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Lot 846
CRICKET, selection, inc. books on club histories & grounds, inc. Histories of Lancashire (2) & Durham (2), each multiple signed (11 from 1994 & 12 from 1990 respectively); unsigned (4), Yorkshire, Derbyshire, Warwickshire & Sussex; Greatest Cricketers (2), Kent & Gloucestershire etc., also ceramic plate for Essex Centenary (LE35/1500), dj, VG to EX, 13
Lot 727
Vinyl Records – 45rpm Singles – a large collection of various genres and artists and eras, including Pink Floyd, On The Turning Away, in pink vinyl – EMO label – EM 34; Pink Floyd, High Hopes, in clear vinyl – EMI United Kingdom – EM342; Pink Floyd, Take It Back, in maroon vinyl - EMI United Kingdom – EM309; Terry Dene, Terry Dene No.1, signed sleeve – Decca label – DFE.6507; The Damned, Neat Neat Neat – Stiff Records – BUY 10; The McCrarys, Love On A Summer Night – Capitol Records – CL 251; Slaughter and The Dogs, Where Have All The Boot Boys Gone – Decca – F 13723; The Saddle Tramps, The Saddle Tramps – Westwood Recordings – WRS113; Billy Cotton And His Band, Everybody Sing – Decca – DFE 6338; Eagles, Lyin' Eyes – Asylum Records – K 13025; Isley Brothers, Tell Me It's Just A Rumour Baby – Tamla Motown label – TMG 877; Kim Melvin, Doin' The Popcorn / Keep The Faith – Hi Records – 45-2160; Various, Nixa Hit Parade 4 – Pye Nixa - NEP.24078; Freddie Bell And The Bellboys, Rock With The Bell Boys – Mercury label – MEP.9508; The Beatles – Sgt. Pepper's Lonely Hearts Club Band / With A Little Help From My Friends – Capitol Records – 4612; Tullio De Piscopo, Stop Bajon – Greyhound Records – GRY 9; Linda Cassady, Dusty Raven, signed sleeve – Amigo Records – amgo.001; Fun Boy Three, Summertime, 7" picture disc – Chrysalis label – CHSP 2629; Anckorn & Dolovich, McArthur Park / Memory, signed sleeve – A&D Records – No.0001; Big Bad Bo, I Was An "Urban Cowboy", signed sleeve – Rainbow Sound – RSL 144; Kajagoogoo, Hang On Now, picture disc – EMI – EMIP 5394; others, various, including The Beatles, T.C. Curtis, Party Down, Paul McCartney and Michael Jackson, Elton John, Ultravox, The Crickets, U2, John & Yoko, Wham, Jerry Lee Lewis, Jean Michael Jarre, The Who, Was (Not Was), Stevie Wonder, Jon and Vangelis, Duran Duran, Jive Bunny and The Mastermixers, John Lennon, The Jam, Ivor Biggun & the Red Nosed Burglars, Michael Jackson, INXS, The Housemartins, Human League, Heaven 17, Imagination, Howard Jones, Hall & Oates, Haircut One Hundred, George Harrison, Genesis, Gerry Rafferty, Elvis Presley, Eddy Grant, ELO, Eric Clapton, Frankie Goes To Hollywood, Echo and the Bunnymen, Frank Sinatra, Feargal Sharkey, Frank Sinatra, The Sex Pistols, Soft Cell, Mutme, Mike Oldfield, KC & The Sunshine Band, Kate Bush, Maxi Priest, Manfred Mann's Earth Band, Level 42, Lambrettas, Led Zeppelin, Deborah Harry, Style Council, Sammy Davis Jr., Sham 69, Supertramp, The Stranglers, Saxon, Tears for Fears, Todd Rundgren, Thomas Dolby, T-Rex, Thin Lizzy, Thompson Twins, Rod Stewart, Rainbow, Nik Kershaw, Prince, Vicious Pink, Rainbow, Abba, Depeche Mode, Dead or Alive, David Bowie, Chicago, Big Bad Bo, Ritchie Valens, Cameo, Ronnie Hill, Minnie Riperton, Eddie & The Hot Rods, Divine, Eddie Hickey, The Saints, The Clash, The Specials, Wavelength, Fun Boy Three, The Specials, Tears for Fears, The Undertones, etc (large quantity in 3 boxes)
Lot 745
Vinyl Record LP's and 12" Singles including Bob Dylan - Desire - CBS 86003; John Lennon - Imagine - PAS 10004; John Lennon/ Plastic Ono Band - PCS 7124; Andrew Gold - all this And heaven too - K53072; Crosby, Stills & Nash - Daylight Again - K 50896; Donna Summer - Once Upon A Time - NBLP 7078; Judie Tzuke - Road Noise - The Official Bootleg - CTY 1405; Big Country - Wonderland - VEP 325; East Of Eden - MERX 175; Various - The Music People - 66315; The Moody Blues - This Is The Moody Blues - MB 1/2; Thomas Dalby - Blinded By Science - MLP 15007; A-Ha - The Sun Always Shines On TV - 920 410; Mike Oldfield - The Killing Fields - V2328; Streisand, Kristofferson - A Star Is Born - CBS 86021; The Sensational Alex Harvey Band - The Best Of - RCA LP 9003; Elton John - Jump Up - 6302 180; Tina Turner - Goldeneye - 7243 8 82534 6 8; Eagles - The Best of The Eagles - EKT 5; Supertramp - Even In The Quietest Moment - AMNP 124; Cher - Dark Lady - MCF 2559; Maurice Jarre - Shōgun (The Original Television Motion Picture Soundtrack) - 2394 283; Al Stewart - Past, Present & Future - 65726; Change - Change Of Heart - YZ7T; XTC - 3D-EP - VS 18812; 10cc - How Dare You - 9102 501; Various - The Harvest Bag - SHSS 3; The Steve Miller Band - Greatest Hits 1974-78 -9199 916; Tears For Fears - The Way You are - IDEA 612; Spear Of Destiny - One Eyed Jack - EPC 25836; Dean Friedman - Dean Freidman - LSLP 6008; Divine - Hard Magic - ENAT 131; Roxy Music - The Atlantic Years 1973-1980 - EGLP 54; MARRS - Pump Up The Volume - BAD 707; Edie Brickell & New Bohemians - A hard Rain's Gonna Fall - MCAT 1397; Gary Numan - Dance -- BEGA 28; Human League - Hysteria - V2315; Bob Seger And The Silver Bullet Band - Stranger In Town - 05485333; Phyllis Nelson - Move Closer - CART 337; Vangelis - Spiral - RCA LP 3022; Others including Cheech and Chong; Belinda Carlisle; Steve Miller Band; Man to Man Featuring Paul Zone; Judy Collins; Culture Club; Meat Loaf; Abba; The Police; Dead Or Alive; Cocteau Twins; Atlantic Realm; Etc (Approximately 60)
Lot 746
Vinyl Records LP's, 12" Singles and Picture Discs Including - Blondie - Plastic Letters - CHR 1166; Rip Her To Shreds - CHS 2180; Heart Of Glass - CHS 12-2275; Osibisa - Wɔyaya - MDKS 8005; John Miles - Rebel - SKL 5231; Bryan Adams - Reckless - AMA 5013; Unknown Artist - Superman (Original Radio Broadcast) - 812 (Limited Edition Picture Disc); The Teardrop Explodes - Wilder - 6359 056; The Jags - 4 - Track 12" E.P. - 12 WIP 6501; The Human League - The Dignity Of Labour PTS 1-4 - VF1; Thomas Dolby - Hyper-active! (Heavy Breather Subversion) - 12r 6065; The Time - Ice Cream Castle - 925 109-1; XTC - Love On A Farmboy's Wages - VS 613-12; Dead Or Alive - Lover Come Back To Me (Extended Remix) - QTA 6086 (Special Poster Package); Something In My House (U.S. Wipe-out Mix Part 2) - BURNS Q1; Brand New Lover - 650075 6; Starcastle - Real To Real - EPC 82916; Timex Social Club- Rumors - COOLX 133; Pet Shop Boys - Jealousy - 20 4224; Space - Magic Fly - NSPL 28232; Falco Meets Brigitte Nielsen - Body Next To Body - 258094; Bruce Hornsby And The Range - A Night On The Town - PL82041; Stone The Crows - Ontinuous Performance - 2391 043; Tomita - Ravel: Daphnis And Chloé, Bolero, Pavan For A Dead Princess, Mother Goose -RL 13412; Roxy Music - Roxy Music - ILPS 9200; Santana - Santana - S 69015; Soft Cell - Soul Inside - BZS 2012; Tears For Fears - Change - IDEA 412; Alphaille - Big In Japan - X 9505 T; Duran Duran - Is There Something I Should Know? (Monster Mix) - K062-65 106; Paul Simon - The Paul Simon Song Book - 62579; Dr Alban - It's My Life - 615 330; Phil Ochs - Tape from California - SP4148; Toya - Desire - EGLP 71; Toya! Toya! Toya! - NE 1268; Others Including Ralph Burns; Billy Joel; John Waite; Bay City Rollers; Chris Rea; Roy Wood; Donna Summer; Taj Mahal; Enigma; Etc (Approximately 60)
Lot 749
Vinyl Records - 10" 45rpm singles/album - alternative/indie/punk rock - The Jesus And Mary Chain – I Hate Rock 'N' Roll - Blanco Y Negro – 0630-10522-0; Babes In Toyland – Sweet '69 – Reprise Records – WO291TEX; Bowlfish – Mrs Frank – Roughneck Recording Company – HYPE 20T; Sidi Bou Said – Wormee – limited edition 10" single no.0712 - Ultimate – TOPP031K; Lick – Stand Up!, promotional copy - WEA – 0630-11191-0; Various – Love Bites, 10" single, limited edition no. 0606 - Kennel Club – Release Number Two, Blue eyed dog – VTDOG10; Bettie Serveert – Crutches – Matador, limited edition 10" single – OLE 122-1; Sulphur – 2Cv, limited edition 10" single no.301 - Transglobal – TRAN 12 X; Sulphur - High Chair - Transglobal – TRAN 14X; Royal Trux – You're Gonna Lose – Hut Recordings – HUTEN56; H.P. Zinker – Reason - Roughneck Recording Company – HYPE 21T; Swimmer – Whippings – Quixotic 0 QX009-10; Soundtrack/Story 10" album - Danny Kaye With Gordon Jenkins, His Chorus And Orchestra* – "Hans Christian Andersen" Collection – Brunswick – LA 8572; etc (14)
Lot 752
Vinyl Records - LPs and singles - including Beatles - Magical Mystery Tour - SMAL2835; Beatles - Abbey Road - PCS7088; Beatles - Let It Be - PCS7096; Billy Stewart - Unbelievable - CRL4523; Wings - Band On The Run - PAS10007; Beatles - Sgt Peppers Lonely Heart Club Band - PCS7027; others, Al Stewart, Genesis, Elton John, etc, qty
Lot 599
Automobilia - a collection of promotional paper ephemera, brochures and motoring magazines relating to various car manufacturers including Volvo, Hillman Imp, Vauxhall, Rolls Royce, Bentley, Lancia, Fiat, Austin, etc; Citroen Car Club Magazines; The Garage and Motor Agent, 1923; Motor magazine, 1950's and later; Autocar magazine, 1970's and later; etc, large quantity (4 boxes)
Lot 22
William Marlow - 'Below Posilippo', 18th century monochrome watercolour wash over pencil, artist's name and title to labels verso, 13cm x 19cm, within a gilt frame. Note: this work was exhibited at The Arts Club in 1961 and Brighton Art Gallery in 1962, catalogue no. 67. Marlow visited Naples in 1765. Whilst he was there, he made a number of drawings which he worked up into paintings on his return to England in 1766. The present composition shows the view of the Bay of Naples from Posillipo, the Vomero Hill with the Monastery of San Martino and the Castel Sant'Elmo beyond.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 317
A group of silver cutlery, including four Old English pattern tablespoons, a set of four Fiddle pattern teaspoons, London 1837 by Charles Lias, and a pair of Scottish Fiddle pattern sugar tongs, Aberdeen 1850 by George Sangster, total weight 646.7g, together with a silver topped hatpin in the form of a golf club and ball, Chester 1908 by Edwards & Sons.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 45
Andrew Beer - 'Bristol & District Tippler & Tumbler Flying Society Record Club... Fly held on June 30th 1928... Bred and flown by Owner, C.E. Derrett' (Portraits of Three Racing Pigeons in a Landscape), oil on board, signed and titled, 41.5cm x 60cm, within an ebonized frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 102
A Quantity of 20th Century Photographs, mostly vintage gelatin silver prints, including a framed portrait of a woman by ANGUS McBEAN (1904-1990), signed and dated 1989, an Italian album of professional photographs of North Africa, a collection of mid-century portraits by a camera club member, a 1950's family album, a variety of portrait and amateur photographs, 1970s reprints of old photographs of London, a mountain scene printed on glass, a box ox 17 early 20th century stereoviews on glass etc,
Lot 378
A BOX OF GUN / SHOOTING RELATED ITEMS, comprising a cased bonze Egypt Command Small Arms Meeting 1929 Cavalry Mounted Competition Runners up medal/medallion, a small attaché case containing a number of United Kingdom Cartridge Club Journals, two Webley and Scott can launchers originally designed to project beer cans for target practice (but with a change in beer can construction they became redundant, however several new cans including Tuna and cat food cans will fit them, samples of which are contained in the carry case), an Eley paper weight with dummy .22'' rim-fire cartridges embedded within it, a Gun Trade memorial beer tankard, a Kynoch ivorine page marker and two silver, two EPNS commemorative teaspoons related to shooting plus an empty old Grand Prix 12 bore cartridge carton (1 box)
Lot 52
A COLLECTION OF SILVER GILT AND ENAMEL MASONIC MEDALLIONS AND OTHER SIMILAR ITEMS, to include two AEGROS SANAT HUMANITAS silver medallions, one inscribed, no ribbons, both London 1929,a president's Knight's Chapter medallion for the Royal Antediluvian Order of Buffalos, a heart shaped Independent Order of Oddfellows Manchester Unity, two Royal Masonic Institution For Boys, etc, together with a silver Cyclists Touring Club badge, Birmingham 1927 and a galleon shaped badge inscribed verso 'Centenary Memento of the Death of Nelson....containing copper from H.M.S. Victory, The Gift of The Lords of The Admiralty to British & Foreign Sailors Society FR VII', gross weight of items containing silver 11.25ozt, 350 grams (23) (Condition Report: two Steward medallions on ribbons are gilt metal and an Order of Buffalos Sir Walter Raleigh bar is unmarked, most medallions are without ribbons and bars, the 1933 Institution for Boys medallion has damaged enamel, as has the 1871-1921 Percy Lodge medallion, majority seem to be in reasonable condition)
Lot 122
Cricket: A Hollywood Cricket Cap, awarded to actor Boris Karloff. Karloff was famous for playing Frankenstein's Monster in the 1931 film as well as many other films. Karloff among many other British actors played for Hollywood Cricket Club which was founded in 1932 by Charles Aubrey Smith, a former England cricket captain. It is believed that the cap is from around the 1930s. Karloff's surname is written in pen to the label inside the cap alongside Thomas Freebairn-Smith's who is believed to have inherited the cap at some stage.
Lot 48
Everton: An Everton home football shirt, match worn for the game between Everton and Arsenal which finished in a 1-1 draw, 28th January 2009, 2008-09, long-sleeved with Premier League patches to both arms, Lescott 5, Size XL, Umbro, unsigned, generally in a good condition. Please assess photographs. Provenance: This shirt has come from a single owner collection of football shirts and memorabilia within the UK. Photograph Credit: Arsenal Football Club
Lot 17
A Victorian presentation bowl, Daniel & Charles Houle, London 1882, of circular form on domed foot, the shaped scrolling rim cast with cherub masks, the bowl embossed with foliate and swag detail, inscribed 'The Gun Club Notting Hill November 22nd 1884 won by G. F. McCorquodale killing 7 birds in succession', 24.6cm wide, 22cm high, weight 38.06ozt There are a few small to mid-sized dents peppered throughout the bowl. Moderate scratching and wear throughout commensurate with age and use. Some wear and loss of definition to the detail. No splitting or signs of repair. Some parts of the shaped rim are slightly misshapen. The gilt interior is heavily worn and heavily scratched. There are some small dents peppered throughout the foot, but no thinning, splitting or repair. The bowl sits flat on a level surface. The inscription is to the side of the bowl - see pictures. This item does not have a weighted base.
Lot 9
A Victorian silver propelling pencil, Sampson Mordan, London 1872, of typical form with engine turned decoration and hardstone set seal top terminal, maximum length 11.8cm, together with a George V novelty silver pen in the form of a golf club, James Fenton, Birmingham 1924, 15.2cm long, and a Chinese silver coloured pen, 16.5cm long (3)
Lot 56
Dedicated and signed 'à l'ami Colville/J.J. Tissot' bottom right; also illegibly inscribed in pencil (by another hand) 'Antoine [illeg.] (Colville) / Porzellanmaler [?]ab. 1793 Ruffey sur Seille/Jura/1867' on the middle stretcher bar verso, oil on canvas19 1/2 x 22 1/4 in. (49.5 x 56.5cm)Executed circa 1864.Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenanceThe Artist.A gift from the above.Collection of Antoine Colville.Collection of Mr. and Mrs. John Marqusee, New York, New York.A gift from the above.Private Collection, Philadelphia, Pennsylvania.Exhibited"James Jacques Joseph Tissot, 1836-1902: A Retrospective Exhibition," Museum of Art, Rhode Island School of Design, Providence, February 28-March 29, 1968; and Art Gallery of Ontario, Toronto, April 6-May 5, 1968 (traveling exhibition), no. 5LiteratureDavid S. Brooke, Michael Wentworth et al., James Jacques Joseph Tissot, 1836-1902: A Retrospective Exhibition, an exhibition catalogue, Rhode Island Museum of Art Rhode Island School of Design, Providence, 1968 (illustrated).Michael Wentworth, James Tissot, Clarendon Press and Oxford University Press, New York and Oxford respectively, 1984, pl. 22 (illustrated).NoteWe wish to thank Ms. Krystyna Matyjaszkiewicz for confirming the authenticity of the present lot, and for her assistance in preparing the below catalogue entry.During the early years of his career, James Tissot (1836-1902)—christened Jacques Joseph but known as James from childhood and using that name professionally as an artist—painted compositions of figures in historical dress, as well as undertaking portrait commissions. At first he used costumes based on German 16th century fashions, which were considered to be “medieval”. After a visit to Italy, including Venice, Tissot extended his costume range to include Italian and French-inspired late 16th century garments. Such costumes appeared frequently on the Paris stage at that time in both operas and plays, such as Les Huguenots and Hamlet. History pictures depicting the same era, when Henri IV was king of France, had also been popularised in the 19th century by artists whom Tissot admired, notably Jean-Auguste-Dominique Ingres (1780-1867). Tissot either borrowed “Huguenot-style” theatrical dress or had similar garments made up by dressmakers, as a number of pieces are worn by models posed in different ways for various historical-dress compositions, including Sur la Plage.The young woman in the centre wears a black gown with sleeves that are puffed and “paned” or slashed at the top, and close-fitting below. White edging emphasises the paned sleeves and high neckline, with a tall collar ending in a small white ruff. The paned sleeves reveal a pale-grey silk lining below. She wears a matching black velvet cap with white feathers. A black chalk drawing by Tissot of a bare-headed model wearing the same dress is known (currently unlocated) and the same costume appears full-length in Promenade on the Ramparts, 1864 (Cantor Arts Centre, Stanford University, California), Tentative d’Enlèvement [The Attempted Abduction], 1865, and Le Rendez-vous, about 1867 (both unlocated). Both male costumes also feature in Promenade on the Ramparts, where the boy in pink jerkin and black puffed-sleeve jacket has grey hose and black shoes rather than the over-the-knee boots he wears in Sur la Plage, and the man has different trunk hose with grey rather than buff-coloured jerkin.The white and grey horses, and a dark-coloured animal beside the man that might be intended as a mule or donkey rather than a horse, are lightly sketched in. The dog is sketched with more confidence than the other animals, and dogs of various types appear in many of his works but horses are rarer. Although the painting was not sufficiently complete for exhibition, it was probably liked, and may have been requested by Tissot’s friend, Antoine Colville (1793-1867), to whom it was dedicated by the artist. Colville painted miniatures and was also employed to decorate ceramics. He was born in the Jura, west of France, near to where the family of Tissot’s father had lived after emigration from Italy, and their origins may have linked the two artists.Tissot’s paintings often provide hints of stories, leaving the viewer to imagine what may have occurred or is about to happen. Given the historical costumes, the figures on the beach here could be Huguenots escaping from persecution and waiting to escape France by boat. In escaping they haven’t been able to take much with them, as no baggage is evident. Alternatively they might be waiting for someone about to arrive by sea. The rocky cliffs and narrow stretch of sand suggest precariousness. Both adults are looking out to sea but the boy is looking directly at the viewer (and the artist), sullen and less than happy about having to sit and wait.Frame: 25 12 x 28 x 2 1/2 in.The relined canvas in overall very good condition. Examination under UV light reveals scattered areas of old greenish varnish, indicative of a clean. We also notice two small areas of restoration: one to the right of the male figure, in the rocky background; and another on the central horse's mane and neck (pinpoint sized). For more information, please see Specialist's images. To have access to such images, please email Raphael Chatroux at rchatroux@freemansauction.com.
Lot 58
Signed and dated 'W-BOVGVEREAV-1895' bottom left, oil on canvas62 3/8 x 36 in. (158.5 x 91.5cm)Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenanceThe Artist.Acquired directly from the above.Collection of Solomon Mehrbach, New York, New York.A.A.A, New York, New York, sale of March 1, 1906, Lot 128 (as The Gardener's Daughter).Acquired directly from the above sale.Collection of Colonel Nathan H. Heft, Bridgeport, Connecticut.A.A.A., New York, sale of January 22, 1920, Lot 72 (as The White Rose).Acquired directly from the above sale.Private Collection, New York.A.A.A., New York, sale of November 17, 1938, Lot 64 (as The Wild Rose).Acquired directly from the above sale.Collection of Michael J. Kutza, USA.Sotheby's, New York, sale of April 28, 1977, Lot 169 (as La Fille du Jardinier).Acquired directly from the above sale.Private Collection, North Carolina.Exhibited"North Carolina Collects: Traditional Fine Arts and Decorative Arts," Mint Museum of Art, Charlotte, North Carolina, July 9-September 18, 1994, no. 7 (as Peasant Girl).LiteratureWilliam Bouguereau's Accounts, as L'odorat.Amable Charles Franquet de Franqueville, "William Bouguereau" in Le Premier Siècle de l'Institut de France, Vol. I, J. Rothschild, Paris, 1895, p. 370 (as La Fleur).Marius Vachon, W. Bouguereau, A. Lahure, Paris, 1900, p. 29 (as L'odorat).Braun & Clément, Oeuvres Choisies des Maîtres Anciens et Modernes, Braun, Clément et Cie., New York, 1907, no. 5445 (illustrated as La Fleur Préférée). Mark Steven Walker, William Bouguereau: A Summary Catalogue of the Paintings, New York, 1991, p. 74.Damien Bartoli and Frederick C. Ross, William Bouguereau: Catalogue Raisonné of his Painted Work, Vol. II, Antique Collectors' Club , New York and Art Renewal Center, Woodbridge, NJ, 2010, no. 1895/12, pl. 225 (illustrated as La Fleur Préférée).NoteThe highly refined and polished art of William Bouguereau is often used as the quintessential illustration of 19th Century French Academism. His name is forever associated with images of elegant female sitters, mostly young girls and teens, as well as mythological figures, caught in a moment of grace, lightness, and sensuality, with an almost photographic quality. These artistic traits, which Bouguereau refined throughout his fifty-year-long-career, made him hugely successful, both academically and financially. It also enabled him to present and sell his work in the United States early on, where such academic finesse and gentle moralization appealed to conservative, often industrialist, collectors of the Gilded Age. At the time of Bouguereau’s death in 1905, The New York Times even concluded: “at one time to possess a Bouguereau was regarded as the first necessity for an art patron.”Appearing at auction for the first time in over fifty years, the present work dates from the artist’s mature, experienced period, just ten years before his death. It was most likely a “tableau de vacances,” executed in the summer of 1895 while Bouguereau sojourned in his villa on rue Verdière in La Rochelle, and completed later that same year in the artist’s Parisian studio. Bouguereau repeatedly worked from live models and was known for hiring Italian teenagers in the region, whom he paid generously to gain their trust, so they would appear in later works. While the identity of our sitter remains a mystery, she was most likely a local Rochelaise, whose delicate treats and slender allure appealed to the master.On many levels, La Fleur Préférée is a textbook example of Bouguereau’s artistic mastery. In a lush landscape stands an almost life-size paysanne, unalarmed, her bare feet firmly planted in the dirt path on which she was walking before stumbling upon us. Simply dressed (she wears a traditional bodice and draped dress like many peasant girls of the time), she holds a small bouquet of wildflowers, from which she plucked a white rose -the titular favorite flower- which she languorously sniffs. Like many of Bouguereau’s earlier works, La Fleur Préférée stands as an idealized version of rustic life. Contrary to Jean-François Millet, Léon Lhermitte or Jules Breton who also depicted farmers and peasants, Bouguereau does not hint at the harsh conditions associated with the rural way of life. The young woman is beautiful, elegant (although her attire is simple, a rather sophisticated scarf is tied on her shoulders), and immaculate, as revealed by her pristine apron, and her clean hands and feet, which Bouguereau particularly excels at rendering here in a formidable foreshortening. According to Alfred Nettement, a student of the master at the Académie Julian in Paris, Bouguereau in fact had “absolute horror of what he would call realism and he always said that reality is charming when it borrows a gleam of poetry from imagination.”Yet, the present work slightly differs from Bouguereau’s past depictions of young maidens, as it introduces a new sense of confrontation and directness which resembles the more provocative, modern works such as Jeune Bergère (1885), Jeune Bergère Debout (1887) and Petite Bergère (1891). This bold face à face is duplicitous. While at first glance one might see a young girl slightly intimidated by her encounter with the viewer, using the flower as a screen, a second read reveals a self-assured adolescent voluntarily engaging with us, assessing the male audience directly, with no hint of slyness, pruderie or reserve. The sitter projects self-assurance, and her heavy gaze implies coyness, flirting even, which somehow clashes with the so-called naïveté and innocence Bouguereau aimed at depicting in the French peasants he portrayed, and for which wealthy American collectors would pay large sums of money.Here, the narrative is stronger than usual, as revealed by the successive changes of title in our painting’s history, subtly implying that each of its owner preferred a different facet of the story. The bouquet the girl holds in her hands may have been assembled by her, as she wandered through the woods along the dirt path. In this version, Bouguereau would have depicted a moment suspended in time; a halt during which “the gardener’s daughter” picked her favorite flower to smell its intoxicating perfume before returning home, or to work. But the flowers could also have been collected by someone else.
Lot 60
Signed and located 'Ridgway Knight/Paris' bottom left, oil on canvas35 1/2 x 46 1/4 in. (90.2 x 117.5cm)Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenanceCollection of William C. Sproul. His sale, Parke-Bernet Galleries, New York, sale of January 26, 1949, Lot 65.Parke-Bernet Galleries, New York, sale of April 2, 1975, Lot 161.(Presumably) acquired directly from the above sale. Private Collection, North Carolina.NoteHailing from Chambersburg, Pennsylvania, Daniel Ridgway Knight made his name through his paintings of idyllic country life. Spending the majority of his life in France he established his house and studio at Poissy along the Seine. Knight studied at the École des Beaux-Arts, Paris under Marc Gabriel Charles Gleyre and later worked in the private studio of Ernest Meissonier (see Lot 57).Depicting three women in an overgrown garden next to a river, this work is a fine example of maybe his most popular subject: peasant women. The middle figure is waving a white kerchief signaling to an unseen character. The beautiful young peasant women seem to exist in perfect harmony with the scenery around them. The lush garden in tandem with the muted light creates the feeling of a serene country evening and a simple way of living. Knight’s work reflected the French demand for paintings of pastoral charm, which was also favored by puritan collectors in the United States. His accolades include a silver medal and Cross of the Legion of Honor from the Exposition Universelle, Paris in 1889, and a gold medal of honor from the Pennsylvania Academy of the Fine Art, Philadelphia in 1893. Knight died in Paris, his son Louis Aston Knight would go on to become a well-known painter in his own right.The apparently unlined canvas in overall very good condition. The evident excess of varnish has yellowed in some parts, thus commanding a clean, which would benefit the overall apperance of the work. Scattered droplets in the sky at center and upper center (surface soiling), along with brown dots at upper left and upper right corners, which should be easily removed. Surface cracks (age related) present throughout the composition, mostly visible in the sky. Examination under UV light does not reveal any major sign of inpainting apart from a 1 in. diagonal repaired scratch at bottom left corner. Otherwise we see a heavy layer of old greenish varnish throughout. To see Specialist's images, please email Raphael Chatroux at rchatroux@freemansauction.com.
Lot 64
Signed 'Frits Thaulow.' (underlined) bottom left, oil on canvas32 x 39 1/2 in. (81.3 x 100.3cm)Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenanceCollection of Mr. and Mrs. Edmund Lyon, Buffalo, New York (acquired in Paris cira 1924)By descent to Mr. and Mrs. Francis K. Remington, Rochester, New York, circa 1938.By descent to Mr. and Mrs. William Moore Dietel, New York, New York and Flint Hill, Virginia, since 1995.NoteBorn in Oslo in 1847, Frits Thaulow found modest success as a painter of marine and coastal subjects under the tutelage of C.F. Sørensen at the Academy of Fine Arts in Copenhagen. Following a short tenure in the studio of Hans-Fredrik Gude in Karlsruhe, Germany, Thaulow committed—in large part, for the remainder of his career—to painting landscapes, first in his native Norway and, subsequently, across northern and northwestern France.Thaulow’s views of the 1880s and 90s reveal a selective commingling of styles then au courant, from French academic Realism to Naturalism—in the manner of artists Léon Augustin Lhermitte and Jules Bastien-Lepage, whose paintings he would have encountered in Paris the previous decade—to Impressionism. A close friend of Monet and brother-in-law of Paul Gauguin (who, by the late 1870s was still painting in an impressionistic mode), he cultivated an approach that exploited the strengths of each movement. Retaining the compositional structure of mid-century Realism, Thaulow explored the relationship between humans and nature à la Naturalism, while embracing the Impressionist preoccupation with color, light, and atmosphere. His carefully studied depictions of canals, riverbanks, and rural hamlets—the bulk of his output across the final two decades of his life—best reflect this synthesis.Settling in France in 1892, Thaulow executed a spate of characteristic and critically-acclaimed canvases, mostly in and around the villages of Montreuil-sur-Mer (1892–94), Dieppe (1894–98), where he maintained a studio, Quimperle in Brittany (1901) and Beaulieu-sur-Dordogne (1903). The present work likely dates to this fertile period. From an elevated and downward-looking perspective, viewers are transported canal-side. Sharply foreshortened under a cobalt-and-cloud-filled sky, water gently eddies into the middleground of the composition. Flanked by trees and a series of barns and outbuildings on either side, the canal dominates the composition. Figures and a horse-drawn cart are all but enveloped by the landscape—an acknowledgement, perhaps, of the waterway’s importance to the life and livelihood of the village. Hallmarks of Thaulow’s mature style—staccato brushwork, mirror-like reflections, and an intuitive juxtaposition of light and shadow–recommend the scene.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Lot 74
Signed and dated 'G. Loiseau/1923' bottom right; also signed, titled and dated on label on stretcher verso, oil on canvas25 5/8 x 21 1/4 in. (65.1 x 54cm)Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenancePrivate Collection, California.NoteWe wish to thank Mr. Didier Imbert for confirming the authenticity of the present work. A Letter of Authenticity will accompany the Lot.Although Gustave Loiseau was born in Paris and earned a reputation for his lively depictions of the French capital city, his family was originally from Pontoise, a provincial town north of Paris made famous by Camille Pissarro’s early Impressionist paintings of the 1870s. Loiseau came late to painting, and first learned the butchery trade before shadowing a house decorator. He only fully embraced the career in 1887, after receiving a small allowance from his deceased grandmother. A year following the final Impressionist exhibition, he studied sculpture and design at the École des Arts Décoratifs, and in 1889, he spent six months in the studio of landscapist Fernand Quignon. At the latter’s suggestion, Loiseau went to visit the faraway Breton village of Pont-Aven and stayed at the famed pension Gloanec, where Gauguin had settled in the summer of 1886. Although Loiseau came back to Paris in the fall, he returned to Brittany every summer and painted many canvases there, including the present work – one of many views of the village’s Grand Place, where the market was traditionally set up in the morning. While his first biographers tried to link his work to that of Gauguin due to the Pont-Aven connection, Loiseau never saw Gauguin as a mentor (in fact they only met once in 1894), and the present work shows it: with its luminous palette, rich impasto and broken brushstrokes, the painting boasts all the hallmarks of the Impressionist movement. The quick dabs of paint which give motion to the scene, its overall abstract quality, paired with the slightly higher-up vantage point in fact strongly resemble the work of Camille Pissarro, whom Loiseau effectively revered, and whose work he studied at length during the artist’s memorial retrospective held at the Durand-Ruel Gallery in Paris in 1904.Executed in 1923, more than fifty years after the first Impressionist Exhibition, the present work denotes Loiseau’s faithfulness to the Impressionist principles throughout his life. It also confirms the strong market at the time for bold Impressionist canvases, which the famous dealer Paul Durand-Ruel promoted heavily, particularly since he signed a contract with Loiseau in 1897 and exhibited his paintings in his affiliated gallery in New York City, alongside works by Henri Moret and Maxime Maufra, long-life Pont-Aven friends.Frame: 35 x 30 x 3 in.The relined canvas presents well, with a nice impasto. Examination under UV light does not reveal any sign of inpainting. To receive images, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Lot 5
Dr Christopher Dresser: Made by Minton & CoSpill vase, shape number 1376, circa 1867-1868Porcelain, with conventionalised cloisonné decoration.19.8 cm highFaint indistinct marks, impressed '1376'.Footnotes:LiteratureHarry Lyons, Christopher Dresser - The People's Designer 1834-1904, Antique Collectors' Club, 2005, p.101, pl.145 (colour design drawing of the pattern illustrated)For further information on this lot please visit Bonhams.com
Lot 69
A chain carrying 3 shooting medals to Private F B Houghton 1 V.B. Northamptonshire Regt, comprising: un-named silver piece with golden centre and scroll, (silver HM Birmingham 1903), diameter 40mm inc suspender x 30mm; HM silver showing white and black enamelled target over golden circle bearing F B H monogram, reverse engraved "Presented by the I.W.M.C. to Private F.B. Houghton IVB Northamptonshire Regiment" and bearing Birmingham 1905 silver hallmark, diameter 40mm x 26mm; and a larger piece being a crossed rifles and flags with crown above, enamelled in the National colours, centred by a garter enclosing legend "Presented by the I.W.M.C. to Private F B Houghton 1 VB Northants R", reverse engraved "For being the Best Shot in the above Club 1907", HM Birmingham 1907. Basically VF, some inscriptions worn (no fixing catch for chain). £70-80
Lot 80
"Wickham Bishops Rifle Club" silver shooting medal, obverse 2 military personnel prone firing at a rifle range with adjudicator kneeling beside; reverse laurel wreath enclosing engraved inscription "Wickham Bishops Rifle Club/ Challenge Cup/ W.D. Smith/ 1913", diameter 37mm, hall marked Birmingham 1912. Ring suspender; un-named. GVF, small edge knock. £40-60
Lot 87
War Office Rifle Club medal for "The Sister Agnes Challenge Cup" awarded to A.J. Madgin, piece diameter 30mm, the riband with top pin back bar brooch inscribed 1911, with 2 further bars for 1912 and 1913, manufactured by Elkington and housed in original case GVF. 3 HM silver shooting medals: Surrey Cadets Challenge Shield Competition 1916 (HM London 1911), awarded to F H Reid, diameter 28mm, VF, cased; "Jubilee Highest Possible Brighton 1933" (HM Chester 1932), diameter 25mm, obverse two lying riflemen with score board and 2 adjudicators behind, VF; and a silver medal with golden central shield "N.E.R.C.L. 1914" (silver HM Birmingham 1914, diameter 24mm. GVF (4) £80-100
Lot 21
National and Provincial Bank Rifle Club prize teaspoons in HM silver (Sheffield 1922 to 1924) being a cased set of 12 presentation spoons, stems with twist to centre, finial displaying a gate house, with City of London arms above and "Bishopsgate 1833" below followed by scroll "N.P.U.B.E. Rifle Club", The reverse of the bowls with "HW", Sheffield and date letter hallmarks to centre. £60-80
Lot 22
A set of three EPNS Kynoch rifle prize spoons, 115mm, each depicting lion's head left at handle finial above crossed rifles and target, the stem/handle marked "Kynoch", the reverse marked "M&W" (Mappin & Webb), VGC, in case. 4 other EPNS spoons for rifle prizes including: The Stock Exchange Rifle Club, handle finial of Bull & Bear; 1 with crossed rifles over target finial, the inner bowl engraved "M.C.S.A.M 1938"; one by Dunklings with rifle shaped handle; and a rare spoon with finial crest and scroll of the Bombay Light Patrol. All GC (7) £20-40
Lot 133
Veteran motoring. Two Edwardian 9ct and 18ct gold and enamel wheel shaped prize watch fob shields, of The Yorkshire Automobile Club Filey Speed Contest 1905 and The Blackpool Automobile Races 1906, 26mm diam, the 1905 18ct gold example by B H Joseph & Co, Chester 1904, 9ct gold example by William James Dingley, Birmingham 1906, 7.9 and 7.6g respectively Good condition with a few light wear scratches, enamel not cracked or chipped, no restoration and rare
Lot 18
A Chinese gold pendant, c1900, set with an old cut diamond and engraved A token of our esteem and appreciation to our Hon. Secretary since 1901 / Presented to J Willis Esqr by the members of the Customs Club Ningpo 1904, encircled by two finely chased dragons, 34mm, 11g Slight wear scratches consistent with age
Lot 452
Weatherby (E & J) The Racing Calendar (National Hunt and Jockey Club) 1807-1918 (1917 missing) 132 volumes CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 557
Porcelain, glass and ceramics reference, a collection to include Chaffers (William) Gilda Aurifabrorum, circa 1900 and several Antique Collectors Club volumes CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 77
A small group of silver trophies, The Siddeley Challenge Trophy, Bristol Air Race 1961, Air League Cup 1962 and two others, approximately 449g/Note: Sold on behalf of the Royal Aero Club Trust CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 95
A silver cigarette box, marks rubbed, the cover with crest of Coxwell-Rogers, 18cm wide, another with inscription relating to Penang Turf Club, 16cm wide, four silver ashtrays various, a matchbox holder, a Dunhill cigarette lighter and a white metal ashtray set with a Maria Therese thaler, weighable silver approximately 247g CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 209
Collection of 11 1920/30s silver trophy cups, including 3 trophies relating to Fife Fox Hounds Point to Point horse races and 10 sporting clubs in Singapore, including the Singapore Ladies Shooting Club (various dates and makers), together with one other white metal trophy cup from Deal Golf Club dated 1907, approximately 92ozs weighable silver, largest trophy 30.5 across handles (12)
Lot 171
Thirty European Cup Competition Programmes 1960s / 70s, eight Tottenham Game Programmes 1961/62 S C Feijenoord, Gornik Zabrze, Dukla, Benfica, 1963 O F K Belgrade x 2, F C Sloven, Manchester Utd, five Arsenal Programmes 1954 Spartak, 1969/70 Sporting Club De Portugal, Ajax, Amsterdam, Anderlecht 1971/72 Benfica, five Chelsea ties 1957 Sparta, C D S A Moscow, 1959 Atletico Bilbao, 1966 Milan A C, Barcelona, six Wolves Programmes 1954 Honved, 1955 Moscow Dynamo, 1958 Schalke, 1959 ASK Vorwaerts, Red Star Belgrade, 1960 Barcelona, two West Ham 1965 Final TSV Munchen 1860, 1966 Borussia Dortmund, 1962 Ipswich V Milan, Rangers V Sparta AC, Liverpool V Dortmund Final 1966, plus two further Final Programmes 1963 Benfica V Milan AC and Eintracht V Real Madrid 1960 all good condition but with some writing for team changes and scorers used for reporting by Jim Connolly
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