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Lot 662
VAN DER STRAETEN; an earthenware footed bowl with incised decoration, incised signature and dated 1963, diameter 20cm. (D)The pottery started in 1948 in Linton, Cambridgeshire.Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 46
JEAN-PIERRE RAYNAUD (born 1939)Grand Demi-Pot 1968 signé et daté 1968 au reverspolyester stratifié et bois peint signed and dated 1968 on the reversestratified polyester and painted wood 180 x 195 x 98 cm.70 7/8 x 76 3/4 x 38 9/16 in.Footnotes:ProvenanceCollection particulière, France (acquis auprès de l'artiste)Puis par descendance au propriétaire actuel ExpositionsParis, Hôtel Georges V, Raynaud au Georges V, 1969Bruxelles, Palais des Beaux-Arts, Jean-Pierre Raynaud, 1975, n° 9, diapositive en couleurGand, Musée Van Hedendaagse, Raynaud, 1978, p. 21, illustré en noir et blancLittératureDenyse Durand-Ruel, Jean Pierre Raynaud. Catalogue Raisonné 1962–1973, Tome 1, Paris 1998, p. 127, n° 222, illustré in situ en noir et blanc et illustré en couleurFor further information on this lot please visit Bonhams.com
Lot 29
Lucretius Carus (Titus) De rerum natura libri sex, light foxing at beginning and end, attractive contemporary red straight-grain morocco, covers ruled in gilt with small circles containing star in corners, spine gilt, g.e., rubbed at edges, a few marks to lower cover, [Gaskell 50], Birmingham, John Baskerville, 1773; another edition, engraved frontispiece and 6 plates by Duclos after van Mieris, title with woodcut printer's device, engraved head-pieces, short tear to fore-margin of Z4, engraved bookplate of R. La Touche Junr., contemporary calf, gilt, spine gilt but lacking label, upper joint split, spine ends worn, lower corners bumped, [Cohen-de Ricci 664 "très jolies figures"], Paris, Ant.Coustelier, 1744, 12mo (2)
Lot 296
NO RESERVE Bol (Cornelis), Attributed to. Landscape with the ruined church of Muiderberg, after Jan Van Goyen (1596-1656), point of the brush and ink, monochrome wash, on laid paper without watermark, ruled ink borderline, sheet 115 x 190 mm (4 1/2 x 7 1/2 in), under glass, some toning and surface dirt, framed.Provenance:Anonymous collector's ink stamp 'BL' verso [not in Lugt]E.J. Otto, Berlin [according to printed label on reverse, but without any collector's mark to sheet]Brod Gallery, London [according to inscription on reverse]Literature:Gerson, H., 403/4 as 'After van Goyen' [according to inscription on reverse]⁂ The present sheet is recorded on the RKD - Netherlands Institute for Art History database [see no. 262537], and is described as "Attributed to Cornelis Bol". The van Goyen drawing that it is after is located in the Kupferstichkabinett der Staatlichen Museen zu Berlin, Berlin [inv./cat.nr 12260].
Lot 50
Gleizes (Albert, illustrator).- Allard (Roger) Le Bocage amoureux ou le divertissement des amants citadins et champêtres, first edition of the first book illustrated by Gleizes, this a signed presentation copy from the author and illustrator to Jean Émile Laboureur, number 28 of 35 copies on Hollande Van Gelder Zonen, in an edition of 190 copies, printed in red and black, woodcut illustrations and ornaments by Albert Gleizes, offsetting, some spotting, original brown printed wrappers, spine with a few splits, covers detached, Paris [& Bruges], [St Catherine Press for] Eug. Figuière & Cie, 1911; and another, illustrated by Gleizes, small 4to & small folio (2)⁂ First book illustrated by this self-proclaimed founder of Cubism. Jean Émile Laboureur (1877-1943) French painter, engraver and illustrator.
Lot 65
NO RESERVE Religion.- Stations of the Cross.- Speybrouck (Josef) Via Crucis ende VII Weeén van Maria, signed presentation copy from the author / artist, with a mounted photographic portrait beneath inscription, lithographed illustrations, including 21 full-page, loose in original red printed boards, some staining and fading, Tielt, Lannoo, 1928; and 3 others, illustrated Religion, folio et infra (4)
Lot 83
NO RESERVE Swift (Jonathan) Le conte du Tonneau. Contenant tout ce que les arts, & les sciences ont de plus sublime, et de plus mysterieux, [translated by Justus van Effen], 2 vol. in 1, first edition in French, titles in red and black and with woodcut printer's device, woodcut head- and tail-pieces and decorative initials, blank f. separating text and table in both vol., some spotting and staining, browning (mostly light), contemporary mottled calf, richly gilt spine in compartments and with later, but to style, red morocco label, upper joint splitting, but holding firm, corners worn, rubbed, [Teerink/Scouten 263], large 12mo, The Hague, Henri Scheurleer, 1721.⁂ First French edition of The Tale of the Tub, 1704.
Lot 324
Two unboxed Tri-ang Pressed Steel Thames Trader based models, an Express Delivery Service Van in red, white and green, together with a TM5320 Fire Engine, both approximately 42cm long, the latter model missing its inner extending ladder, otherwise overall both appear G, with some repainting. (2)
Lot 343
A unique unboxed Tri-ang Pressed Steel based Thames Trader Delivery Van in the maroon and white 'Mothers Pride Bread' livery, approximately 51cm long. This model, acquired by the Vendor from a former Marketing Department Manager at RHM Bakeries, was used during the late 1960's in a Mothers Pride promotional campaign. It is understood that RHM commissioned, by Special Order, an elongated wheelbase version of their Thames Trader chassis from Tri-ang, evidenced by the Tri-ang label which surmounts the underside of the black painted chassis, the wheelbase of this model being approximately 30cm vs. the 22cm wheelbase of the standard Ford Thames Trader Delivery Van model in the Tri-ang range. As can be seen from the interior, the original colour of the cab that was attached to the chassis was a later yellow over white variant, with the construction of the authentic wooden rear van body and the exterior vehicle painting all being undertaken 'in-house' by RHM. They also attached 'Dymo-Tape' style registration plates 'BB1G', front and rear. Overall this most unusual model appears G+ with some signs of wear to leading edges of the wooden body.
Lot 369
A boxed Tri-ang Minic 127M clockwork Morris Commercial 10cwt Express Delivery Van, hard to find in pale blue, VG with key, in G+ box together with two unboxed similar vehicles in red 'Royal Mail' livery, with different side decals, both appear G+. Two Tri-ang Minic Austin Van models are also included as part of this lot, a boxed 'Push and Go' #359 'Evening News' Van complete with roof sign, overall G+ but with some decal loss in F box missing one end flap, together with a 99M clockwork example of the 'Minic Transport' Van in pinkish red, G/G+ with good decals. (5)
Lot 370
Three boxed Tri-ang Minic clockwork Morris Van models, including a hard to find Minic Transport' Van in pale green, VG with key, in G+ box, another 'Minic Transport' Van in cream, F in P box and a Post Office Telephone Van, F with key in G box. Four unboxed. 'Push and Go' models are also included as part of this lot, all appearing G/G+, including two Morris Pick-Ups, approximately 9cm long, in orange and blue, and two smaller models – a Ford Squire in red and an Austin J2 Mini Bus in green (6)
Lot 384
Two unboxed Tri-ang Minic Bedford vehicles including a 'Push and Go' #225M Breakdown Lorry 'Minic Garages' in red and cream, overall G+ with hook and bulb in holder at the rear of the vehicle and clean terminals in the battery compartment together with a clockwork Express Delivery Van in red and cream, generally G, with rear shutter door and operational clockwork mechanism, supplied with a non original key. (2)
Lot 415
Two scarce boxed limited edition Pre-Production Lion Car Commer Delivery Van models, with just ten of each model, without signage, being produced in 2009. Each comes a with numbered copy of the original plans for the model. Included are #28 Commer FC in maroon and cream, limited edition number 2 of 10 and #49 Commer Walk-Thru in grey and white, also with limited number 2 of 10, both VG boxed. (2)
Lot 2
Vauxhall Combo CDTI, reg WM57 HLR, 1248cc diesel engine, registered in 2008. No MOT since Sept 2019, no tax since March 2018, currently sorn. We are selling this van on behalf of Mendip District Council, there are no keys and no V5C but we have a letter of permission to sell from the Council for the purchaser of the car
Lot 3
Sir Archibald McIndoe Family Photo Album plus 5 Hardback Books from His personal collection Introduction to Plastic Surgery with a Foreword by Archibald H McIndoe, A Pictorial History of Nursing by Madeleine Masson 1985, Van Meegeren's Faked Vermeers and DeHooghs A Scientific Examination by J. M. Meulenhoff Signed on the first page C McIndoe with a 7 x 5 photo of Mr & Mrs McIndoe, The Adventures of Sajo and her Beaver People by Grey Owl 1935, Henry Cotton My Golfing Album by Country Life Ltd 1959 First Edition with a dedication on the first page To Archie from Toots & Henry Cotton dated 1959, Sir Archibald McIndoe was born in New Zealand, trained in plastic surgery under his cousin Sir Harold Gillies at St Bartholomew's Hospital and ultimately became plastic surgeon at the Hospital. He was a near legendary figure during World War Two for his work at the Queen Victoria Hospital in Sussex where the faces and bodies of injured airmen of the Royal Air Force, McIndoe's guinea pigs, often horrifically burned, were made with a skill and resolve which were to inspire his successor plastic surgeons and their patients alike. 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.
Lot 155
FROM NAPOLEON'S LIBRARY ON ST. HELENAHYDE, EDWARD. Histoire de la rebellion, et des guerres civiles d'Angleterre, 6 vol., engraved portrait frontispiece in each vol. (a few with caption shaved at foot), contemporary vellum, titled in ink on spines, vol. 1 spine chipped at head, modern morocco-backed solander boxes, 12mo, The Hague, L. & H. van Dole et. al., 1704-1709Footnotes:Provenance:Napoleon BonaparteRemoved from St. Helena by the British Government in 1821Martin Bossange, A catalogue of the library of the late Emperor Napoleon, 1823Sotheby's, 23 July 1823George Arnald R.A. (1763-1841)French private collectionAfter Napoleon's death on St. Helena, much of his last library was divided by the executors among heirs and friends, the remaining portion being removed from the island by order of the British Government and sold to the London-based French bookseller Martin Bossange who issued a catalogue. Almost half of the books in the catalogue did not sell, and Bossange consigned them to Sotheby's where they were offered on 23 July 1823.Each title page in the present set has a circular brown ink ownership stamp with the imperial eagle, and vol. 1 is inscribed on the front free endpaper by artist George Arnald R.A. (1763-1841), 'This work consisting of 6 vol's. was the property and part of the library of the late Emperor Napoleon at Saint Helena and purchased by me at the sale.' In addition, tipped to the front pastedown is the auctioneer's bill, showing that Arnald also purchased lot 24 ('Fequeries, Memoirs') and lot 115 ('A Letter signed by Napoleon'). Originally published between 1702 and 1704 as The History of the Rebellion and Civil Wars in England, this work by Edward Hyde, 1st Earl of Clarendon, was the first detailed account from a key player in the events it covered. Its republican subject matter would clearly have interested Napoleon.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
Lot 3086
ARMSTRONG SIDDELEY. A collection of 46 postcards and photographs of Armstrong Siddeley motor cars and 16 postcards and 3 photographs of Armstrong Whitworth motor cars, including a view of the Durham & Northumberland Collieries Fire and Rescue Brigade, an advertising card for an oil change, a funeral procession, and views of 'The Liberal Van', together with a reprint. Provenance: The Tim Harding Collection of Motoring Photographs.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 3121
GLADIATOR. A collection of 28 postcards and photographs of Gladiator motorcars, including two postcards of the Daily Chronicle van, a postcard of people digging a car out of the snow, and another of a Gladiator outside Crescent Garage, together with a reprint. Provenance: The Tim Harding Collection of Motoring Photographs.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 3187
WOLSELEY. A collection of 20 postcards and photographs of pre-1905 Wolseley motorcars, including a Royal Mail van and a car in a garage with registration 'LC 9666', together with 5 reprints. Provenance: The Tim Harding Collection of Motoring Photographs.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 3113
DARRACQ. An album containing approximately 140 postcards and photographs of Darracq motorcars, including views of cars outside houses, shops and garages, and another of Hall's Stores delivery van from Clifton on Teme, together with a small group of reprints. Provenance: The Tim Harding Collection of Motoring Photographs.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 106
A Frederik III, King of Denmark and Norway 1648-1670, 1664, 2 Skilling minted in Norway. Obverse: Norwegian Lion hold axe to centre surrounded but text. Surviving text reads 'FRIDERIC . III' Reverse: '1664 . NOR . VAN . G** . *** ' and to the centre '.II. . SKILI . NGDA . NSK' together with Snuggler's penny, an unusual George III 1797 cartwheel penny box. Dissected with screw off cover, Location: Porters
Lot 343
WW2 Jan Van Den Driesschen with Eve Gibson Hardback book, Titled We Will Remember Them Guy Gibson and The Dambusters. Signed by Sir Barnes Wallis Daughter Mary Stopes Roe on a Limited Edition 16/45 Bookplate. First English Edition. Published by The Erskine Press of Norfolk. Printed in GB by The University Press. Spine and Dust Jacket in mint condition. 162 pages. Est.
Lot 606
Very Rare Paul Tibbets Enola Gay crew genuine signed by 6 of the Crew Paul Tibbets Enola Gay crew genuine signed by 6 of the Crew authentic signature 25 by 20cm photo clearly signed by Dutch Van Kirk, Navigator Paul Tibbets Pilot and Tom Ferebee, Jacob Beser. George R Caron tail gunner Richard Nelson. The plane to drop the first atomic bomb used in wartime on Hiroshima. Est.
Lot 19
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Theater of the Atelier", Paris.Oil on panel.Signed in the lower right corner.Measurements: 37 x 46,5 cm; 55,5 x 65 cm (frame).The Parisian district of Montmartre deeply inspired the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso. On this occasion, Elisée Maclet offers us a view of the Atelier theater, an enclave frequently immortalized by the painter.Elisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the beginning of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Currently, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.
Lot 29
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."La butte de Montmartre sans la neige" (The hill of Montmartre without the snow).Oil on cardboard.Signed in the lower right corner. Titled on the back.Measurements: 37 x 44,5 cm; 53,5 x 62 cm (frame).The Parisian district of Montmartre inspired deeply the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso. On this occasion, Elisée Maclet gives us a view of the emblematic Montmartre hill with the Sacré Coeur Basilica in the background, one of the most repeated sites by the artists of the time. In it, the painter captures the underlying essence of one of the most magical places in the French capital, through a daring technique and a totally harmonious and matching color palette, determined by the melting snow.Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the beginning of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work.
Lot 31
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Church with characters".Oil on canvas.Signed in the lower left corner.Work exhibited at the retrospective of Elisée Maclet held in Paris in 1960. With label on the back.Measurements: 80,5 x 65 cm; 95 x 79,5 cm (frame).The Parisian district of Montmartre deeply inspired the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso.Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the turn of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Currently, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.
Lot 8
Flemish School, 17th CenturyPortrait of a gentleman, said to be Paul de Vos, half-length, in blackoil on canvas 83.8 x 62.5cm (33 x 24 5/8in).Footnotes:ProvenanceSale, Philips, London, 25 October 1994, lot 129The present portrait is loosely derived from an engraving of Paul de Vos by Adriaen Lommelin after a portrait by van Dyck.For further information on this lot please visit Bonhams.com
Lot 134
Circle of Christoffel Jacobsz. van der Lamen (Brussels/ Antwerp circa 1606-1652 Antwerp)An elegant company making music before a landscape oil on panel57.2 x 47cm (22 1/2 x 18 1/2in).Footnotes:ProvenancePrivate Collection, Australia since at least the 1990sThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 237
Circle of Rembrandt Harmensz van Rijn (1606-1669)A washerwoman bears inscription 'R*sep** boec*e van/ alle wetenschappen' (verso)pen and brown ink and brown wash on paper14.8 x 20.5cm (5 13/16 x 8 1/16in).Footnotes:ProvenanceSir John Charles Robinson (1824-1913) (Frits Lugt 1433)Sale, Paris, 25 June 1913, lot 75 (as G. Maes)Sale, Christie's, Paris, 22 June 2005, lot 4 (as Attributed to Nicolas Maes)Private Collection, UKWith Crispian Riley-Smith, from whom purchased by the present ownerFor further information on this lot please visit Bonhams.com
Lot 9
After Sir Anthony van Dyck, 19th CenturyPortrait of Prince Tommaso Francesco of Savoy-Carignano, three-quarter-length, in armour and a white lace collar, holding a baton, his hand on his helmet oil on canvas105.4 x 83.4cm (41 1/2 x 32 13/16in).Footnotes:The present composition is after the portrait of 1634 previously in the collection of King Charles I at Hampton Court and now in the Gemäldegalerie, Staatliche Museen, Berlin (acc. no. 782).For further information on this lot please visit Bonhams.com
Lot 188
Jan van de Venne, called Pseudo van de Venne (Malines circa 1600-circa 1651 Brussels)The Adoration of the Shepherds oil on panel72.1 x 97.2cm (28 3/8 x 38 1/4in).Footnotes:ProvenanceWith Aitken Dott, Edinburgh (according to a label on the reverse)For further information on this lot please visit Bonhams.com
Lot 80
Charles Brooking (London 1723-1759)A royal yacht, men o'war, and two galliots becalmed off a coast oil on canvas91.4 x 122cm (36 x 48 1/16in).Footnotes:ProvenanceWith N.R. Omell, London, 1977Edwinsford Collection, Edwinsford Estate, Tulley, DyfedSale, Sotheby's, London, 12 March 1986, lot 70Private Collection, FranceLiteratureM.S. Robinson, The Paintings of the Willem van de Veldes, London, 1990, vol. II, pp.700-1, no. 460, ill.D. Joel, Charles Brooking, Woodbridge, 2000, no. 48, ill. p. 131 David Joel identifies the man o'war to the left as dating to circa 1680.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 28
After Joos van Winghe, 17th CenturyThe Nativityoil on panel, stamped with a clover leaf, the house mark of Michiel Claessens (on the reverse) 81.2 x 65cm (31 15/16 x 25 9/16in).Footnotes:The present work follows Raphael Sadeler's engraving after Joos van Winghe's original composition.For further information on this lot please visit Bonhams.com
Lot 240
Pieter van Loo (Haarlem 1735-1784)Hyacinth signed and dated 'Ptr van Loo/ Fecit 1760' (lower left)watercolour on paper44.7 x 29cm (17 5/8 x 11 7/16in).Footnotes:ProvenanceWith Morton Morris & Company, London (according to a label on the reverse)For further information on this lot please visit Bonhams.com
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