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Lot 103
The Mercedes-Benz S-Class is a luxury saloon and was officially introduced in 1972 with the W116 S-Class which succeeded previous Mercedes-Benz models dating back to the mid-1950s. As the flagship of the Mercedes-Benz line-up, the S-Class has debuted many of the company's latest innovations, including drivetrain technologies, interior features, and safety systems (such as seatbelt pre-tensioners). The W220 S-Class was completely restyled in 1999 with a body that was slightly smaller and lighter than its predecessor. Production of the W220 S-Class totalled 485,000 units; slightly more than the production totals of its predecessor. As with each new S-Class, the W220 brought in new innovations such as Airmatic air suspension and Active Ventilated Seats (which used miniature fans in the seats to move air through perforations).Originally registered on 22nd May 2001, this S600 limousine has only had one owner from new. That owner being Roger Taylor an English musician, singer and multi-instrumentalist, best known as the drummer for the rock band Queen. The car presents very well in its original colour combination of black with black interior. It has been exceptionally well cared for and we are advised she drives very well with no known faults. A well stamped service book accompanies this Mercedes and judging by the picnic tables to the rear, we can only assume Mr. Taylor employed a chauffeur occasionally. Offered for sale without reserve, this S600 L with its interesting and highly esteemed owner, offers astonishing value given the original capital cost.
Lot 1367
A PAIR OF GEORGE III SILVER CANDLESTICKS, by Ebenezer Coker (probably), London 1765, each fluted column with Ionic capital issuing from a square stepped base with gadrooned border, with detachable sconce (one lacking), the base and drip tray engraved with two crests, with wooden underside, weighted. (2) 29.7cm highCONDITION REPORTTop of each column (beneath sconce) engraved with scratch weights
Lot 542
'THE MING TOMBS', QING DYNASTYChina, 1644-1912. Ink and watercolors on paper. Portraying a broad landscape view of the shrines set in a mountainous river landscape, the foreground with a path divided by gateways and lined with pottery figures and mythical beasts, each shrine with an identifying inscription.Provenance: From the collection of Naima Rutgersson (1922-2020), Stockholm, Sweden, and thence by descent.Condition: Overall in fair condition and presenting very well. Old wear, minor creasing, soiling, staining. Some tears, losses and touchups mostly to edges. Laid down on board. With a European wood frame.Dimensions: Image size 232 x 76 cmThe Ming tombs are a collection of mausoleums built by the emperors of the Ming dynasty of China. The first Ming emperor's tomb is located near his capital Nanjing. However, the majority of the Ming tombs are located in a cluster near Beijing and collectively known as the Thirteen Tombs of the Ming dynasty. They are located within the suburban Changping District of Beijing Municipality, 42 kilometers north-northwest of Beijing's city center. The site, on the southern slope of Tianshou Mountain (originally Huangtu Mountain), was chosen based on the principles of feng shui by the third Ming emperor, the Yongle Emperor. After the construction of the Imperial Palace (Forbidden City) in 1420, the Yongle Emperor selected his burial site and created his own mausoleum. The subsequent emperors placed their tombs in the same valley.Literature comparison: Compare a related painting depicting the Ming tombs, 119.4 x 251.5 cm, at Christie's London, 25 June 1998, lot 293. Compare a related painting depicting the Ming tombs, dated after 1736, in the Library of Congress, inventory number G7822.M5A35. 清代明皇陵風水圖中國，1644-1912年，紙本設色，描繪了坐落在山間河流景觀中的皇陵風水圖，小路延伸，兩側可見陶俑和神獸，四周山嶺分別每個神社都刻有識別銘文。來源：瑞典斯德哥爾摩Naima Rutgersson (1922-2020) 私人收藏，保存至今。品相：總體狀況良好，舊時磨損、輕微摺痕、汙漬、染色。一些水跡，主要在邊緣有些缺失和修補。採用歐式木框架。尺寸：畫面232 x 76 釐米
Lot 536
A BUDDHIST VOTIVE PAINTING DEPICTING AVALOKITESHVARA, POSSIBLY IMPERIALChina, 17th-18th century. Ink and watercolors on silk. Superbly painted, seated in dhyanasana atop a lotus pedestal borne on a thick stem issuing buds and blossoms, flanked by two guardian attendants standing on swirling clouds with hands clasped in front. His many hands hold various attributes, running the full gamut of Buddhist iconography, and issuing from his ten heads (in place of the eleventh) is an image of Buddha Amitabha seated on a lotus throne supported on clouds, flanked by two celestial figures.Provenance: UK market, by repute from an old English estate.Condition: Very good condition with minor wear, soiling, creasing, few minuscule tears and losses. Laid down on paper.Dimensions: 153 x 75.2 cmThe present image is a symbolic representation placed on a wall during Buddhist rituals. From the Buddhist perspective, paintings and calligraphy belong to Silpakarma-vidya, one of the five types of knowledge and wisdom. Over time monks and laymen painted and practiced calligraphy and Buddhist-themed works became more sophisticated during the Song and Yuan dynasties. By the middle of the Ming Dynasty, votive paintings, such as the present example, were used within private chapels and side pavilions of major temple monasteries.The Qing dynasty witnessed a revitalization of the cultural contacts between Tibet and imperial China, and the Manchu ruling class officially patronized Tibetan-style Buddhism in the capital of Beijing. This period also witnessed an explosion in the production of Buddhist art, particularly during the reign of the Qianlong Emperor (r. 1735-1796).Literature comparison: Compare two related Imperial Buddhist votive paintings, showing a similar treatment of the clouds, one at Christie's Hong Kong, 26 April 2004, lot 999, and the other at Christie's Hong Kong, 26 May 2021, lot 858.Auction result comparison: Compare a silk painting of Cundi, dated to the 17th century, at Christie's Hong Kong in Fine Chinese Classical Paintings and Calligraphy on 26 May 2021, lot 860, sold for HKD 275,000. Compare a silk painting depicting the Water-Moon Guanyin at Christie's Hong Kong in Fine Classical Chinese Paintings and Calligraphy on 28 November 2005, lot 1056, sold for HKD 384,000. 或爲御製《千手寳相觀音圖》中國，十七至十八世紀。立軸，絹本水墨設色。圖繪千手寶相觀音坐於蓮座上，中間雙手合十，其他各手分別持小斧、蓮花、寶劍、弓箭等各種法寶；頭上祥雲朵朵飄蕩，雲中托出小佛一尊。左右兩側分別站著一位天神。來源：英國古玩市場，據説來自英國私人老收藏。品相：狀況極好，有輕微磨損、汙漬、摺痕，少量撕裂和缺損。紙本裝裱。尺寸：153 x 75.2厘米拍賣結果比較：比較一件十七世紀絹本設色的准提菩薩，見香港佳士得Fine Chinese Classical Paintings and Calligraphy，2021年5月26日 lot 860, 售價HKD 275,000。比較一件絹本設色水月觀音，見香港佳士得Fine Classical Chinese Paintings and Calligraphy，2005年11月 28日lot 1056, 售價HKD 384,000。
Lot 389
A CAST AND REPOUSSE GILT COPPER ALLOY FIGURE OF AMITAYUS, QIANLONG PERIODChina, 1736-1795. The figure is shown seated in dhyanasana on a double-lotus base, the hands lowered in dhyana mudra, wearing loose-fitting robes decorated with foliate scroll at the hems, richly adorned with beaded, floral, and inlaid jewelry. The hair is pulled up into a tall double-topknot, falling elegantly in long segments down the sides of the shoulders, and surmounted by a jewel.Provenance: A private collector in New York, USA.Condition: Excellent condition with minor old wear, occasional light scratches, tiny nicks, few small dents. The base sealed. Some losses to inlays, some other inlays may be later replacements. Well-preserved ancient pigments. The amrita vase held in the figure's hands is lost.Weight: 4,077 gDimensions: Height 38.5 cmThe statue is made from solid and massively gilt copper alloy, as clearly evidenced by the lack of any dings or bent areas to body and base. Only the earrings, scarf, and strands of hair are executed in copper repousse.The serene face shows heavy-lidded eyes, gently arched brows centered by an urna, and full lips forming a calm smile, flanked by long pendulous earlobes.The present work exhibits many characteristics common to the Buddhist workshops of the Qianlong period, such as the combination of cast and repousse parts, the languid and slightly effeminate treatment of the face and body, and the tightly waisted double-lotus base with broad petals. The Qing court patronage of Buddhism that began under the Kangxi Emperor reached epic proportions under his grandson, the Qianlong Emperor. The Buddhist centers of Beijing, Rehol, and Dolonnor produced thousands upon thousands of images to keep up with the demand of the numerous temples in and outside the capital.Auction result comparison: Compare a related cast and repousse figure of a bodhisattva, belonging to the same group as the present lot, 37.1 cm high, also dated to the Qianlong period, at Christie's New York in Fine Chinese Ceramics and Works of Art on 16 September 2016, lot 1231, sold for USD 35,000.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.乾隆時期鎏金銅錘揲觀音坐蓮像中國，1736-1795年。髮髻高聳，耳垂花璫，髮綹層疊垂落披肩。細眉長目微閉，鼻樑挺秀，雙眉間有白毫，雙唇微抿，神情柔和。上身坦露，飾項圈和長鏈，雙肩披帔帛，飾瓔珞，臂釧、手臅等，下身著貼體薄裙，腰纖細，繫有寶帶，結跏趺坐坐於蓮座上，姿態優美。蓮座上飾一道連珠紋，蓮瓣橢圓修長，富有層次。 來源：紐約私人收藏。 品相：狀況極佳，有輕微磨損，局部有輕微劃痕與微小的刻痕，少量小凹痕。 底座密封。損失一些鑲嵌物，一些鑲嵌可能曾後期更換過。顔料保存完好。觀音手中的淨瓶丟失。 重量：4,077 克 尺寸：高38.5 厘米 造像鎏金厚重，身體和底座沒有任何凹痕或彎曲區域清楚地證明了這一點。只有耳環與帔帛及一縷頭髮是用錘鍱而成。 此造像呈現出乾隆時期銅鎏金造像的許多特點，如鑄件與錘鍱工藝的結合，面部和身體的慵懶和略顯柔美的處理，以及寬瓣束腰雙層蓮座。康熙帝在位時期對佛教的推廣在他的孫子乾隆帝時期達到了鼎盛。北京、瑞荷、多隆諾等佛教中心為了滿足眾多寺廟的需求，製作了成千上萬的佛教造像。 拍賣結果比較：比較一件銅鑄並錘鍱菩薩造像，與此拍品為同一組，高37.1 厘米，同爲乾隆時期，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2016年9月16日 lot 1231, 售價USD 35,000。
Lot 535
A RARE AND IMPORTANT PAINTING OF THE ARHAT BAKULA, 17TH-18TH CENTURYChina. Ink and watercolors on silk. The Meditating Luohan seated on a fine and richly bejeweled throne, a halo behind his head, surrounded by clouds, leaves, and craggy rockwork. A mongoose in his arms spews wish-fulfilling jewels which drop into a vessel containing conch shells, held up by a demonic figure, below a transparent lotus cup with further jewels and a rock. Descending from above is Maitreya riding a tiger.Provenance: UK market, by repute from an old English estate.Condition: Fair condition with old wear, soilling, creasing, few tears, small losses and minor touchups. With a silk brocade frame and mounted as a hanging scroll.Dimensions: Image size 110.5 x 68.2 cm, Size incl. mounting 211 x 85.7 cmBakula, known as Jinguzo Luohan (Meditating Luohan) in Chinese, is the fifth arhat and often depicted with a mongoose spewing wish-fulfilling jewels, which is also commonly held by Jambhala, the Buddhist God of Fortune and Wealth.The arhat paintings of the early Ming dynasty owe much to the secular tradition of landscape literati painting in China, and break from the earlier Tibetan compositional practice of Buddhist paintings, in which deities and other important figures are set within a regimented and prescribed hierarchy. In most of the arhat painting sets, the main figures are set within lush landscapes, surrounded by craggy mountains, curving pine boughs, and flowing streams. In the tradition of Chinese literati paintings, nature and country life were seen as an escape from the intrigues of the court, a place where scholars could find the peace needed to write poetry, perform music, and develop ideas. It is no coincidence that the arhats of these early painting sets, figures who represented wisdom and enlightenment, were placed within the tranquil confines of a natural landscape.The Qing dynasty witnessed a revitalization of the cultural contacts between Tibet and imperial China, and the Manchu ruling class officially patronized Tibetan-style Buddhism in the capital of Beijing. This period also witnessed an explosion in the production of Buddhist art, particularly during the reign of the Qianlong Emperor (r. 1735-1796), thanks to innovations such as the printing press (for producing thangkas) and industrial molds (for producing sculptures). Stylistically, painting sets of the Sixteen Great Arhats from the seventeenth and eighteenth centuries continued to follow the early Ming style, with arhats set in Chinese-style landscapes.Auction result comparison: Compare a closely related painting of the Buddhist patron Hvashang, referred to as the patron of arhats, also dated 17th-18th century, attributed to “Tibet or China”, at Christie's New York in Indian, Himalayan & Southeast Asian Works of Art on 17 March 2021, lot 453, sold for USD 750,000. 十七至十八世紀重要囉怙羅尊者像中國。立軸，絹本水墨設色。尊者盤腿坐在一個鑲滿寶石的華麗寶座上，身後有一圈光背，周圍圍繞著雲彩、樹葉和崎嶇的岩石。 一隻貓鼬臥在他的懷裡，不停地吐出如意寶珠，落入尊者的左手，然後落入一個放置在地上的盤中，與一些佛教之寶海螺一起。一個惡魔人物舉著這個盤子。尊者左側有一岩石，上面有一個透明的蓮花杯，裡面也盛著很多珠寶和一塊山岩。空中的雲彩中可見騎虎彌勒佛。來源：英國古玩市場，據説來自英國私人老收藏。品相：狀況良好，有舊時磨損、水漬、摺痕、小缺損和輕微修飾。絲織錦框。尺寸：畫面110.5 x 68.2厘米，總211 x 85.7厘米拍賣結果比較：比較一件相近的西藏或中國的十七世紀摩訶衍像，見紐約佳士得 Indian, Himalayan & Southeast Asian Works of Art 2021年3月17日 lot 453, 售價USD 750,000。
Lot 160
Oil on canvas. Measurements: 92 x 79 cm (framed) and 77 x 64 cm (canvas). Provenance: important private collection, Spain. After the death of the great painter Ribalta (1628), he became the absolute ruler of the Valencian art scene from a young age, where he preferably worked for numerous convents and religious orders. The large number of commissions that he received has served as a documentary source for the knowledge of his biography. The only period from which we lack news of him is between 1640 and 1647, which has given rise to various speculations about trips to Madrid and Seville. His passage through the Andalusian capital, above all, has become a helpful argument to explain his stylistic concomitance with Zurbarán. His training was developed together with his progenitor, a humble painter from Valladolid established halfway between Cocentaina and Valencia, although the success of Ribalta's achievements would leave a permanent mark on our artist. The family's move to Valencia must have taken place during Jerónimo Jacinto's childhood, probably around 1612. The first known work by him is dated that same year, which shows his precocity. In 1616 he appears registered in the College of Painters of the Mediterranean city, declaring that he had been working with his father for a year. In Valencia he developed the rest of his existence -if we exclude the possible trips mentioned-, painting for the local environment and, as far as we know, leading a comfortable and quiet life. His extensive production reflects the scant evolution of his art. His painting, like his characters, appears out of time, arrested in solemn and symmetrical compositions. His monastic series are the ones that are closest to Zurbarán's work and, as in this one, the monumental verticality of the religious dominates, the meticulous reflection of the fabrics and the intensity and naturalism of the faces, as if illuminated. When painters throughout Spain adhered to the most fully baroque formulas, Espinosa still appears static in the strictest tenebrism, using a strong directed light that illuminates the scene with powerful contrasts. All this speaks to us of a style that is out of date, isolated, self-absorbed, but that responds to the demand for pious art requested by the local clientele. His fervent naturalism also enabled him to make a handful of vivid and analytical portraits. There are nine canvases by Espinosa present in the Prado Museum. Among them, it is worth highlighting La Magdalena penitente, as it is a reflection, not only of Espinosa's painting, but also of the path that her works have traveled in the Prado. His work in the local Valencian environment meant that none of them reached the royal collections until the time of Ferdinand VII, his presence in the Museum being due to modern purchases. Thus, La Magdalena penitente was acquired in 1992 after passing through various collectors. Previously, in 1838, it had been part of the collection of Luis Felipe de Orleans. It is an eloquent testimony to the aesthetics of the painter, with the saint in full ecstasy, illuminated by a harsh overhead light that leads to the stiffness of fabrics and flesh, and is a sign of a piety as simple as it is devout, very much from the 17th century.
Lot 11
DOMINGO MARTINEZ (Seville, 1688 - 1749) and BALTASAR BOUTTATS (Antwerp, 1666/1682-1756)."The majestic and portentous monument of Seville", 1737.Engraving.Paper with faults glued to canvas.Size: 146 x 86 cm.Work that reflects the Funerary catafalque monument of the bishop of Seville, carried out in 1737, which was designed by Domingo Martínez. This artist was trained in his native city, Lucas Valdés being one of his teachers. The sources indicate that he was appreciated in his day, as he received important commissions such as those from the archbishop of Seville, for whom he executed several paintings for the cathedral of the Andalusian capital and the church of Nuestra Señora de la Consolación in Umbrete. During Philip V's court stay in Seville (1729-33) he was also in contact with French painters in the king's service, such as Jean Ranc and Louis-Michel van Loo, whose influence was evident in his work, combined with Murillo's direct inheritance. On the other hand, it was precisely Ranc who proposed Martínez as court painter, an offer which the painter rejected, however, as he did not wish to move to Madrid with the king. He had several disciples, and we know that his workshop trained Andrés de Rubira, Pedro Tortolero and Juan de Espinal, the latter of whom would eventually become his son-in-law and heir to the family workshop. His first major work was the decorative ensemble of the church of the Colegio de San Telmo, with paintings on the life of Christ and his relationship with the sea, executed in 1724. Six years later he produced two large paintings for the Convent of Santa Paula in Seville. In the 1730s he also executed individual works and ensembles for churches in Seville and its province, always on religious themes, as well as the portrait of Archbishop Luis de Salcedo y Azcona for the Archbishop's Palace in Seville (1739). He was equally prolific in the last decade of his life, when he executed tempera decorations for the churches of Santa Ana and San Luis de los Franceses in Seville, as well as several canvases. His last work, executed around 1748, was a set of eight canvases depicting the great masquerade held in Seville in June of the previous year on the occasion of Ferdinand VI's accession to the throne. Works by Martínez are currently housed in the Seville Museum of Fine Arts.
Lot 74
Andalusian or Novo-Hispanic school; late 17th century."The theological virtues and the deadly sins".Oil on canvas. Re-drawn.Measurements: 72 x 62 cm; 94 x 84 cm.Through the use of a pyramidal composition the author conceives a landscape where many symbols of Christianity are present. Firstly, located in the upper area in the centre of the scene is the figure of God the Father, dressed in white with a red mantle, adopting the gesture of blessing. This is the most important representation of the scene, because the others start from him. Under his lap the dove of the Holy Spirit and the figure of Jesus. From the body of Christ, dressed only in a red cloth in allusion to his martyrdom, different legends are depicted, which are connected to two tree-like structures, conceived as a floral bouquet. The virtues (Faith, Hope and Charity (theological) and Prudence, Temperance, Justice and Fortitude (cardinal)) are arranged on each of them at either end of the canvas, while the capital sins (Lust, Anger, Sloth, Envy, Pride, Gluttony and Avarice) can be seen on the other. The scene ends with the figure of an archangel and several religious figures in the earthly realm, accompanied by ornaments with writing inside them.Works of this type were used in a pedagogical manner, with the intention of evangelising and spreading the word of Christianity. For this reason, a schematic compositional pattern can be seen, based on the foreground and the symmetrical division of space. An example of the interest in depicting the virtues and the deadly sins, set against each other, is Giotto's work in the Scrovegni chapel in Padua. It is worth mentioning that during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins, but in the early 19th century, at the time of independence and political openness in some of the colonies, several artists began to represent a new model of painting with its own identity.
Lot 194
Marx (Karl) Capital: A Critical Analysis of Capitalist Production, edited by Friederich Engels, stereotyped edition, half-title, scattered faint spotting, cracked hinges, previous owner's pencil inscriptions to endpapers, fundraising ticket for Spanish refugees loosely inserted, original cloth, mottled and stained, worn, bumping to corners, small loss to spine and extremities, 8vo, 1889.⁂ An early English translation, take from the third German edition by Samuel Moore and Edward Aveling.
Lot 220
Economics.- Gödel (Kurt) On Formally Undecidable Propositions Of Principia Mathematica and Related Systems, first English edition, previous owner's ink signature, original cloth, slight bumping to spine extremities, Edinburgh, 1962 § Burns (Arthur F.) and Wesley C. Mitchell. Measuring Business Cycles, first edition, charts, one folding, previous owner's ink name-stamp, original cloth, slight bumping to corners and extremities, New York, 1946 § Harrod (R. F.) Towards a Dynamic Economics, first edition, original cloth, slight bumping to spine extremities, dust-jacket, short tear to spine foot, tape repair, slight chipping to corners and extremities, 1948 § Pigou (A. C.) The Theory of Unemployment, first edition, scattered faint spotting, original cloth, slight bumping to corners and extremities, 1933 § Robinson (Joan) The Accumulation of Capital, first edition, bookmark explaining tables loosely inserted, original cloth, slight bumping to corners and extremities, 1956; and 15 others similar, 8vo (20)
Lot 272
'DREAM OF THE RED CHAMBER', QING DYNASTY, FOUR PAINTINGSChina. Ink and watercolors on paper. Each finely painted with a scene from Dream of the Red Chamber, including ladies writing poems about chrysanthemum, Miaoyu and Jia Baoyu listening to Lin Daiyu playing the qin, ladies flying kites, and Shi Xiangyun sleeping on a rock surrounded by lingbi stones and colorful flowers. (4) Inscriptions: One painting center left, inscribed 'In Autumn of the Year of Jiachen, in the style of the Yuan dynasty, Yuhu shanren Qixiang Gai Qi'. Four seals.Provenance: UK trade, by repute from an old English estate.Condition: Good condition with minor wear, soiling, creasing, some colors possibly a bit faded, small losses, some with minor old repairs.Dimensions: Image size 25 x 29.2 cm (each), Size incl. mounting 32.5 x 39 cm (each)The present paintings feature scenes from the popular Dream of the Red Chamber (Honglou Meng), considered one of the Four Great Classical Novels of Chinese culture. Composed in the 18th century by Cao Xueqin, Honglou Meng tells the story of the gradual fall of the aristocratic Jia family, who resided at Rongguo House and at Ningguo House, two adjacent compounds in the capital. The intricate strands of its plot depict the rise and decline of a family much like Cao's own and, by extension, of the dynasty itself. Cao depicts the power of the father over the family, but the novel is intended to be a memorial to the women he knew in his youth: friends, relatives, and servants. At a more profound level, the author explores religious and philosophical questions, and the writing style includes echoes of the plays and novels of the late Ming, as well as poetry from earlier periods.Auction result comparison: Compare a set of related paintings, dated 19th-20th century, also depicting scenes from Dream of the Red Chamber, at Christie's London, 29 February 2012, lot 630, sold for GBP 3,750.清代《紅樓夢圖詠》 中國。紙本水墨設色。細膩地描繪了《紅樓夢》人物場景，如詠菊、妙玉與寶玉在門外聼林黛玉撫琴、放風箏以及憨湘雲醉眠芍藥裀。 (4) 款識：其中一幅畫上可見"時在甲辰孟秋仿元人筆意 玉壺山人七薌改琦"鈴印：四枚 來源：英國古玩市場，據説來自英國私人收藏。 品相：狀況良好，有輕微磨損、汙漬、摺痕，有些微褪色，少量缺損，有輕微的修補。尺寸：畫面各25 x 29.2厘米，總共各32.5 x 39厘米 拍賣結果比較：比較一組十九至二十世紀的《紅樓夢》場景繪畫，見倫敦佳士得2012年2月29日 lot 630, 售價GBP 3,750。
Lot 287
A SANDSTONE FIGURE OF A MALE DEITY, CHAM PERIODVietnam, 10th century. Boldly carved standing in samabhanga with the left hand holding a club and the right raised in front of the chest, wearing a diaphanous robe tied at the waist, the serene face with heavy-lidded eyes and full lips.Provenance: From a French private collection, acquired in the Parisian trade.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, losses, nicks, scratches, encrustations, few structural cracks.Weight: 9.5 kg (incl. stand)Dimensions: Height 38 cm (excl. stand) and 38.5 cm (incl. stand)Mounted to an associated metal stand. (2)The height of Cham civilization occurred during the 7th to 10th centuries, when the seafaring Cham controlled the silk and spice trade in the South China Sea between China, India, the Indonesian archipelago and the Abbasid empire. However, this period was also marked by several raids by Javanese kingdoms, near-continuous warfare with the Dai Viet to the north as well as a fierce and often bellicose rivalry with their western neighbors, the Khmer of Angkor in present-day Cambodia. Much like the Khmer had to abandon Angkor after a Thai invasion in 1431, the Cham gradually lost their northern territories to the Dai Viet between the 10th and 15th centuries, beginning with the sack and eventual abandonment of Indrapura and culminating in the destruction of the Cham capital Vijaya in 1471, after which only the southern principality of Panduranga remained.Auction result comparison: Compare a related sandstone figure of a female deity, 75 cm high, dated 10th-11th century, at Sotheby's New York in Indian and Southeast Asian Works of Art on 19 March 2008, lot 247, bought-in at an estimate of USD 50,000-70,000.
Lot 7
Chéri Samba (Democratic Republic of Congo, born 1956)J'aime la Couleur signed and dated 'Chéri SAMBA/ 2004' (lower right)acrylic and glitter on canvas113.5 x 144.5cm (44 11/16 x 56 7/8in).Footnotes:ProvenanceAcquired directly from the artist by the present owner. 'Colour is everywhere. To me, colour is life. Our heads must twirl around as if in a spiral to realize that everything around us is nothing but colours. So I say 'I like colour' instead of saying 'I like painting'. Colour is the universe, the universe is life, painting is life.' – Cheri Samba(J'aime Chéri Samba, 2004: p. 126)A kaleidoscopic celebration of colour, J'aime la Couleur (2004) belongs to the best known series by the Congolese painter Chéri Samba. It depicts the artist with a surrealist spiralling head unfurling upwards from his shoulders. The vibrant pink glittered interior of the figure's head materialises Samba's conviction that '[a]n artist must show people what he has inside' (J'aime Chéri Samba, 2004: p. 19). The artist's passion for colour is evidenced through the rainbow palette employed in the unconventional self-portrait. A line of multicoloured droplets fall from the end of a paintbrush clenched in the artist's teeth, echoing the beads that fall vertically within his coiled neck. The message is clear: colour is the lifeblood of the artist. While the majority of works in the J'aime la Couleur series set Samba's head against a bright blue backdrop, the present work offers a rare black background. Samba's distinctive graphic style was fostered through his early training as a sign painter. Born in 1956, he left home at the age of 16 to apprentice himself to a studio in Kinshasa that specialised in producing signs for advertising. He found inspiration in the work of the more established sign painters Moké, Bodo, and Cheri Cherin which were displayed along Kasa Vubu Avenue - a central thoroughfare of the capital city. Samba was driven to differentiate himself by finding his own distinctive style. Influenced by his work as a comic strip illustrator for the bimonthly magazine Bilenge Info, he began introducing text to his paintings in 1975. He believed this would prompt viewers 'to stop and take time to read it, to get more into the painting and admire it' (J'aime Chéri Samba, 2004: p. 15). He coined this idiosyncratic inclusion of text in banners and speech bubbles the 'Samba signature'. The text offered Samba an opportunity to present narrative commentary on his work. In J'aime la Couleur, the writing in the blue box proclaims the artist's conviction in the importance of colour both aesthetically and as a metaphor for the diversity of life. BibliographyJ'aime Chéri Samba, exh. cat., Fondation Cartier pour l'art contemporain, Paris, 24 January - 2 May 2004.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
Lot 491
The Beatles - collection of proofs for the 2000 Beatles 'Anthology' book, produced to accompany the publication, including two large posters, 33" x 23" (slight water rippling); two extreme portrait posters, 72" x 18"; and five double-sided marketing landscape format posters; also two sets of proofs for the outer package of the capital albums box set, each 45" x 28" and multi-print run sets of the 'Let It Be' album cover *The David Costa Collection David Costa: ?The Wherefore Art? Studio designed The Beatles Anthology Book between 1993 and final publication in 2000, in conjunction with the editorial team of Genesis Publications. All subsequent marketing material such as the posters included here were designed by the studio, based on our collage of high contrast band images across the remarkably short timescale from 1962 to 1970.?
Lot 138
EDUARDO ÚRCULO FERNÁNDEZ (Santurce, Vizcaya, 1938 - Madrid, 2003)."Before me I saw clusters of wandering life shining". 1973.Oil on canvas.Signed, titled and dated on the back.It carries a label of the Biennial of Paris, in the frame.Measurements: 162 x 140 cm.; 166 x 144 cm. (frame).A young woman of voluptuous body is lying down, hiding her face under a wavy mane, on a bed covered with quilt printed in red and white. The full moon shines behind the arch of the terrace that opens her room to an exterior of violet lights. This color tinges all the objects in the room, giving them a dreamlike look: intense mauves, cerulean and burgundy tones predominate in Úrculo's palette, varnishing even the woman's naked body. A black and yellow striped curtain provides a studied chromatic contrast, as do the fluffy cushions. These take the form of a female breast, with buttons that simulate nipples, thus accentuating the erotic charge of the composition. Úrculo prints a suggestive turn to American pop art, achieving a work of singular aesthetics, finding a language of his own.Painter and sculptor, one of the best exponents of pop art in Spain, Eduardo Úrculo began painting as a child, without any artistic training, and in 1957 he published his first illustrated strips in the Oviedo newspaper "La Nueva España". Shortly after, he moved to Madrid and began taking classes at the Círculo de Bellas Artes. During these years he earned his living as an illustrator and set designer, and cultivated a painting marked by social expressionism. In 1959 he went to Paris, where he furthered his training at the Académie de la Grande Chaumière. In the French capital he worked as a graphic designer and met Eduardo Westerdahl, whose influence made his painting evolve towards abstraction. However, four years later he returned to figuration and social criticism. In 1967 he made a trip to Northern Europe, and it was then that he first came into contact with American pop. From then on, Úrculo's work will be marked by a realism based on a very vivid coloring and, well into the seventies, by erotic, satirical and critical themes. In the eighties he lived in New York, where he carried out important projects. In 1992 he returned to Paris. In this last period he added to his repertoire the theme of the traveler confronted with the great modern city, an ironic variant of the figure of the romantic overwhelmed by the landscape. This formal evolution could be seen through the numerous individual exhibitions he held around the world since 1959, as well as in anthologies (Centro Cultural de la Villa de Madrid, 1997, and Museo del Grabado Español Contemporáneo de Marbella, 2000). Úrculo is currently present in numerous museums and collections of modern art, including the Museo Nacional Centro de Arte Reina Sofía, the Galleria Nazionale d'Arte Moderno in Rome, the Biblioteca Nacional de Madrid, the Museo de Arte Contemporáneo de Bogotá, the AENA, Testimoni and Fundesco collections, the Museo del Dibujo Castillo de Larrés, the Museo de Arte Contemporáneo de Vilafamés and others.
Lot 31
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002) and EDMOND JABÈS (Cairo, 1912-Paris, 1991)."Placard".Silkscreen on Arches paper, copy 112/500.Hand-signed by both artists.Maeght Editeur, Paris.Printed by Arcay Paris.Work catalogued in "Eduardo Chillida. Opus P.II. Complete catalogue of the graphic work 1973-1985), Martin van del Koelen, ed. München Mainz, 1997, p. 118, ref. 75014.Size: 95 x 62 cm; 110 x 77 cm (frame).The collaboration between the Jewish writer Edmond Jabès and the Basque artist Edudardo Chillida was evident in the work "La Mémoire et la Main", in which there was a clear link between the etchings and the poems of both artists. The silkscreen print on display contains a poem by Edmond Jabès and is signed by the artist and the writer. It was published on the occasion of an exhibition at Galeria Maeght.Chillida began his training at the School of Architecture at the University of Madrid, but abandoned his studies to devote himself to football, as goalkeeper for Real Sociedad. As a result of an injury he was forced to give up sport, and it was then that his artistic vocation awoke. He began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastian for good, and made his first work in iron, the material with which he would work for the rest of his life. With the idea that art should be accessible to everyone, he produced numerous public works throughout his life, as well as sculptures for museums all over the world. His works dialogue with their surroundings, which is why many of them are already considered emblematic places for citizens, as is the case with the "Peine del viento" in San Sebastian and the "Puerta de la Libertad" in Barcelona. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
Lot 64
EUGENIO GRANELL (A Coruña, 1912 - Madrid, 2001)."Hunter, 1945.Oil on panel.Signed and dated in the lower right corner.Size: 23 x 30 cm; 32 x 43 cm (frame).In the work presented here Granell shows a notable reduction of compositional elements, prioritising the figures, dispensing with the scenographies of previous periods, constructing the characters from masses of flat and intense colours. These resources enhance the monumentality of the figures and increase their symbolic and morphological description. Another characteristic element of this work is the use of the colour black as a contour line that generates forms.A painter, watercolourist, engraver and sculptor, Eugenio Fernández Granell spent his childhood in Santiago de Compostela, a city that would largely influence his plastic work. Initially inclined towards music, in 1928 he moved to Madrid to study violin at the Escuela Superior de Música. In the capital he frequented intellectual circles linked to Marxism, and finally joined the Partido Obrero de Unificación Marxista (Marxist Unification Workers' Party) in 1935. At the outbreak of the Civil War he joined the Republican army, and also edited "El combatiente rojo", his party's newspaper. However, after the end of the war, he was persecuted both by the new regime and by his communist comrades for being a Trotskyist. He went into exile in France in 1939, and after passing through several concentration camps, he left for South America. He settled in the Dominican Republic, where he joined the Symphony Orchestra as first violin. However, when the Trujillo dictatorship hardened, Fernández Granell left the country to settle in Guatemala, where he taught at the Escuela de Artes Plásticas. When the Guatemalan revolution broke out in 1950, he had to flee again for fear of Stalinist persecution, and this time he arrived with his family in Puerto Rico, where the painter took up the chair of Art History in the Faculty of Humanities. However, despite this continuous wandering, Fernández Granell continued his artistic work, holding exhibitions and publishing books of short stories and poetry. In 1956 he met Marcel Duchamp, who flattered his plastic and poetic art and reinforced his surrealist activity. That same year he moved to New York, where he settled permanently. Professor of Spanish Literature at Brooklyn College in the city, during this period he obtained a doctorate in Sociology from the New School for Social Research, with the thesis "Picasso's Guernica. The end of a Spanish era" (1967). Fernández Granell remained in New York until 1985, when, after retiring, he returned to Spain with his wife, settling in Madrid. Already widely recognised, he was awarded important prizes such as the Gold Medal for Fine Arts. In 1995, the foundation that bears his name was established in Santiago de Compostela, which today houses most of his artistic production.
Lot 65
PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973)."Declinatoria de Picasso a Luis Felipe Vivanco", 1960.Drawing with crayons on paper.Signed, dated and dedicated.Size: 19,5 x 14 cm.Dedication from Pablo Ruiz Picasso to the architect Luis Felipe Vivanco, who wrote the Poem Goat (Picasso), published in issue IX of "Papeles de Son Armadans", December 1956.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "ElsQuatreGats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a brief period. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had met or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. Painting in these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange forms. Picasso is represented in major museums around the world, including the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.
Lot 96
MIQUEL BARCELÓ ARTIGUES (Felanitx, Mallorca, 1957)."Giorgione à Felanitx", 1984.Mixed media on paper.Titled and signed with initials in the lower margin.With Bischofberger gallery label on the back.Size: 24 x 31,5 cm; 44,5 x 54 cm (frame).The 1980s was one of the most important decades in Miquel Barceló's plastic art, as it meant his international recognition. He began with his establishment in Barcelona in 1980, and exhibited in several European cities. He took part in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986, he showed his work for the first time in the United States (specifically, at the Leo Castelli Gallery in New York). Two years earlier he had already exhibited his work for the first time with Bruno Bischofberger, and met and married Cécile Franken. In 1987 he settled in Paris, and the following year he travelled for the first time to Africa, another important geographical reference point in his career. The present work is a sketch for the imposing painting "Giorgione a Felanitx", a large-format canvas (300 x 200 cm) also painted in 1984, which alludes to Giorgione, one of the Mallorcan's most admired painters.A painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of just seventeen, at the Galería Picarol in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovered the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as "art brut", a style that was to exert an important influence on his first paintings. During these years he reads extensively, and is enriched by works as diverse as the writings of Breton and the surrealists, Lucio Fontana's "White Manifesto" and Arnold Hauser's "Social History of Literature and Art". In 1976 he held his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural protest actions. In 1977 he made a second trip to Paris, and also visited London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who becomes one of his best friends in the city. It was also in 1977 that he received his first large-scale painting commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sold his first works to some collectors and galleries, and finally moved to Barcelona. His international recognition began in the early 1980s. In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognised by the most distinguished awards, such as the Prince of Asturias Prize for the Arts (2003) and the Sorolla Prize of the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important contemporary art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, the Marugami Hirai in Japan, the Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the CAPC in Bordeaux, the Carré d'Art in Nimes, the Museum of Contemporary Art in Caracas and the Museum of Fine Arts in Boston, among others.
Lot 102
AN EARLY GEORGE III CAST SILVER HEXALOBED TAPER STICK WILLIAM GRUNDY, LONDON 1760 The hexalobed sconce with shells at the rim, a reel capital, a multi knop stem, the base with shells at the rim 13.3cm (5 1/4in) high 162g (5.2 oz)Condition Report: Minimal wear, sconce and capital unmarked, marks clear except maker poorly struckCondition Report Disclaimer
Lot 349
An Edwardian ormolu mounted onyx pedestal,with square top, corinthian capital and block base,W,32cm H.117cmOverall in fair condition, the square top has cracks running through two of the corners, ormolu is now dulled down to a matted tone, top rotates at the base of the capital, feet look rather dirty with some minor chipping around the block base.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. W,32cm H.117cm
Lot 79
° ° A Collection of deeds and documents relating chiefly to Kent, 1264-1654, from the collection of Thomas Godfrey Godfrey-Faussett (1829-1877)Thomas Godfrey Godfrey-Faussett (for whom see the Oxford Dictionary of National Biography), the son of the professor of divinity at Oxford, was a barrister who in 1866 moved to Canterbury as auditor to the Dean and Chapter; in 1871 he became District Registrar of the probate court in the city. Godfrey-Faussett was the great-grandson of the Kentish clergyman-antiquary Bryan Faussett (1720-1776), and it was to the study of the antiquities of the county that he devoted his leisure time.The 85 documents forming this collection can be divided into two groups – 36 charters relating to Pluckley and Little Chart, mostly with intact seals, and ranging in date from 1290 to 1469; and 49 charters and other documents relating to Kent (45), Essex (2) and London (2).The endorsements on both groups demonstrate that the entirety of the first and the majority of the second had formed part of the archive of the Dering family of Surrenden in Pluckley.The charters in the first group have place-names and personal names underlined in red ink, and are endorsed with a numerical reference in violet ink characteristic of the Dering sale at Puttick and Simpson on 13 July 1865; in that they closely resemble Dering charters at Kent Archives, U350 and U1823.Many of the deeds and documents in the second group must also have originated in the Dering archive – many have endorsements in the hands of Sir Edward Dering (1598-1644), antiquary and religious controversialist (see ODNB), relating both to the contents of the documents themselves but also to his antiquarian, religious and topographical research; in one case he has stitched together two unrelated documents to serve as a medium for a pedigree of the descendants of John Johnson of the Isle of Thanet.The collection has many highlights, the first of which must be the rare opportunity to acquire ten intact lots, amounting to 36 medieval charters, from the renowned Surrenden Dering archive. The second group includes two counterpart leases by Thomas Chillenden, prior of Christ Church Canterbury, one of two tenements with solars attached on the west side of the great gate of the prior and convent in the parish of St Bartholomew, London, 1406. There are five original wills with notes of probate endorsed, 1416-1471, one of which was granted by peculiar jurisdiction of Wingham College in 1450 and bears a fine impression of its seal, which is also appended to a lease by the provost (archbishop Thomas Cranmer’s younger brother Edmund) and canons of Wingham of a farm in Wingham, 1542. An inventory of the goods of Robert Jull of Denton, appraised at £39 17s 1d on 13 April 1585, is also included in the collection.No manorial documents are included in the collection; a complete list of all 85 documents is available.Dering saleCW #Pencil #Ink #Parties and placeSeal?Date1.603363/3William ate Bure to William de Stonforde; Pluckley, held of Little ChartN1290-12912.12363/3John son of William de Plukele kt to William son of Warin de Brochell; PluckleyYJan 12923.602363/3John son of William de Plukele kt to William son of Warin de Brochell; PluckleyNMay 12924.39365/4John Malemeys exchange with John Lambyn of Pluckley; Pluckley, owing suit to the manor of PluckleyYFeb 13075.178365/4Robert de Hardres to John Malemeins of Waldershare, his wife Eleanor and their son John; Caldecote in PluckleyY22 Mar 13076.599365/4Gilbert le Pylecherre to William de Plukele and his wife Agnes; acknowledgement of a rent of three hens for Lotekyneland in Pluckley, previously charged on ClerkeslandN1301-13027.24367/3William son of John de Plokele to John Malemeyns; PluckleyYOct 13088.413/1367/3John Malemeyns to William son of John de Plokele; PluckleyYOct 13089.413/2367/3Thomas son of Simon de Brunesforde to William son of John de Plokele; PluckleyYMar 131110.595368/4William de Brochelle son of W de B kt deceased to William son of John de Plukele and his wife Isabel and to William’s heirs; PluckleyY1313-131411.594368/4John Malemeyns of Waldeshare, kt, to his (named) tenants of the manor of Pluke of the offices of reeve and beadleN1 Feb 131512.593368/4Thomas Smith of Little Chart to William son of John de Plukele; PluckleyY24 Feb 131713.591368/4John de Querstede to John de Sellyngge, citizen and apothecary of London; PluckleyYOct 131714.140370/4Robert Ive to John de Sellyng and his son John; PluckleyY1 Sep 133115.80370/4William son of John de Toniforde to William son of John de Plukele and his wife Isabel; capital messuage in Pluckley and lands Y16 Dec 133216.48370/4William son of Eudo de Shillingheld to John son of Thomas Chicche and John’s wife Katherine; the manor of Everingeecre in Pluckley and BethersdenY2 Apr 133317.1000370/4William son of Eudo de Shillingheld to John son of Thomas Chicche of Canterbury and John’s wife Katherine; the manor of Everingeecre in Pluckley and BethersdenYApr 133318.276371/3William son of Eudo de Shillinghelde to John son of Thomas Chicche of Canterbury and John’s wife Katherine; the manor of Everingeecre in Pluckley and BethersdenYApr 133319.589371/3William son of John de Tunyforde deceased to Joan, Alice, Scholastica, Eleanor, Isabel and Katherine daughters of William de Plukele; Pluckley and ChartY19 May 134920.328371/3Eleanor daughter of William de Plukele to John son of Robert de Okenfolde; Chart and PluckleyYJun 134921.053376/4John Pyrefeld of Pluckley to John Frend and William Baker; Pluckley, Smarden and Little ChartY29 Dec 137322.587376/4Theobald de Surinden of Smarden to his brother John; Pluckley and Little ChartY6 Jan 137923.1376/4Michael Smyth of Playford to John de Surrindene and his sons Harvey and Roger; PluckleyYOct 137924.137376/4Harvey and Roger sons of Michael atte Lee of Playford to John Surinden of Fordmelle; PluckleyY14 Feb 138025.295381/4Margaret daughter of John Haute of Pluckley to her father; lands and tenements formerly John Surrynden which descended to her on the death of her mother JoanY18 May 142126.433381/4John Mounte, citizen and cutler of London, to Henry Malmayns of Pluckley; his rights in the manors of Pluckley and Waldershare in which he and others was enfeoffed by HM Y10 Aug 142127.432381/4Henry Malmayns of Pluckley esq to feoffees (named); manors of Pluckley and Waldershare in Pluckley, Hothfield and SmardenY22 Dec 142128.584381/4John Haute of Pluckley esq to his daughters Christine wife of John Deryng and Elizabeth Haute; tenement late Surrenden in Pluckley and Little Chart; details of buildingsY10 Jun 142529.53382/3John Haute of Pluckley esq to Reynold Dreylond and JH’s daughter Christine, formerly wife of John Deryng, and to her heirs; tenement formerly John Surrenden in Pluckley and Little ChartY10 Feb 142730.143382/3John Haute of Pluckley esq to Reynold Dreylond and JH’s daughter Christine, formerly wife of John Deryng, and to her heirs; tenement formerly John Surrenden in Pluckley and Little ChartY10 Feb 142731.41382/3John Seyntleger and William Norton to Richard Malmayns and Alic
Lot 109
* GERARD BURNS (SCOTTISH b. 1961),WINTER WOODLAND WALKoil on canvas, signedimage size 100cm x 100cm, overall size 123cm x 123cm Framed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.
Lot 25
* GERARD BURNS (SCOTTISH b. 1961),RED COAT, MERCHANT CITYoil on canvas, signedimage size 60cm x 60cm, overall size 83cm x 83cm Framed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.
Lot 822
German Capital Ships of World War Two by M J Whitley Softback Book 2000 Second Edition published by Cassell and Co some ageing. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 39
Attributed to Juan Patricio Morlete (San Miguel el Grande, Guanajuato, Mexico, 1713/1715 - Mexico, 1772)"Triumphal entrance of Alexander in Babylon"Six-panel folding screen. Oil on canvas. 192 x 312 cm. The first panel is missing.An oil painting on canvas (n.d.) by Juan Patricio Morlete was exhibited in 2015 at the Museo Nacional de San Carlos in Mexico, as part of the permanent exhibition “Neoclasicismo” with the same theme and great compositional similarities to this painting. There is another canvas also by Morlete which is very similar to the former, which forms part of the artistic patrimony of the Fomento Cultural Banamex. It is one of the paintings of the set of battles of Alexander the Great which the artist painted in 1767, inspired, as Ilona Katzew explains (2014), by a monumental series of engravings by Charles Le Brun (Paris, 1619 – 1690) of “The Triumphs of Alexander”, which were commissioned by Louis XIV and sent to European governors as propaganda. One of the engravings by Jean Audran (Lyon, 1667 – Paris, 1756), can be found in the Barcelona Museu Nacional d’Art de Catalunya (MNAC). We find it curious that the scene in our painting is in reverse, compared with the two canvases we mentioned, the engravings and the original picture by Le Brun (1665), which is exhibited in the Louvre Museum. This may also be due to the fact that, as this is a screen and not a fixed painting, the final location of the piece of furniture would have influenced whether the painter would decide to develop the scene in this direction, considering that this would have been a commission, which is most likely. Moreover, the artist moved the scene to an environment with more vegetation and no architectural structures, he varied the treatment of the colour by adding more reddish tones, incorporating some native elements (feathers, cloaks, etc.) and he even draws some faces which, in our opinion, have more indigenous features. It is known that Morlete made variations on the original engraving on occasions, for fun or because the commission he received required it. He would augment the margins or add characters and vegetation, which could explain these modifications. In any case, as well as the obvious similarity in the theme, composition and main elements of the painting, we would like to go deeper with this comparison and point out the treatment that the artist gave to the horses, giving them special expressivity, as if he was painting their portraits or wished to humanise them or give them a certain personality, with some features that are recognisable in the three paintings we are concerned with. With regard to the support of our painting, folding screens arrived in the New World through the route that united the Far East and Spain via Mexico, on vessels known as the China Ship or Manila Galleon. It is not exactly known when the first contact with New-Hispanic society with this and other products of an Asian origin happened, but it is known that they formed part of the embarkations in 1585, when a Japanese ambassador came to Mexico City as part of her voyage to visit Philip II and Pope Gregory XIII. Katzew (2014) also reminds us that screens were also the central items in 1614 in a gift from the Japanese shogun Tokugawa Ieyasu (Okazaki, 1543 – Shizuoka, 1616) to the viceroy Luis de Velasco (1607 – 1611). This growing Exchange between Asian and Colonial Latin American civilisation was not an accident, it happened in the context of the empowerment of the creoles in which, according to Gauvin A. Bailey (2007) “feelings contrary to Spain” began to grow, and “Asian art gave Hispanic-Americans a way of expressing their pride in the indigenous antiquity of their land.” With regard to folding screens, these were extremely popular in New-Spanish houses, becoming an essential piece of furniture in practically all the homes of the period, almost regardless of the household’s economy. In fact, Sofía Sanabrais (2007) tells of the existence of “biombos ordinarios” (ordinary screens) with cheap textiles and no paintings in humble homes. However, this did not mean that screens became unattractive to richer families; it was quite the opposite, they were widespread among the houses of the élite, and their multifunctionality may be a possible reason for this. On the one hand, New-Hispanic screens were used to delimit spaces or hide furniture, in their most practical aspect, as occurred with the “biombos de cama” or bed screens (Sanabrais, 2007). On the other, their decorative use also had many devotees, whether as “backdrops or as central pieces for social meetings, in which they would serve as a subject of conversation,” (Katzew, 2014); we imagine that these conversations would be especially lively when they were referring to screens painted by the best artists of the period: Cabrera, Correa or Morlete himself. In fact, the majority of screens that have survived to the present day are anonymous as they were not normally signed by the artist (Codding, 2007). We know of a screen in the Franz Mayer Museum in Mexico that is signed by Juan Correa: “The four elements and the liberal arts” (c. 1670); and “Folding screen with fête galante and musicians” (c. 1760) can be attributed to Miguel Cabrera.Finally, focussing on the artistic value of the “protection against the wind” (if we refer to folding screens using the literal translation of the Japanese term ‘byôbu’, which the Spanish ‘biombo’ comes from), the suitability of their format with, usually, ten screens around two metres high, for depicting narrative compositions must be highlighted. It is not surprising, therefore, that they made the ideal support for mythological and allegorical subjects which we see in the screen by Correa that was previously mentioned. They are also ideal for views of cities, as we see in one of the first screens that illustrates the Mexican capital (1690 - 1692), in the Franz Mayer Museum, as well as scenes of high-class parties, such as the screen attributed to Cabrera;, or for historical themes, good examples of this being "The Conquest of Mexico" attributed to Miguel González (Mexico, active 1662 - 1698) or the folding screen we have here, which we attribute to Morlete. Bibliographic references: - Bailey, G. A. (2007). Asia en las artes de la América Latina colonial. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 57-71). Fondo de Cultura Económica. - Brown, J. (2014). De la pintura española a la pintura novohispana, 1550-1700. En L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 103-148). Ediciones El Viso. - Codding, M. A. (2007). Las artes decorativas en América Latina, 1492 - 1820. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 98-145). Fondo de Cultura Económica. - Kagan, R. L. (Ed.). (1998). Imágenes urbanas del mundo hispánico. 1493 - 1780. Ediciones El Viso e Iberdrola. - Katzew, I. (2007). Estrellas en el Mar de la Iglesia: los indios en la pintura novohispana del siglo XVIII. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 337-481). Fondo de Cultura Económica. - Katzew, I. (2014). Pinceles valientes. La pintura novohispana, 1700-1785. En L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 149-204). Ediciones El Viso. - López Guzmán, R. (Ed.). (2021). Tornaviaje. Arte iberoamericano en España. Museo Nacional del Prado. - Museo Nacional de San Carlos (30 de marzo de 2015). Juan Patricio Morlete Ruiz, Mexico,1713-1772 Entrada triunfal de Alejandro el Grande, s.f. Óleo sobre tela, 83 x 127 [Tweet] [Imagen adjunta]. Twitter. Https://twitter.com/museo_sancarlos/status/582608136462204928
Lot 472
Souvenirs of Berlin/1945, an album of b/w snapshot photographs by and/or collected by Jack Horabin, illustrating the German capital following the Battle of Berlin, the collapse of the Third Reich, and the start of the Cold War, images include ruins of Nazi architecture, soldiers and parades of the Soviet army and their tanks, Stalin and Russian Communist propaganda, Berliners, cloth over printed boards, oblong 8vo, (1); loose b/w photographs of the Western Front post-First World War, including cemeteries; some b/w portrait photographs of military men and soldiers; cigarette silks; etc
Lot 108
Léa Lafugie (French, 1890-1972)Portrait of H.H. Bir Bikram Kishore Deb Berman, Maharaja of Tripura State in Eastern Bengal from 1923 to 1947, aged 20 signed, inscribed and dated 'Lafugie/Calcutta 1928' (lower right)pencil and watercolour heightened with white55 x 41cm (21 5/8 x 16 1/8in).Footnotes:There is a later inscription on the backing board that reads as follows:H.H. Bir Bikram Kishore Deb Berman.G.B.E K.C.S.I.Maharajah of Tripura State. Eastern BengalPainted in Calcutta, in the 20th year of his life, & presented by him to Col. Owen C Pulley his guardian & later his Chief Staff Officer. H.H. was the ruler of one of the most ancient States in India & rendered immense services to the Crown during the 1935/45 war. He held the rank of Colonel in the British Army & held many other distinctions. H.H. died at Agartala – the capital of his State in 1946. Owen.C.Pulley. Col.16/Sept/49.The artist was a distinguished French lady who painted under the name of 'La Fougie'.For further information on this lot please visit Bonhams.com
Lot 151
Eduardo Laplante (French/Cuban, born 1818), after Leonardo Barañano'El Valle del Yumuri: Vista gral tomada dese El Potrero del in Ingenio Sn Sebastian - (Mtamzas)', Cuba hand-coloured lithographpublished by Litografia del Gobierno Muralla 70 - Habanasheet 53.9 x 78.8cm (21 1/4 x 31in).unframedFootnotes:French born Eduardo Laplante moved to Cuba some time around 1848 and took up residency in the capital city of Havana. It was here that he set up his lithography studio and produced prints after paintings of rural and urban life throughout the Caribbean, providing a fascinating and detailed insight into life in the region during this period. 'El Valle del Yumuri: Vista gral tomada dese El Potrero del in Ingenio Sn Sebastian - (Mtamzas)' forms part of Laplante's series 'Isla de Cuba Pintoresca' after paintings by Leonardo Barañano.For further information on this lot please visit Bonhams.com
Lot 152
Eduardo Laplante (French/Cuban, born 1818), after Leonardo Baranano'Cienfuegos: Vista general tomada dese la punta de Revienta-cordeles', Cuba hand-coloured lithographpublished by Lit de Fanjul Ca Empedrado 67. Habanasight 40 x 68cm (15 3/4 x 26 3/4in).unframedFootnotes:French born Eduardo Laplante moved to Cuba some time around 1848 and took up residency in the capital city of Havana. It was here that he set up his lithography studio and produced prints after paintings of rural and urban life throughout the Caribbean, providing a fascinating and detailed insight into life in the region during this period. 'Cienfuegos: Vista general tomada dese la punta de Revienta-cordeles' forms part of Laplante's series 'Isla de Cuba Pintoresca' after paintings by Leonardo Barañano.For further information on this lot please visit Bonhams.com
Lot 46
OAKELEY (RICHARD BANNER)Sculpture and stairs at the entrance to the garden of Hoysaleswara Temple, Halebidu, Karnataka, salt print, mounted with small loss at one corner, image 285 x 225mm., c.1856Footnotes:Richard Banner Oakeley (1834-1914) travelled in 1856 to photograph the great Temples of Halebid, at Dwarasamudra which flourished as a Capital of the Hoysala Empire during the twelfth and thirteenth century. In discussing the difficulties he faced in taking his photographs he noted that 'a considerable portion of my apparatus was broken in the over-land journey, our servants were all ill, many at the same time with rheumatic fever, and moreover, this was my first attempt at photographing in a hot climate. I was compelled to to reject the formulae I had used in England, and adopt such as residents in the country found to succeed, or discover new ones for myself'.Provenance: Kanwardip Gujral; his sale, Bonhams, 9 April 2008, lot 155.For further information on this lot please visit Bonhams.com
Lot 1006
A weathered cast composition stone two sectional sun dial with circular fluted pedestal beneath a square top and circular dial with pierced gnomon, 70 cm high approximately, together with a further weathered composition stone two sectional bird bath of circular form raised on a cylindrical column with doric capital, 79 cm high (2)
Lot 345
Erik Nitsche (Swiss, 1908 - 1998) "Marina San Gorg in Malta" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Malta Europa 1987 Modern Art - Architecture stamp issued April 15, 1987. The strategic position of the Maltese Islands, situated at the crossroads of Europe and the Islamic World, is reflected in its overall architectural character. The synthesis of these two cultures provides the basis for the Maltese architectural and cultural identity. With the arrival of the Knights of St. John of Jerusalem in the sixteenth century, the introduction of both the massive fortifications of European royalty and the intricate elegance of Islamic design were wed. The architectural culmination of this union can be seen throughout the islands, and especially in the old city of Valletta, Malta's capital. Valletta's structures contrast sharply with the modern designs championed by native-born Maltese architect, Richard England. England has been in the forefront of Malta's modern architectural movement during the past twenty years. He has designed and built most of Malta's modern buildings. This artwork depicts England's Marina San Gorg Apartments built in 1981. It relects the synthesis of Malta's architectural heritage with modern design concepts. Image Size: 14 x 12 in. Overall Size: 20 x 15 in. Unframed. (B10852)
Lot 49
Quantity (21) of Capital Transport (mainly) BOOKS, mostly on London buses, some on the Underground, and including 'RT' by Ken Blacker (3rd ed. 1986), 'Routemaster', volumes 1& 2, 'The London Trolleybus', volumes 1 & 2 and 'London Trolleybus Depôts', parts 1 & 2. In very good to excellent condition. [21]
Lot 5083
HIROSHIGE ANDO (1797-1858), Toto meisho: Takanawa yukei, (Abendlicher Blick auf Takanawa von berühmten Orten in der östlichen Hauptstadt), Holzschnitt, in Wildseidenstoff-Passepartout montiert und hinter Glas gerahmt, gesamt 35x47 cm. AUS DEM NACHLASS VON ALFRED UND GISELA DIENST| HIROSHIGE ANDO (1797-1858), Toto meisho: Takanawa yukei, (Evening view of Takanawa from famous places in the eastern capital), woodblock print, mounted in a wild silk mount and framed behind glass, total 35x47 cm. FROM THE ESTATE OF ALFRED AND GISELA DIENST
Lot 1023
A.C. Weatherstone (19th/20th century)Feeding the pigeonsSigned, watercolour, 61cm by 33.5cm, in a decorative Regency style gilt frame Condition report: Some fading to the watercolour. One small patch of foxing to the sky. Frame with some loss to the left-hand capital. Other wear and minor edge chips.
Lot 443
dating: Late 19th Century provenance: Germany, Straight, double-edged blade of hexagonal section at the forte featuring, on both sides, a long cartouche with an Arabic writing featuring remains of gilding. The rest of the blade of lozenge section, with pointed tip. Beautiful, silver-and gold-inlaid quillon of typical shape with quillons bending downwards and parallel to the blades, the external borders lobed and ending in pierced cusps. The geometrical and floral motifs alternatively in gold and silver. On both sides, at the center of cross-guard, a silver-inlaid cartouche with a writing inside a frame with a rosette. Grip with fish-skin covering, enlarged at the center. Fine disk-shaped pommel decorated en suite with the iron quillon, richly inlaid in gold and silver en suite with the other one and with a central cartouche. The sword draws inspiration from the small group of Spanish-Moresque samples survived up to nowadays of the late Nasride era (1238-1492 circa), when Grenada was the capital. The writing on the blade, 'Al-Kamil Sayf ad-Din Shaban', is the name of the Mamluk sultan of Egypt in charge in 746-747 (1345-1346 Gregorian calendar). An elegant and fine sword - a perfect surrogate to one of the unobtainable original pieces belonging to only few museums all over the world. length 105,3 cm.
Lot 47
Bank of Exchange & Co-operation, 1 Penny, dated/serial numbered 1879, signature of C. Wetum, with the address listed as ‘Dark Street, Bush Town, Founded by Adam & Eve’, and the text ‘Immense capital deposited in the vaults, of which every member has a special key’ and promising ‘to Preserve and Protect on demand the Morals of the Rising Generation’, with a crowned vignette entitled ‘The Fig Leaf Period’, showing an African man and woman and several spears, slightly ragged edges, tape strengthening and repairs on reverse, about fine and very rare Outing unlisted £300-£400 --- This note probably refers in some way to the Zulu War which began in 1879. It seems likely was produced by a liberal individual or group who were morally opposed to the war. It is unclear whether the vignette refers to the innocence of the Zulu, or the supposed celibate military system, or something else entirely.
Lot 308
§ Rupert Shephard (British 1909-1992) Tobacco Plants, Oakley Gardens, Chelseasigned and dated 'Rupert Shephard 1946' (lower left)oil on canvas44 x 39cm Provenance:With Sally Hunter Fine Art Ltd., LondonFootnote: Born to a Quaker mother and an engineer father, who also happened to be a keen amateur artist, Rupert Shephard is principally remembered as an exceptionally gifted painter and printmaker and as one of the last of an accomplished group of artist-teachers to emerge from the Slade School during the 1920s. After studying under the famously formidable tutelage of Henry Tonks at the Slade School of Art, between 1926 and 1929, Shephard became a schoolmaster at Raynes Park County School, though he continued to paint and was often found sketching and painting in music halls and pubs across the capital. It was around this time that Shephard began exhibiting alongside the London Group, at both the Wertheim Gallery and the Coolings Gallery. Whilst continuing to exhibit with the London Group throughout 1937 and 1939, Shephard also exhibited alongside founding members of the Euston Road School - William Coldstream, Rodrigo Moynihan, Claude Rodgers and Victor Pasmore. Inscribed ‘1946’, the present lot dates from Shephard’s most fertile and successful years as an artist. Increasingly influenced by his Euston Road Group contemporaries, Shephard’s work of this time assumed a markedly painterly, rhythmic and tonal character.
Lot 3911
Guckkastenblatt BerlinBlick auf die Stadt mit ihren Befestigungsanlagen, Kirchen und dem Schloss, unter der Darstellung und in der Platte bezeichnet "Vue Perspective de la Ville de Berlin Capital du Royaume de Prusse. ...", erschienen bei Huquir in Paris, kolorierter Kupferstich auf Bütten und auf Karton kaschiert, um 1760, teils angeschmutzt, Darstellungsmaße ca. 23,5 x 40 cm, Blattmaße ca. 27 x 43 cm.
Lot 30
Italian school, mid-15th century.Fragment of a cantorial capital letter.Mixed media on parchment.Measurements: 13 x 10.5 cm.Miniature capital letter from a cantorial leaf. It is the letter "U", and shows a representation of a choir of singing monks in front of a lectern. They have their heads raised and are dressed in white robes. A large volume of chanting opens above the lectern. The size of the scroll was large enough for the entire choir to read the musical notes from a distance. Gold leaf predominates in this fragment of miniated parchment, as do Gothic pink and cobalt blue, two colours that together with gilding were the most commonly used during the Middle Ages and the Renaissance in Italian and Spanish codices.
Lot 33
Italian school, 15th century."Saint John the Evangelist".Mixed media on parchment cut out and glued to black card.It probably comes from a Gothic cantoral.Measurements: 16 x 11.5 cm; 20 x 14.5 cm (total).This painting of Saint John the Evangelist probably comes from an Italian Gothic cantorial, being a representation that decorates an initial ("I") of a codex or illuminated book. The Evangelist is recognisable by his typical physiognomic features: beardless, with wavy hair and a youthful appearance. He wears a long talar tunic and a red cloak that crosses in front of his body and is held at the left shoulder, creating a subtle play of folds. St John holds a closed book in his left hand, alluding to his status as an apostle and evangelist, and a chalice in his right. The full-length figure stands against a gilded background, decorated with scrolls and topped with sinuous acanthus leaves, which form the ends of the "I". The vegetal decoration based on acanthus leaves and scrolls, as well as the predominance of gold and Gothic pink, are characteristic elements of medieval cantorials, in which the capital letters focused the ornamental attention.
Lot 448
A fine Indian Mutiny pair awarded to Captain N. E. B. Turnour, Royal Navy, who was wounded at the storming of Fort Serapequi, Nicaragua, in 1848; served in H.M.S. Cressy during the Baltic Campaign; and then with H.M.S. Pearl’s Naval Brigade during the Great Sepoy Mutiny. In charge of the Pearl’s Guns, Turnour participated in all of the Naval Brigade’s actions, was wounded, and for his services was several times Mentioned in Despatches and advanced Commander at the specific request of Captain Sotheby. He later commanded H.M.S. Clio on the ‘Gunboat Frontier’ of the Canadian Pacific Coast, 1864-68, bringing peace and administrating justice during the lawless gold-rush period Baltic 1854-55, unnamed as issued; Indian Mutiny 1857-59, no clasp (Commr. Nichs. E, B, Turnour. Pearl.) pawn-broker’s mark to obverse of first, and therefore this medal probably added for display purposes, minor edge nicks, good very fine (2) £2,400-£2,800 --- Provenance: George McIlroy Collection. Nicholas Edward Brooke Turnour was born in Chichester, Sussex, in 1828, the sixth child of Reverend the Hon. Edward Turnour, and the grandson of the 1st Earl Winterton, sometime Speaker of the House of Commons. He entered the Navy in 1843, and was wounded when Midshipman of H.M.S. Alarm, at the storming of Fort Serapequi, Nicaragua, in 1848. He became a Lieutenant in 1849, and served in H.M.S. Cressy during the Baltic campaign. Posted to H.M.S. Pearl on 26 December 1855, Turnour served during the Great Sepoy Mutiny in command of that part of Pearl’s Naval Brigade which formed the first ‘Naval Horse Artillery’. He commanded the guns during the attack on the village of Bustee on 1 June 1858, and again during the attack on the village of Dhebrahia on 1 September 1858. During the attack on the rebel camp at Jugdespore on 26 October 1858 he commanded the party of 57 seamen and marines, armed with two twelve pound howitzers and a rocket tube, and then took part in the affair at Toolespore on 23 November 1858, where he commanded the horsed twelve-pound howitzers and a rocket battery in support of the 53rd Foot. Finally, at the battle of Sohunpore on 26 December 1858, on a rapidly changing front the Naval Battery under Turnour ‘returned fire with such precision and quickness that the enemy were silenced in half an hour’. Turnour was promoted Commander in 1858, this promotion being done under the less than normal circumstances of the Mutiny. The Pearl muster book is noted, ‘On the discharge of these officers (6 June 1858) a letter was received from the Admiralty authorising their being borne as additional Commanders from the date of their commission as such’. The original letter of recommendation from Captain Sotheby, R.N., Commanding Pearl’s Naval Brigade states: ‘Camp Bustee, 22 June 1858. Sir, I have the honour to acquaint you, for the information of my Lords commissioners of the Admiralty, that a portion of the Naval Brigade under the charge of Lieutenant Turnour, and the marines under Lieutenant Pym R.N. were engaged in a very creditable affair on 9 June in driving the enemy out of Amhora, when one party was posted in the village and fort, and the other in a long a belt of bamboo jungle and a large house at the entrance. I beg to recommend both these active officers, then suffering from sickness, to their Lordships notice, with the enclosed report. Mr Foot Midshipman, was also present with the guns.’ For his services with the Naval Brigade during the Great Sepoy Mutiny Turnour was several times Mentioned in the Despatches of Captain Sotheby, R.N., an Colonel Rowcroft, specifically for: The attacks on Railbundpore and Phoolpore, 21 February 1858. The attack on Fort at Ichoura, 1 March 1858. The attack on the Fort at Belwar, 9 March 1858: ‘Our guns, under Lieutenant Turnour, opened out at about 350 yards’. The attack on Thamoulee, 22 April 1858: ‘Lieutenant Turnour, who had been in six actions with the Brigade, was in charge of the guns, and made capital practise.’ The attack on Puchawas, 29 April 1858: ‘Turnour in charge of two guns.’ The attack on Hurreah, 18 June 1858. and The attack on Sohunpore, 28 December 1858: ‘Lieutenant Turnour, an officer of much ability and previously wounded, was in charge of the guns, the precision of their fire was the admiration of all.’ Advanced Captain, Turnour subsequently commanded H.M.S. Clio on the Pacific Station from 5 July 1864 to 1868, and after a voyage via the Falkland Islands, the Straits of Magellan, and Honolulu, spent most of this period patrolling the ‘Gunboat Frontier’ of the Canadian Pacific coast - the gold rush at the time, in an area with no civil authority, had made this area particularly lawless. An example of the ‘Gunboat Diplomacy’ that Turnour engaged in is evident from a report that he sent to the Lords Commissioners of the Admiralty on 24 January 1866: ‘On my return from Mettah I put into Fort Rupert on the 22nd of December where I came into contact with the Indians on account of some murders which had been committed there. The Indians refused to comply with my request to have the murderers given up. They then threatened to fire upon my men and made use of the most warlike demonstrations. I punished them by burning their Ranch destroying their canoes and whisky stock. I took several prisoners.’ Clio Channel and Clio Bay off the Canadian coast were named for the ship, and a small island off the central British Columbia coast is named Turnour Island. Amongst Turnour’s crew in the Clio was the young Midshipman (and future Admiral) Lord Charles Beresford. Turnour returned to the U.K. in H.M.S. Clio on 18 July 1868, and died in Torquay, Devon, on 10 January 1870, aged 42. Note: A single Baltic Medal, contemporarily engraved ‘Lieutt. N E B Turnour, H.M.S. Cressy’, was sold in these rooms in April 2001. Sold with copied research.
Lot 154
Book of Hours, 14th/15th century, 42 leafs, one illuminated manuscript, in Latin, on vellum, later binding, 19cm x 13cmManuscript on vellum, in Latin, 42 leaves (last page blank with inked lines), not including blank modern flyleaves.Text on single column, 16 lines ruled in pink ink, gothic textualis semi quadrata in brown ink, some lines rubricated, regular punctuation. Some ligature in dei, capital letters mainly colored alternate in red and blue, a few enriched with human expressions or flourish interlining. Illuminated miniature on fol. 39 with capital letter gilt historiated with foliating motif in blue and red paint, embedded in richly blossoming decorations along three borders. Very wide and fresh margins, some later marginalia and notes on a few leaves. Internal brown stain on fol. 25, some very light foxing and browning, a few wormholes, otherwise in very good condition. The manuscript comes in two separate parts as the binding got severely damaged along the spine, not affecting any of the leaves. Later ink decorated wrappers on cardboard, 8vo (190x130 mm), (text 165 x 100 mm), Northern Europe, [14th / 15th century]. Devotional work including the Septem Salmi Penitentiales, the Pater Noster, prayers for the dead, hymns, orationes, litanies. The illustrated miniature inaugurates the section of prayers dedicated to the veneration of the Virgin Mary, as clearly announced by the two rubricated lines in the central part of the text.Litanies: each line begins with a 1-line initial "S" alternating red and blue; the names of the Saints are written on the same line as "Or[a pros nobis]" but are separated from it by line fillers or alternating bands of the same colors of the initials.
Lot 807
WNAI - A JACOBEAN STYLE CARVED OAK IONIC COLUMN TABLE LAMPEarly 20th Century, with imbricated column on plinth carved with mask ornament on stepped base, with conical shade, 92cm high (excluding fitment) and 111.5cm high overallCondition report: Missing a bun foot and another with partial loss. Some shrinkage between joins, chips, splits and dents commensurate with use and age, including a small split to the section at the base of the column and two losses to the ring turned socle of the column.Chips to the details of scroll of the column’s capital. Loss of definition to the column capital at the back. Dirt and dust. Will need rewiring for electrical use.
Lot 864
WNAI - MESSENGER: A VICTORIAN GILT AND PATINATED BRONZE TABLE LAMP; TOGETHER WITH ANOTHER (2)Late 19th Century, with global etched amethyst tinted glass shade and flue above the burner, marked ‘MESSENGERS PATENT DUPLEX No.2’, above a Corinthian column on plinth base mounted with Bacchic masks, 110.5cm high, the second, as featured in Withnail and I, mounted with gilt-metal sun masks, with conical shade, 66cm excluding fitmentCondition report: The base with tarnishing, dirt and dust. Some oxidisation to the gilding on the mask mounts in particular and recesses of the capital. Some small losses to the patination of the column in areas. Dirt and dust to glass. One loose sun mount on base of other.2 small chips to the top rim of the ball shade
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