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Lot 2256
A Victorian Silver Spirit-Flask, by Charles Boyton, London, 1893, oblong and slightly curved, with bayonet-mounted cover, engraved with initials, 14.5cm high, gross weight 4oz 11dwt, 141gr Provenance: From the heirlooms relating to John Roger Butterwick and his wife Jane Anne, the daughter of John Coverdale of Hartlepool. John was born in Stockon-in-Tees in 1849 he was to go on to serve as Mayor of Hartlepool. He and Jane were married in 1878. . Fully marked on side. The cover is apparently unmarked, though the marks could be behind the cork lining to the cover. There is some wear to the marks. There is overall surface scratching and wear, consistent with age and use as well as some bruises overall. The bruises are mostly noticeable to the cover. There is an old repair at the shoulder.
Lot 2418
A Japanese Export Silver Spirit-Flask, Stamped 'Silver' and '950', Probably First Half 20th Century, curved oblong, engraved with bamboo, the screw cap opens to reveal a threaded stopper, 18.5cm high, 8oz 1dwt, 251gr. Stamped 'Silver 950' underneath. The stamp is clear. There are some very minor surface scratches, consistent with age and use. There are some shallow bruises mostly noticeable on the stopper at on one shoulder.
Lot 109
A French Brass and Mother-of-Pearl Inlaid Burr Walnut and Ebonised Travelling Decanter Box, of serpentine fronted rectangular form with scroll cartouches, containing a suite of four spirit decanters and stoppers and sixteen glasses with ruby flashed band engraved with foliage over hobnail cut borders, contained in a gilt metal frame, the whole on bun feet, 33cm wide CONDITION REPORT: Various minor cracks, scratches loss and splits to exterior, with general wear. Interior with general wear, set complete, one chip to rim of glass.Late 19th / early 20th century.
Lot 122
A Silver Plate Mounted Oak Three-Bottle Tantalus, circa 1900, with scroll handle and rectangular base enclosing three cut glass spirit decanters and stoppers, with bottle tickets, 38cm wide CONDITION REPORT: . Slight chipping to the glassware but no cracks. Plating worn. Lock mechanism functions but is worn. Retains original key. Labels are plated.
Lot 123
A Silver Plate Mounted Oak Miniature Three-Bottle Tantalus, early 20th century, with angular handle and rectangular base enclosing three spirit decanters and stoppers, 23.5cm wide by 9.5cm deep by 22.25cm high CONDITION REPORT: . Good condition and with key. Lock function operating. Some very minor wear and scratches to the glassware.
Lot 5
An Anglo-Irish Pedestal Bowl, early 19th century, of navette form with strawberry cutting within a fluted border on a panelled stem and diamond shaped foot, 26.5cm wide; Two Similar Pedestal Bowls, with fan and geometric cutting, 15cm high; Two Similar Salts, of conical form on square feet, 9cm and 8.5cm high; Four Various Cut Glass Jugs; A Spirit Decanter and Stopper; and Two Goblet Vases (12)
Lot 2
A late 19th century silver plated military campaign spirit stove, ivorine handle to outer sauce pot, containing within a burner, lyre pierced stand and pot with screw lid, all unmarked, outer pot 9.3 by 14.6 by 8cm, together with a 20th century campaign tankard, containing within a tot holder with screw lid, hinged wrap around handles, 11.4 by 7cm. (2)
Lot 8
A mixed collection of metal, and glass and ceramics, including an Edwardian silver backed hand mirror, Daniel Manufacturing Company, Birmingham 1931, 16 by 29cm, a Hukin and Heath chocolate pot, 15.3cm high, and matching jug, 6.2 by 5cm high, a Victorian kettle on spirit stand, 35cm high, a whisky decanter label, a pair of novelty salt and pepper pots, a set of six modern Chinese white metal dessert forks and spoons with cloisonne handles, various ceramics, glass and collectables including a Royal Doulton Falstaff decanter, model number D3685, 9.5cm high. (16)
Lot 241
241. IVES SINGLE GALLOPER CART | Ives, Blakeslee & Williams Co., featured in 1876 catalog for $2.00 each, hand painted open cart with original seated driver, drawn by single spirit painted golden horse, oversized green spoke cast wheels, clockwork driven toy. | Provenance: Paul Cole Collection. | 15" l. | Two cracks in one wheel, otherwise in (Excellent Condition) | $2,500 - $3,500
Lot 4
4. GERMAN PONTOON WATER VELOCIPEDE | Nicely spirit painted toy with a great form, paddle blades appear at feet of driver whose legs appear to be pedaling when toy is wound, sits on two large pontoons. | Provenance: Paul Cole Collection. | 7.5" l. | All original in (Very Good Condition) | $1,200 - $1,800
Lot 531
531. EARLY ISSMAYER PLM TRAIN SET | Wind up, O gauge-sized set that runs on "dish" track, hand painted loco with unusual balloon style smoke stack, spirit painted tender, litho cars with "London, Paris, Lyon" destination cities printed on each side, circa 1890. Provenance: Paul Cole Collection. | loco and tender 6.5" l. | Lid missing flaps, retains half of one, otherwise train in (Excellent Condition) | $800 - $1,200
Lot 100
A collection of 11 books and brochures to include a Pininfarina yearbook 1972-73, Une course d'automobiles with a boardgame, 'The Magic of a Name - The Rolls-Royce Story, The first 40 years' Peter Pugh, 'The Magic of a Name - Part Two: The Power Behind the Jets' Peter Pugh, 'The Magic of a Name - Part Three: A Family of Engines' Peter Pugh, 'Rolls Royce Silver Shadow Bentley T-Series Camargue & Corniche' Malcolm Bobbitt, 'Rolls Royce Silver Spirit & Silver Spur Bentley Mulsanne, Eight, Continental, Brooklands & Azure' Malcolm Bobbitt, 'Making Cars at Crewe' Peter Ollerhead, Crewe's Rolls Royce Factory From Old Photographs' Peter Ollergead & Tony Flood, 'A Collectors Guide The Rolls Royce & Bentley Volume 3: Shadow, Corniche, Camargue 1965-1985' Graham Robson and 'Rolls Royce and Bentley Experimental Cars' Ian W.Rimmer.Qty: 11
Lot 102
Collection of Rolls Royce, Girling, Saginaw and Bentley automobilia to include a Rolls Royce AeroEngines tankard, Motor Car Test Day MIRA Proving Ground 11 April 1981 coaster, three diaries (2x 1981 & 1978), North-Rite Rolls Royce of Canada pen, tie clip, pin, boxed Rolls Royce Silver Spirit October 1980 letter opener, stereo cassettes (cleaning cassette tape only, missing the spirit of stereo tape), In the Shadow of Ghosts DVD, chesterman ruler, boxed 1953 Rolls Royce coronation coin, shield for the Rolls Royce Motor Club Gymkhana 1956, two cased typewriter inked ribbons for Olivetti and Imperial 65B, a damaged Bentley mascot, Saginaw tie clip and cufflinks, another set of Saginaw cufflinks with a broken tie clip, Delco Air pin, two Turbo Hydra-matic 400 pins, Saginaw tie clip, Girling security pass and a Girling pocket knife with leather case.
Lot 104
Chromed Rolls Royce ashtray to commemorate 25 years of service between 1942-1967 for Mr D. Coulson with a pamphlet outlining the terms of the 25 years long service award scheme from January 1969. The ashtray is surmounted with a Spirit of Ecstasy figure. Ashtray 9cm (3.5in) wide, 11.3cm (4.5in) deep, 8.5cm (3.5in) high.Qty: 1
Lot 552
A bronze Bhuta figure of the boar Panjurli, Karnataka, Western Deccan, India, 18th or 19th century, wearing necklace with pointed ears and prominent tusks, 14cm x 10cm Provenance: From the private collection of a Gentleman, by descent from his father The cult of bhuta, or spirit worship, is centred in Western Karnataka and the boar Panjurli is the best known of these sub-deities. Wild boars are notoriously destructive to farmers, and the cult is said to have arisen as local inhabitants tried to pacify the rampaging animals. Condition Report: wear and knocks commensurate with age Condition Report Disclaimer
Lot 58
Théodore Jacques Ralli (Greek, 1852-1909)La Captive signé et daté 'Ralli 85' (en bas à droite)huile sur toile60 x 81.5cm (23 5/8 x 32 1/16in).Peint en 1885signed and dated (lower right) oil on canvasFootnotes:ProvenancePalais des Beaux-Arts, Brussels, 18 November 1970, lot 14 (as La jolie prisonnière)Galerie Kourd, Athens.Private Collection, New York (purchased from the above).Sotheby's London, The Greek Sale, 14 November 2007, lot 19.Purchased at the above sale by the present owner.ExposéLiverpool, Liverpool Autumn Exhibition, Walker Art Gallery, 1885, no. 414, under the title Turkish Plunder.London, Hollender and Cremetti gallery, 1886 (based on the artist's notebook entry).Newcastle, 1886 (based on the artist's notebook entry).LittératureThe artist's notebook.M. Katsanaki, Le Peintre Théodore Ralli (1852-1909) et son Œuvre, doctoral dissertation, Université Paris I - Panthéon-Sorbonne, 2007, no. 70, pp. 130, 168, 171, 172, 176, 177, 286, 287 (mentioned and discussed), fig. 82 (illustrated).M. Palioura, The Painting Oeuvre of Theodoros Ralli (1852-1909), doctoral dissertation, University of Athens, Athens 2008, vol. I, p. 200 (discussed), vol. II, fig. 66 (illustrated).M. Katsanaki, Theodore Ralli, A.G. Leventis Foundation - A.G. Leventis Gallery, Athens 2018, no. 57, pp. 135-139 (discussed), p. 350 (catalogued), p. 137 (illustrated).A museum-worthy masterpiece whose auction appearance happily coincides with this year's bicentennial celebrations of the Greek Revolution, this exquisite large-scale painting of superb craftsmanship and solemn restraint captures the hearts and minds of Greeks and philhellenes alike.Inspired by the Ottoman Occupation era, when Greece was in shackles, the scene unfolds in an old Greek Orthodox church. As noted by Athens National Gallery curator M. Katsanaki, who provides a full description of the work in her monograph on the artist,1 the protagonist is a beautiful young peasant woman in her traditional costume who has been taken captive. With her hands tied, she stands on a slate-paved floor next to a wooden church pew. Flooded by an invading light, her glowing figure strongly contrasts with the dark interior on the left side and the dimly lit sacred images on the weathered wall behind her, which, faintly portrayed, loom as transcendental presences. Next to her, on the floor, we see her overcoat, her betel bag and her distaff with the wool she was apparently spinning at the moment of her abduction. To the right, a multitude of looted items and valuable objects—fabrics, slippers, jewellery and a mother-of-pearl box—are lying in heaps. The young woman is the living plunder of the Ottoman conquerors, who are depicted sitting on overturned stools around the fire they have lit to complete the desecration of this place of worship. As they sit smoking under the arch with the symbol of the cross, the unholiness of their act is emphasised even further.2 Heavily armed and looking relaxed, they have propped up against the wall the banner with the crescent moon, which serves to define space and isolate the young victim, who is obviously doomed to be sent to some slave market in the East.Here, Ralli tackled a subject which touched a chord and lent itself to stirring the Greek and philhellenic hearts, while allowing him to meticulously concentrate on ethnographic detail and focus on features, appearances and outfits, endowing them with a monumental quality. Contrasts are underscored and invested with meaning: female-male, sacred-sacrilegious, Christian-infidel, Greek-Turk, cross-crescent, purity-barbarity, chastity-ignominy, weakness-power. These dot not, however, affect the artist's handling of pictorial issues. His distinctive elegance, discretion and refined palette are amply displayed. In his astonishing virtuosity, skilful use of subtle chiaroscuro and painstaking attention to detail (note the diligently rendered loot, the glowing firewood, and the flickering highlights caught on the Turk's garments and face) Ralli follows on the footsteps of his teacher Jean-Léon Gérôme, while showing an appreciation for the achievements of 17th c. Dutch realists, mainly in the organization and handling of pictorial space. Relying on balanced composition, harmony of colour values, tonal effect, solidity of form and an entirely personal spirit of discreet elegance that permeates the whole painting, Ralli achieves unity and fuses his narrative material into a refined and seductive work of art.Equally evident is his aim to avoid causing any extreme reaction on the part of the viewer. Nothing in the young woman's face or posture betrays the horror of disrepute; nothing in her flawless appearance and well-fitting clothes indicates that she is enraged or trying to resist and free herself. Her nobility and dignity are not shaken by fear or desperation. Instead, she has a sculptural immobility, recalling the timeless, idealised beauty of ancient Greek statues. Even at this moment of grave peril, the young Greek kore retains her humanity, transcending her individual specificity and venturing towards the archetypal and collective to take on a symbolic quality: the eternal struggle between liberty and oppression. For the European philhellene, the Greek cause represented not only the struggle for freedom, human rights and nationality, but also the struggle of the 'mother' of Western civilization to restore her former glory and carry the torch of enlightenment and reason. The look in the young woman's eyes, which silently seek out the viewer's compassion and support, establishes a subtle connection with the outside, free world, conveying the message that the Greek cause was ultimately a European cause. Instead of offering a mere spectacle to be passively looked upon, Ralli ingeniously invites the viewer to participate and emotionally engage in the scene, demonstrating his great skill as a genre painter. The theme of the female captive, and indeed the Greek woman who falls into the hands of the Turks, reappeared much late in Ralli's work, in a composition painted for the 1906 Salon titled The Booty, now in the collection of the National Gallery in Athens. With Turkish plunder (La Captive), Ralli offered a Greek version of the 19th century orientalist themes showing women in states of pain and despair, prey to the appetites of men in positions of power, as is the case with Hiram Powers' Greek slave, one of the most famous sculptures of the Victorian age. Very often such works were supposed to be representing scenes which had taken place in the distant past or at an unspecified time. On the contrary, Ralli was inspired by Greece's fairly recent history, echoing Delacroix and the philhellenic movement of the 1820s, and alluding to Nikiforos Lytras's famous Abducted maid (Y. Perdios collection, Athens) painted in 1873. When Ralli showed Turkish plunder there already existed in Europe a favourable climate for the reception of subjects inspired by the Ottoman occupation and the 1821 Uprising: 'Honour the heroes who through their epic valour inflicted, in this century, the first blows to the Muslim savagery and who, while delivering their homeland, helped to free Europe ... Also honour the artists who, with a throbbing heart and a paintbrush, know how to move us by retracing the noble boldness of their forefathers.'3 Recog... This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 453
VICTORIAN STAINED MAHOGANY WINDOW SEAT EARLY 20TH CENTURY in the French style, the outscrolled padded arms flanking a loose cushion seat, raised on moulded cabriole legs; in distressed pink silk(126cm wide, 63cm high, 45cm deep)Provenance: William Teacher (1811-1876), Scottish wine and spirit merchant Thence by descent
Lot 576
DUTCH CHEST OF DRAWERS 19TH CENTURY with a shaped moulded top, above three short drawers, flanked by canted angles, with raised detail, panelled sides with carrying handles on small shaped feet(84cm wide, 78cm high, 57cm deep)Provenance: William Teacher (1811-1876), Scottish wine and spirit merchant Thence by descent
Lot 99
EARLY GEORGE III MAHOGANY TEA TABLE MID 18TH CENTURY the rectangular fold-over top above a plain frieze with a carved gadroon carved edge, raised on stiff leaf carved cabriole legs ending in ball and claw feet(81cm wide, 70cm high, 37cm deep)Provenance: William Teacher (1811-1876), Scottish wine and spirit merchant Thence by descent
Lot 18
* Cartes de Visite. An album containing approximately 90 cartes de visite portraits of notable people of the day, circa 1860s, portraits from life include Isambard Kingdom Brunel [by Robert Howlett], Charles Lyell, David Livingstone, John Hanning Speke, Michael Faraday, David Brewster, Robert Owen, Rowland Hill, Jefferson Davis, Abraham Lincoln, Florence Nightingale, Robert Napier, George Cruikshank, John Leech, Gioachino Rossini, Giuseppe Verdi, King Victor Emmanuel, Pope Pius IX, Benjamin Disraeli, Robert Peel Jr., Count Bismarck, Roderick Murchison, Charles Dickens, Alfred Lord Tennyson, William Makepeace Thackeray, Bulwer Lytton, Daniel Dunglas Home [spirit medium], Victor Hugo, Garibaldi, Mazzini, plus some portraits not from life, mostly annotated in pencil to mounts, contemporary embossed morocco, some corner wear, 4toQty: (1)
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49464 item(s)/page