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Alexandre Bida (French, 1813-1895)The Persian Barber signed 'Bida' (lower right)pencil and chalk46 x 37cm (18 1/8 x 14 9/16in).Footnotes:Alexandre Bida's technique, scratching back the black layer of graphite and creating a multitude of fine hatchings to reveal the white ground beneath, is ably demonstrated in the present lot. Creating a work in chiaroscuro, the work stands in contrast to many of the artist's contemporaries, who opted for rich colours to represent an exotic Orient, full of sensuality and eroticism.The present lot makes an interesting comparison with Café in Constantinople (1847, Cleveland Museum of Art), showing the same objects - a round table, coffee pots, the chibouk pipe- which Bida would have documented during his travels around Greece, Turkey and Syria. It was also the basis of an illustration in the Parisian journal L'Illustration, September, 1849, as well as a popular travel guidebook by Adolphe Laurent Joanne entitled Voyage en Orient, 1850. In both editions, the illustrations were made by a contemporary engraver and the barber is said to be Armenian instead of Persian.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
An Antique 18ct gold 3-stone diamond half hoop ring, set with old cushion-cut diamonds, and round-cut diamond accents, total diamond content approx 2.5ct, principal diamond approx 1.1ct and measures 6.28mm x 5.93mm x 3.58mm, 1 smaller diamond approx 0.7ct and measures 5.53mm x 4.61mm x 3.23mm, colour approx J-L, clarity approx VS2-SI2, setting height 7.6mm, size S, 4.2gNo damage or repairs, all stones present, main 3 diamonds are extremely bright and fiery with only a yellow tint when viewed across the table, setting will certainly have an influence on the colour grade, principal diamond has 2 tiny chips on upper girdle facets, 1 of the small diamonds has 2 small internal feathers underneath the table which are just about visible without a loupe, diamonds accents each have a few surface chips, settings lightly abraded, mark clear, engraved 18ct
An Antique Dutch silver rectangular table snuffbox, with inset relief carved cameo panel and embossed hunting scene border with farming scene base, 7.5cm x 5.5cm x 4cm, 3.6oz grossNo damage or repair, high points quite worn all over, silver lightly abraded, hinge lid working, Dutch marks rubbed
An Art Nouveau George V silver 3-branch table epergne, with removeable smaller bud trumpets and foliate rims, by James Deakin & Sons, hallmarks Chester 1926, height 21cm, loaded baseGeneral wear all over with several heavy dents to stems and edges, settings lightly abraded, hallmarks rubbed
3 x Art Nouveau silver dressing table items, comprising tray, hand mirror and hair brush, relief embossed floral decoration, various makers, hallmarks Birmingham 1906 and 1911, tray length 32cm, tray 8.4oz (3)Tray has no damage or repairs, hand mirror and brush both have light dents all over and slight wear to high points, all hallmarks clear
An Elizabeth II Art Nouveau style silver-fronted dressing table strut mirror, relief embossed daffodil decoration with planished ground and velvet backing, maker's marks RBB, hallmarks London 1989, overall height 30cm, internal dimensions 20cm x 16cmNo damage or repairs, silver lightly abraded and very slightly worn on high points, strut is working, hallmarks clear
A pair of Elizabeth II silver table candlesticks, tapered cylindrical form with heavy octagonal green marble bases, maker's mark ACS, hallmarks Birmingham 2011, overall height 22.5cmNo obvious damage or repair, silver lightly abraded with a couple of minor dents around the top rims and the bodies, no chips to marble, hallmarks clear.
School of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652). "Head of Saint John the Baptist". Oil on canvas. Relined. Measurements: 46 x 63,5 cm. In this canvas the author deals with a theme of great dramatism, very much in accordance with the popular sensibility of the Spain of the time, strongly influenced by the Counter-Reformation, which demanded from the art a realistic language so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Thus we see the decapitated head of the Baptist, placed on the silver tray on which it was given to Salome. However, there are no narrative elements to tell the story; it is a static, devotional composition in which we see only the severed head on the tray placed on a table dressed in a rich red cloth. The space is undefined and closed, with a dark background worked in neutral tones against which the saint's head stands out, strongly illuminated by a light of Tenebrist heritage, directed and contrasted, which leaves the secondary areas of the composition in semi-darkness, focusing the viewer's attention on the saint's dead face. From its subject matter and style we can situate this painting within the Neapolitan school of the 17th century around the figure of José de Ribera, a key painter belonging to the generation of the great masters of the Golden Age, trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would play a key role in the development of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before it arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also influenced the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper right corner and directly illuminates the saint's face and hands, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models the saint by means of the light, that touch of pasty, expressive brushstroke that the artist learned directly from Ribera's work.
Spanish or Italian school; ca. 1700"The dream of St. Joseph".Oil on canvas. Relined.Presents repainting and restorations.Measures: 119 x 165 cm.There are two moments in which San José, is visited by an angel, while he is sleeping. One of them is when he is warned of Herod's slaughter, in which the Angel urges Joseph to flee to Egypt, along with the Virgin and Child. The other moment in which St. Joseph dreams of an angel's message is prior to the one described above. This took place during the Virgin's pregnancy, at the moment in which St. Joseph doubted and had the intention of repudiating the Virgin. However, the Angel revealed to him that it was a work of the Holy Spirit, thus dissuading Joseph from his intentions (Matthew 1: 19-24).In this work where this biblical passage is collected, the author has placed St. Joseph in the foreground, leaning on a table, with his eyes completely closed. To his right is the figure of the angel, with his back to the viewer, and with his arms open towards St. Joseph. The scene is completed with the presence of Mary, in this case in the background. Located in the right zone and in the last plane, we can appreciate a sober room where the Virgin is with her hands crossed on her chest, directing her gaze towards heaven, in a clement attitude. This detail is the one that helps to identify the main theme of the scene, an image where the dynamism of the figure of the angel, with her vaporous and bright clothes, contrasts with the sobriety of both the austere interior and the chromatic range used by the artist.
Workshop of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652)."St. Francis of Paula" ca.1630.Oil on canvas.Size: 120 x 103 cm; 128 x 112 cm (frame).In this canvas is represented San Francisco de Paula of half body, in pensive position, with the glance directed upwards, in the direction of a halo of light that emanates from the top right part of the composition and in which the word "Caritas" can be read. He appears dressed in dark sackcloth, typical of his hermit character, accompanied by the staff, his main iconographic attribute, and with the Holy Scriptures in front of him, also illuminated by a spotlight that falls directly on them. It is a work perfectly framed within the naturalistic baroque, heir of José de Ribera, starring a totally earthly man, with a face far from any idealization. San Francisco de Paula is presented as a real person, with personalized features typical of the individualized study, furrowed by deep wrinkles. As usual within the naturalistic baroque, the composition is simple and clear, with the character in the foreground against a neutral and dark background that enhances his physical presence. Apart from the human model and this composition, the lighting is also clearly naturalistic, a tenebrism derived directly from Ribera that is based on an artificial, directed spotlight that penetrates the painting through the lower left corner and falls on the face and hands of the saint, also illuminating the writings and the table in the foreground, leaving the rest in a nuanced penumbra, very worked, as we can see in the perfectly achieved mantle, characterized by its realism, despite being enveloped in shadows. The chromatism is also typical of this school, very limited around the ochers, earthy, reflecting the warm and naturalistic atmosphere.Regarding the subject, it represents Saint Francis of Paola (Calabria, Italy, 1416-Tours, France, 1507), hermit founder of the Order of the Minims and saint of the Catholic Church in the Italian region of Calabria. Legend has it that St. Francis became seriously ill of the eyes, reason for which his parents entrusted themselves to St. Francis, curing their son's eyes. To be grateful for the miracle, at the age of fourteen he went on pilgrimage to Assisi, thus becoming a hermit. For five years he withdrew to the mountain, feeding only on water and wild herbs, sleeping on the hard ground, with a stone as a pillow. He was canonized in 1519, only twelve years after his death, during the pontificate of Pope Leo X. In the early years of the 16th century, the Order of the Minims entered Spain, acquiring great diffusion due to the values of Franciscan preaching that they spread, which, linked to the recent canonization of the saint and his way of life and poverty, strongly influenced the Spanish Christian population.Due to the aforementioned formal characteristics, this painting can be related to the circle of José de Ribera, a key painter for the development of the naturalistic baroque not only in Spain, but also in Italy and in other national schools, given the great diffusion of his work. Called the Españoleto, he was a key master of the Spanish Baroque, and in general of the history of art at the European level. Although no documentary sources or evidence of his youth are preserved, it is believed that he trained with Francisco Ribalta in Valencia, after which he went to Italy, first to the north and later to Rome, where he learned first-hand about the classicists and the Caravaggesque tenebrism of the Dutch who settled there. Finally he settled in Naples, where he arrived in 1616. Then began his period of maturity and splendor; Ribera enjoyed fame and a large workshop, and his works spread throughout Europe through engravings.
Refectory table. Spain, XVII century.Carved walnut wood and iron fasteners.Measures: 83 x 185 x 67 cm.Important refectory table dating from the 17th century and made of walnut wood. The table top is made of a single piece, as well as the carved work that runs along the entire skirt of the table, in which the drawers, legs and chambranas are inscribed. This skirt has three front drawers decorated with scrolls and vegetal forms, framed in smooth moldings, arranged with metal handles and flanked by ornamental carvings resolved as corbels. The back has the same design, but with false drawers. The table stands on turned legs with button-shaped feet, connected laterally by smooth-profile chamfers. Both legs are joined to the tabletop by wrought iron fasteners.From the Latin refectus (refreshment), the refectory is the room used for monks' meals in monasteries and convents. It is generally rectangular in shape and is located in the gallery opposite the church. The tables are lined up along the walls. The monks are seated according to their rank of seniority; the abbot's or prior's table, at one end, presides over the others. The meals take place in silence, broken only by the Bible readings, usually from a pulpit, by one of the monks.
Georgian mahogany fold over tea table, the top with reeded edge over chequered inlaid frieze, raised on square tapered supports (W92cm) together with the base of a Victorian mahogany what-not, fitted with one drawer, raised on bobbin turned supports with brass castors, (W55cm)
Two boxes of fabric to include Osborne and Little Volterra, El Paso fabric, tapestry cushion covers, curtains, table linen, buttons, Quantity of decorative upholstery trims, cotton throw with tasselled edges and a pair of vintage striped curtains, other accessories (quantity)
A 19th Century mahogany pedestal occasional table on tripod base, 59.5 cm diameter x 70 cm high and a stained beech butler's tray on stand in the Georgian style, 60.5 cm wide x 44.5 cm deep x 72.5 cm high (tray plus stand) and two late Victorian upholstered square footstools
A Victorian mahogany pot cupboard with single fielded panelled door, a circa 1900 mahogany pot cupboard with single door on square chamfered legs, a Victorian rosewood occasional table (one of a nest), another similar mahogany table (from a nest) and a circa 1900 walnut coal box of small proportions with brass mounts, 27 cm wide x 37 cm deep x 32 cm high including handle
ÆŸ JOURNAL: The Travel Journey of Heather F. Masterman, an English woman travelling to Russia through Europe. (1907 - 1908). in English (with one loose leaf in German). a single volume, quarter leather over marbled boards, printed label to upper cover with ink manuscript inscription reading 'Diary in Russia 1908-8. Heather F. Masterman'. 4to., 238 x 190mm, 66 leaves and 17 additional extracts of commentary (some loose, others tipped-in), plus an additional c. 60 blank leaves, single column, mostly 23 lines to the page, with entries in two hands, all in pen, one original black and white photograph, 9 postcards, and a dinner menu pasted to first few leaves, manuscript ink inscriptions of previous owners and inheritors of the diary to front pastedown. A travel journal of a young woman travelling to Riga, then in Russia, from England, by way of Germany and Copenhagen aboard the S.S. Lara on Saturday 31 August, 1907. She travelled with her companion (only referred to as 'D', and only ever referred to as her 'husband' once on a separate piece of paper in German, the couple listed points of improvement to their rooms that they wished to discuss with their landlady). It appeared their reason for travelling to, and taking rooms with a family in Riga, was in order for 'D' to improve his Russian. On their journey and after their arrival, it is clear that Heather and her husband were well connected with the British Consul who met them from S.S. Lara, accompanied them through Customs, and dined with them and other members of high society on a regular basis. They were taken to concerts and offered practical advice regarding lodgings, doctors, etc., The couple surrounded themselves with English friends, attended the English church, and were sent British newspapers including The Graphic, Weekly Times, and The Consulate. They clashed with the manners and customs of people in Riga and argued on more than one occasion with their landlady, referring to her as 'impossible' and 'a most trying woman to deal with' and 'cannot understand [daily] baths and open windows'. Their lodgings were clearly not as comfortable as they were used to, the bedroom likened to 'an extremely shabby servants room in England', inadequately furnished and lacking in sunlight. The couple were unhappy with their choice of landlady and host family as they did not try to converse with 'D' in Russian, food was not to their liking, and table manners were not what they were used to, complaining they 'do not always have a white cloth, sometimes we use a red and blue one, or a piece of oil cloth.' Towards the end of the main body of the manuscript, Heather appeared to have a child, however, there is no direct mention or hint at her being pregnant in her account up until this point, there are 2 leaves missing here (likely containing details of childbirth). Starting at the rear of the notebook, is a transcribed translation over 7 leaves, of an article from a Riga newspaper from September 1907, (the same time as the arrival of Heather and 'D'in the city). It describes the trial of 60 men accused of 'revolutionary affairs in the Kokengousnk & other Volosts [administrative subdivisions in Eastern Europe] of the Riga district'. The article describes in detail the objective of overthrowing the established fundamental laws of the Livonian Governments, and commencing local substitution of a Lettish Social Democratic Republic, in place of the ordinary course of Government. Criminal activities of the men are described which included obtaining weapons, attacking the house of the assistant of the Chief of the Riga district and killing him and dragoons, imprisoning and killing a priest, Cavalry Captain von Stern, clerks and others, damaging the railway, burning a castle and other buildings. The conflict between the Baltic German nobility and the Livonian peasants resulted in martial law being declared in Livonia. The article is a significant and important first-hand account of an early act of civil unrest relating to the 1905 Revolution called 'The Great Dress Rehearsal' by Lenin, and seen as a precursor and a key contributing factor in the victory of the 1917 October Revolution. An interesting document recording daily life of British people travelling to the continent, with reference to figures of high society, their views of the locals, their learning of the language and the cost of living including food and lodgings. Furthermore, an interesting contemporary newspaper account of a significant event in local history with probably one of the earliest/only translations of it into English. (1) Condition Report: wear and rubbing at corners and edges, covers slightly worn and scuffed, creasing at upper and lower hinges, rubbing with a small amount of loss at head and tail of spine, a little foxing to edges of a few pages, 2 leaves cut out roughly at the margin, overall good condition. Condition Report Disclaimer
Bronzed Table Bust Figure of a German Soldier in Steel Helmet, known as the hero range, the table bust produced in a alloy metal and finished in a bronzed colouring to resemble a bronze statue. The bust shows the German soldier wearing the early double decal transitional style steel helmet. No makers or artists marks. Stands 21 ½ cms.
An Interesting Group of Medals & Uniform, Including a British Distinguished Flying Cross (D.F.C), Attributed to Lieutenant Garland A York Serving in 34 Photo Reconnaissance Squadron, United States Airforce, group consists US Air medal with 6 oakleaf clusters, US Purple Heart medal, in case of issue, US Distinguished Flying Cross, US European, African, Middle Eastern Campaign medal with 3 bronze stars, US Victory medal and a British Distinguished Flying Cross, reverse dated 1945, in case of issue. All medals unnamed as issued. Lot is accompanied by assorted cloth badges, metal pilots wings by AE Co. Utica NY and a London made Ike jacket with insignia (maker Huntsman, Saville Row), British DFC medal ribbon is attached to the tunic. Also accompanied by aircraft panel instrument and trench art pieces. Often considered one of the unsung heroes of the war the job of the Photo Reconnaissance Squadron was to be the eyes of the army and to gather intelligence in preparation for later operations. 34 Photo Reconnaisance Squadron (34 PRS) was 1 of 6 squadrons forming the Ninth Air Force’s 10th Photo Reconnaissance Group (10 PRG). The groups aircraft of choice was the Lockheed F-5 which was a stripped down version of the famous P-38 and it was equipped with cameras instead of guns. During the Spring of 1944 the Squadron was tasked with an important mission to photograph the beaches of Normandy prior to the invasion. In order to minimise their chances of discovery the missions were flown alone and without escorts. Flying just above the waves to avoid detection the pilots photographed the beaches of Normandy at an altitude of between 15 and 50 feet and with an average speed of 350 knots. These missions were known as ‘dicing’ missions as, like the rolling of dice on a gambling table, you never knew quite how it would turn out. In total 11 of these dicing missions were flown by 10 PRG between 6th May and 20th May 1944 which allowed a scale model of Omaha beach to be produced in preparation for the invasion. Lieutenant York, a member of B-Flight and the youngest pilot in 34 PRS, flew one of these dicing missions on 20th May and when his pictures had been developed it was found that he had photographed the exact section of the Normandy beaches on which the American forces would land, he had photographed all of Omaha and most of Utah beaches. York’s mission was to be that last of the dicing missions and after that all missions were flown at heights of between 15,000 and 30,000 feet. 10 PRG was awarded a Distinguished Unit Citation for its performance in the dicing sorties with York being awarded the US Distinguished Flying Cross for his part in the missions. Garland York was noted as being a ‘hot’ pilot who had bent a couple of aeroplanes in his time with the squadron, in later life though he said he never felt like a hero because , as a Photo Recon pilot, he was never able to confront the Luftwaffe in the arena of aerial combat that made aces out of so many American fighter pilots. We have been unable to find a confirmation for the British Distinguished Flying Cross, the vendor acquired the group direct from the family of Lieutenant York.
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