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Lot 54
Five Danbury Mint 1:24 scale Classic Cars series diecast model vehicles to include Chevrolet 1941 Cameo Cream Special Deluxe Convertible, Ford 1931 Stone Brown Model A Deluxe Roaster Convertible Buick 1953 blue Skylark Convertible, Oldsmobile 1955 Burlingame Red and Polar White Super 88 Convertible and Ford 1925 black Model T Runabout Roadster, each boxed with certificate of authenticity. (5)
Lot 244
Sven BERLIN (1911-1999) Pieta AlabasterMonogrammed and dated '65H 110cmExhibited at the Belgrave Gallery St Ives in 2006 as part of ' A Most Welcome Return', an exhibition dedicated to the sculptural work of Berlin.No damage or restoration can be seen on this work although the lower hem of the robe merges with the rough-hewn appearance of the original stone
Lot 400
Clare WHITE (1903-1997) Old Stone Arch, The Digey, St Ives Watercolour, signed, 37 x 26.5cm.This is a familiar scene for any visitor to St Ives – the old stone arch over a walkway off The Digey, which connects Porthmeor beach to the town. Probably painted by Clare in the 1950’s it is a timeless portrait of a little nook in the well-loved town. Clare White was an active member of the Cornish arts colony and was the first female president of the Arts Club in the 1951. She mingled with traditional and modern painters, wrote exhibition reviews for local newspapers and was a popular and active member of the community.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Lot 401
Clare WHITE (1903-1997) Chatting in the cathedral entrance, Trogir, Croatia Watercolour, initialled, inscribed to verso, 38 x 50cm.Sitting at the entrance of San Lorenzo cathedral looking out onto the medieval town of Trogir in Croatia, Clare White captures every nuance of this market day scene - the nonchalance of the women chatting beneath the grandeur of Trogir’s much-admired stone lions; and the town’s iconic clock tower in the sunshine standing over the busy cobbled town square. Confident draughtsmanship, a clear eye and White’s ability to capture the subtlety of expression in her figures animates the painting with the artist’s own unique style.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Lot 418
Clare WHITE (1903-1997) Two works Towers of San Gimignano in TuscanyWatercolour, signed, 37.5 x 50.5cmThe striking medieval hill town of San Gimignano with its impressive towers, including the stone Torre Grossa, built in 1310, was originally built to rival nearby Florence in grandeur. It is captured by Clare White with her perfectly matched strong lines and bold colour. Always a lover of dramatic architecture and buildings of scale, White pays homage to its uniqueness in her confident simple style.andClare WHITE (1903-1997)Arch and towers, San Gimignano, TuscanyWatercolour, 38 x 52cmThe Italian hill town of San Gimignano has a skyline of medieval towers, including the stone Torre Grossa, built in 1310. Always a lover of dramatic architecture andbuildings of scale, St Ives artist and Clare White captures the unique impact of this townscape, with tourists wandering the piazza in the midday sun.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Lot 428
Clare WHITE (1903-1997) Acropolis ruins, Athens Watercolour, 38 x 51cm.St Ives watercolourist Clare White was an independent traveller who painted everywhere she went. The huge stone columns in the Acropolis framing a view of Athens and the Philopappos Hill rising in the background, were the perfect subject matter for the artist with her trademark bold black lines tracing all elements of the scene and her assured use of watercolour capturing the stone, sunlight and shade with comfortable ease.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Lot 426
Clare WHITE (1903-1997) Calvary Sculpture, Pleyben Church, Brittany Watercolour, signed, 33 x 25.5cm.A couple in close conversation walk past the sun-drenched Calvary monument outside Pleyben Church, Brittany in this painting by St Ives artist Clare White. Clare was an independent traveller and painted en plain air wherever she went. She pays tribute to the stone monument and church in this decorative piece which probably dates back to the 1930s/40s, before the artist developed her bolder illustrative style with strong colour. The figures begin to show those techniques, with simple outlines and just a few stokes she manages to capture their mood and their movement.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Lot 6143
A collection of The Rolling Stones LPs to include (1) The Rolling Stone (German Mono Repress, Date not specified, Decca - BLK 16 300-P, Red Label with Black Writing); (2) The Rolling Stones Vol.2 (German Mono Reissue Press, Release assumed late 70's or early 80's, Decca - 6.21393, Labelled as Stereo is actually Mono); (3) Out Of Our Heads (UK Mono Digitally Re-Mastered Label Press, Date not specified, Decca - LKD 5336, Large Rectangle cut on sleeve *SHOWN IN PICTURE*); (4) Bit Hits [High Tide And Green Grass] (1970 UK Stereo Reissue Press, Decca - TXS 101, Green Label); All conditions from Very Good to Excellent, with generally Very Good sleeves (Except where noted). (4)
Lot 6144
A collection of The Rolling Stones LPs to include (1) Between The Buttons (1968 UK Mono Press, Decca - LK 4852, Mirage Music below GEMA on Label); (2) Aftermath (1966 UK Mono Press, Decca - LK 4786, 3rd Label Press, Mirage Music below Rights Societies); (3) No Stone Unturned (UK Stereo, date not specified, Decca - SKL 5173); (4) In Concert (1981 German Stereo Press, Decca - 6.28565); (5) 1965/70 (1984 Italian Stereo Press, Philips - 6495 098); (6) Exile On Main St. (2010 European Press, Rolling Stones Records - 271 428-6); All conditions vary from Very Good to Excellent with generally Very Good Plus sleeves. (6)
Lot 398
George Braque (French, 1882-1963)The Bird (1949)S.P 27 / colour lithograph, signed on the stone, 76cm x 49.5cm, unframed - from the Schools Prints European Series, printed by W S Cowell Ltd, published by Schools Prints Ltd, London Further details: multiple tears to margin, creases and ripples to upper left section and margin Artist's Resale Right may apply to this lot.
Lot 263
Whitehurst of Derby late George III era English bronze sundial, signed Whitehurft and dated 180512 inch dial, with weathered green patina to the facing side.3 mounting holes for attaching to a stone base. Condition: good and solid. all over patina commensurate with age and weathering - cleaner to the underside where it was once mounted to a pedestal.Provenance: Barton Hall, Barton Blount, Derbyshire
Lot 412
John Northcote Nash (1883-1977) Window Plants S.P.4 / colour lithograph, signed on the stone, 49.5cm x 76cm, unframed, printed by School Prints Ltd. Further details: creases and old repair to lower right and left corners together with Gerald Cooper (1898-1971) Striped Lily 1946S.P.12 / colour lithograph, signed on the stone, 76cm x 49.5cm , unframed - Printed in England by the Baynard Press for School Prints Ltd, London - Further details: tears and creases to margin (2) ARR may apply
Lot 396
Henry Moore (British 1898-1986)Sculptural Objects (19) 49 S.P 30 / colour lithograph, signed on the stone, 76 x 49.5cm, unframed - from the Schools Prints European Series, printed by W S Cowell Ltd, published by Schools Prints Ltd, London Further details: 5cm tear to top margin left mid section, overall creases to margins Artist's Resale Right may apply to this lot.CONDITION:Towards the end of World War II, Brenda Rawnsley decided to introduce schoolchildren to 'good art' to alleviate the grey gloom of the war and post-war years. Within a few years, Brenda had established School Prints Ltd. to sell original lithographs to schools, and had commissioned many of the most significant artists of the day
Lot 401
Henry Matisse (1869-1954)The Dancer (1949)S.P 29 / colour lithograph, signed on the stone, 49.5cm x 76cm, unframed - from the Schools Prints European Series, printed by W S Cowell Ltd, published by Schools Prints Ltd, London Further details: 10cm tear central lower right section margin with old tape repair to reverse, tear, creases and ripples to margin Artist's Resale Right may apply to this lot
Lot 116
A diamond and 18ct gold three stone ring, comprising three old European cut diamonds, the principal stone weighing approx 1.57carats, the two outer stones each approx 1.02carats, assessed colours K-M, assessed clarities VS2-SI1, total combined diamond weight approx 3.60carats, claw set to a scrolled mount, size Q, total gross weight approx 4.7gms Further details: good all stones present, slight abrasion to girdles, otherwise good, some slight wear and tear to mount
Lot 103
A diamond solitaire 9ct gold ring, comprising an old cushion cut diamond, weighing approx 1.70carats, assessed colour J/K assessed clarity VS2, eight claw setting, to a 9ct rose gold tapered shoulders, size P, total gross weight approx 2.4gms Further details: good stone with slight chip/nibbles to girdle, minor wear to shank commensurate with age
Lot 397
Fernand Leger (French, 1881-1955)The King of Hearts S.P 25 / colour lithograph, signed on the stone, 49.5 x 76cm, unframed - from the Schools Prints European Series, printed by W S Cowell Ltd, published by Schools Prints Ltd, London Further details: multiple tears to margin, creases and ripples to upper left section and margin Artist's Resale Right may apply to this lot.
Lot 408
Two lithographs from the Schools Ltd European series printed in England by THE BAYARD PRESS for School Prints Ltd, London to include: 1. Adolf Dehn (American, 1895-1968) Minnesota, S.P 23 / colour lithograph, signed on the stone, 49.5cm x 76cm, unframed. Further details: some creases 2. Buk Ulreich (American, 1884-1966) Arizona Cowboy, S.P 22/ colour lithograph, signed with initials on the stone, 49.5cm x 76cm, unframed. Further details: some creases Artist's Resale Right may apply to this lot
Lot 417
L S Lowry RA RBA (British 1887-1956)Punch and Judy (1943)S.P 21 / colour lithograph, signed & dated on the stone, 49.5cm x 76cm, unframed - Printed in England by the Baynard Press for School Prints Ltd, LondonFurther details: tear bottom right section with old tape repair to reverse, creases to margin Artist's Resale Right may apply to this lot
Lot 420
Edwin la Dell (1914-1970)The Tower of London (1946)S.P.6 / colour lithograph, signed and dated on the stone, 49.5cm x 76cm, unframed - Printed in England by the Baynard Press for School Prints Ltd, LondonFurther details: tack holes in each corner, tears to bottom right, creases to margin ARR may apply
Lot 114
An diamond and 18ct gold four stone ring, comprising four claw set round brilliant cut diamonds tapering in size, total diamond weight approx 1.79carats, assessed colours H-I, assessed clarities VS2-SI2, to a tapered band, size M, total gross weight approx 3.4gms Further details: good all stones present, some wear and tear to claws and metals commensurate with age
Lot 121
An Edwardian diamond and platinum cluster ring, comprising an elongated lozenge set to the centre with three graduated old cut diamonds, the principal stone approx 0.30ct, within a scalloped border of collet set diamonds, length approx 15mm, with grain set diamonds to the shoulders, size P, total gross weight approx 4.3gms Further details: all stones present, the central stone with a chip wear and tear commensurate with age
Lot 400
Pablo Picasso (1877-1983)Composition (1948)S.P 28 / colour lithograph, signed on the stone, 49.5cm x 76cm, unframed - from the Schools Prints European Series, printed by W S Cowell Ltd, published by Schools Prints Ltd, London Further details: tear and loss at left lower corner, tack holes to each corner, ink stain lower right corner, tears to margin, creases and ripples to margins (af)Artist's Resale Right may apply to this lot
Lot 399
Raoul Dufy (1877-1983)The BandS.P 26 / colour lithograph, signed on the stone, 49.5cm x 76cm, unframed - from the Schools Prints European Series, printed by W S Cowell Ltd, published by Schools Prints Ltd, London Further details: creases and ripples to margins Artist's Resale Right may apply to this lot.
Lot 165
A 1920s Art Deco beaded dress, the black chiffon dress with a V bodice encrusted with large paste stones and a decorative buckle, with fine stripes merging from the A line waist onto a band of beadwork, with deep hemline of large paste stone to above the knee, the back with two large panels from the shoulders in large paste stones (two small holes on bodice - repairable)
Lot 105
Louis Vuitton- a retro 18ct gold charm bracelet, comprising square links each approx 10mm,, length approx 20.5cm with signature padlock clasp with monogram LV along with keys both marked Louis Vuitton 750, French marks to padlock clasp, total weight approx 100gms, along with various Louis Vuitton charms including envelope, inscribed Louis Vuitton 101 Champs-Elysees 75008 Paris, attachment marked numbered 2337AL, a Calendar Fevrier 2005, inset with red stone, diamond set Eiffel Tower, along with a miniature LV smoky quartz trunk, a pink glass Alma handbag charm, all charms marked to attachment Louis Vuitton, LV, 750, with French marks, along with a Papillon monogramed handbag charm (only marked to attachment Louis Vuitton), total combined total gross weight approx 75.8gms along with a signature monogrammed LV box together with three smaller LV boxes for three charms Further details: good all stones, links clasps, present and intact, some minor fine scratches commensurate with age/wear
Lot 137
Cartier- a gentleman's 18ct rose gold Ballon Bleu automatic wristwatch, comprising a signed round silver guilloche dial with black numeral hour markers, secret signature at 7 o'clock, black minute divisions, blue steel sword hands with centre seconds, polished rose gold bezel/case, approx 42mm including cabochon stone set crown, on a brown Cartier alligator leather strap with signed Cartier 18ct gold clasp, strap length approx 24cm, total gross weight approx 59.2gms, along with box marked with individual number 59835.TX.3661 purchased in 2015 with box and pouchFurther details: movement untested, slight scuff to bezel, minor wear only,
Lot 35
Pietra dura-SalontischHöhe: 72 cm. Durchmesser: 97,5 cm.Italien, frühes 19. Jahrhundert.Auf einer profilierten Holzbasis die drei Beine mit Akanthusblattschnitzereien und einem Maskaronsteg zur Mittelvase, über radial zusammenlaufenden Profilen. Darüber die Deckplatte in schwarzem Stein mit Randprofil, darin eingelegt hochfeine Arbeit in Mikromosaiktechnik unter der Verwendung von Malachit und verschiedenen anderen Steinen. Zentrale Darstellung des Petersplatzes mit dem Dom, den Kolonnaden sowie dem im Zentrum stehenden Obelisken, umrandet von Malachit. Darum angeordnet vier Ovalkartuschen mit dem Kolosseum, dem Forum Romanum, dem Pantheon und dem Herkulestempel. Die liegenden Kartuschen verbunden durch hochfein gearbeitete Blütenfestons mit Wicken und Rosen sowie umherflatternden Schmetterlingen. Die Komposition wird gerahmt durch einen Weinlaubkranz, dessen verschiedene Schattierungen ihn dreidimensional wirken lassen. (13517528) (13)Pietra dura salon tableHeight: 72 cm. Diameter: 97.5 cm. Italy, early 19th century.On a profiled wooden base, three legs carved with acanthus leaf mascaron bar to the central vase over radially converging profiles. Surmounted by black stone tabletop with edge profile, with very fine micro-mosaic inlays in malachite and various other stones. Central depiction of St Peter’s Square with the cathedral, the colonnades, and the obelisk at centre, surrounded by malachite. With a surround of four oval cartouches depicting the Colosseum, the Roman Forum, the Pantheon, and the Temple of Hercules. The horizontal cartouches are connected by very finely worked floral festoons with sweet peas, roses, and butterflies. The composition is framed by a wreath of vine leaves, its various shades giving a three-dimensional appearance.
Lot 195
Pejac (Spanish 1977-), 'Scattercrow', 2017, 1 colour hand pulled stone lithography Hahnemühle 300grs paper, signed and numbered from an edition of 80 in pencil; sheet: 72.5 x 103cmARRsheet: 72.5 x 103cmIn Excellent ConditionNo knocks, tears or creases to the sheetThis work has been stored flat and never been framedSignature and numbering are both clear with no smudgingBlindstamp is crisp and pronouncedPotential very minor surface mark to the lower right of the sheet, well away from the printed image.In Excellent ConditionAccompanied by a Pejac Certificate of Authenticity
Lot 267
Sam Ringer (Polish/French, 1918-1986)Profil circa 1975étiquette avec le cachet de l'atelier Ringer (au revers)sculpture sur pierre naturellelabel with the stamp of Ringer studio (on the reverse)sculpture on natural stone9.6 x 8 x 3.5cm (3 3/4 x 3 1/8 x 1 3/8in).Footnotes:ProvenanceFamille de l'artisteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 399
Collection of jewellery comprising of: a 9ct gold amethyst and pearl brooch, 2.2cm across, 5g approx overall, an indistinctly marked (untested, possibly 9ct gold) ring with purple facet cut stone, size O, 14g approx overall, a yellow metal ring stamped '375' with bezel set purple faceted stone, size J/K, 4g approx overall, one other 9ct gold ring, 1g approx overall and four broochesAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
Lot 398
Collection of gold and costume jewellery comprising of: an indistinctly marked precious yellow metal ring in the Art Deco style with white (untested) stones, 5g approx overall, a 9ct gold pearl spray brooch, 4g approx overall, a Chinese white metal jade ring, one other Chinese white metal ring with purple faceted stone, miscellaneous yellow metal earrings and a possibly Indian enamel pendant set in unmarked yellow metal with bead detail on an unmarked yellow metal chainAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
Lot 401
Collection of silver and jewellery comprising of: a Victorian 9ct gold pearl and turquoise pendant on an unassociated 9ct gold chain, 6g approx overall, 18ct gold diamond ring, size N, 2g approx overall, an 18ct gold diamond and green stone ring (untested), size O, 3g approx overall, white metal dropper necklace with facet cut stones, silver-backed brushes and mirror, costume jewellery etcAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
Lot 396
Collection of rings comprising of: a 9ct ring inset with seven pink stones (untested), size L, 2g approx overall, a 9ct gold seven pink stone (untested) channel set ring, size N, 4g approx overall, and an unmarked precious yellow metal (Possibly 18ct gold, untested) ring with channel set eight stone white and pink stone ring (untested), size M, 3g approx overall (3)At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
Lot 54
Emily Williams (British fl. 1869-1890)The drawing room, Townshend House signed with initials and dated '1885' (lower right)oil on panel82 x 19cm (32 5/16 x 7 1/2in).Footnotes:ProvenanceSale including the contents of 17 Grove End Road, Hampton & Sons, London, 11 June 1913.Thomas Agnew & Sons.C.P. Mason; sale, Sotheby's, Belgravia, 5 November 1974, lot 64.Professor George Teeling Smith.With The Fine Art Society, London.The Irish News Collection (acquired from the above.)IllustratedElizabeth Prettejohn & Peter Trippi, Lawrence Alma-Tadema, At Home in Antiquity, London, 2017, no. 97, p. 85.Elizabeth Prettejohn et al, Sir Lawrence Alma-Tadema, Zwolle, 1997, p.54.LiteratureWilliam Cosmo Monkhouse, British Contemporary Artists, 1899, p.225.F.G. Stephens, Lawrence Alma-Tadema, R.A., 1895, pp. 15-16.Rudolph de Cordova, 'The panels in Sir Lawrence Alma-Tadema's Hall', The Strand Magazine, Vol. XXIV, 1902, pp. 615-630, ill. p.625.Six Panels from 17 Grove End Road, the London Residence of Sir Lawrence and Lady Alma-TademaThis group of six panels are from the set of forty-five which originally formed part of a decorative scheme in the hall of Sir Lawrence Alma-Tadema's remodelled studio house at 17 (now 44) Grove End Road. The house had previously been the residence and studio of James Tissot who had returned to Paris four years earlier. Alma-Tadema and his family finally moved there in 1886; a move that was instigated by the severe damage which was caused to his previous residence of Townshend House following an explosion on the Regent's Canal in October 1874 when the 'Tilbury', a barge carrying nuts, coffee, petroleum and five tons of gunpowder exploded under Macclesfield Bridge.The Roman style design of the new house ('Casa Tadema' as it became known), provided the artist and his family with both domestic and studio space, and as Charlotte Gere wrote: 'Architecturally sophisticated, Grove End Road's axial crossings and different levels afforded unexpected views of Tadema's set pieces using his vast collection of antiques and curios'1.Part of the decorative scheme included the Hall of Panels. On entering the villa, guests could climb a steep staircase lined with burnished brass to enter Alma-Tadema's studio which was reminiscent of a Byzantine Church, or they could turn left and enter the domestic side of the house. Passing through the conservatory, they would arrive in the hall where the white walls of the fireplace alcove were inset with painted panels. Some of the panels had been brought from Townshend House, but the set would eventually number forty-five and included gifts from the artist's friends, professional colleagues and family. Described by the critic F.G. Stephens as 'substantial visiting cards (and) charming pictures, (each) painted to fill its own particular niche in the wall of the house beautiful'.The set was complete by 1902, and with some variation in width, each work measured roughly 31 1/2in. high. Among the contributors were Frederic, Lord Leighton, John Singer Sargent, Sir Frank Dicksee, Alfred East, Sir Edward John Poynter, Briton Riviere and Marcus Stone who produced the largest of all. Described as 'Unique in London, unique in the world...' a comprehensive account and commentary on the group by Rudolph de Cordova appeared in The Strand Magazine in 1902 in which thirty-eight of the panels were photographed in situ. The article discusses many of them in detail and the challenges encountered by some of the artists as they strove to produce a piece that was not only representative of their style, but that was also sympathetic to the overall scheme and acted as a personal message to Alma-Tadema. As de Cordova writes 'There are many halls whose wall are graced by valuable paintings some of which may be and undoubtedly are, the gifts of artist friends. No other hall however is entirely adorned by the gift of brother artists whose work has been specially designed and executed for a certain definite place and no other...'2Following Alma-Tadema's death in 1912, the contents of 17 Grove End Road were sold at auction by Hampton's in London. The panels were offered on 11 June 1913.1Elizabeth Prettejohn & Peter Trippi, Lawrence Alma-Tadema, At Home in Antiquity, London, 2017, p.89.2Rudolph de Cordova, 'The Panels in Sir Lawrence Alma-Tadema's Hall', The Strand Magazine, Vol. XXIV, 1902, passim.Emily Epps Williams was Tadema's sister-in-law. She exhibited several times at The Royal Academy and The Grosvenor Gallery. Painted in 1885, this view of the Drawing Room at Townshend House clearly shows the striking black and white floor created by Tadema. The drawing room was also painted the same year by Emily's niece, Anna, but shown as if the viewer is looking in from the Gold Room. The same lantern can be seen hanging from the highly decorated ceiling; a heavy brocade curtain hangs as a room divider and a throne chair can be seen beyond.This lot is subject to the following lot symbols: ††VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 44
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)The Answering String A standing female holding a Cithern in the green court of a building by a barred window, figure taken from a study for The Last Sleep of Arthur in Avalonsigned with initials and dated 'E/B/J 18/96' (lower right), signed and inscribed with title (on artist's label attached to the reverse)bodycolour, gold paint and coloured chalk34.2 x 21.5cm (13 7/16 x 8 7/16in).Footnotes:ProvenanceThe artist.With Thomas Agnew & Sons, London.Christie's, London, The artist's studio sale, 16-18 July 1898, lot 22, described as a pastel.Lady Frances Jane Horner (née Frances Jane Graham), 1898-1940. Thence by descent.Private collection, UK.ExhibitedBrussels, International Exhibition, British Fine Art Section, 1897, ex-cat. (according to a label on the reverse, listed as property of the artist).London, Burlington Fine Arts Club, Drawings and Studies by Sir Edward Burne-Jones, 1899, no. 63, described as 'Design in gold and water colours of a female figure, with oriental drapery over her head, standing holding a Cithern [Cithara] in the Green Court of a Building by a Barred Window.' (lent by Mrs Horner).LiteratureWilliam Cosmo Monkhouse, Burlington Fine Arts Club Drawings and Studies by Sir Edward Burne-Jones, Bart, 1899, cat no. 63, p. 15.Fortunée de Lisle, Burne-Jones, 1904, p. 187 (owned by J. F. Horner).Malcolm Bell, Sir Edward Burne-Jones, An Illustrated Record and Review, 5th Edition, 1910, appendix II, p. 132, as 'Unfinished picture' in the Studio sale, Christie's 16-18 July 1898.The present lot is listed in the online catalogue for the Committee of the Burne-Jones Catalogue Raisonné Foundation which can be viewed at www.eb-j.org. Painted in 1896, the figure in the present lot is from a study for The Last Sleep of Arthur in Avalon. As the catalogue notes: 'This figure was first included as an attendant musician in the first composition of The Last Sleep of Arthur in Avalon, she stands to the left of the mausoleum, next to the head of King Arthur. Not using the figure in the later designs, Burne-Jones thought it too good to completely abandon and in 1896 he took it up and made it an independent work.'1A heavily draped female figure, her head covered, stands in an enclosed space beside a building of stone construction and with a single barred window. A woman stands in the foreground holding a dulcimer the strings of which she appears to pluck. The drawing's title – The Answering String – seems to imply that she has found a way to communicate with an unseen person who is held captive in a cell, by striking a note on her instrument and awaiting the reply. The motif of a figure playing a stringed instrument occurs quite frequently in Burne-Jones's output. At the centre of the mural decoration that he made for William and Jane Morris's home, Red House, in 1860 is a man playing some kind of primitive fiddle; while the artist's composition, The Mill (Victoria & Albert Museum, London), begun in 1870, has a figure standing beneath an archway playing a dulcimer at the right side. Perhaps the most immediately familiar image of someone attempting to play an instrument in the context of Victorian art was George Frederic Watts's Hope (various versions, including that in the Tate commenced 1886), where the instrument has only one string remaining and yet which the figure persists in attempting to play. In the last years of his life Burne-Jones completed a number of head studies and figurative compositions of this type using gold paint to make works of the utmost richness and ornamental quality, complete in themselves and intended for display as aesthetic objects. For example, in 1890, he showed a series of 'Designs in Gold' at the New Gallery. Of the particular skill required in the use of gold paint, Burne-Jones told his assistant Thomas Matthews Rooke: 'This gold work must be done very directly – it's an art of itself. I forget how to do it between one time and another, and it's always an experiment'.2The provenance of the present lot is fascinating; when loaned to the posthumous exhibition of Burne-Jones' work at the Burlington Fine Arts Club, the work is listed as 'lent by Mrs Horner'. Frances Jane Horner (née Graham) (1854-1940) was the daughter of the Liberal MP William Graham, who became one of Burne-Jones' most ardent patrons. Graham owned a number of Burne-Jones works, including some early panels from the Briar Rose series. Graham also held an excellent collection of early Italian works, which he would loan to the artist for inspiration. He helped managed Burne-Jones' financial affairs and even oversaw the sale of his paintings. Graham's daughter Frances became a great friend of Burne-Jones; as a child she would accompany her father to the artists' studio. As a young adult, Frances and her father would accompany the artist to exhibitions, theatre events and circuses. 'We went about with Burne-Jones everywhere' she noted. Burne-Jones was fascinated by her, drawing her many times, and bestowing many tokens of his affection upon her: painted caskets, illuminated manuscripts, hand-made Valentines. William and Frances both sat for formal portraits in the late 1870s, and Frances appears as one of the models in Burne-Jones's monumental work The Golden Stairs, which was shown at the Grosvenor Gallery in 1880.3Frances moved within the milieu of the 'Souls', an artistic and intellectual group centred around Mells, the Wiltshire home of the Horner family. The group, described by one member as 'men and women bent on pleasure, but pleasure of a superior kind... looking for their excitement in romance and sentiment'4 contained an extraordinary array of late Victorian politicians and intellectuals, including the Balfour, Wyndham, Grenfell and Asquith families. When, in 1883, Frances married the barrister and heir to the Mells estate John Francis Fortescue Horner (1842-1927)- Burne-Jones was said to be devastated- she became the hostess of this extraordinary circle of socialites. Frances adorned Mells with paintings and gifts from Burne-Jones - not least the 'Orpheus' piano, commissioned as a wedding gift by her father- and continued to support Burne-Jones following her father's death. Frances' daughter Katherine married into the Asquith family, Katherine becoming daughter-in-law of H. H. Asquith, who served as prime minister during the First World War. 1www.eb-j.org.2Mary Lago, Burne-Jones Talking, London, 1981, p. 143.3Charlotte Gere, writing in Edward Burne-Jones, ed. Alison Smith, London, 2018, pp.151-154.4Wilfrid Scawen Blunt, My Diaries; Being a Personal Narrative of Events 1888–1914, part One: 1888–1900, New York, 1923, p.53.We are grateful to the Committee of the Burne-Jones Catalogue Raisonné Foundation for their assistance in cataloguing this work.For further information on this lot please visit Bonhams.com
Lot 101
A rare 12th century Romanesque carved oak bear, Anglo-French, circa 1150Boldly carved from one-piece, of recumbent elongated form, with open mouth, probably the lower support of a door surround, originally one of a pair, original tenon to the rear from an upright support, 60cm longThis type of early Medieval lower door support is more commonly designed as a lion, made from marble or stone. For a complete example, again in oak, see the Victoria & Albert Museum Collection, London, accession no. 269D-1886
Lot 215
ROWLING (J.K.)Harry Potter and the Philosopher's Stone, FIRST EDITION, FIRST PRINTING, with the number sequence from 10 to 1 on reverse of title-page and misspelling 'Philospher's' on lower cover, light spotting to page edges, publisher's pictorial boards, lacks spine, corners worn, some losses to surface of upper cover affecting very slightly the 'P' of 'Potter', a few other small abrasions, 8vo, Bloomsbury, 1997Footnotes:FIRST EDITION, FIRST PRINTING OF THE NOVEL THAT INTRODUCED HARRY POTTER TO THE WORLD.Provenance: Given to the present owner by his aunt, with inscription 'To Christian/Happy Birthday//Lots of love/Auntie Yvonne '98' on front free endpaper.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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