Attributed to Cornelis Ketel (Gouda 1548-1616 Amsterdam)Portrait of Sir George Gill of Wyddial Hall, Hertfordshire, three-quarter-length, in armour inscribed 'IN DESPECTO DE FORTUNO' (upper left) and dated and charged with sitter's coat-of-arms 'Ao 1578.' (upper right)oil on panel108.4 x 69.9cm (42 11/16 x 27 1/2in).Footnotes:ProvenancePrivate Collection, GermanyFrom the date and the coat-of-arms the sitter in the present portrait can be identified as George Gill (or Gyll) of Wyddial (before 1565 – 1619) who was an officer in the English army and was on the expedition which sacked Cadiz in 1596, along with Robert Devereux, 2nd Earl of Essex, Lord Thomas Howard, Sir Walter Raleigh, and Sir Francis Vere, each of whom commanded a squad.The coat-of-arms on the painting has been identified by Thomas Woodcock FSA, Garter King of Arms at the College of Arms in London, as follows: the first quarter is Lozengy Argent and Sable a Lion rampant guardant Argent; the second quarter, Argent two chevronels Sable each charged with three Mullets Argent on a Canton Gules a Lion passant gardant Or; the third quarter Argent on a Fess Sable between three Crosses formy Gules three Martlets Or; and the fourth quarter Argent three Bars and in chief three Mulletts Gules. Somewhat unusually the second as well as the first quartering can be identified as those of the Gill family. The third quartering is that of the family of Canon, indicating that the sitter is the descendant of the marriage of John Gill and Margaret, daughter and heir of George Canon of Wyddial in 1508. This couple had four sons, the eldest of whom was George Gill who was recorded as dying in 1568; this George Gill's eldest son was John Gill of Buckland and Wyddial who was High Sheriff of Hertfordshire in 1575. His eldest son, another George, was the sitter in the present picture. Interestingly, the fourth quartering on the portrait seems to be a slight mis-interpretation of the arms of Washington, ancestors of the American President, which are Gules three bars and in chief three Mullets Argent (some of the tinctures have been reversed). There is no surviving evidence either to show that Gill's mother was or was not an heraldic heiress of the Washington family, but there is only one other coat (that of Kempston in Warwickshire) which is remotely similar. Wyddial Park, formerly the seat of the Gill family, consists of an estate of 1,187 acres close to the village of Wyddial (or Widiall), which is a parish in the hundred of Edwinstree in the county court district of Royston, in the north-east corner of Hertfordshire. This tiny village lies on the pre-Roman Icknield Way, deemed to be the oldest road in Britain, and probably first used in the late stone age. The ancient church of Saint Giles there contains several stained glass windows, including two in the aisle thought to be by a Dutch or Flemish artist of the 17th century, and some monuments and brasses to the Gulston, Gill and Ellis families; there are also brasses commemorating the Gill family which date from 1535-1600.For further information on this lot please visit Bonhams.com
We found 25169 price guide item(s) matching your search
There are 25169 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
25169 item(s)/page
Photography Interest - Box of Cameras & Accessories, including boxed Guardian Exposure Meter, Bauer Autoblitz flash gun in case, boxed SGB Exposure Meter, boxed Woollensar Telephoto Lens, Olympus Promaster Zoom Camera in case, Bell & Howell Cine Camera, Canon AE-1 Camera in case, along with various other lenses and accessories.
A box containing various LPs and 45s, together with a Canon Canonet 8 cine camera, a Prinz-Oxford 800 dual gauge 8mm movie editor, a 1990 Unipart calendar, etc CONDITION REPORTS Basically vinyl includes classical and pop folk such as The Spinners, The Seekers, The King's Singers, The Swingle Singers, Keep Fit and Dance, etc but also including Vangelis "Spiral " and The Alan Parsons Project "Eye in the Sky" signed "To Heather and Nigel with love and best wishes Alan Parsons"
* Canon Canonet QL17 G-III. Canon Canonet QL17 G-III 35mm film camera with fixed 40mm f/1.7 lens, scarce fully black body, leaf-shuttered, coupled rangefinder with parallax compensation, late 1970s, excellent cosmetic condition, untested, original leather strap, Sunpak 1A filter included, camera light seals will need replacingQty: (1)NOTESOften unfairly called the "poor man's Leica", this is the world's top-selling rangefinder camera with built-in light meter, a record unlikely to be equalled. Canon sold 1.2 million of these between 1972 and 1982.
* Watkins (Carleton Eugene, 1829-1916, et al.). An album of 135 photographic views of United States, by Carleton E. Watkins, Isaiah Taber, William H. Jackson, Charles Roscoe Savage, George Barker & Theodore Gubelman, c. 1880s, albumen prints, featuring views in Yosemite, San Francisco including Chinese people, Monterey, Salt Lake City, Chicago, New York and Niagara Falls, images 32.5 x 20.5cm and smaller, mounted on rectos and versos of 40 stiff card leaves, with a further 24 photographs of Cannes, Monaco and Germany, on 8 leaves at rear, contemporary half morocco, oblong folio (31 x 41cm)Qty: (1)NOTESProvenance: T.D. McKay, Pacific Coast Passenger Agent, whose photograph (7 x 5cm) and name appears on the front pastedown. Photographs by C.E. Watkins: San Francisco (Cable Railroad) / Geary Street Cable Railroad, 12 x 20.5 cm; San Francisco (Golden Gate from Telegraph Hill) C.E. Watkins, 12 x 20.5 cm; San Francisco (Chinese Restaurant in Sacramento St.), 11 x 17 cm; San Francisco (Smoking Divan in Chinese Restaurant), 11 x 17 cm; San Francisco (Chinese actor), 11 x 17 cm; San Francisco Chinese Ladies, 11 x 17 cm; San Francisco Entrance to Joss House, 11 x 17 cm; Monterey (Hotel del Monte), 11 x 17 cm; Monterey (Gardens of Hotel del Monte), 11.5 x 20 cm; Monterey (Grounds of Hotel del Monte) / Bridge on the 18 mile... , 11 x 17 cm; Monterey (Arizona garden in grounds of Hotel del Monte, 12 x 20 cm; Monterey (Chinese fishing village) Young squid catchers - Chinese family, 18.5 x 11.5 cm; Monterey - The tree bent by the trade wind "As the Twig is bent the Tree is inclined, 12 x 20 cm; Mojave Desert (Yucca Dracona), 11 x 17 cm; S.P.R.R Cala the Loop on the Tehachapi Pass, 12 x 20.5 cm; Riverside Bee Farm, 11 x 17 cm; San Gabriel Indian huts, 11 x 17 cm. Photographs credited to I.W. Taber but possibly from the negatives of C.E. Watkins: B 773. "Telescope," 90 feet high, 19.5 x 12 cm; B 826. "General Grant" 320 feet high, Mariposa Grove, 12 x 20 cm; B 797. Burnt section, 80 feet from stump, Mariposa Grove, 12 x 19.5 cm; B 1056 General View of Yosemite Valley from Artist's Point, 19 x 23.5 cm; B 976 The Domes, from Merced River (only taber refs), 18.5 x 23.5 cm; A 7. Up the Valley, Yosemite, Cal., 20.5 x 30.5 cm; B 1057 Bridal Veil Falls, 900 feet, 23.5 x 18 cm; B 997 Yosemite (Cap of Liberty & Nevada Falls), 23 x 19 cm; B 964 "Cascade Falls" Yosemite, 23 x 19 cm; A 251 "Sentinel Rock" 3,100 feet, 32.5 x 23 cm; A 291 "El Capitan," Reflected 3,300 feet, 32 x 23 cm; A 302 Yosemite Falls, 30 x 20.5 cm; A 28. The Three Brothers, 3,818 feet, reflected, Yosemite, Cal., 32.5 x 20.5 cm; A 215 Half Dome, from Glacier Point, 30 x 20.5 cm; A 41. Glacier Point, 3,257 feet, Yosemite, Cal., 30 x 20.5 cm; A 339 "Cathedral Spires," 2,660 feet, 30 x 20.5 cm; A 260 "Grizzly Giant," 33 feet diameter, Mariposa Grove, 32 x 23 cm; A 270 "Wawona"-28 feet diameter, 275 feet high - Mariposa Grove, 32 x 23 cm; A 324 "Father of the Forest" (fallen tree) Calvaras Grove, original height 450 feet, cir. At base, 112 feet, 20 x 30 cm. Photographs by I.W. Taber: San Francisco (Market Street & Palace Hotel) / Palace & Grand Hotel, 19 x 23.5cm; B523 California Street from Kearny Street, San Francisco, looking West, 18.5 x 23.5cm; B532 Seal Rock, Pacific Ocean, 18.5 x 23.5cm; B 1177 in Chinatown, S.F., Cal., 18.5 x 23.5 cm; B 6. Chinese Grand Restaurant, S.F., Cal., 19.5 x 12.5 cm; B 1182 Store In Chinatown, S.F., Cal., 19.5 x 12.5 cm; San Francisco (Chinese actor), not from life, 19 x 12 cm; B 5. Chinese Restaurant, S.F., Cal., 19.5 x 12 cm. Photographs by C.R. Savage: East Part Salt Lake City from Ensign Peak, 10 x 15.5 cm; Salt Lake City from Ensign Peak, 11.5 x 19 cm; Blackrock & Garfield Landing Salt Lake City, 10.5 x 15.5 cm; Eagle Gate and Bee Hive House, 9.5 x 15 cm; Gardo, Lion and Bee Hive Houses, Salt Lake City, 11.5 x 19 cm; Temple Block, Salt Lake City, 10 x 15.5 cm; Interior of Morman Tabernacle, Salt Lake City, 12 x 19.5 cm. Photographs by W.H. Jackson & Co.: 167 Castle Gate Price Canon Utah, 32.5 x 25.5 cm; 160 Currecante Needle, 33 x 25.5 cm; Grand Canon, 25 x 14.5 cm; Mountain of the Holy Cross, 25 x 14.5 cm; and others. Photographs by T. Gubelman: New York & Chicago Limited Mail, 12 x 20 cm; Smoking Car, 12 x 20.5 cm; Dining Car, 12 x 20.5 cm; Sleeping Car, 12 x 20.5 cm; Berth ready on Sleeping Car, 12 x 20 cm; Albany (steam boat), 11.5 x 20 cm; Tompikin's Cove - Hudson River, 12 x 20 cm; West Point, 12 x 20 cm; Anthony's Nose Hudson, 12 x 20 cm; Astor House, Broadway N.Y., 12 x 20 cm; Chatham Square, New York, 12 x 20 cm; Fifth Avenue Hotel New York, 11 x 19.5 cm; Bridge, 12 x 20 cm; Brighton. Coney Island, 12 x 20 cm; Brighton. Coney Island (Alt view), 12 x 20 cm. Photographs by W.J. Topley or T. Gubelman: Court House – Chicago, 18.5 x 23.5 cm; Board of Trade - Chicago & Jackson Street, 18.5 x 23.5 cm; Lake Front From Van Buren St Chicago, 18 x 23.5 cm; Stock Yards Chicago, 19 x 24 cm. Photographs by or attributed to George Barker: View Of Niagara Falls from Convent, 9 x 19.5 cm; American Falls Niagara (Shows maid in the mist boat), 19 x 23 cm; American Falls From Below, 23 x 18.5 cm; Horseshoe fall fr. American Side, 24 x 18.5 cm; American Falls & Bridal Veil, 23.5 x 19 cm; Rapids, 19 x 23.5 cm. A full list with measurements and a set of album leaf images is available on request.
A Minolta Dynax 500si 35mm SLR camera; with Minolta 28-80mm f4-5.6 AF lens, and Sirius 70-210mm f4-5.6 AF lens; in soft camera bag; a V.P. Twin bakelite miniature camera; a Nikon Coolpix S560 compact digital camera; a Pentax PC35 35mm autofocus camera; a Kodak F350 APS camera; and a Canon Ixus L-1 APS camera; Matchbox Powertrack Race & Chase box and contents to include cars and track: and a Robot Road Racer box and contents to include car and track. (7)
Pistolet à silex signé Ahmad b. ...Algérie, daté 1279 de l'Hégire (=1862)Les bois et la crosse sont incrustés de plaques d'argent découpé et/ou ciselé rehaussées de cabochons de corail. Les bagues en argent ciselé à décor floral rattachent au fût le canon qui est incrusté d'argent à décor de rosaces étoilées. Baguette recouverte d'argent gravé torsadé.Signé sur la crosse, sur une bague, la platine, daté sur une bague. L. 53,4 cmAn Algerian silver and coral pounted flintlock pistol, dated 1279AH/1862AD. Pour des exemples comparables, voir : Elgood R. (1995), Firearms of the Islamic World in the Tarek Rajab Museum, Kuwait, Londres / New York I.B. Tauris Publishers, p. 78, N°46.Hales R. (2013), Islamic and Oriental Arms and Armour, A Lifetime’s Passion, Robert Hales C.I. Ltd., p. 250, N°609
Très ancien mukahla d'Alger signé Algérie, daté 1206H. (=1791)Fusil à platine à silex en métal ciselé, le long canon à pans coupés, poinçonné GG1344, rattaché au fût par quatre manchons de plaque d'argent repoussé rehaussé de quelques coraux. Signé et daté sous la platine : "'amal Muhammad 1206" semble-t-il. Plaque d'argent gravée ajourée à décor floral sous le pontet. Canon avec une inscription gravée. (Usures et manques, sans baguette).L. 160 cmAn Algerian flintlock riffle, signed and dated 'Amal Muhammad AH1206/1791AD.
Fusil à silexAfghanistan XIXe siècle Les bois incrustés de plaquettes de nacre découpées à décor géométrique, le canon en acier bronzé est rattaché au fût par cinq bagues de laiton ciselé à décor floral, la platine européenne est gravée Thomson, datée 1791.Un cartouche en nast'aliq sur 4 lignes est gravé sur le canon. Baguette en métal.Estampé au nom du roi Bahadur.(Usures et manques)L. 134 cmA mother-of-pearl inlaid flintlock rifle, Afghanistan, 19th centuryIn the name à Bahadur Shah, the steel barrel dated 1791, engraved in nasta’liq.
Pistolet à silexEmpire ottoman, daté 1226 de l'Hégire (=1810-11)A Très beau canon incrusté d’or daté, à décor de tulipes, les bois et la crosse sont incrustésde plaques et de filigrane d'argent en forme d’arabesques, d’étoiles et croissants. Platine à silex gravée à l’européenne. Une bague rattache le canon et la baguette au fût. Tughra et poinçons égyptiens sur des plaques d’argent témoignant d’une restauration au XIXe siècle. L. 44 cmAn Ottoman silver-inlaid flintlock pistol, with a very fine tulips gold-inlaid barrel, Ottomane Empire, dated 1226A/1810AH
A Canon XM2 3CCD digital camcorder with Canon Fluorite 20 lens, and Canon Wide Converter WD-50, Canon DM-50 Microphone, nine Sony Premium DV digital video cassettes in a hard Peli 1600 case Condition Report. Very Good Condition. We do not test for functionallity, but all of this collection appears to have been very well cared for. No Dust of Fungis in lenses
Hausser-Elastolin-Protzkraftwagen 731 Modell Borgward mit sechs Mann Besatzung und Pak Hausser-Elastolin-Protzkraftwagen 731 Modell Borgward, 50er Jahre, dunkelgrün, dreiachsig, Gummireifen, Scheinwerfer, Elektromotor nicht geprüft, komplett mit Brückenbohlen, Munitionskästen. Sechs sitzende Schweizer Soldaten (alle Nachgussfiguren). Dazu eine kleine Hausser-Pak in dunkelgrün, Gummireifen, Ziehabzug gut. Insgesamt guter Zustand mit leichten Altersspuren. Zustand: II A Hausser-Elastolin Protzkraft wagon 731 Borgward with six Swiss soldiers and a small canon Hausser-Elastolin-Protzkraftwagen 731 Modell Borgward, 50er Jahre, dunkelgrün, dreiachsig, Gummireifen, Scheinwerfer, Elektromotor nicht geprüft, komplett mit Brückenbohlen, Munitionskästen. Sechs sitzende Schweizer Soldaten (alle Nachgussfiguren). Dazu eine kleine Hausser-Pak in dunkelgrün, Gummireifen, Ziehabzug gut. Insgesamt guter Zustand mit leichten Altersspuren. Condition: II
2 bts Ch. Lachesnaye 1983 Haut-Médoc Cru Bourgeois i.n, ts, pt dis bs 1 bt Unknown Red Wine Vintage Unknown St-Émilion missing label 1 bt Grants St James' NV St-Émilion 1 bt Ch. Canon Vintage Unknown St-Émilion 1er Grand Cru Vintage unknown '1976' handwritten on label ts, bs/pt dis 1 bt Ch. Croque Michotte 1973 St-Émilion Grand Cru Classé i.n bs/torn 1 bt Ch. La Chapelle Lescours 1970 St-Émilion Grand Cru lms, sl stl 1 bt Ch. Mirefleurs 1989 Bordeaux Superieur hf/i.n, pt dis 1 bt Ch. Pierre-Bibian-Listrac Vintage Unknown bs/loose/sl torn sl foil damage 1 bt Ch. La Clémence 2012 Pomerol 1 bt Ch. Le Clos du Notaire 1980 Côtes de Bourg torn label 1 bt Ch. Manoir du Gravoux 1990 Côtes du Castillon i.n, stl Above 12 bottles
Wines & Spirits - Bottle of Chateau d'Issan, Margaux 1981, together with a bottle of Chateau Canon la Gaffeliere, St-Emilion Grand Cru 1983 (2) Condition: Seals and levels appear good with no signs of losses, labels are a little foxed and stained with some light losses, please see images. **General condition consistent with age
Marcia Hafif (American, 1929-2018)Cadmium Red Medium, 1991 signed, titled and dated CADMIUM RED MEDIUM MARCIA HAFIF 1991 (on the overlap)oil on canvas86.4 x 86.4 cm.34 x 34 in.Footnotes:ProvenanceGalerie Albert Baronian, BrusselsPrivate Collection, EuropeAcquired directly from the above by the present ownerExhibitedAalst, Galerij S65, Red Paintings, 1998The late Marcia Hafif was a true pioneer of contemporary painting. One of the definitive artists of Minimalism and early Pop Art in Europe, her legacy as a pivotal figure of the post-war period has emerged in earnest since her passing in 2018, positioning her as one of the leading female figures of her generation. Presented here are two iconic examples of her paintings and works on paper – pieces that embody Hafif's conceptual endeavour and deep aesthetic appreciation for colour, process and form. Across a pure canvas of florid red, laden with measured strokes, and in the studied marks forming an austere lattice of lines that reads as a harmony of musical annotation, the simple power of her work is tantalising to behold in the present works. In Cadmium Red Medium (1991) and November 20, 1972 (1972), Hafif achieves a serene force that holds the physical qualities of her materials in equilibrium with the visual impact of their composition. Hafif's colour field painting and pop minimalist style owed much to her travels in the 1960s; her global perspective bred an appreciation for the emergent postmodernisms that were developing in America and Europe from the 1950s onwards. With the arrival of Abstract Expressionism, Minimalism and Pop Art, Hafif was revolutionary in her use of colour as a medium, expanding the nature of the 'plane of the painting,' whose significance had become the credo of the likes of Jackson Pollock, Barnett Newman, and Jasper Johns. In her paintings, Hafif used the plane to carve out geometries and colour fields that pre-date the work of many of her male contemporaries, and whilst being included in many exhibitions that evidenced her rightful place in the canon, such as Abstract Painting: 1960-69 in 1983 at the P.S.1. Museum, New York, alongside the likes of Brice Marden, Robert Ryman, and Agnes Martin, the current market has yet to truly react to her serious contribution to painting in the Twentieth Century. Born in 1929 in Pomona, California, Hafif closely studied the art of the Italian Renaissance, captivated by the sumptuous panels and frescoes of Fra Angelico and Piero della Francesca. Learned in the intense process and methodological struggles of renaissance painting, whose layers, colours and radiance could only be achieved through a virtuoso understanding of the compound elements of paint and their affect on the eye, Hafif applied such a holistic vision to the reductive canvas painting of the day – geometrical minimalism. During her tenure in Rome, she aligned herself with the Italian Pop Art movement, as well as with artist Francesco Lo Savio who was himself a pivotal influence and precursor to American Minimalism. Producing geometric and dichromatic canvases, she returned to New York in 1971 building upon this period of creativity, achieving a maturity in her practice that led her to produce some of her first monochromes; a lifelong series that would define the artist's output for rest of her career.Across an oeuvre that has been overlooked and considerably undervalued, Hafif has proven herself to be one of the most serious minimalist painters and theoreticians, consistently pushing the significance of the materiality and synesthetic affects of paint. Writing in Artforum in 1978, she commented: 'The options open to painting in the recent past appeared to be extremely limited. [...] we may be ready to enter still another phase of abstraction, a synthetic period' (Marcia Hafif, 'Beginning Again', Artforum, September 1978, No. 17, Vol. 1, online).In the present two works, Hafif's place in the art historical canon beside the likes of Brice Marden, Agnes Martin and Ellsworth Kelly is without question. In a luscious and intense red, her Cadmium Red Medium (1991) is a unique monochrome that wonderfully conveys the intensity and labour with which Hafif rendered the pristine canvas. Likewise, November 20, 1972 (1972) demonstrates the masterful hand and the erudite mind that formulated the fastidious and complex architecture.For further information on this lot please visit Bonhams.com
Ein Paar Perkussionsreisepistolen, Frankreich, um 1830 Oktagonale 150 mm Läufe mit glatter Seele im Kaliber 15 mm. Auf der Laufoberseite geätzte Bezeichnung "Canon a Rubans" (mit Resten der Vergoldung). Rückliegende Perkussionsschlösser mit einfacher Gravur und Resten einer Versilberung. Eiserne Garnitur. Ergänzte, eiserne Ladestöcke. Halbschäftung aus feinem Wurzelholz. Mechanisch in Ordnung. Länge jeweils ca. 30 cm. Im neuzeitlichen Holzkasten mit diversem Zubehör. Abmessungen Kasten 34 x 26 x 6 cm, ohne Schlüssel. Zustand: II - A pair of percussion pistols, France, circa 1830 Oktagonale 150 mm Läufe mit glatter Seele im Kaliber 15 mm. Auf der Laufoberseite geätzte Bezeichnung "Canon a Rubans" (mit Resten der Vergoldung). Rückliegende Perkussionsschlösser mit einfacher Gravur und Resten einer Versilberung. Eiserne Garnitur. Ergänzte, eiserne Ladestöcke. Halbschäftung aus feinem Wurzelholz. Mechanisch in Ordnung. Länge jeweils ca. 30 cm. Im neuzeitlichen Holzkasten mit diversem Zubehör. Abmessungen Kasten 34 x 26 x 6 cm, ohne Schlüssel. Condition: II -
Perkussionspistole, Savary à Bernay, Frankreich, um 1840 Achtkantiger 240 mm-Damastlauf mit gezogener Seele im Kaliber 15 mm. Originale Bräunierung, feine Narben im Bereich des Pistons. Auf dem Lauf bez. "*Canon Damase fin*". Laufunterseite "ELG"-Abnahme. Eingeschobenes Silberkorn. Perkussionsschloss bezeichnet "Savary à Bernay". Französischer Stecher. Eiserne Garnitur. Metallteile mit floraler Gravur, blank und teilweise fleckig. Nussholzhalbschäftung mit verschnittenen Kolben, kleine Ausbrüche und Alters- bzw. Gebrauchsspuren. Mechanisch in Ordnung. Durch Reinigung noch stark zu verbessern. Länge ca. 39 cm. Im Stil der frz. Pistole Mle 1833 gefertigt. Zustand: II - A French percussion pistol by Savary à Bernay, circa 1840 Achtkantiger 240 mm-Damastlauf mit gezogener Seele im Kaliber 15 mm. Originale Bräunierung, feine Narben im Bereich des Pistons. Auf dem Lauf bez. "*Canon Damase fin*". Laufunterseite "ELG"-Abnahme. Eingeschobenes Silberkorn. Perkussionsschloss bezeichnet "Savary à Bernay". Französischer Stecher. Eiserne Garnitur. Metallteile mit floraler Gravur, blank und teilweise fleckig. Nussholzhalbschäftung mit verschnittenen Kolben, kleine Ausbrüche und Alters- bzw. Gebrauchsspuren. Mechanisch in Ordnung. Durch Reinigung noch stark zu verbessern. Länge ca. 39 cm. Im Stil der frz. Pistole Mle 1833 gefertigt. Condition: II -
Loading...-
25169 item(s)/page