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. 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).
JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Geometric Metaphysics", ca. 1969.Oil on canvas.Signed on the back.Work exhibited in "Joan Ponç: Retrospective exhibition". Zaragoza, 18 February to 12 March 1994.Work referenced in the artist's online catalogue raisonné with catalogue number 0635.Sizes: 150 x 150.4 cm; 154 x 154 cm (frame).Faithful to the precepts of the artistic group Dau al Set, Joan Ponç delved into a visceral automatism that allowed him to connect surrealism and the inner world. His metaphysical and ambiguous dream landscapes find references in the most human miseries, as shown in his series "Metafísica geométrica", with works characterised by abstraction and large format, dated between 1969 and 1970. He was a true visionary who plunged into inner universes to show us the darkest and most hidden corners of the depths of the human being. For Ponç, art is nothing more than an introduction to the mystery and secrets of the spirit.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 of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, which was so successful 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 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). One of the most singular and enigmatic painters in the history of modern art, Ponç painted in order to survive the world, and turned each of his creations into a magical act. His trajectory describes a circular path over the years, almost without evolution, if we understand as such the change from one language to another, the variation of styles, the transformation of the unknowns that led him to paint. Ponç was a painter-poet, who used his brushes to discover the only world he knew, the most real of all, the world that lies at the bottom of his own being. He is currently represented at the Museum of Contemporary Art of the University of São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Basque Centre-Museum of Contemporary Art in Vitoria, and the Museo Nacional Centro de Arte Reina Sofía.
MARTIN BRADLEY (Richmond, England, 1931).Untitled, 1992, from the "Suite Olympic Centennial".Silkscreen on Vélin d'Arches 270 gsm paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.The Olympic Suite is made up of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.With a rebellious spirit, Martin Bradley began his career as an artist at a very early age, settling in London in 1949. In the mid-1950s Bradley struck up a lasting friendship with the writers of "The Angry Young Men" group, writers of great importance in the British literary revival, where he met other young painters such as Phililip Martin and Alan Davie. In 1961 he received a grant to settle in Brazil, where he achieved great success and which led him to exhibit, on his return to Europe, in the historic exhibition "Arte e Contemplazione" at the Palazzo Grassi in Venice. Following her success in Italy and Spain, Bradley travelled the world, passing through Turkey, Afghanistan, India and Nepal, and became fascinated by the Far East. At first, the artist's work shows a self-destructive tendency, but it evolves into works of fresh workmanship, lively colour, extreme fantasy and sympathetic appearance, resulting in works that form part of the English Pop movement. However, in contrast to this positivism, a series of graphics, signs and symbologies can be discerned which allude to criticisms of traditional customs and reflections on the passage of time, characteristics which make Bradley's paintings tremendously interesting works full of nuances.
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Fundació Joan Miró", 1975.Lithograph, copy 21/99. Avant la Lettre print run.Signed and justified by hand.Work published in the catalogue raisonné "Miró Litógrafo. 1972-1975", Vol. V, Maeght Editeur, p. 140, ref. 1031.Size: 70 x 50 cm; 87 x 67 cm (frame).Joan Miró was one of the great international figures of 20th century art. He trained in Barcelona, first at the Escuela de la Lonja and later at the Academia Galí, with a more renovating spirit. At that school and at the Cercle Artístic de Sant Lluc, also in Barcelona, the young Miró met some of his great friends, such as the critic Sebastià Gasch, the poet J.V. Foix, the painter Josep Llorens Artigas and the art promoter Joan Prats. Thus, from his formative years he was in direct contact with the most avant-garde circles in Barcelona, and as early as 1918 he held his first exhibition in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. These were the crucial years of his artistic career, during which Miró discovered his personal language. In Paris he became friends with André Masson, around whom the so-called Rue Blomet group, the future nucleus of Surrealism, was grouped. Thus, under the influence of the Surrealist poets and painters, with whom he shared many of their theoretical approaches, his style matured; he tried to transpose Surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. From the 1930s onwards Miró established himself as one of the leading figures on the international art scene and one of the key artists of the 20th century. It was precisely at this time that the artist, a non-conformist by nature, entered a phase he called the "murder of painting", in which he voluntarily renounced being a painter and experimented with other media, such as collage, drawing on paper of different textures and the construction of "objects" with found elements, his first approach to sculpture. Thus, although he soon returned to painting, Miró never abandoned his desire to experiment with all kinds of materials and techniques, including ceramics, bronze, stone, graphic techniques and even, from 1970, tapestry. He returned to Spain in 1941, and that same year the Museum of Modern Art in New York devoted a retrospective exhibition to him, which was to be his definitive international consecration. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington and the MNAM in Paris.
JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Geometric Metaphysics B-11", 1969-1970.Oil on canvas.Signed on the back.Label of the Joan Prats gallery, Barcelona, on the back.This work is published in the artist's online catalogue, ref. 1123.Size: 75 x 75 cm; 79 x 79 cm (frame).This painting belongs to a specific series by Joan Ponç, produced between 1969 and 1970, characterised by being practically his only incursion into abstraction, expressing himself through a minimum of formal and chromatic resources, based on geometric figures and their shadows, with which he composes metaphysical landscapes.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 mark 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 of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, which was so successful 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 metaphysical characters period (1970), the acupainting period (1971) and a final period of synthesis (1972). One of the most singular and enigmatic painters in the history of modern art, Ponç painted in order to survive the world, and turned each of his creations into a magical act. His trajectory describes a circular path over the years, almost without evolution, if we understand as such the change from one language to another, the variation of styles, the transformation of the unknowns that led him to paint. Ponç was a painter-poet, who used his brushes to discover the only world he knew, the most real of all, the world that lies at the bottom of his own being. It is a world inhabited by strange creatures with half-human, half-animal bodies, by demons who make us participants in their actions, by deserted spaces in which symmetrical mounds, craters in a line, Stygian lagoons under dark skies broken only by the glow of coloured moons stand out. He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.
Stundenbücher - - (HORAE B.M.V.) Horae deipare virginis Marie secundum usum Romanum. Druck in Rot und Schwarz, mit Druckermarke und 47 ganzseitigen teils kolorierten Miniaturen, zahlr. kleine Miniaturen in den Rahmungen und zahlr. kolorierten Initialen. Paris, Thielman Kerver, 1519. Metallschnitt auf Pergament. 16,6 x 10,7 cm (Buchblock). 132 Bll. a-k8, L-Q8, R4. 26 Zeilen. Kl.-8°. Moderner Ganzledereinband mit 4 Bünden. Adams L1031. - Bohatta 1032. - Worldcat listet nur 2 Nachweise weltweit: New York Morgan Library (inkomplett) und NY Public Library, KVK listet nur ein Exemplar im MAK Wien. I. Zum Verleger: Kerver wirkte ab 1498 als Buchdrucker zusammen mit Georg Wolf und Jean Philippe. Etwa um 1500 arbeitete er allein in eigener Werkstatt, wo er eine größere Anzahl von Stundenbüchern (livres d'heures) nach dem römischen Ritus und viele klassische und humanistische Schriften (Horaz, Juvenal und andere) edierte. Für mehrere Verleger wie Jean Richard, Pierre Regnault und Gillet Remacle führte er Druckaufträge aus. In den Jahren 1511-1517 stand er auch mit dem Pariser Verleger Simon Vostre in geschäftlicher Verbindung. (Vgl. NDB, 11, 541.) II. Zur allgemeinen Struktur des Stundenbuchs: Druckermarke, Almanach 1519-1538, Schmerzensmann, Heiligenkalender, Evangelien, Lesungen, Psalmen. III. Die prachtvollen Bordüren auf einem criblé horror vacui Grund. Dieser befüllt mit Medaillons aus biblischen Szenerien, vegetabilen und zoomorphen Rankenwerk, teils mit Drolerien und Vanitas Motiven. Desweiteren Kalenderbilder, ein Schöpfungszyklus, ein Apokalypse-Zyklus, Zeichen des Jüngsten Gerichts, ein Totentanz, begleitet von einer bas-de-page Serie von Toten und dem Höllenschlund, Susannah- und Verlorener-Sohn-Zyklen, sowie Sibyllen. IV. Die ganzseitigen Miniaturen umfassen Druckermarke (a1r), Schmerzensmann (a1v), Martyrium des Hl. Johannes der Evangelist (b1r), Gefangenahme Christi (b3v), Baum Jesse (b8v), Verkündigung (c1r), Heimsuchung (d1r), Geburt Jesu (d6v), Verkündigung an die Hirten (d8v), Anbetung der Könige (e2v), Beschneidung (e4v), Flucht nach Ägypten (e6v), Krönung Mariens (f2r), Bathseba beim Bad (g6v), Tod des Urija (g7v), Nathans Vorwürfe gegen David (g8v), Davids Buße (h2r), David und der Prophet Gad (h3v), Davids Versprechen an Batseba (h5r), David übergibt die Krone an Salomo (h6r), Die drei Toten (i3v), Die drei Lebenden (i4r), Adam und Eva werden aus dem Paradies vertrieben (k1v), Adam und Eva bei der Arbeit (k2v), Adam lobt Gott (k3v), Der verurteilte Domherrn (k6v), Das Leben und der Tod (k7v), Fegefeuer (k8v), Der Tod (l3v), Hiob (l4v), Drei Laster und das Kind (l5v), Judaskuss (m3v) Jesus vor Pilatus (m4v) , Jesus, der König der Juden (m5v), Kreuztragung (m6v), Kreuzigung (m7v), Kreuzabnahme (m8v), Grablegung (n1v), Christus in der Unterwelt (n2v), Auferstehung (n3v), Jesus besucht Maria nach der Auferstehung (n4v), Noli me tangere (n5v), Emmaus-Pilger (n6v), Der Unglaube des Thomas (n7v), Pfingsten: Heiliger Geist, die Apostel und Maria (n8v), Jungfrauen-Litanei (o1v), Dreifaltigkeit (o7v), Christus bei der Schmähung (q2v). - Die Pergamentseiten am oberen Rand teils knapp beschnitten, materialbedingt teils etwas wellig, wenige Seiten mit Pergamenteinbrücken durch Knickfalten, zu Beginn sind teils die Kolorationen verlaufen, die Miniaturen stellenweise nur ankoloriert oder unfachmännisch koloriert. Einige Blätter mit verwischten Kolorationen. Minimal fleckig, etwas gebräunt, insgesamt aber noch gutes Exemplar des seltenen Stundenbuchs mit schönen gratigen Abzügen von der Platte. Book of Hours. - Printed in red and black, with printers mark and 47 full-page partly colored miniatures, numerous small miniatures in the frames and numerous colored initials. Paris, Thielman Kerver, 1519. metalcut on vellum. 16.6 x 10.7 cm (book block) 132 ll. a-k8, l-18, R4. 26 lines. Small 8°. Modern full leather binding with 4 frets. Worldcat lists only 2 references worldwide: New York Morgan Library (incomplete) and NY Public Library, KVK lists only one copy in MAK Vienna. I About the publisher: Kerver worked from 1498 as a book printer together with Georg Wolf and Jean Philippe. Around 1500 he worked alone in his own workshop, where he edited a large number of books of hours (livres d'heures) according to the Roman rite and many classical and humanistic writings (Horace, Juvenal and others). He carried out printing commissions for several publishers such as Jean Richard, Pierre Regnault and Gillet Remacle. In 1511-1517, he was also in business with the Parisian publisher Simon Vostre. II On the general structure of the Book of Hours: printer's mark, almanac 1519-1538, Man of Sorrows, calendar of saints, gospels, readings, psalms. III The magnificent borders with a criblé horror vacui ground. This filled with medallions of biblical scenes, vegetal and zoomorphic vine work, partly with drolleries and vanitas motifs. Furthermore, calendar images, a creation cycle, an apocalypse cycle, signs of the Last Judgment, a dance of death accompanied by a bas-de-page series of the dead and the Hellmouth, Susannah and Prodigal Son cycles, and Sibyls. IV The full-page miniatures include printer's mark (a1r) Man of Sorrows (a1v), Martyrdom of St. John the Evangelist (b1r), Capture of Christ (b3v), Tree of Jesse (b8v), Annunciation (c1r), Visitation (d1r), Birth of Jesus (d6v), Annunciation to the Shepherds (d8v), Adoration of the Magi (e2v), Circumcision (e4v), Flight into Egypt (e6v), Coronation of Mary (f2r), Bathsheba bathing (g6v), Death of Uriah (g7v), Nathan's reproaches against David (g8v), David's repentance (h2r), David and the prophet Gad (h3v), David's promise to Bathsheba (h5r), David gives the crown to Solomon (h6r), The three dead (i3v), The three living (i4r), Adam and Eve are driven out of Paradise (k1v), Adam and Eve at Work (k2v), Adam Praises God (k3v), The Condemned Canon (k6v), Life and Death (k7v), Purgatory (k8v), Death (l3v), Job (l4v), Three Vices and the Child (l5v), Kiss of Judas (m3v) Jesus before Pilate (m4v) , Jesus the King of the Jews (m5v), Carrying of the Cross (m6v), Crucifixion (m7v), Deposition from the Cross (m8v), Entombment (n1v), Christ in the Underworld (n2v), Resurrection (n3v), Jesus visits Mary after the Resurrection (n4v), Noli me tangere (n5v), Emmaus Pilgrims (n6v), The Unbelief of Thomas (n7v), Pentecost: Holy Spirit, the Apostles, and Mary (n8v), Litany of the Virgins (o1v), Trinity (o7v), Christ in Reviling (q2v). - The parchment pages partly justly trimmed at the upper margin, partly somewhat wavy due to the material, a few pages with parchment bridges due to creases, at the beginning the colorations have partly run off, the miniatures in places only colored in or unprofessionally colored. Some leaves with smudged colorations. Minimally spotted, a bit browned, but overall still a good copy of the rare Book of Hours with nice burr-like impressions from the plate.
Chimot, Édouard - - Paul Verlaine. Parallèlement. Mit 1 Originalzeichnung, 23 Aquatinta-Radierungen und zwei Extrasuiten mit je 23 Radierungen. Paris, Devambez 1931. Folio. Lose Lagen in Hldr. Chemise in Schuber. Monod 11116 (diese Ausgabe nicht dort verzeichnet). - Vorzugsausgabe von 15 Exemplaren für die Mitarbeiter der Ausgabe mit Originalzeichnung und zwei Extrasuiten. Die Suiten auf Japan in Schwarz/Weiss und Bistre. Die erotischen Illustrationen von Chimot in stimmungvollen Bildern im Geist des Art Deco. - Wohlerhalten. With 1 original drawing, 23 aquatint etchings and two extra suites with 23 etchings each. Special edition of 15 copies for the contributors of the edition with original drawing and two extra suites. The suites on Japan in black and white and bistre. The erotic illustrations by Chimot in atmospheric images in the spirit of Art Deco. - Well preserved.
A Gauge One live steam 'Project' Fowler Class 4F 0-6-0 locomotive. Spirit fired, single cylinder, slip eccentric model in brass etc. With regulator, blower, pressure gauge and hand water pump in tender (no axle pump). Constructed to a good standard and painted as LMS 4027, in unlined black livery to a reasonable standard. Contained within a custom built wooden carrying case. Sold without boiler certificate etc, and therefore as a collector's model only. GC, significant evidence of use, minor losses to paintwork, etc. £400-600
Mixed Lot in include vintage spirit flask, the upper section wrapped in a leather skin with level viewing window, having a hallmarked silver removable drinking cup, the lancet fitting missing (a/f) together with a larger silver plated example, the cup with personalised engraving and dated 1897 (2 in the lot)
A North Italian carved cypress or cedarwood penwork decorated table cabinet17th century With two panelled doors carved with silhouetted figures opening to reveal drawers and an architectural central cupboard, decorated in penwork with allegorical figures and Renaissance motifs, the rear with carved monogram AP, 49cm wide x 30cm deep x 47cm high, (19in wide x 11 1/2in deep x 18 1/2in high)Footnotes:A very slimily formatted and decorated table cabinet was sold by Christies, London, Style and Spirit Sale, 7 February 2012, lot 254.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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
The Hollies Concert Poster, original Concert poster for the Hollies at Southampton University , 24th January 1970 - Also featuring Wishful Thinking and The Spirit of John Morgan - lovely vibrant Orange and Black design - unfolded, rolled and in Excellent condition - measuring 20" by 30" - This poster is one of a collection in this sale whose owner was a member of the Entertainments Committee at Southampton University in 1967 and 1968
Edwardian silver miniature tea set, comprising teapot of half fluted form, sugar, cream jug and spirit kettle on stand, together with a matching two handle pierced gallery tray (Birmingham 1905 and Chester 1907) Cornelius Desormeaux Saunders & James Francis Hollings Shepherd. Tray 10.3cm across handles.
Christ crucified, partially painted and gilt ivory sculpture, Indo-Portuguese, 18th C., faults, glueing, traces of wood insects, adapted olive wood cross covered with mother-of-pearl plaques engraved with black filled backgrounds "Holy Spirit, Scenes from the life of Christ, Our Lady, Saint Francis of Assisi and Saint Anthony with Child Jesus", Holy Land, 19th C.. Notes: This lot is subject to CITES export/import restrictions and is duly certified. Prospective purchasers are advised by Cabral Moncada Leilões that several countries prohibit the importation of property containing materials from endangered species, including but not limited to ivory, coral and tortoiseshell. Accordingly, prospective purchasers should get information concerning relevant customs regulations prior to bidding if they intend to import this lot into another country., Dim. - 22 x 16 cmThis lot is subject to CITES export/import restrictions and is duly certified. Prospective purchasers are advised by Cabral Moncada Leilões that several countries prohibit the importation of property containing materials from endangered species, including but not limited to ivory, coral and tortoiseshell. Accordingly, prospective purchasers should get information concerning relevant customs regulations prior to bidding if they intend to import this lot into another country.
WHISKY & SPIRIT nine old bottles, comprising one bottle of CARDHU Highland Malt Scotch Whisky, over 8 year old, 75% proof, 26.2/3 fl. oz. fill level below shoulder, cork seal broken, boxed, one bottle of JOHN HAIG & Co. 'DIMPLE' Old Blended Scotch Whisky, 70% proof, 26.2/3 fl. oz. fill level low shoulder, seal intact, boxed, one bottle of HAIG GOLD LABEL Blended Scotch Whisky, 70% proof, 26.2/3 fl. oz. fill level mid neck, seal intact, one bottle of GRANT'S SPECIAL FAMILY RESERVE, Finest Scotch Whisky 1L, fill level bottom neck, seal intact, one bottle of JOHNNIE WALKER RED LABEL Old Scotch Whisky, fill level upper shoulder, seal intact, one bottle of HAIG Blended Scotch Whisky, 43% GL, 37.5cl, fill level bottom neck, seal intact, one bottle of THREE BARRELS Rare Old French Brandy, 70% proof, 24 fl.ozs. fill level mid-shoulder, seal intact, one bottle of COINTREAU Liqueur Extra Dry, 750cc, seal intact and one bottle of SMIRNOFF Vodka, 87.6% proof, fill level bottom neck, seal intact. Please note: All bottle conditions dusty or dirty due to long storage (9)
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