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Lot 1450
Ballet - Dame Margot Fonteyn Extensive Collection of autographs and ephemera including books, programmes, photographs and other items. Plus Rudolph Nureyev signed programmes. A quantity of Fonteyn with Nureyev items, photographs including on the beach, press releases, informal photographs poster etc. Small Royal Opera House curtain fragment framed and glazed.
Lot 825
A pair of wrought iron wall mounted brackets of scrolling foliate form, 37cm wide x 8cm deep x 128cm high together with a Victorian gilt metal curtain pole with floral and foliate decorated end stop, 230cm longCondition report: Surface chips and damages to the paintwork, oxidisation; curtain rail with surface chips to the paintwork, only one curtain ring present
Lot 73
BRUNEL (ISAMBARD KINGDOM)Autograph letter signed ('I K Brunel') to his son ('My dear Isambard'), written after the successful launch of the SS Great Eastern, assuring him he did not mind he was not present, describing at length the anxieties he endured following the first failed launch attempt ('...I have had a hard time of it and have felt the advantages of perseverance and patience...'), admitting he was at fault ('...all the evils and difficulties in such cases are the result of our own imprudence or mistakes...'), explaining the reasons for the failure ('...I had originally designed a complete apparatus which could, as I now see, have launched the ship perfectly. Under the influence of irritating intrigues and insinuations about the costliness of the entire operation, I made enquiries and satisfied myself that in all probability I could dispense with much of the apparatus: I did so and hence all the difficulties...') and the eventual success ('...a combination of circumstances of very high tide, a long period of high water, a very favourable wind and a fine day...'), speaking of his relief ('...quite unaccountable...') and the power of prayer ('...I can assure you that I have ever in my difficulties prayed fervently...'), ending by hoping to see him that evening and mentioning an appointment with Stephenson, 10 pages, light dust-staining at folds, browning and some loss to last leaf at fold, 8vo (202 x 130mm.) [n.p.], 2 February [18]58; with a wooden box bearing the name 'H.M. Brunel Esq' in ink on lid containing a note from Isambard Brunel bequeathing the box and its contents to his brother Henry ('This for my brother Henry./ The most valuable possession I can leave him/ I. Brunel/ August 4th 1888'), note on blue paper, fragile, edges frayed and dust-stained, red wax seal of Isambard Brunel, 85 x 140mm., box 178 x 85 x 55mm.) (3)Footnotes:'ALL THE EVILS AND DIFFICULTIES IN SUCH CASES ARE THE RESULT OF OUR OWN IMPRUDENCE OR MISTAKES'Just two days after the successful launch of the SS Great Eastern on 31 January 1858, a thankful Isambard Kingdom Brunel (1806-1859) writes a candid letter to his son Isambard revealing his disappointment at the failure of the first launch, giving his own insight as to what went wrong and ascribes the final success to his own dogged determination, favourable weather conditions and a certain amount of divine intervention. It had been a project fraught with difficulties from the beginning and one in which Brunel was heavily invested both financially and physically: 'I never embarked on one thing to which I have so entirely devoted myself, and to which I have devoted so much time, thought and labour, on the success of which I have staked my reputation...' he wrote (www.brunel200.com).Brunel's ambitious vision was for a ship, originally called Leviathan (and affectionately referred to by him as the 'Great Babe'), capable of taking 4,000 passengers from England to Australia without the need to refuel, the largest iron steamship ever built at that time. He went into partnership with John Scott Russell, an experienced Naval architect and ship builder. Unbeknownst to Brunel, Russell was already in financial trouble and the two men disagreed on many details of the construction. In February 1856, Russell was declared bankrupt and Brunel was forced to take over the project himself. Uncooperative workers and legal wrangling led to slow progress and financial pressures forced an early attempt at launching the ship on 3 November 1857. The launch was a disaster – Brunel could no longer afford the specialist hydraulic launching gear specially built for the project ('...a complete apparatus which could, as I now see, have launched the ship perfectly...') and had to make do with steam winches and capstans worked by teams of men. As a result, in front of a large paying crowd at Napier Yard in Millwall, the ship remained resolutely stranded on its specially constructed launch rails. Two men were killed in the attempt and several others injured. Charles Dickens was in the throng and described the excited scene thus: 'A general spirit of reckless daring seems to animate the majority of the visitors. They delight in insecure platforms; they crowd on small, frail, house-tops; they come up in little cockle-boats, almost under the bows of the great ship... Many in that dense floating mass on the river and the opposite shore would not be sorry to experience the excitement of a great disaster... Others trust with wonderful faith to the prudence and wisdom of the presiding engineer...' In a candid admission to his son, Brunel here admits culpability for the failure and blames himself for listening to the 'irritating intrigues and insinuations' of others ('...I did so and hence all the difficulties...').After several further attempts in November, with the help of a new hydraulic system, fortuitous weather conditions and resorting to fervent prayers (despite believing prayer to be 'incompatible with the regular movement of the mechanism of the universe'), the ship was successfully launched on 31 January 1858, a day later than planned. The stress and relief felt by Brunel is palpable in this letter in equal measure. During his final inspection of the ship at Deptford on 5 September 1859, Brunel suffered a stroke from which he was never to recover. He died shortly after the ship's maiden voyage, knowing she had already been damaged by an explosion. The letter is published in Cecilia Brunel Noble's The Brunels: Father and Son, 1938: '...The next day Isambard wrote himself to his son, and this letter lifts, for a moment, a corner of the curtain which hid from the world the agonies of his soul...' (p.236). Provenance: Isambard Brunel (1837-1902); given to his brother Henry Marc Brunel (1842-1903) in 1888, according to a note in the accompanying box; his niece Celia Noble; her daughter Cynthia Noble; Miles Jebb, Lord Gladwyn; thence by descent to his niece, the present owner.For further information on this lot please visit Bonhams.com
Lot 100
Follower of Guillim Scrots Portrait of King Edward VI (1537-1553) bust-length, in a black doublet encrusted with gold braid, wearing the chain of the Order of the Garter and bejewelled black hatoil on panel55.5 x 43cmFootnote: The present painting is based upon an official portrait of Edward VI (1537-1553) painted by the Flemish artist, Guillim Scrots (sometimes William; active 1537–1553). It is highly likely that the original version was produced in 1550 during the marriage negotiations between Edward VI and the daughter of Henri II of France, Elisabeth of Valois. This composition became a popular image and many contemporary and later versions were made, all with subtle differences. Perhaps the most notable of these is the full-length version in the Royal Collection that was acquired by Queen Victoria in 1882.Condition report: Framed 68 x 56cmThe painting is executed in oil on a wooden panel support with the wood grain running vertically. The panel has a slight convex warp. There are vertical splits running down the panel from the upper edge. The split at the centre of the painting has been reinforced from the reverse with a trip of canvas. The paint along this split is slightly raised. The rest of the paint layer is in a good, stable condition overall. Areas of overpaint are mainly located in the sitter’s face and along the splits. The overpaint is finely applied and reasonably well matched to the original. The varnish is even and semi-matte with a layer of surface dust present.Technical Notes*Panel The panel comprises three radially cut oak boards. Visible working marks on the reverse indicate that the panel has not been thinned. Dendrochronological examination was carried out by Ian Tyers on the two wider boards. One board was too narrow with insufficient rings to be of use. Both boards are oak which originated in the eastern Baltic, although from different trees. They had a last heartwood ring dating to 1569. There was no sapwood. A probable first usage date could be given after 1577. It is possible that the painting might date up to the last use of Baltic oak in c.1650, however, the earlier date seems consistent with our observations of the painting technique and materials, and it is likely that the painting dates from the late 16th or possibly early 17th century. Paint and ground layers A pale coloured ground lies over the panel, over which a thin streaky grey imprimatura has been applied. This can be seen through the paint in normal light, and also in digital infrared photography indicating the presence of carbon containing pigments.Underdrawing in a dry medium is visible in the face and neck in normal light, and appears much more intense with digital infrared photography. The drawing delineates the features and indicates modelling for example in the cheek where there are hatched lines. It is likely that the drawing has been transferred from a pattern, as was typical practice for the time. The paint layers do not follow the underdrawing exactly. It is possible that there is underdrawing in the torso, but it is masked by the black of the drapery.The paint layers have been built up in thin even layers, using what appears to be a limited range of pigments, and simple paint structure. The background has been laid in first, with a reserve left for the face. The hat, with reserves left for the jewels, then the face has been added, followed by the pillar and clothing, again with reserves left for the two jewels at the neck. The highlights on the costume, jewellery and curtain were then applied in a more bodied lead tin yellow, and the black pattern on the curtain in a more bodied black paint. The colour of the pigments are typical of the period, and the use of lead tin yellow to imitate gold rather than using real gold, indicated a date in the later 16th century. This sequential pattern of painting, rather than working up the whole picture at once, is typical of painting practice of the period.Other versions Catherine Macleod writes that a new portrait type emerged when Edward was about thirteen years old, and at least five full length versions are now known. Of these five, she considers the Louvre version the prime copy by Scrots. The Hampton Court version was the most widely copied in England, and is the one to which ours is closest. SummaryThe materials and techniques are consistent with late 16th and early 17th century Anglo-Flemish Painting.*The above report was completed by Katherine Ara Paintings Conservator & Restorer in December 2010
Lot 1006
2010 VW Jetta SE 1.6 TDi CR Saloon - Odometer reading 72,250 miles- 2 Lady keepers from new- MOT'd until October 2022The VW Jetta was launched as the smaller family saloon offering from Volkswagen, positioned between the Golf and more luxurious Passat. This model was noted for having an exceptionally generous boot capacity (527 Litres) plus the versatility of folding rear seats - eclipsing most of its main rivals. This car has the well proven 106 bhp 1.6 Litre Diesel engine, with 5-speed manual gearbox, which delivers a reported 60 MPG and 726 miles on a full tank of fuel (VW's published statistics). The Jetta is nicely appointed with generous storage, multi-airbags (including curtain) and air conditioning. Our vehicle is finished in metallic silver and fitted with two-tone alloy wheels and a full-sized spare wheel beneath the trunk floor carpet.The current registered keeper has owned the Jetta for 9 years and routinely had the car serviced at VW Main Dealer garages. She has supplied a chronological file containing all old MOT's, servicing & repair work invoices, which makes for impressive reading. The vehicle is entirely immaculate inside and presents smartly in all respects. The car drives as it should and we are informed that it has no known faults. Current MOT expires 28th October 2022. The file is shown in the photo gallery and also comes with a Leather VW Wallet containing Owners Manual, Radio guide, Operational Manual and the Service Schedule (x 9 entries... all VW Main Dealer). The last Service is shown at 69,043 miles. There are two VW remote locking keys.Handy to note: annual Road Fund License is presently £130 yearly. To satisfy your knowledge of the vehicles condition please come down to our viewing days as followed:Saturday 10am-2pmMonday 9pm-5pm Tuesday from 9am- Our buyers premium on all cars, motorbikes and scooters is 10% + VAT. - We encourage any interested parties to inspect the vehicle on our viewing days and prior to sale on Tuesday 22nd to satisfy themselves on the car's condition, please check our buying terms and conditions for cars and bikes available online or via email. - Transportation options may be available, please contact us for a quote.
Lot 293
Corgi, Lledo - A quantity of 11 x die-cast model vehicles - Lot includes a Corgi #60011 Eddie Stobart 3-piece truck set, a Corgi #59504 Volvo Curtain Side Trailer, a black Corgi #61205 'Fry's Chocolate Cream' van, and similar. Model vehicles appear in excellent condition. Boxes appear very good and some mint condition. (This does not constitute a guarantee)
Lot 2086
A 20th century grey painted wall shelf, the front applied with a 19th century red painted cast iron Gothic arched window panel, height 130cm, width 40cm, depth 13cm, together with a painted wooden curtain pelmet, width 166cm (faults).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 14
λ John Piper (British 1903-1992)The Vase of Flowers by an Open Window Gouache, ink, pencil, collage and wash on paperSigned and dated '33 (lower left)36 x 46cm (14 x 18 in.)Provenance:Crane Kalman Gallery, London, by December 1973Private Collection, OxfordshireCrane Kalman Gallery, London, by 1990Purchased from the above in 1991 Thence by descent to the present owner Exhibited:Sheffield, Graves Art Gallery, May-June 1967 London, Crane Kalman Gallery, Christmas Exhibition, 1990The 1930s are considered a seminal period in the development of Piper's art. In January 1934, he was elected to the Seven and Five Society which, under the influence of Ben Nicholson, had become the focus of British modernism. Whilst Piper shared many of the values of abstraction promoted by the group, his art also reveals the influence of European painters, notably Georges Braque, whose work was especially pivotal in informing Piper's use of collage. Throughout the decade, Piper oscillated between pure abstraction and representation, balancing the pull of the non-figurative with his own inimitable interpretation of the English landscape and whilst he would ultimately turn away from abstraction, his contribution to the cause of English modernism cannot be under-emphasised.Since childhood, the sea had been a constant draw for Piper. Whilst based at Betchworth in Surrey in the late 1920s and early 1930s, he had easy access to the south coast frequently painting at Rye, Newhaven and Bognor. His love of the landscape also drew him further afield to Cornwall, Wales and Dorset in search of remote beaches and rugged coast lines, often populated with fishermen's boats, beach huts and lighthouses. The Vase of Flowers by an Open Window, painted in 1933 is typical of Piper's work of the period, juxtaposing the interior with the exterior through the placement of the vase in the foreground against the broader landscape beyond. His use of windows and window ledges as framing devices to direct the viewer's gaze is a tool frequently used by artists and one employed by Piper in a number of paintings of this period, including The Harbour at Night, 1933 and Harbour Through a Window, 1934 (private collections), both of which frame the view with a vase of flowers and a collaged lace curtain. In these landscapes, we see Piper experimenting with different media, working spontaneously with everyday objects that he had to hand. He was frequently drawn to the use of silver foil, which created the reflective properties required of moonlight or waves and provided a contrast to the opaqueness of the paint. Newspaper, cut-outs of old engravings and marbled paper along with paper doilies were among other materials with which Piper frequently embellished his paintings of the period. Condition Report: Unexamined out of glazed frame. Colours are richer in person than in the illustrated catalogue and the silver foil more reflective. In good original condition. Condition Report Disclaimer
Lot 533
'SCHOLAR READING A SCROLL', LATE MING TO EARLY QING DYNASTYChina, 16th-17th century. Ink on very fine silk. Remarkably detailed painting depicting a bearded scholar wearing voluminous robes and a prominent headdress, holding a fan in one hand, seated on a barrel stool at a table and reading a scroll unrolled before him.Provenance: From an English private collection. Condition: Good condition, as expected and commensurate with age. With old wear and traces of use, soiling, browning, foxing, creasing, small losses, minor touchups.Dimensions: Image size 59 x 42.7 cm, Size incl. mounting 78 x 68.7 cmA stack of books rests beside the scroll, a small censer on an incense stand (xiangji) as well as further scrolls, a lacquer box, various vessels, and other scholar's objects on a high table behind a standing screen painted in magnificent quality with crashing waves, all behind a large curtain with floral roundels to the right side.With an imperial yellow silk brocade frame, laid down on board.Auction result comparison: Compare a related silk painting of a scholar and students, dated late 15th-16th century, at Bonhams New York in Chinese Paintings and Calligraphy on 20 March 2013, lot 3013, sold for USD 62,500.明末清初《文人觀畫圖》中國，十六至十七世紀。絹本水墨。文人坐於書房内，一手持扇一手按著面前的一幅畫。四周場景描寫細緻入微。 來源：英國私人收藏。 品相：狀況良好，符合預期並與年齡相稱。有磨損和使用痕跡、污漬、褐變、起毛、摺痕、小缺損、輕微修飾。 尺寸：畫面59 x 42.7 厘米, 總78 x 68.7 厘米 絹本裝裱。 拍賣結果比較：比較一件相似的十五至十六世紀絹本《文人書生圖》，見紐約邦翰思Chinese Paintings and Calligraphy 2013年3月20日 lot 3013, 售價USD 62,500。
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11774 item(s)/page