Milne (A. A.). Winnie -The-Pooh, 1st edition, Methuen, 1926, coloured pencil inscription to the half-title, some minor toning, original gilt decorated green cloth, spine slightly rubbed to head & foot, boards lightly rubbed & marked, 8vo, Now We Are Six, 3rd edition, Methuen, 1927, period inscription to the half-title, cracked hinges to the title page, pp.3/4 detached, some light toning, original gilt decorated red cloth, boards & spine slightly rubbed & marked, 8vo, The House At Pooh Corner, 1st edition, Methuen, 1928, period inscription to the half-title, some minor toning & spotting, original gilt decorated red cloth, boards & spine slightly rubbed & marked, 8vo, all with illustrations by E. H. Shepard, all top edge gilt, together with; Carroll (Lewis), The Hunting Of The Snark, an Agony in Eight fits, 1st edition, MacMillan & Co., 1876, 9 black & white illustrations by Henry Holiday, some spotting & light toning, all edges gilt, publishers original illustrated brown cloth, boards & spine slightly toned & rubbed to head & foot, 8vo, and Thomson (Hugh [illustrator]), The Chimes, by Charles Dickens, Hodder & Stoughton, circa 1910, 7 tipped-in colour plates, period inscription to the front endpaper, some minor marginal toning, publishers original gilt decorated blue cloth, spine slightly faded & rubbed to head & foot, 8vo, plus other 19th & 20th century fiction & illustrated literature, including Beatrix Potter, Kenneth Grahame, C. S. Lewis, T. S. Eliot, some leather bindings, mostly original cloth, some in dust jackets, G/VG, 8voQty: (3 shelves)
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Naipaul (V. S.). A House for Mr Biswas, 1st edition, Andre Deutsch, 1961, some light toning, water stain to the top edge, original cloth in dust jacket, covers rubbed with minor tears to head & loss to foot of the spine, 8vo, The Mimic Men, Readers Union, 1967 original cloth in dust jacket, 8vo, In a Free State, 1st edition, Andre Deutsch, 1971, ex-library stamp to the publication page, original cloth in price-clipped dust jacket, 8vo, together with; Barnes (Julian), Flaubert's Parrot, 1st edition, Jonathan Cape, 1984, some minor toning, original cloth in dust jacket with 'Booker Prize for Fiction 1984' wrap-around, spine lightly faded, 8vo, Arthur & George, 1st edition, Jonathan Cape, 2005, publishers original decorated boards, 8vo, and Bellow (Saul), Henderson The Rain King, 1st U.K. edition, Weidenfeld and Nicolson, 1959, original cloth in dust jacket, spine lightly rubbed to head & foot, 8vo, Herzog, 3rd impression, Weidenfeld and Nicolson, 1965, original cloth in dust jacket, covers rubbed & lightly toned, 8vo, Mosby's Memoirs & other stories, 1st U.K. edition, Weidenfeld and Nicolson, 1969, original cloth in dust jacket, covers lightly marked & rubbed to head & foot, 8vo, plus other modern fiction, including Günter Grass, William Golding, Elias Canetti, Primo Levi, Philip Roth, mostly original cloth in dust jackets, G/VG, 8voQty: (6 shelves)
PUNK - 5 RARE UK 1ST PRESSINGS 1979 PUNK SINGLES. 1. HELPLESS HUE - SID VICIOUS WAS INNOCENT (1979, UK 1ST PRESSING, BIG RECORDS) VINYL is MINT- (UNPLAYED), ORIGINAL FOLD OVER P/S is EX/EX+. 2. THE SHAPES - WOT?S FOR LUNCH MUM? (1979 UK 1ST PRESSING, SOFA RECORDS), VINYL is EX+++, never came in a P/S + ORIGINAL INSERT in EX++ condition. 3. THE TICKETS - I?LL BE YOUR PIN UP (1979, UK 1ST PRESSING, BRIDGE HOUSE RECORDS) VINYL is MINT- (UNPLAYED), FOLD OVER P/S is EX++/EX+++ (library sticker on back that can be removed). 4. X-RAY-SPEX - HIGHKY FLAMMABLE (1979 UK 1ST PRESSING RED VINYL !!!, EMI RECORDS), RED VINYL is EX++/ EX+++, plus ORIGINAL COMPANY SLEEVE. 5. ANGELIC UPSTARTS - I?M AN UPSTART (1979, UK 1ST PRESSING, WARNER BROS. RECORDS) VINYL is MINT- (UNPLAYED), with RARE LIMITED P/S is EX+/EX++.
PUNK / POWER POP - 4 RARE UK 1982-1983 FIRST PRESSING PUNK / POWER POP SINGLES: 1. FREEFALL - RIDE OUT / DOWN?S SONG (1982, UK 1ST PRESSING, PARADISC RECORDS), VINYL is EX++ / EX+++, never came out in a picture sleeve, but this copy comes with the RARE BAND STAMPED DIE CUT SLEEVE in VG+++ / EX condition, and is also signed by the whole band on one label !!! 2. SCHOOLTIES - INSANITY / HOUSE OF THE RISING SUN (1982, UK 1ST PRESSING, QUEST RECORDS), VINYL is EX+++ / NEAR MINT (minor label tear on one side), never came out with a P/S. 3. RED BANNER - EVENTS (BEYOND YOUR CONTROL) / ONE OF THE BOYS (1982, UK 1ST PRESSING, BANNER RECORDS), VINYL is NEAR MINT (UNPLAYED, P/S is EX (minor stains on front). 4. THE PHONES - IT?S LATE AT NIGHT (1983, UK 1ST PRESSING, SRT RECORDS) VINYL is EX+++ /NEAR MINT (pen marks on one label), not including the limited P/S.
Vinyl - Jazz & Blues 9 LP's to include Lightnin' Hopkins Dirty House Blues (NOT2LP155) 180g reissue, Miles Davis Kind Of Blue (CS 8163) Classic Records Stereo 200g reissue, Larry Johnson Presenting The Country Blues (Blue Horizon 7-63851) Stereo sleeve with price sticker(s) to front of sand some biro colouring of letters on tracklisting to rear of sleeve vinyl is mono, Solomon Burke Don't Give Up On Me (DBK 104) 180g orange vinyl, Muddy Waters Folk Singer (Chess LPS 1483) Classic Records reissue, Billie Holiday Songs For Distingué Lovers (MG VS-6021) 180g reissue, Arne Domnérus Jazz At The Pawnshop (PROP 7778-79) Propone 2 LP resissue, Tsuyoshi Yamamoto Midnight Sugar (TBM-23) 25th Anniversary 180g, Tsuyoshi Yamamoto Misty (TBM 30 45) 25th Anniversary 45rpm numbered limited edition 0640/1000. Sleeves & Vinyl at least EX+
In order to view full details and any additional images for this lot as well as place advanced bids or bid live, please click here to view this lot on the auctioneer's websiteThe Royal Warrant Holders Association Medal awarded to the fashion designer Hardy Amies, who rose to the rank of Lieutenant-Colonel while organising sabotage assignments with the Special Operations Executive in Belgium during the Second World War and subsequently built a hugely successful fashion label, his designs finding favour with the young Princess Elizabeth who granted him a Royal Warrant on her accession to the throne Royal Warrant Holders Association Medal, E.II.R., 1977 Silver Jubilee Medal (Hardy Amies) nearly extremely fine £400-£500 --- Edwin Hardy Amies was born on 17 July 1909 at Maida Vale, London and was educated at Latymer Upper School and Brentwood. It was suggested that he should work for a scholarship to Cambridge, but Amies wanted to become a journalist. His father arranged a meeting with R. D. Blumenfeld, the editor of the Daily Express, who told him: ‘We don’t want academics in the journalistic world. We want men of international culture. Send him abroad to learn French and German. Make him work.’ After spending three years in France and Germany - learning the languages and working for a customs agent, an English School and a wall tile factory - Amies returned to England and became a weighing-machine salesman for W & T Avery. It was his mother’s contacts in the fashion world together with his own facility with the written word that secured him his first job in fashion. His vivid description of a dress, written in a letter to a retired French fitter and brought to the attention of the owner of the Mayfair couture house Lachasse, made a strong impression. The wearer of the dress was the owner’s wife. In early 1934, with no previous experience, he succeeded the designer manager, Digby Morton, who had left Lachasse to set up his own house. By the time war intervened, he was designing the whole collection. At the outbreak of the Second World War, with his language experience, Amies was called to serve in the Special Operations Executive. He was commissioned as a Second Lieutenant from Officer Cadet Training Company on to the British Army General List on 18 May 1940, and was transferred from the General List to the Intelligence Corps on 15 July 1940. Amies suspected that S.O.E.’s commander Major General Colin Gubbins did not regard a dressmaker as suitable military material; but his training report stated: ‘This officer is far tougher both physically and mentally than his rather precious appearance would suggest. He possesses a keen brain and an abundance of shrewd sense. His only handicap is his precious appearance and manner, and these are tending to decrease’. Posted to Belgium, Amies worked with the various Belgian resistance groups and adapted names of fashion accessories for use as code words, while he organised sabotage assignments and arranged for agents to be parachuted with radio equipment behind enemy lines, into the Ardennes. Amies rose to the rank of lieutenant colonel, but outraged his superiors in 1944 by engaging famed photographer Lee Miller and setting up a Vogue photo shoot in Belgium after D-Day. In 1946, he was created an Officer of the Belgian Order of the Crown on 17 September 1948 by the prince regent of Belgium. Amies was an integral part of Operation Ratweek, an assassination project developed by the S.O.E. to eliminate double agents and Nazi sympathisers in Belgium. In 2000, a BBC 2 documentary entitled Secret Agent named Amies as one of the men who helped to plan the killing of dozens of Nazi collaborators, but Amies disclaimed all knowledge of the matter. Hardy Amies was quirky, yet conservative; for example, having his British Army uniform tailored on Savile Row. Years later, Hardy recalled that Kim Philby was in his mess; and, on being asked what the infamous spy was like, Hardy quipped, ‘He was always trying to get information out of me, most significantly the name of my tailor.’ On demobilisation, Amies bought the lease of a house in Savile Row, built by Lord Burlington in 1735 and damaged in the Blitz, and set up his own business. It was not long before he was designing clothes for Princess Elizabeth. ‘A very grand lady asked me to make coats and skirts for what she called her “gels”’, he recalled, ‘and they turned out to be ladies-in-waiting to Princess Elizabeth. The Princess saw them and asked me to make clothes for her visit to Canada in 1948.’ His royal warrant dated from her accession to the throne. The Queen wore a Hardy Amies pink silk dress and coat for the Silver Jubilee and a Hardy Amies yellow coat on her 60th birthday. In 1950, recognising a need for cheaper, instantly available clothes, Amies expanded his business by opening a ready-to-wear boutique. He designed uniforms for the police, British Airways, the South African defence force, male nurses at Broadmoor and the staffs of W H Smith, the London Hilton, and Wall’s ice-cream. In 1967, he was commissioned by director Stanley Kubrick to design the costumes for 2001: A Space Odyssey (1968). In 1973 Amies sold his business to Debenhams, with a view to further expansion, but in 1980 bought it back with the profits of his success with menswear in Canada, Australia, Japan, America and New Zealand (where, he estimated in 1979, 55 per cent of men wore suits in whose design he had a hand). Eventually, he had more than 40 overseas licensees. Handsome, with aquiline features and a full head of hair, Amies was proud of his athletic figure and played tennis well into his eighties. His other principal love was gardening, and he built from scratch an elaborate traditional garden. Hardy Amies was appointed CVO in 1977 and KCVO in 1989. In 2000, Amies sold the house to the Luxury Brands Group and announced his formal retirement. He died at home in 2003, aged 93, and is buried in the village churchyard at Langford, Oxfordshire.
In order to view full details and any additional images for this lot as well as place advanced bids or bid live, please click here to view this lot on the auctioneer's websiteFive: Lieutenant-Colonel E. L. Rowse, Royal Army Medical Corps British War and Victory Medals (Major E. L. Rowse.); Territorial Force War Medal 1914-19 (Capt. E. L. Rowse R.A.M.C.); Territorial Decoration, G.V.R., silver and silver-gilt, hallmarks for London 1920, with integral top riband bar; Serbia, Kingdom, Order of the White Eagle, 2nd type, Fifth Class breast badge, with swords, silver, silver-gilt; and enamel; together with the recipient’s British Red Cross Society Proficiency Cross, with Medical Officer clasp (572 Lt. Col. E. L. Rowse), generally good very fine (6) £500-£700 --- Provenance: Colonel D. G. B. Riddick Collection, Dix Noonan Webb, December 2006. Serbian Order of the White Eagle London Gazette 15 February 1917: ‘For distinguished services rendered during the course of the campaign.’ Edward Leopold Rowse trained at Charing Cross Hospital and qualified as a M.R.C.S. England, L.R.C.P. London 1890 and M.D., Brussels, 1893. During the Great War he was ranked a Lieutenant-Colonel in the R.A.M.C., and was the Officer in Command of the Floriana and Ghain Tuffleha Hospitals, Malta, 1915-18. For his services during the war he was awarded the Order of the White Eagle Fifth Class by the Kingdom of Serbia. A member of the British Medical Association and British Homœopathic Society, he was at various times employed as a House Physician and Resident Obstetrics Officer, Charing Cross Hospital and House Physician, Consumption Hospital, Brompton. In the late 1920’s/early 1930’s his address was given as 143 Harley Street, W1. Sold with copied research.
A Pair of George IV Carved Mahogany Bookcases, in the manner of Gillows, 2nd quarter 19th century, the upper section of graduated rectangular form with S shaped scrolled brackets, the cupboard bases with moulded cupboard doors, all between leaf carved trusses, 45cm by 32cm by 194cm Provenance: Delamere House, Cheshire, sold with a black and white photograph showing the bookcases in situ . Bookcase one rather faded small section of timber missing, the front left corner platform base scuffed. The second bookcase has variation in colour, section of timber missing front right corner, verso of the bookcase later brackets added for strengthening, assuming the bookcases are portable the white spaces are carrying handles, one bookcase (with brackets to verso) repairs to scroll supports
A GALT TOYS EARLY STAGES SECTIONAL DOLLS HOUSE, c.1960's of beech and plywood construction, three sections, one with roof and one with incomplete roof, all missing stairs, one has been wired for electric light, all in playworn condition, with a quantity of dolls house furniture, possibly including some Galt items, with an unmarked wooden Multi-Storey garage (playworn condition) and a quantity of dolls and soft toys to include a Chad Valley robot, Rosebud, Roddy and Palitoy plastic and vinyl dolls, Marx plastic horse 'scout', Topo Giglo etc, all with damage and wear
A pair of wartime binoculars owned by Col. W. S. Birdwood Colmer, one other military pair & a pair of Carl Zeiss Telact 148279 x8 twinned with a silver plated tankard awarded to Squadron Leader H.R.P Pertweee DFC 1953 & another silver plated tankard DSSC Crew Gentry Shield 1964. Provenance: Originally from Treworgey Manor House, submitted by previous owners
A pair of Regency rosewood, calamander banded, parcel gilt and simulated rosewood card tablesin the manner of Henry Holland, after the model by Marsh and TathamCirca 1810, each with a swivel-hinged top with canted angles and fluted edges, enclosing a baize inset playing surface, concealing a mahogany-lined interior, on a flared ring turned and reeded inset column, with a concave quadripartite base terminating in winged and volute scrolled lion paw feet, with recessed brass castors, 93cm wide x 46cm deep x 75cm high, (36 1/2in wide x 18in deep x 29 1/2in high) (2)Footnotes:A pair of comparable occasional tables to the offered lot sold Christie's, South Kensington, 2nd July 2014, Ronald Phillips Ltd - Making Room, lot 274 while another similar centre table sold Christie's, 20th-21st September 2004, Property from Two Ducal Collections, Woburn Abbey, lot 1150.The model for these tables derives from designs for Roman candelabrum introduced by the connoisseur Thomas Hope (d. 1842) at his Duchess Street mansion museum and illustrated in his major work, Household Furniture and Interior Decoration, first published 1807, pl. IX and L, No. 3.A further pair of tables, likewise derived from Hope's candelabra patterns, formed part of the drawing room furniture designed by Henry Holland (d. 1806), and supplied in circa 1809 by the Mount Street firm of Marsh & Tatham for Southill, Bedfordshire (G. Jackson-Stops, 'Southill Park, Bedfordshire', Country Life, 28th April 1994, pp.'s 62-67, and F.J.B. Watson, 'The Furniture and Decoration', Southill: A Regency House, London, 1951, pp.'s 29-30, pl. 45).Also, the inset reeded spreading column, concave-sided plinth and giltwood lion paw feet of the offered tables relate to a pair of octagonal tripod tables originally at Oakley House, Bedfordshire, which was fitted for The 5th Duke of Bedford by Holland (Henry Holland, Woburn Abbey, exhibition catalogue, 1971, p. 6 and fig. 8). A pair of tables of this design sold from the collection of Lord and Lady White of Hull, Christie's, New York, 30 April 1997, lot 226, illustrated in E. Joy, English Furniture, 1800-1851, London, 1977, p. 65.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A George III mahogany serpentine commode attributed to Thomas Chippendale (1718-1779)Circa 1770, the overhanging top with a reverse ogee moulded edge, above four long graduated drawers, the mahogany-lined frieze drawer enclosing three open compartments, over three oak-lined drawers, with an ogee moulded plinth base terminating in scrolled and shaped bracket feet, 145cm wide x 68cm deep x 92cm high, (57in wide x 26 1/2in deep x 36in high)Footnotes:ProvenanceDuring the late 18th century it is highly probable that the offered lot was housed at Ham Court, which was located in the Malvern Hills, Worcestershire.Ham Court served as the historic family home of the Bromleys and the Bromley-Martins from the early 17th century until its demolition in 1926.Major Elliott George Bromley-Martin (1866-1946) most likely gained ownership of the present commode at the same time as inheriting Ham Court, his birthplace, from his father George Edward Bromley-Martin (1829-1905).Thence the commode passed by descent to Gerald E. Bromley-Martin (1906-1954), who was the Major's son. Following Gerald's death in 1954, it is listed as a 'Chippendale mahogany serpentine chest of 4 drawers' in the probate valuation undertaken at Hardley Hall, Norwich, by a firm called Irelands, who were likewise located in Norwich (it is interesting to note that at that time the individual value is given as £45).Subsequently this serpentine chest belonged to Gerald's son, Christopher Bromley-Martin (1935-2018), and has clearly remained within the family since 2018.The Attribution to Thomas ChippendaleComparable commodes include one evidently supplied in circa 1770 by Thomas Chippendale to Wilton House, Wiltshire and a pair dating to 1774 apparently also made by Chippendale for Paxton House, in Paxton near Berwick-upon-Tweed upon behalf of Mrs Home-Robertson. Interestingly these two different models both appear illustrated together on the same page in C. Gilbert, The Life and Work of Thomas Chippendale, 1978, London, fig.'s 205 & 206, p. 117.Also, certain characteristics apparent in the construction of the offered lot, when assessed altogether, lead logically to a Chippendale attribution. These characteristics are; the presence of S-shaped keyholes or escutcheons; laminated blocking to the bracket feet; the use of a red wash to the underside and reverse of the drawer fronts; the selection of an extremely fine mahogany timber. Added to this, the design used for the handles (which appear to be original) is also fairly typical of Chippendale's output during the period 1765-1774.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An important pair of German late 18th century ormolu and brass mounted mahogany 'mechanical' reading/writing/card/games tables attributed to David Roentgen (1743-1807)Circa 1785, each with a triple foldover top, the first hinged top enclosing an inset baize playing surface, the second inlaid with a chess and draughts board, the third surface on one table inset with a baize surface incorporating a hinged rest and a lever-activated opposing 'pop-up' hinged box, enclosing an ebony and stained fruitwood inlaid backgammon playing surface encompassed by ivory playing discs, flanked by two compartments with line-inlaid tambour sliding lids, the other table inset with a gilt-tooled leather surface incorporating a hinged writing rest and a lever-activated opposing 'pop-up' hinged box, enclosing a void interior, each with panel mounted friezes and flute mounted angles, with a catch-activated release for the rear gateleg and a secret drawer, on four detachable screw-in square tapering legs each with two mille raie outer facings headed by collar mouldings, terminating in moulded block and peg feet, each: 99cm wide x 48.5cm deep x 81cm high, (38 1/2in wide x 19in deep x 31 1/2in high) (2)Footnotes:ProvenanceFormerly with Didier Aaron, Paris.Purchased: Koller Auctions, Zurich, 26th March 2015, Furniture, Porcelain and Decoration, lot 1184.Auction ComparablesA single games table of this same type sold Sotheby's, Zurich, 7th December 1994, lot 257. Another similar Roentgen table, albeit a very slightly earlier model dating to circa 1780, sold Christie's, London, 7th July 2008, Important European Furniture, lot 535.Forerunners and Further ComparablesTwo precursors to the offered lot, in terms of form, Neoclassical design and multifunctionality, feature in W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, 2012, New York, fig.'s 24 & 27, pp.'s 108-9 & 116-119, which was published to accompany the important and hugely successful exhibition of the same title held at the Metropolitan Museum of Art, New York in 2012. The first table is dated circa 1774-1780 and the second 1774-1775, and as a result of their earlier dates of production both of these incorporate marquetry which is totally absent on the offered pair.However the closest comparables to the present tables include one, dated 1780-1783, also illustrated and analysed in W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, fig. 45, pp.'s 163-5. And another, circa 1785, that is housed at the Palace of Pavlovsk in St. Petersburg features in both Greber, J.M. Abraham und David Roentgen, Mobel fur Europa, 1980, Starnberg, Bd. 1, S. 235, Bd. 2, S. 320, 321 and in D. Fabian, Abraham und David Roentgen, Das noch aufgefundene Gesamtwerk ihrer Mobel- und Uhrenkunst in Verbindung mit der Uhrmacherfamilie Kinzing in Neuwied, 1996, Bad Neustadt/Saale, fig. 103, p. 62. The New Restrained Roentgen StyleThese 'tables a jeu a quatre variations', examples of which are very rare to come across in pairs, display all of the features typically found on those pieces emanating from the workshop of Neuwied-based David Roentgen during the 1780s. By that time Roentgen's output had become increasingly restrained, incorporating the linear forms and antique elements of the new Neoclassicism. Instead of marquetry which had gradually fallen out of fashion, Roentgen took to simple but costly mahogany veneers with sparingly elegant use of gilt bronze ornamentation, thus completing the process of artistic emancipation from his father, Abraham Roentgen (1711-93). And yet arguably the most notable feature of David's works were now their complex mechanisms, in this case the rising box for 'tric-trac', the lateral compartments with tambour covers, the detachable screw-in legs, and the skilfully concealed, or essentially 'secret', drawer.The Development of Roentgen's Mechanical Furniture The earliest mechanical tables of Neoclassical design by David Roentgen were supplied in 1771 for the country house at Worlitz on behalf of Prince Leopold III Friedrich Franz von Anhalt-Dessau, where they are still located, D. Fabian, Abraham und David Roentgen, 1996, No.'s 47a-b. Roentgen provided a further pair to his main client of the mid-1770s, Prince Charles of Lorraine, Governor of the Austrian Netherlands, but these are now housed at the Museum fur Angewandte Kunst in Vienna, D. Fabian, Op. Cit, No.'s 67 & 68. Both sets employ abundant colourful marquetry but by the 1780s Roentgen had rejected this aesthetic in favour of plain mahogany with delicate mounts and this proved to be preferred by the princely patrons throughout that decade, as evidenced by the Pavlovsk model which was delivered along with many other items to the Russian court from circa 1783 onwards, Op. Cit, No. 103. For his most mechanically complicated pieces, Roentgen worked closely with Peter Kinzing, a highly gifted clockmaker likewise from Neuwied, and after they had supplied Marie Antoinette with an automaton in 1785, the position of Ebeniste Mecanicien du Roi et de la Reine was even conferred upon Roentgen. This was a rare and distinguished Royal appointment which one of the most famous cabinet makers of the 18th century, Jean-Francois Oeben (1721-1763), had previously been honoured with in 1760, during the reign of Louis XV.Famous Admirers of RoentgenInterestingly, it was this mechanical element of Roentgen's output that was held in the highest esteem by his peers and various notable contemporary figures. Roentgen was even revered by the literary, cultural and scientific polymath and major German Romantic, Johann Wolfgang von Goethe (1749-1832) who epitomised the zeitgeist. Goethe, author of the seminal Faust, Parts I and II probably encountered a games table similar to the offered examples while working at Weimar Palace as Privy Councillor to Duke Karl August von Sachsen-Weimar-Eisenach. This is believed to be the case due to an 1810 inventory of the assembly room at the Weimar Palace which documents a: 'game table veneered with mahogany, and decorated with brass mouldings. With a hidden 'Tocadille' [backgammon board]', 3 feet 4 inches long, 1 foot 8 inches deep. By Rontchen.', W. Koppe, Idem, p. 164.Analysis of the Offered LotAt first appearance the present tables are misleadingly simple in form and decoration, but it is clear that Roentgen's choice of superb mahogany veneers is perfectly matched and beautifully highlighted by his restrained, yet visually striking, use of both gilt bronze and brass mounts. The natural grain of the mahogany is effectively manipulated so that it runs horizontally along the length of the leaves whereas the flame figuring is vertical on each frieze. The mounts are brilliantly incorporated into the overall scheme to create a visually thrilling sense of depth. In particular, the projecting mouldings are brought out with bronze applications, the mille raie fields on the front and outer side facings of the legs are gilded, and the classical fluting to the angle blocks are lined with brass.In relation to the mounts, evidently Roentgen was influenced by the practice of contemporary Parisian ebenistes, who ordered their mounts directly from specialists working solely within that field. By 1779 Roentgen was employing the same process and in fact many of his mounts from that date onwards were supplied by the renowned maitre-doreur, Francois Remond (1747-1812) who was also based in Paris, C. Baulez, David Roentgen et Francois Remond, Une Collaboration Majeure dans l'Histoire du Mobi... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A German late 18th century ormolu and white marble mounted mahogany, burr elm, maple, mother-of-pearl and stained sycamore 'Schreibschrank' attributed to the circle of David RoentgenCirca 1795, the superstructure comprising a pierced fretwork gallery surmounted by five urn finials above a pair of mirror-inset panel mounted doors enclosing one shelf, interspersed with three Corinthian columns, over a concealed stepped central drawer flanked by projecting block and urn finial mounted angles, the frieze drawer below with an inset hinged top, above a fall enclosing an architectural interior comprising a catch-activated cedar-lined drawer with triangular pediment mouldings, over a central arched recess with a mirrored interior and chequered lozenge-inlaid floor centred by a model tempietto, flanked by two arched recesses and interspersed with four composite columns and two conforming engaged end columns, with two pierced fretwork secret drawers below, above five catch-activated mahogany-lined drawers, the reverse of the fall inlaid with a central conch shell oval, over a ribbon-tied oak-leaf mounted waist with projecting mille raie block angles, with three long panelled drawers below, flanked by canted classical youth herm-tapering and husk pendant mounted pilaster angles, terminating in square tapering panelled feet, 112cm wide x 54cm deep x 210cm high, (44in wide x 21in deep x 82 1/2in high)Footnotes:ProvenanceFormerly from the Estate of Elizabeth Fondaras, USA.With Peter Muhlbauer, Lower Bavaria, between 2013 and 2017.Then purchased by the vendor from Christie's, London, 4 July 2017, European Furniture and Works of Art, lot 57.A comparable, albeit slightly plainer, version of the offered lot sold Christie's, Amsterdam, 24-25 June 2008, lot 751. This Berlin 'Schreibschrank', or secretaire a abbatant, attributed to Georg Ruppert is of similar design and incorporates related characteristics such as white marble or alabaster columns, the Ionic capitals appearing one level below Corinthian ones, a galleried cabinet superstructure and a fitted architectural interior. It was supplied by Ruppert to the Prussian General Carl Freidrich Henrich, Graf von Wylich und Lottum (1767-1841).Although due to the current absence of relevant documentation the cabinet maker responsible for the present secretaire is unknown, as more academic research is completed and further information made public then this will inevitably change over time. However for now it is clearly the case that whoever produced such a magnificent piece, or meisterstuck, of German craftsmanship had undoubtedly been directly influenced by the incredible output and legacy of one of the most renowned cabinet makers of all time, David Roentgen (1743-1807).This wonderful secretaire perfectly typifies the latter stages of the Neoclassical style, and in particular the gout Grec, which was indicative of the height of fashion across Europe during the period 1770-1800. The impact of David Roentgen, whose output was always distinct, elegant, supremely high quality in terms of its construction and often enclosed ingenious mechanisms, especially dominated Prussia, or what is now modern day Germany. And this impact can be seen in the works produced by the contemporaries and immediate successors of Roentgen, which very often sought to emulate the latter's example and merely introduced subtle variations to his stock designs and clearly defined models. It is also worth noting that, during the peak of its fame, the annual income of the Roentgen workshop rivalled that of the Meissen porcelain manufactory, W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, 2012, New York, p. 3.As a result of Roentgen's successful personal and working relationship with perhaps his most important patron, Crown Prince Frederick William who later became Emperor Frederick William II, he was honoured with the title of Royal Prussian Privy Councillor. Then in 1791, by which time Roentgen had evidently already begun to draw back from accepting new commissions, he chose to give his financial backing and influential support to his foreman, David Hacker, so that the latter could set up his own workshop and in essence become Roentgen's most immediate successor. Hacker, who himself went on to supply many of the Prussian Royal palaces with furniture, appears not to be the likely maker of the present lot however Johann Georg Stein and Johannes Andreas Beo, who both trained under and worked for the former, are indeed possible candidates. Stein and Beo, who evidently inherited Hacker's predilection for the working method and aesthetics originally developed by Roentgen, each executed a practically identical model of 'Schreibschrank', which in turn closely relate to the offered example, A. Stiegel, Berliner Mobelkunst, 2003, Berlin, fig.'s 28-9, p. 95. All three of these have characteristics in common including the use of brilliant mechanisms, a la Roentgen, such as concealed drawers and compartments stored within separate central architectural units. In an inventory of the Charlottenburg Palace undertaken in 1800, the secretaire by Stein is documented as being housed in the private dressing room of Empress Louise (1776-1810), wife of Friedrich III. While the Beo version, which seems to have once enclosed an impressive clock mechanism (in direct continuance of the tradition of Roentgen) remains for now at the Getty Museum (84.DA.87).As well as helping Hacker to establish himself, it appears that Roentgen also assisted Johann Cristian Harder, another cabinet maker who had worked for the former, to also found his own firm in Brunswick in circa 1800. Harder even calls it the Braunschweigische Priviligierte Kunst-Meuble-Fabrik von Neuwied in honour of Roentgen. Constructed following the same stock design as the three aforementioned secretaires, Harder's comparable model, in the collection at the Kunstgewerbemuseum in Berlin, is even more impressive in terms of the extremely complicated and ingenious mechanisms stored within it. And as a result this particular variant features, analysed in meticulous detail, in W. Koeppe, Extravagant Inventions, The Princely Furniture of the Roentgens, 2012, New York, app.'s 3.1-3.15, p. 234.Ultimately the difficulty in attributing the above lot to any of the previously referenced makers - Hacker, Stein, Beo or Harder - proves the immense consistency and cross fertilisation in terms of ideas, innovations and artistry among these Prussian cabinet makers during this period. However one common thread uniting all of them is clearly the enormous and understandably all-pervasive influence of David Roentgen.This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A French mid-19th century ormolu, silvered metal, aventurine glass and blue coloured glass mounted ebony and ebonised breakfront meuble d'appuiprobably made for the Ottoman or Russian marketWith an onyx top and gadroon mounted edge moulding above a frieze mounted with a trailing branch issuing C- and S-scrolls, foliage and flowers, over a central panelled door mounted with flowers, berried foliage, two cockerels and scrolled acanthus centred by a Flora mask, enclosing one long shelf, flanked by two smaller panelled doors each with a central arched panel inset with scrolled foliage, floral, shell and lion mask mount hung with a ribbon-tied martial trophy pendant comprising fasces di combattimento, weapons, banners, trumpets, drums and a suit of armour, with a floral bouquet and scrolled foliate mount below, interspersed by flowerhead and entrelac chute angles, flanked by projecting canted angles each with concave panelling mounted with pendant C-scrolls, rosettes and rocaille centred by an entwined floral wreath mount, above a shell, scrolled acanthus and floral cast apron mount, on foliate capped spiral reeded toupie sabots, with tortoiseshell veneered rear pilaster angles, some losses and some composition replaced segments to the blue coloured glass, restorations, 165cm wide x 56cm deep x 99cm high, (64 1/2in wide x 22in deep x 38 1/2in high)Footnotes:ProvenanceSir Warwick and Lady Fairfax Collection, Sydney.Within the vendor's family both the offered and following cabinets, lots 94 and 95, were believed to have originally belonged to the celebrated Rothschild Collection, and were possibly even purchased as such during the mid 20th century. And an excerpt from an old valuation with this alleged provenance appears applied to the reverse of the door. However unfortunately we have not come across any records proving that the present cabinet had any connection to the Rothschilds.The collection of Sir Warwick and Lady Fairfax represents a significant chapter in Australian twentieth century history, the Fairfaxes being as they were one of the country's most prominent families. Fairwater, their 19th century harbour-side home that housed their vast art collection, became the most valuable property ever sold in Australia when it came to the market following Lady Fairfax's death in 2017. Until that time Fairwater had become a symbol of Sydney's social scene, a society destination where parties were held amongst artworks by Rodin, Chagall, Degas and Epstein. One party, for instance, was held to celebrate the opening of the Sydney Opera House in 1973 where the 800-strong guest list included names like Liberace, Rudolf Nureyev and Rex Harrison. With Sir Warwick Fairfax at the centre of the dynasty's seat, Fairwater truly became the focal point of the family's story. The young Warwick took over the family publishing business following the death of his father Sir James in 1930, who had become one of Australia's most prominent figures after leading and growing a business that encompassed The Sydney Morning Herald, The Sun Herald, The Age and The Australian Financial Review – many of the country's top news publications. The family's influence was inestimable. During Warwick's tenure as head of the family business he took over the influential architecture, design and interiors review called: The Home. It was at this time that he really started to engage with collecting and decorating the family home at Fairwater. The founder of The Home, Ure Smith, became a close advisor and he introduced Warwick to a number of important figures in the art world who would go on to shape Warwick's collection. The combination of this new milieu and Warwick's marriage to his second wife Hanne, a Danish ballerina who loved the arts, galvanised the businessman's interest in collecting. Regular trips to Europe during the 1940s resulted in acquisitions from renowned galleries such as The Leicester Galleries, London, where Warwick purchased works by Marie Laurencin, Edgar Degas and Maurice Utrillo.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A George IV solid rosewood and parcel gilt suite of seat furniture attributed to Gillowscomprising eight side chairs, a pair of armchairs and a sofaCirca 1825, the sofa with scrolled acanthus and stiff-leaf clasped shaped frames carved with C- and S- scrolls, the seat frame interspersed by alternating lappet and foliate sprays, on C-scroll legs terminating in lobed bun feet with recessed brass castors, each side chair and armchair with a shaped toprail centred by a rosette carved tablet, with scrolled acanthus and lotus-leaf clasped frames, on foliate wrapped baluster turned and linenfold carved tapering front legs headed by paterae angles, with stiff-leaf clasped C-scroll rear legs, terminating in lobed feet and recessed brass castors, the sofa possibly associated; each armchair: 61cm wide; each side chair: 53cm wide; the sofa: 244cm wide. (9)Footnotes:A pair of identical model side chairs to those in the offered lot sold Christie's, London, 9 June 2011, 500 Years Decorative Arts Europe, lot 258. These are closely comparable to the seat furniture supplied by the Gillow firm in 1824 for Glynliffon in Caernarvonshire, Wales, on behalf of Thomas John Wynn, 2nd Baron Newborough. It is evident that a pair of solid rosewood bergeres together with conforming sofas were likewise presented by Gillow & Co. of Oxford Street to match the aforementioned group. However the early Neo-Rococo design of the present chairs relates to the Glynliffon models, of which it is thought that twenty-four in total were originally provided, as well as to a set of chairs made for William, 2nd Baron Bolton of Hackwood Park, Hampshire, also during the 1820s. While a plan for a drawing room or saloon of Neo-Rococo furniture designed for G. Bamford, which was produced by Gillow & Co. in the period 1820-30, includes a similar sofa to the offered example. The latter is illustrated in S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. I, 2008, Suffolk, p. 224, pl. 213 & Vol. II, p. 349, pl.E5. Further related chairs sold: Christie's, London, 9 March 2000, lot 104; Christie's, London, 10 March 2005, lot 20; Christie's, London, 27 November 2007, lot 189; Bonhams, 10 February 2016, lot 648.This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A pair of George II mahogany hall chairsCirca 1750, each with a shell back centred by an oval tablet painted with a crest depicting a cockerel, above a scroll carved scallop shell seat, on scroll eared cabriole front legs, with a splayed and shaped rear end support and waved stretchers, each chair approximately: 50cm wide x 57cm deep x 99cm high, (19 1/2in wide x 22in deep x 38 1/2in high) (2)Footnotes:An almost identical pair of hall chairs to the present lot sold Christie's, London, 13th November 2018, The Collector, lot 20. Other closely related examples include; a pair of virtually identical chairs, possibly even from the same set as the above, previously from the collection of the Earls of Guildford; a pair of chairs made for Francis Basset, Esq. (d. 1769) at Tehidy Park, Cornwall (sold Christie's, New York, 18 October 2005, lot 450 and again Christie's, London, 18 June 2008, Simon Sainsbury, 'The Creation of an English Arcadia', lot 75); a set of eight supplied to St Giles's House, Dorset (illustrated in A. Coleridge, Chippendale Furniture, London, 1968, fig. 366); and finally two pairs of chairs from the Rovensky collection sold Sotheby's, New York, 5-6 April 2006, lots 419 and 420.The offered chairs follow a hall chair design, with a similarly naturalistic carved back, originally published by Matthias Darly (d. 1780) between 1750 and 1751. Evidently, due to the popularity of the form, this drawing was later re-published in the 1766 Chair Maker's Guide by 'Robert Mainwaring Cabinet-Maker and Others', see C. Gilbert, The Early Furniture Designs of Matthias Darly, Furniture History, 1975, p. 37 and pl.'s 39 & 69. In 1753 Chippendale, who was at the time in the process of compiling the first edition of The Gentleman and Cabinet-Maker's Director, (1754), chose Darly, who quipped about himself as being 'Professor of Ornament to the Academy of Great Britain', to engrave ninety-eight of the total one hundred and forty-seven plates to be ultimately included therein. And it seems very likely that Chippendale imitated or rather adapted his own garden seat pattern, plate XXIV in the third edition (1762), directly from Darly's model.Both designs derive from the Italian Renaissance sgabello chair. Although such hall chairs are often associated with painted grotto chairs since they share a related organic design that, as in this instance, incorporates the scallop-shell form which is representative of the goddess Venus's birth, these hall chairs were never intended to be used outdoors. Hall chairs were usually part of a large set of eight or more intended for the entrance hall and with their coats-of-arms or crests (as in this case) they were as much about dynastic display as for practical use. Chippendale's description of such chairs states: 'They may be made either of Mahogany, of any other Wood, and painted, and have commonly wooden Seats. If the Carving of the Chairs in Plate XVIII was thought superfluous, the Outlines may be preserved, and they will look very well... Arms, if required, may be put to those Chairs'.Among the numerous families documented as having a cockerel for their crest or charge appear the following surnames: Sinclair, Crow, Rigg, Williams, Cockridge, King, Cox, Allcock and Ingram. However, unfortunately the only distinguishing feature of the particular depiction of a cockerel on the offered lot is that he is armed and most likely represented in his proper tinctures. Nonetheless it has not proven possible to discover which specific historic family commissioned this pair of hall chairs nor in fact to which family these directly relate.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A pair of George III mahogany urns and pedestalsCirca 1785, each urn with a fluted and oak-leaf carved lid surmounted by a pineapple finial, above a reeded, beaded and berried stiff-leaf clasped body with a Vitruvian scroll and honeysuckle frieze, over a guilloche collar, enclosing a lead-lined interior, the pedestal with a gadrooned edge above an acanthus frieze, with a door below surmounted by scrolled flowers and foliage centred by a palmette, one pedestal enclosing a lead-lined interior and the other enclosing one lead-lined drawer, one shelf and a door, 48cm wide x 48cm deep x 175cm high, (18 1/2in wide x 18 1/2in deep x 68 1/2in high) (2)Footnotes:Some designs for closely comparable Neoclassical urns and pedestals to the offered lot, which were first published posthumously in 1787, are illustrated in G. Hepplewhite, The Cabinet-Maker and Upholsterer's Guide, pl.'s 35 & 36, New York, 1969. Between 1775 and 1785 a pair of urns and pedestals with similarly carved ornament, including almost identical Vitruvian scroll friezes and gadrooned pedestal top edges, were provided by the Gillows firm for Lulworth Castle, Dorset. The latter being the family home of the Welds, who also resided at Stoneyhurst in Lancashire. These examples feature in S. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. I, pl.'s 346 & 347, p. 310.A pair of mahogany knife urns, dating to circa 1790, which also share many characteristics in common with the present urns were bequeathed to the Victoria and Albert Museum by Dr T.R.C. Whipham through Barclays Bank Ltd. in 1945. One appears in M. Tomlin, Catalogue of Adam Period Furniture, Victoria and Albert Museum, 1972, London, W/2, p. 190.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A George III mahogany writing table after a design by Thomas ChippendaleCirca 1760, of rectangular form with canted front angles, with a 'Chinoiserie' blind fretwork frieze incorporating one long drawer, with a baize-lined sliding top inset with an adjustable hinged ratcheted writing surface, enclosing six compartments and a swivel hinged stationery drawer to one side, on twinned columnar front legs and two square section rear legs each headed by interlaced scrolled spandrels, terminating in block feet, on castors, 118cm wide x 66cm deep x 79cm high, (46in wide x 25 1/2in deep x 31in high)Footnotes:The offered lot closely follows a design, originally published in 1754, which was produced by Thomas Chippendale and features in his groundbreaking work, The Gentleman & Cabinet-Maker's Director, No. LXXIII. Although the present lot is virtually identical to this drawing it has not been possible to attribute this table to Chippendale's workshop. This is due to there being no available provenance for the table, combined with an absence of easily identifiable Chippendale characteristics such as S-shaped keyholes, short grain kickers or a thin red wash to give a few relevant examples.Also, because of the huge popularity and influence of all three editions of the 'Director', Chippendale's designs from that publication were widely copied and imitated across Great Britain, particularly during the period 1755-70 making the task of attribution even more arduous.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
LIVERPOOLTAYLOR (THOMAS) Liverpool from an Actual Survey Made in the Year 1833, hand-coloured engraved map, with inset view of the Custom House, dissected and laid on linen, folding into the publisher's blue marbled slipcase, printed title label ('Price (coloured) 2.s.') on upper cover, 360 x 483mm., Liverpool, Thomas Taylor, 31 Castle Stree & 13 Church Street, [1833]Footnotes:A locally printed map of Liverpool, with an inset elevation of the Custom House (which was opened in 1839, and subsequently pulled down in 1948), showing the 'Line of the proposed Tunnel of the Liverpool and Manchester Railway for Passengers', which opened in 1836. This copy, with original hand-colouring, was priced at 2 shillings, whilst the uncoloured version was priced at 1s.6d.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
LITERATURE, SCIENCE AND THE ARTSCollection, contained in three albums and loose, comprising a large quantity of autograph letters, cut signatures etc., the majority to physicians Sir George Buckston Browne and Sir Henry Thompson by, amongst others, Robert Louis Stephenson (postcard, signed, asking him to come earlier '...I have no bad symptoms...'), Robert Browning ('...I shall be delighted to form a 'minor seventh', not venturing to hope for the position of 'sensible note', - in your 'Octave' on the 7th of May...', mentioning a picture submitted to an exhibition, presumably by his son, and thanking him for his support, 11 April 1878), Wilkie Collins (accepting an invitation), Egyptologist Amelia B. Edwards ('...the medicine you prescribed for me was sent to the wrong room...'), Marie Louise Ramé ('Ouida'), Leslie Stephen, poet Edwin Arnold, artists John Brett, Val Princep, John Tenniel, George du Maurier, Philip Calderon, Carlo Pellegrini ('Ape'), Alma Tadema ('...Please allow this draughtsman to work from the Tarquinius...'), Marcus Stone, William Powell Frith, musicians Arthur Sullivan ('...I have had no violent pain again – but always feel uncomfortable...') and George Grove, scientists William Jenner ('...Has this gentleman any stone in his bladder?...'), James Paget, Joseph Lister (regarding an consultation), Thomas Henry Huxley (his daughter has diptheria but is recovering), Irish physicist John Tyndall, US surgeon and pharmacologist Henry J. Bigelow, explorer George Nares (sending some Arctic crockery used aboard the Alert in 1884 '...One of our sledge parties, under Markham and Parr journied [sic] North to within 400 miles of the Pole. It is now reported that Lockwood and Brainard of the U. States Expd under Greeley succeeded in getting 3 ½ miles farther North – but no ship has beaten the 'Alert'...'), Admiral Robert Patton, Charles Spurgeon, William Gull (signed autograph envelope fragment); the second album containing mainly theatre and music hall stars (Dan Leno, Charles Reade, Nellie Melba, Ellen Terry, signed photographs of Percy Grainger and Gertie Millar amongst others), also Henry Morton Stanley (autograph letter accepting an invitation), George Meredith, many cut signatures including the Grossmiths, Charles Parry, Clara Schumann, Robert Peel, George III, Earl Nelson, actors, nobility, politicians etc.; third album containing c.280 signed free fronts from politicians and the nobility, mostly 1820's and 30's; with a folder of c.20 loose autograph letters including Henry Irving (letter of thanks in the hand of his secretary Bram Stoker), Arthur Sullivan, Charles Spurgeon (6), the Princess Royal, Jan Smuts (letter of thanks, 1942), two from General Wavell, one from Pacific Command, Java, 1942 ('...I have a difficult job here and some dangerous and anxious times ahead, but we shall eventually check and then drive back the Japs...'), c.150 leaves in all, half roan, folio and oblong folio, the second with visiting card of Miss Buckston Browne affixed to inside front board, predominantly nineteenth century (4)Footnotes:This collection comes from the descendants of the daughter of Sir George Buckston Browne (1850-1945). Coming from a long line of medical men, Buckston Browne enjoyed much success in his early career and in 1874 became private assistant to Sir Henry Thompson, the leading urologist of his day, specialising in prostate problems and bladder stones. Both men were held in high esteem by their patients and colleagues (Browne is the dedicatee of George Meredith's Lord Ormont and his Aminta), and moved in the highest social circles, treating many illustrious names as demonstrated by the letters in this collection. Buckston Browne was with Thompson for fourteen years before starting his own consultancy, becoming a much respected, and wealthy, connoisseur and benefactor of the arts. In 1927 he purchased Charles Darwin's Down House, thus preserving it for posterity (see livesonline.rcseng.ac.uk website). Sir Henry Thompson (1820-1904), his mentor, was the 'archetypal Victorian polymath', and several of our letters refer to his celebrated 'Octaves', dinners comprising eight dishes, beginning at eight o'clock, for eight guests (see Robert Browning's letter above): 'Renowned for their cuisine and conversation, they were attended by royalty, colleagues, famous men (no women) from the arts, literature, the professions and politics, and foreign visitors' (Alex Paton, ODNB).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![CHALON (ALFRED EDWARD AND JOHN JAMES)'Sketches by A.E.C. & J.J.C. The Etchings by F[rancis] S[tevens] from Mr. Standerts'](https://cdn.globalauctionplatform.com/478fc58d-23a3-4aa2-8e29-ac8a00d3fc8c/7715815b-4fef-4cb9-a812-ac8d00cef334/468x382.jpg)
CHALON (ALFRED EDWARD AND JOHN JAMES)'Sketches by A.E.C. & J.J.C. The Etchings by F[rancis] S[tevens] from Mr. Standerts' [sic] Poem of the Winter's Night, or the Admiral, the Farmer & the Old Marine. June 1818', manuscript title in ink, 6 original sepia ink and wash illustrations by A.E. and J.J. Chalon, 6 etchings (initialled 'F.S.' and numbered 1-6 in the plate), each mounted one per page (recto only) on original blue-grey paper, loose in contemporary half calf over marbled boards, original red morocco gilt lettering label on upper cover, covers loose, no spine, images approx. 115 x 88mm., [c.1818]Footnotes:Alfred Edward and John James Chalon, both Royal Academicians, were founder members with Francis Stevens of the 'The Society for the Study of Epic and Pastoral Design', later known as the 'Chalon Sketching Club', which first met in Stevens' home on January 6, 1808. 'The member at whose house the meeting was held provided paper stained on drawing frames, pencils and sepia. The subjects selected as a theme, chiefly from the ancient classics, were chosen by the host, who prepared written extracts, on separate slips, for the members, with each artist treating the subject according to his own conception' (Luke A. Dowle, Unveiling the Sketching Society (1799-1851), MPhil(R) thesis, Glasgow, online). The Winter's Night by Hugh Standish (not 'Standert' as given on our title) was a poem for juveniles published, with five plates, in Taunton in 1815.Provenance: Francis Stevens (1781-1823), bookplate (with pencil note 'Lot 37').This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
FORSTER (E.M.)Two autograph letters signed ('Morgan') to Rupert Barkeley Smith, the first recommending he visit the valleys of the Lot and the Dordogne, thanking him for having him to stay and asking if Mr Hall still sells apples ('...I should love some russets, even more than Cox's...'), the second thanking him for the apples ('...The packing of the apples is both masterly and masterful...') and talking of France ('...Not far off is Souillac with some wonderful Romanesque sculpture including a dancing Isaiah. I wish he had given lessons to other prophets...'), 4 pages, some foxing and rust stains where previously clipped together, small hole to one page not affecting text, 8vo (180 x 115mm.), King's College, Cambridge, 19 November and 30 November 1953; Where Angels Fear to Tread, FIRST EDITION, PRESENTATION COPY, inscribed 'R.B.S. from E.M.F./ 4/10/05' on the half-title, with a pencil note 'There is a beautiful sentence on page 161 which makes me love you' in another hand on the title, William Blackwood, 1905; The Hill of Devi, FIRST EDITION, PRESENTATION COPY, inscribed 'This last Indian snippet: with affectionate remembrances to Honor and yourself from Morgan, October 1953' on the front free endpaper, photographic plates, Edward Arnold, 1953; Howards End, FIRST EDITION, ownership inscription (Nov. 1910) on front free endpaper, Edward Arnold, 1910; Collected Short Stories, bookplate of R. Barkeley Smith, Sidgwick and Jackson, [1947], publisher's cloth, rubbed, some fading, 8vo (6)Footnotes:'THE LAST INDIAN SNIPPET WITH AFFECTIONATE REMEMBRANCES' - Correspondence and books inscribed to Rupert Barkeley Smith (1883-1970).E.M. Forster met Barkeley Smith, an Oxford undergraduate destined for the Indian Civil Service, whilst on an Aegean cruise at Easter 1903. Despite widely different approaches to life, they initially enjoyed a close relationship, Forster visiting Smith in Oxford and taking walking trips together, with Forster hoping for something more; in his journal for 22 December 1907 he writes '...I wish he cared for fooling... It is impossible to proceed further...' (Ed. P. Gardner, Journals & Diaries of E.M. Forster, 2011, vol. 1). By the time Smith returned on leave from India in 1912, however, Forster gives the impression that their friendship had cooled, writing in his journal '...He was trying, & no doubt tired. But he keeps the curious belief that we are in sympathy...' (10 May 1912).Despite this, whilst Assistant Magistrate in Allahabad, it was Smith who facilitated Forster's trip to India in 1913 organising accommodation, servants and hospitality and, on one memorable occasion, inviting him to an annual bathing fair. On the way they visited the Buddhist sites of Buddh Gaya and caves in the Barabar Hills, later to be used as the model for the Marabar Caves in A Passage to India. Smith's attitudes, however, did not leave Forster with a favourable impression of the British in India, something which would colour his characterisations in the novel and leaving him feeling rather depressed: '...Four years in India had left their mark on Smith. He was curt and insolent in Court, wouldn't speak a word to Forster's friend Ahmed Mirza when he came to lunch, and seemed, like his 'civilian' companions, to dislike every class of Indian except the peasant...' (P.N. Furbank, E M Forster: A Life, 1978, vol.1, p.249). When the book came out in 1924, Smith took offence at the portrayal not only as a slur on the Indian Civil Service as a whole, but as a personal affront since, he believed, the Turtons' house in the novel bore too close a resemblance to his own bungalow in Agra: '...different readers took every possible different view as to the fairness of his treatment of Indian problems. Some Tory-minded readers were incensed at the book... Rupert Smith wrote him a violent letter, more or less breaking off their friendship...' (Furbank, vol. 2, p.125). By the 1950's, RBS and Forster were reconciled sufficiently for Forster to send him the fondly inscribed copy of his Indian memoirs, The Hill of Devi, but the relationship never properly recovered, Forster admitting in 1963, '...I want to spend myself in writing to people who are on the margin of my heart. Letter to RBS has gone...' (Journal, 15 August 1963).These letters are not listed in Mary Lago's Calendar of the Letters of E.M. Forster, neither are they published in the Selected Letters. They have been retained by Rupert Barkeley Smith's descendants until now.For further information on this lot please visit Bonhams.com
DICKENS (CHARLES)Two conjoint indentures, both signed ('Charles Dickens'), regarding no. 30 Grove Road, Wanstead ('...being on the south side of a certain new road called Grove Road...'), the first being a 'Lease of one semi-detached villa residence', the lease from 'Charles Dickens of Gadshill Place by Rochester in the County of Kent Esquire', Malcolm Douglas Crosbie and George Frederick Hudson 'mortgagees of the premises', on the one part, George Horatio Wilkinson of Wanstead, 'mortgager and owner in fee of the same premises', of the second part, to Edward James Willmott of West Street Triangle, Hackney, builder and lessee, to run for 94 years assigning a 'yearly rent of two pounds ten shillings by equal half yearly payments', requiring him to 'paint or cause to be painted twice over with good oil color & in a workmanlike manner once in every four years', and including a ground plan of the site; the second a 'Conveyance of land and premises' transferring from Dickens, Crosbie and Hudson, on payment to Willmott of £60, the property 'known as no. 30 Grove Road Wanstead' provided he maintain it as a private residence and not offer 'annoyance nuisance or damage of the said Charles Dickens...or tenants of their or any of their adjoining properties', on three sides of two skins of vellum, with dockets and titles on the fourth, two sets of duty-stamps and red wax seals, usual minor dust-staining and creasing, especially where folded and filed, each c.550 x 665mm., G.F. Hudson, Matthews & Co., Solicitors, 23 Bucklersbury, London, 30 October 1868 and 12 April 1869Footnotes:DICKENS INVESTS IN PROPERTY IN WANSTEAD. Dicken's signatures stand at the head of both these documents concerning the sale of the 'semi-detached villa residence' at no. 30 Grove Road, Wanstead. The first is signed in characteristic turquoise ink, without flourishes, the second in brown ink with the usual flourished underlining.From the 'Ennumeration of Deeds referred to' in the second document, it is clear that Dickens first acquired an interest in this property in 1860 and, from the terms of the lease, that he owned further land in the area. This is borne out by a similar indenture sold in these rooms, 24 March 2009, lot 133, also dated 1868/9 regarding property at no. 16 Grove Road. The other parties to this transaction were either builders or speculative developers: Wilmott had just finished a development of four houses in Westward Ho! the previous summer (see the town's History Group website); while Wilkinson is recorded as a timber merchant residing in Shoreditch near Wanstead, and was busy in the 1860's developing property in Hackney in partnership with Marmaduke Matthews, an auctioneer, who is also named in our deed (see Victoria County History Middlesex, Vol.10, 'Hackney: Homerton and Hackney Wick', edited by T.F.T. Barker, 1995, pp.51-50). Crosbie, Dickens's fellow mortgagee, is recorded as inheriting and selling property in Grove Street, Hackney, in 1840 (Access to Archives, Hackney Archives Department, small collections, M220 and 221).None of these characters feature in the records of Dickens's life, neither is it his usual solicitor who drew up these deeds. The question arises as to why Dickens should have employed Hudson & Co., rather than his friend and usual solicitor Frederic Ouvry, of Farrer Ouvry & Farrer, who not only handled Dickens's separation from his wife, but also his publishing contracts and property affairs (see the Sotheby's catalogue of Dickens's business papers, London, 15 July 1999, lots 160-187). Having purchased Gad's Hill Place in 1856, Dickens sold Tavistock House in September 1860, for 2000 guineas. Three months after this, on 12 November, we find him giving Wilkinson a mortgage for the speculative development in Wanstead. It has been suggested that the property in Grove Road may have been purchased with a view to giving a home to his mistress Ellen (Nelly) Ternan but the ownership of another property in the same road would imply that Dickens was investing in these speculative properties with a more business-led motive in mind. It is thought that Dickens gave readings at the Becontree Archery Assembly Rooms, now the Wanstead Quaker Burial Ground.For further information on this lot please visit Bonhams.com
Reynaud (Paul). Au Coeur de la Mèlée 1930-1945, 1st edition, Paris: Flammarion, 1951, folding map, facsimile letter, bookplates of Sir Winston Churchill Library and Randolph Churchill Library, original wrappers, upper joint splitting, spine a little rubbed and toned, thick 8vo, presentation copy, inscribed to half title 'To Winston S. Churchill, from his admirer and friend Paul Reynaud', together with Fishman (Jack). My Darling Clementine. The Story of Lady Churchill, revised and extended edition, London: W.H. Allen, 1966, half-tone illustrations, original cloth, dust jacket (one or two closed tears), 8vo, inscribed to dedication leaf 'Inscribed by Clementine Spencer Churchill', plus Hawkes (Christopher). Winchester College, Country Life, 1933, half-tone illustrations, a little minor spotting, original cloth, some edge wear, covers a little bowed, 4to, inscribed by John 'Jack' Churchill (brother of Winston) 'John Churchill. Winchester College E House. Short Half 1929 - Common Time 1934', with others including The Dream, by Sir Winston Churchill, Pegasus, 2005 reprint, Andrew Roberts' The Storm of War, 1st edition, 2009 (inscribed by the author), Into Battle. Speeches by the Right Ho. Winston S. Churchill, compiled by Randolph S. Churchill, 1st edition, 1941 (plus five other editions of the same), Painting as a Pastime, 1st bookform edition, 1948, inscribed to Alan Taylor-Smith by Arabella S. Churchill, Secret Session Speeches, compiled by Charles Eade, 1st edition, 1946 and Alan Watson's Churchill's Legacy. Two speeches to save the World, 2nd printing, 2016, inscribed by the authorQty: (20)NOTESProvenance: From the Winston Churchill Collection of Major Alan Taylor-Smith (1928-2019).
Churchill (Winston Spencer). Charles, IXth Duke of Marlborough, K.G. Tributes by Rt. Hon. Winston Spencer-Churchill and C.C. Martindale, S.J., London: Burns, Oates & Washbourne, 1934, original stitched wrapper contained in later cloth solander box, 8vo (Woods B23), together with A Speech by the Prime Minister the Right Honourable Winston Churchill in the House of Commons, August 20th, 1940, 16 pp., a few small stains, original wrappers, some staple rust and stains to covers, 8vo (Woods A60a; PMM 424, contains 'Never in the field of human conflict was so much owed by so many to so few'), plus The Trumpeter of Saint George. An Engraving by Stephen Gooden A.R.A. with verses by G. Rostrevor Hamilton, London: George Harrap, 1941, original wrappers (slight staple rust), contained in later cloth portfolio, 8vo, contains a three-line quotation from a wartime speech, with facsimile signature (Woods D(b)55/1, with 11 other speeches, broadcasts, pamphlets etc including The Grand Design. A Speech by the Right Hon. Winston S. Churchill at the Congress of Europe [1948] (Woods A122), Europe Unites. The Story of the Campaign for European Unity, Including a full report of the Congress of Europe, held at The Hague, May 1948, [1949], (Woods B43), Set the People Free. A broadcast talk by the Rt. Hon. Winston Churchill,14th February, 1948 (Woods A120), Churchill's Visit to Norway, Oslo, 1949 (Woods D(b)74), Winston Churchill, by John Connell, 1956, inscribed by the author, and Letter to Anthony Wedgewood Benn, 9 April 1955, facsimile letter published by H.E. Rogers, 1961 (Woods A141)Qty: (14)NOTESProvenance: From the Winston Churchill Collection of Major Alan Taylor-Smith (1928-2019).
1953 Alvis TC21 3-Litre Cabriolet SportCoachwork by Carrosserie GraberRegistration no. JSU 357Chassis no. 25255*The ex-Geneva Motor Show*One of only six TC21 convertibles bodied by Graber*First registered in Switzerland*An older restoration*Present ownership for 35 years*Good history fileFootnotes:'The Alvis has never been an ordinary car for the masses, but a mount for the sporting and discerning driver interested in a quality product, and in a car that still looks like a car and is ruggedly built. By this it is not meant that the 3-litre is old fashioned; far from it, for the chassis is in fact as advanced as most.' – Autocar on the Alvis 3-Litre, 1952. Alvis recommenced production after WW2 with a single-model range little altered from that of 1939, the 12/70 - first introduced in 1938 - re-appearing as the TA14, the most obvious difference being the adoption of steel disc wheels in place of wires. An uncomplicated, separate-chassis design, the TA14 was powered by an overhead-valve four-cylinder engine of 1,892cc and featured beam-axle front suspension and mechanical brakes. Looking much like its TA14 predecessor, but featuring independent front suspension and a new overhead-valve, six-cylinder engine, the new 3-Litre Alvis was announced in 1950 as the TA21. Styled along classic, pre-war lines, the 3-Litre was reckoned by Autocar magazine to appeal to 'discerning owners who appreciate quality and good handling as well as mere performance'. Nevertheless, more of the latter was available from the mildly face-lifted TC21 - introduced in 1953 - courtesy of a redesigned cylinder head, twin SU carburettors and improved exhaust manifolding, making the TA21's successor good for 90mph. Introduced at the 1953 Earls Court Motor Show, the model's ultimate incarnation was the TC21/100 'Grey Lady', the '100' being a reference both to the maximum horsepower and top speed. The historic Alvis TC21 offered here, chassis number '25255', is one of only 11 such bodied by Graber (five coupés and six convertibles) and shortly after completion appeared on the Swiss coachbuilder's stand at the Geneva Motor Show (photograph on file). Hermann Graber's elegant designs were always executed to the very highest standards and his creations were necessarily expensive, costing far more than those of his British contemporaries. His designs on the TC (and preceding TA) chassis would prove to be of immense significance in the development of the post-war Alvis. In his book, Alvis – The Postwar Cars, John Price Williams observes: 'These models had a grace and purity of line which made the TA/TC series look very staid, and they attracted much attention'. Graber advertised three models on the Alvis 3-Litre chassis: a closed coupé and two cabriolets, one of 4/5 seats and the other with 2/3. Alvis's traditional upright radiator grille was retained for the 4/5 seater cabriolet, while the 2/3 seater Sport (as seen here) featured a more modern looking egg-crate grille. The overwhelmingly favourable reception given to his designs resulted in Graber being commissioned to style a production Alvis based on the TC21 - the TC108G - which was built by coachbuilders Willowbrook before production switched to Rolls-Royce's in-house coachbuilder Park Ward on the introduction of the revised TD21 for 1959.A right-hand drive model, '25255' was originally registered in Switzerland and is now registered and tax-paid in the UK. Owned by the current vendor for 35 years, the car is presented in very nice condition and comes with a good history file recording restoration and remedial work undertaken by specialists in the UK. It is a past participant in the Monte Carlo Classic and rallies to Riga and Moscow, ably fulfilling its maker's intended role as a supremely capable Grande Routière.For further information on this lot please visit Bonhams.com
A fine and rare late 17th century ebony quarter repeating table clock with alarmJoseph Knibb, LondonThe shallow caddy top with tied bud handle over foliate mounts to the front and sides, framed by four squat urn finials, the front door with pierced sound fret and two applied escutcheon mounts (the left hand pinned to allow access to the keyhole), with a pair or rectangular glazed side panels, on a plinth base, the 6.25inch square dial signed along the lower edge Joseph Knibb, London, with two slots flanking the XII 'N-S' and 'R-N' (Not strike- Strike and Ring - Not ring), the winged cherubs head spandrels framing the silvered chapter ring with outer minute track (marked in Arabic 5s), Roman hours with fleur-de-lyse half-hour markers and an inner quarter hour track, the centre finely matted and carrying the silvered Arabic alarm-setting dial, with finely fettled blued steel hands (the hour restored, but retaining the original hexagonal centre), the twin gut fusee movement united by six baluster shaped pillars, all latched to the frontplate, the going train terminating in a knife edge verge escapement, the strike train with rack system acting on a single bell above (the alarm sounding on the same bell), probably with a quarter repeat originally taken from the strike train (part of train and bell lacking, but with original pivotted hammer intact), the backplate with single line border framing a symmetrical design of four pairs of flowers (tulips, anenomes and irises), the lowermost pair of irises on cut stalks below the curved copperplate signature Joseph Knibb Londini fecit. 34cms (13ins) highFootnotes:Literature: Illustrated and described in R.A.Lee; The Knibb Family Clockmakers, The Manor House Press, 1964, Plate 81 and page 181 'Joseph Knibb, London. Table clock with ebony veneered case with repousse gilt metal mounts on the caddy top. The lifting handle, finials and escutcheons are of a design which now becomes standard. The eight day striking movement is fitted with alarm mechanism with setting dial under the hands. Stopwork for striking and alarm above chapter ring. Circa 1680-82. In the possession of Mrs Oakes.'For a similar repeat system operated from the strike train, see Dawson, Drover & Parkes, Early English Clocks, Antiques Collectors Club, 1982, pp392. Illustrated is an example by Edward Burgis, but others are known by Richard Colston, William Herbert and Fromanteel, see plates 557 to 563.See Sunny Dzik, Engraving on English Table Clocks, 'Art on a Canvas of Brass, 1660-1800' 2019, figure 8.6 for a related cut-stalk backplate with curving signature on a Joseph Knibb table clock. Other Knibb cut stalk patterns can be seen in plates 8.7 and 8.8, and in the digital library.For further information on this lot please visit Bonhams.com
* Maynard (George Willoughby, 1843-1923), American painter, illustrator and muralist. A photographically-illustrated scrap album relating to George Maynard and fellow American academic classical painter and sculptor Francis Davis Millet (1848-1912), c. 1870s, containing over 200 photographs including some not from life, mostly albumen prints but including some cyanotypes, many carte-de-visite-sizes but also some larger, including 3 photographs of Millet's house and studio, East Bridgewater, Massachusetts, 1876, two group portraits, one of the Epyphrykan Club, Antwerp, 1872, featuring both Maynard and Millet, plus Edwin G. Champney and others, signed by 7 of the 8 sitters on the mount, the other of students of the Royal Academy, Antwerp, a portrait of Elihu Vedder by G.C. Cox with pencil inscription from the sitter to Maynard to mount below, Charles Volkmar digging in a garden, various photographs of decorations at Rockwood Hall, 20 small cyanotypes of Mexican views by Fred S. Wild, 4 cyanotypes of a studio 'The Benedick', a photograph of Stedman's house by Edmund M. Wheelright, cyanotypes of works by W.L. Dodge, studio of Charles Dubois, Neuchatel, Copeland's room, Paris, plus photographs of Antwerp, Alexandria Virginia, Cooperstown New York, etc., heavily captioned and annotated in contemporary pencil throughout with some annotations on the photographs themselves, many photographs faded and chipped or torn with occasional loss, interspersed with related engravings and cuttings relating to art and design, plus approximately 10 loose unsigned pencil sketches showing a reclining child, 2 in Rome, 3 sketches of tigers and several of figures in Constantinople, plus one watercolour of a building (an art school?) in Anvers, dated 1869, all torn with some loss, album leaves all brittle and detached and disbound with only one board present, 4to (33 x 27 cm)Qty: (1)NOTESThe album appears to have been compiled by Maynard though it is not clear whether any of the pencil sketches or captions are in his hand. His contemporary Francis Millet who makes several appearances in the album is better known than Maynard as an artist, sculptor and writer. He died in the sinking of the RMS Titanic on 15 April 1912. He was last seen helping women and children into lifeboats. His body was recovered and returned to East Bridgewater, Massachusetts, where he was buried in Central Cemetery. Sold with all faults, not subject to return.
A collection of decorative art and antique reference works including Russian Furniture, The Golden Age, 1780-1840 by Antoine Cheneviere, The Windsor Style In America by Charles Santore, American Case Furniture by Gerald W R Ward, Biedemeier Furniture by Rudolph Pressler and Robert Straub, Matthew Bolton: Ormolu by Nicholas Goodison, An Illustrated Encycopaedia Of British Pottery And Porcelain Marks by Geoffrey A Godden, Paktong, A Chinese Alloy In Europe by Keith Pinn, Authentic Decor, The Domestic Interior 1620-1920 by Peter Thornton, Encyclopaedia Of Furnishing Textiles, Floor Coverings and Home Furnishing Practices 1200-1950 by Clive Edwards, 18th Century Decoration, Design And The Domestic Interior In England by Charles Saumarez-Smith, The Arts And Crafts House by Adrian Tinniswood, Iron and Brass Implements Of The English House by Seymour Lindsay, Hallmark, The History Of The London Assay Office by J S Forbes, The Genius Of Robert Adam, His Interiors by Eileen Harris
Spätantike Tonlampe mit Schutzhütte im Weinberg. Nordafrika, 4. - 5. Jh. n.Chr. Typ Hayes II. L 14,5cm, H 3,2cm. Aus hellrotem Ton mit rotem Überzug. Zapfenförmiger Griff, eiförmiger Corpus und gerundete Schnauze mit Brennloch. Zwei Einfülllöcher im Spiegel. Auf dem Spiegel eine viereckige Hütte aus Schilfrohr auf einem hohen Stamm mitten im Weinberg. In dieser sitzt der Hüter des Weinbergs und spielt Flöte. Auf dem Dach der Hütte sitzt ein Vogel. Links hängt ein bestrafter Weinbergdieb, der eine Weintraube im Mund hat, rechts ein Fuchs, der einen Hasen jagt. Auf der Schulter Weinranken. Mit Rechnung von Axel G. Weber! Intakt. Pseudo-Cyprian (Mont.Sina et Sion 14) beschreibt die Errichtung der Schutzhütte im Weingarten sowie die Tätigkeit des Weinberghüters. Die Tätigkeit des Weinberghütens wird auch noch für das 19. Jahrhundert in der Türkei beschrieben, wobei die Hüter auch Wild erlegten, wie z.B. Wildschweine, Füchse und Hasen (vgl. H.J. van Lennep, Travels in little-known parts of Asia Minor, 1870, S.210f.). Siehe auch zur Verbreitung der Weinbergschutzhütten in der Antike: K. Helms, Guarding Grapes in Roman Egypt, Bulletin of the American Society of Papyrologists 50, 2013, S. 135-143, bes. 137, Anm.9. Late Roman terracotta lamp of beige clay with brown slip depicting a tree house in the vineyard with the guardian of the vineyard who plays the flute. At the hut hangs a thief with a grape in his mouth. On the right, a fox chasing a hare. North Africa, 4th - 5th century A.D. Intact. With description of Axel G. Weber! Provenienz: Ex Slg. R.M., Rheinland. Erworben 1984 bei Axel G. Weber, Köln.
D. Fernando de Serpa Pimentel (19th/20th C.)'s souvenir album, watercolour and pastel on paper, photograph, SERPA PIMENTEL, D. Fernando de (1851-1928).- Álbum de recordações.- Séculos XIX/XX.- 1 vol. (26 folhas duplas); 26x25 cm.- E. D. Fernando de Serpa Pimentel (1851-1928), Navy officer, was commander of several ships, including the Yacht Amélia. In these functions, he accompanied Queen Amelia and the princes on their tour of the Mediterranean and the Dukes of Orléans on the journey between Seville and Gibraltar (1885). D. Fernando de Serpa, was also field assistant to the kings D. Carlos I and D. Manuel II. Lot consisting of a souvenir album, with oriental structure in continuous folding (harmonium), containing 26 pages on each side, two of which are endpapers (glued on the back covers). In the first seven pages (front), it presents the following description: Travel by the Royal Amelia Yacht to go from Seville to Gibraltar His Royal Highness the Duke of Orléans. Garrison Captain Lieutenant Roberto Ivens, D. Fernando de Serpa, First Lieutenant João Jorge Moreira de Sá. Departure from Lisbon, May 24, 1896. at 10am. 30 m. (a.m.). The seven pages include, pasted, 49 photographs of various formats representing scenes of the interior and exterior of the yacht, as well as aspects of the locations visited during the trip. Six pages are decorated with allusive drawings, watercolour and pastel, unsigned, but surely from the hand of D. Fernando de Serpa, some with a beautiful decorative effect. Below is a set of photographs of members of the Royal Family and the House of Orléães (30 photographs and eight decorated pages), passing on to members of the Portuguese court (about 140 photographs), especially in everyday scenes and moments of leisure: hunting, walks, trips to the beach, bathing, etc. The majority of the photographs are subtitled with identification of the represented characters. On the back pages, more than 120 photographs are glued (on 12 undecorated pages), most of which are small, of which only 26 are labeled. The photographs also represent members of the Royal Family and the court, their organization being less structured. The back also includes 14 unused pages (blank). Some photographs are a faded. In addition, a well-preserved volume, covered in oriental silk on both covers, with gold plant motifs on a black background. The set is packed in a case, made recently, in blue canvas. Provenance: estate of D. Fernando de Serpa Pimentel.
Rock / Blues Rock / Jazz / Blues / Pop / Rock & Roll - A mixed group of 125+ 45 7" vinyl singles and EP's of varying artists to include Cliff Richard And The Shadows The Young Ones P/S (SEG 8159), Nat King Cole Espanol P/S (EAP2-1031), Ella Fitzgerald In Person P/S (VEP 5001), The John Barry Seven Zulu Stamp (EMB S185), Eddie Cochran Never To Be Forgotten (LEP 2052), Frankie Miller Darlin' (CHS 2255), Frank Ifield Please (SEG 8288), Louis Armstrong Hello, Dolly (HL-R.9878), Gerry And The Pacemakers I Like It (DB 7041), The Animals House Of The Rising Sun (RR 1), The Bachelors' Hits P/S (DFE 8595), The Monkees I'm A Believer (RCA-1560), Kenneth McKellar Songs Of The Isles (STO 137), Queen Somebody To Love (EMI 2565), The Beatles A Hard Day's Night (R 5160) and She Loves You (R 5055), The Shadows Spotlight On P/S (SEG 8135), The Seekers I'll Never Find Another You (DB 7431), Manfred Mann Do Wah Diddy Diddy (POP 1320), The 4 Seasons I've Got You Under My Skin (BF 1511), The Troggs Any Way You Want Me (POF 010), John Leyton Son, This Is She (POP 956), Andy Desmond flexi disc A Taste Of The New Album and many more.
A .320'' BRITISH CALIBRE ENGLISH MANUFACTURED CENTRE FIRE NICKEL PLATED SOLID FRAME POCKET REVOLVER FITTED WITH A 3'' BARREL, its top strap is engraved with the name I. Hollis & Sons, London, it bears no visible serial number and was proved for use with black powder cartridges at the Birmingham Proof House, it is in correct working condition and has retained virtually all its original finish, I. Hollis & Sons were originally established in London in 1814 and operated from various addressed in London including one in Birmingham until 1903 when the company was succeeded by Hollis, Bentley and Playfair, given that this calibre was first introduced in the 1870's, this revolver was made sometime between the 1870's and 1903, this calibre is currently listed by the Home Office as obsolete and the revolver is therefore classed as an antique under section 58(2) of the 1968 Firearms Act and free from licensing whilst kept as a curio or ornament
A mixed lot, including an Austrian cold painted bronze group of birds on onyx base, 1930’s, a pair of gold rimmed spectacles, an antler and cane riding crop, a Stesco map measurer, a Negretti & Zambra pocket forecaster, a Monaco Roulette hand wheel, a Moto Meter, a Post Office Savings Bank, two Parker pens and a Schaeffer pen, and a number of stamped and crested envelopes with some relating to Claremont House, (qty)
* EMMA S DAVIS RSW PAI (SCOTTISH b 1975), MORNING CHIT CHAT mixed media on board, signed, further signed and titled verso 31cm x 31cm Framed and under glass Note: Emma studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show, sales included pages from her sketchbook. From the time of graduating to today she has been working full time as an artist. She has received many awards over the years including the House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she was also one of the youngest artists to receive the Paisley Art Institute Diploma. Numerous notable corporate and private collections.
Orden & Ehrenzeichen Deutschland - Preußen : Preußen: Orden Pour le Merite Orden & Ehrenzeichen Deutschland - Preußen : Preußen: Orden Pour le Merite Orden & Ehrenzeichen Deutschland - Preußen : Preußen: Orden Pour le Merite Auszeichnungsgruppe des Hauptmanns Daniel Gerth, Ritter des Pour le Merite (1891 - 1934). Die Gruppe besteht aus folgenden Gegenständen und Auszeichnungen: - Pour le Merite, Silber - vergoldet und emailliert, am langen genähten Originalband mit Verschlußknöpfen. In der Öse Silberstempel. Die Buchstaben ziseliert. Viel getragenes Exemplar mit beidseitigen Tragespuren und Emailleabsplitterungen. Sehr schönes Exemplar aus der seltenen Fertigung des Hofjuweliers Godet, Berlin. - Verleihungsurkunde zum Pour le Merite, datiert vom 1. Oktober 1918, mit Originalunterschrift "Kanitz". - Ritterkreuz mit Schwertern des Königlichen Hausordens von Hohenzollern, Silber - vergoldet und emailliert. Mit Herstellerzeichen "JG & S 938". - Die übrigen Weltkriegsauszeichnungen: EK I. und Silbernes Verwundetenabzeichen. - SA - Dolch Normal 0 21 MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Normale Tabelle"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:"; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} (ROB. GIERSCH SOLINGEN) und zugehöriges SA - Braunhemd für einen Hauptsturmführer. - Ärmelabzeichen des Freikorps Gerth (Ostpreuß. Jägerkorps Gerth) in Sonderausführung für den Chef des Freikorps. Hauptmann Daniel Gerth erhielt seinen Pour le Merite am 1. 10. 1918 als Führer des III./IR 150 im Rahmen der Abwehrschlacht in der Champagne und an der Maas gegen Briten und Amerikaner. Die Verleihungsbegründung lautet wie folgt: "Auf Antrag 37. Infanterie - Division erbittet Generalkommando XXI. Orden Pour le Merite für Oblt. Gerth, Führer III./I.R.150. Begründung: Bei der Verteidigung des Dorfes Cierges wies das III./I.R. 150 unter Führung des Oblts. Gerth am gestrigen Tage zehn feindliche Angriffe amerikanischer Waffen, darunter mehrere Tanks, erfolgreich ab. - Am heutigen Vormittag scheiterte vor der Front desselben Bataillons zwei ernete Massenangriffe, bei deren zweitem 10 feindliche Tanks zur Strecke gebracht werden. Zusatz des A.O.K.: Ich befürworte den Vorschlag." Nach dem 1. Weltkrieg hatte Gerth sein eigenes Freikorps das Grenzschutzkämpfe in Ostpreußen durchführte. Er machte Karriere in der SA und stieg zum Adjutanten des Stabschefs der SA, Ernst Röhm, auf. Im Zuge des Röhm - Putsches wurde er zusammen mit anderen SA - Führern 1934 von der SS erschossen. Dem Konvolut beigefügt ist eine Fülle von Dokumenten und Fotos, u.a.: Abschrift des Führungszeugnisses von 1919; Lebenslauf mit Gerths Unterschrift, Kriegsranglistenauszug mit Auflistung der Orden und Ehrenzeichen, Dienstleistungszeugnis von 1919; Verschiedene Fotos im Kreise von SA - Führern, darunter eines zusammen mit dem Prinzen August Wilhelm von Preußen. Auf diesem Foto trägt Gerth, klar erkennbar, den hier angebotenen Pour le Merite. Ausführliches Dokumentationsmaterial zum Röhmputsch und über das Freikorps Gerth, teilweise Originaldrucke, sowie vier schöne großformatige Dedikationsfotos der SA - Führer Walter Honeck, Gruppenführer Karl Aust, und weiterer. Außerdem Speisekarte eines Abendessens zu Ehren von Rittern des Pour le Merite vom 23. 01. 1934 mit farbig gedrucktem Ordenskranz und den Originalunterschriften diverser anwesender Pour le Merite Träger. Schöne, geschichtlich hochintressante und sehr seltene Gruppe. 2 Orden & Ehrenzeichen Deutschland - Preußen : Preußen: Orden Pour le Merite Orden & Ehrenzeichen Deutschland - Preußen : Preußen: Orden Pour le Merite Orden & Ehrenzeichen Deutschland - Preußen : Prussia: Pour le Merite grouping to Captain Daniel Gerth awarded for his gallantry fighting superior US Forces. Award group of medals and documents to captain Daniel Gerth, Knight of the Pour le Merite (1891 - 1934). The group consists of the following objects and awards: - Pour le Merite, silver - gilded and enamelled, at the long original sewn ribbon with fastening buttons. Silver stamp in the eyelet. The letters chased. Much worn example with traces of wear and enamel chips on both sides. Very nice original example from the rare production of the court jeweller Godet, Berlin. - Award document for the Pour le Merite, dated 1 October 1918, with original signature "Kanitz". - Knight`s breast badge with swords of the Royal House Order of Hohenzollern, Silver - gilt and enamels. With maker`s mark "JG & S 938". - The other World War awards: Iron Cross Ist Class and Silver Wound Badge. - SA - Dagger (ROB. GIERSCH SOLINGEN) and corresponding SA - Brown Shirt for the rank of Hauptsturmführer. - Sleeve badge of the Freikorps Gerth (Ostpreuß. Jägerkorps Gerth) in special design for the chief of the Freikorps. Captain Daniel Gerth received his Pour le Merite on 1. 10. 1918 as leader of the III./IR 150 during the defensive battle in the Champagne and Maas against British and Americans. The reason for the award is as follows: "On request 37th Infantry - Division General Command XXI requests award of the Order Pour le Merite for Oblt. Gerth, Führer III./I.R.150. Justification: In the defence of the village of Cierges, the IIIrd/Infantry Regiment 150, led by (First Lieutenant) Oblt. Gerth successfully repelled ten enemy attacks by American weapons, including several tanks, yesterday. - This morning, in front of the front line of the same battalion, two mass attacks, the second of which involved 10 enemy tanks which were destroyed, failed. Addendum of the A.O.K.: "I support the proposal. After the 1st World War Gerth had his own Freikorps which carried out border patrols in East Prussia. He made a career in the SA and was promoted to adjutant of the Chief of Staff of the SA, Ernst Röhm. In the course of the Röhm - putsch he was shot by the SS in 1934 together with other SA - leaders.Included with the medals is a number of documents and photos, including a copy of the certificate of good conduct of 1919; Curriculum vitae with Gerth's signature, excerpt from the war ranking list with a list of orders and decorations, service record of 1919; Various photos in the circle of SA leaders, including one together with Prince August Wilhelm of Prussia. On this photo Gerth wears, clearly recognizable, the Pour le Merite offered here. Detailed documentation material about the Röhmputsch and about the Freikorps Gerth, partly original prints, as well as four beautiful large format dedication photos of the SA - leader Walter Honeck, group leader Karl Aust, and others. Also menu of a dinner in honour of knights of the Pour le Merite from 23. 01. 1934 with colour printed wreath and the original signatures of several Pour le Merite winners present at the dinner. Important and extremly rare grouping for an action against US forces, one of only a few known to exist. Normal 0 21 MicrosoftInternFull description on lot-tissimo.com
Leo Putz 1869 Meran - 1940 Meran Ein Sommertag. 1925. Öl auf Leinwand. Putz 855. Links unten signiert und datiert '025'. Auf dem Keilrahmen mit einem Etikett, darauf handschriftlich bezeichnet 'Ein Sommertag Leo Putz 1925 Gauting'. 110 x 120 cm (43,3 x 47,2 in). • Wunderbar leichte und lichterfüllte Szenerie, die Putz’ meisterliche Pleinairmalerei um eine mutigere Farbpalette erweitert. • Virtuoses Spiel mit der kunsthistorisch bedeutenden Tradition der 'Armor und Psyche'-Darstellungen. • Abschließende Version einer kleinen Folge von Gemälden, in denen Putz sein junges Modell Toni gemeinsam mit seinem Sohn Helmut zeigt. • Das ein Jahr später entstandene Gemälde 'Am Bassin', das ebenfalls das Aktmodell Toni zeigt, befindet sich in der Sammlung des Lenbachhauses, München. PROVENIENZ: Aus dem Nachlass des Künstlers. Privatbesitz (um 1974). Privatsammlung Italien (bis 2001, auf dem Keilrahmen mit dem Stempel). Privatsammlung Großbritannien (seit 2001; Ketterer Kunst 1.12.2001). LITERATUR: Ruth Stein, Leo Putz, Wien 1974, Kat.-Nr. 463. Ketterer Kunst, 261. Auktion, Kunst des 20. Jahrhunderts, 1.12.2001, Kat.-Nr. 25, mit Abb. „Die schönsten Beleuchtungen fesseln mich, das sind Beleuchtungen, die sich verschlingen und nur im letzten Augenblick festzuhalten sind. [..] Es sind Farbklänge, die wie ein musikalischer Wohlklang zu einander stimmen müssen [..] sie vereinigen sich zu einem Akkord, in dem es keine Dissonanzen geben darf [..].“ Leo Putz, zit. nach: Ruth Stein, Leo Putz, Wien 1974, S. 39. Wunderbar leicht und lichterfüllt sind gerade Leo Putz’ sommerliche Aktdarstellungen der 1920er Jahre, in denen der impressionistische Duktus der 'Scholle'-Zeit noch um eine leuchtende, expressive Farbpalette bereichert wird. Wie die Farbpalette, so ist auch die Motivik seiner Freiluftmalerei in diesen im Garten und angrenzenden Waldstück seines neuen Gautinger Hauses entstandenen Gemälden deutlich mutiger geworden. Putz zeigt nicht mehr nur den sich ungezwungen in freier Natur bewegenden oder stehenden weiblichen Akt, sondern bietet diesen in 'Ein Sommertag' in erotischer Pose schlafend, geradezu schutzlos vor den Augen des Betrachters dar. Die Spannung der Szenerie wird zudem noch dadurch gesteigert, dass dem schlafenden Modell nicht etwa ein zweiter weiblicher Akt, sondern ein nackter Knabe zur Seite gestellt wird, der seinen wachen Blick geradezu fordernd dem Betrachter entgegenrichtet. All das erinnert an das seit der frühen Neuzeit bekannte Sujet der 'Armor und Psyche'-Darstellungen. Putz hat die traditionsreiche erotische Darstellung in 'Ein Sommertag' jedoch aus ihrem mythologischen Kontext befreit und in ein modernes, von sommerlicher Leichtigkeit und expressiver Farbigkeit erfülltes Sujet übertragen. Die junge Toni ist wohl das liegende Modell, sie hatte dem erfolgreichen Maler bereits im Sommer des Vorjahres in Gauting mehrfach Modell gestanden; und auch Helmut, der damals neunjährige Sohn des Künstlers, wird in der Folgezeit einige Male gemeinsam mit der zarten, dunkelhaarigen Schönheit dargestellt. Unserem 'Sommertag' gehen 1924 die Gemälde bzw. Gemäldestudien 'Toni und Helmut' (Putz 833 und Putz 835) und 'Im Schatten' (Putz 834) voraus. Die spätere Version von 'Toni und Helmut' nimmt die Posen der beiden auf dem weißen Kissen ausgestreckten Akte bereits in kleinem Format vorweg, jedoch hat Putz in unserer abschließenden Version den Blick geweitet und den Hintergrund des großen Formates durch die stark angeschnittenen Bäume, die spiegelnde Oberfläche des Wasserlaufs und den in abendliches Rosé und Gelb getauchten, hoch gesetzten Horizont virtuos erweitert. Wunderbar verbindet 'Ein Sommertag' damit all das, was den besonderen Reiz von Putz’ meisterlicher Pleinairmalerei ausmacht. [JS] Aufrufzeit: 11.12.2020 - ca. 18.08 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONLeo Putz 1869 Meran - 1940 Meran Ein Sommertag. 1925. Oil on canvas. Putz 855. Signed and dated '025' in lower left. Verso with a label inscribed 'Ein Sommertag Leo Putz 1925 Gauting'. 110 x 120 cm (43.3 x 47.2 in). • Wonderful airy and light-flooded scene that enriches Putz’s masterly plein-air painting by a bolder palette and more erotic motifs. • Virtuoso play with the art-historically significant depiction of 'Cupid and Psyche'. • Final version of a small series of paintings in which Putz depicts his young model Toni together with his son Helmut. • The painting 'Am Bassin', made a year later and also showing the nude model Toni, is part of the collection of the Lenbachhaus, Munich. PROVENANCE: From the artist's estate. Private collection (around 1974). Private collection Italy (bis 2001). Private collection Great Britain (since 2001; acquired through Ketterer Kunst). LITERATURE: Ruth Stein, Leo Putz, Vienna 1974, cat. no. 463. Ketterer Kunst, 261st auction, 20th Century Art, December 1, 2001, cat. no. 25, with illu. 'The finest illuminations captivate me, engulfing illumnations that can only be captured the very last moment. [..] These color chords have to be coherent like a musical harmony [..] they merge to form a chord free from dissonance [..].“ Leo Putz, quote after: Ruth Stein, Leo Putz, Vienna 1974, p. 39. Leo Putz's summer nude scenes from the 1920s are wonderfully light and suffused with light, the impressionist style of the 'Scholle' era is enriched by a bright, expressive color palette. Like the color palette, the motifs of his plein-air paintings, executed in the garden and adjacent forestof his new house in Gauting,have become significantly bolder. Putz no longer only shows the female nude moving aboutfreely or standing in the open air, but rather presents itsleeping in an erotic pose and almost defenseless in front of the viewer in 'Ein Sommertag“ (A Summer's Day). The subtle erotic tension of the scene is also increased by the fact that the sleeping model is not put to the side of a second female nude, but a naked boy who turns his wakeful gaze towards the viewer in demanding manner. All of this is reminiscent of the subject of 'Armor and Psyche', which has been popular since early modern times. However, Putz liberated the traditional erotic depiction in 'Ein Sommertag' from its mythological context and transferred it to a modern subject filled with summery lightness and expressive colorfulness. The lying model probably is the young Toni who had posedfor the successful painter on several occasionsin Gauting theprevioussummer; and Helmut, the then nine-year-old son of the artist, was portrayed several times with the tender, dark-haired beauty. Our 'Ein Sommertag' was preceded by the works 'Toni und Helmut' (Putz 833 and Putz 835) and 'Im Schatten' (Putz 834) in 1924. The later version of 'Toni und Helmut' anticipatedthe poses of the two nudes stretched out on awhite pillow in a small format, but in our final version Putz has broadened the view and virtuously expanded the background of the large format through the truncatedtrees, the reflections on the water surface and the high horizon bathed in a rosé and yellow evening light. 'Ein Sommertag' wonderfully combines everything that makes for the special appeal of Putz's masterful plein-air painting. [JS] Called up: December 11, 2020 - ca. 18.08 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Karl Hofer 1878 Karlsruhe - 1955 Berlin Weg nach Lugano. Um 1930. Öl auf Leinwand. Wohlert 921. Rechts unten monogrammiert (in Ligatur). Verso auf dem Keilrahmen wohl von fremder Hand datiert 'um 1930' sowie mit dem Namen und der Adresse des Künstlers bezeichnet. 62 x 100 cm (24,4 x 39,3 in). Hofer schafft insgesamt vier Versionen dieses Bergpanoramas mit zurückgenommener und zugleich eindrucksvoller Bildsprache. Bei der hier vorliegenden Arbeit handelt es sich um eine der beiden frühen Versionen (die andere 1926, Wohlert 726). Zwei weitere Arbeiten mit diesem Motiv entstehen um 1935 (Wohlert 1168) und 1945 (Wohlert 1910). • Eine der berühmten Landschaftsdarstellungen Hofers aus dem Tessin, das der Künstler ab den 1920er Jahren zu seiner zweiten Heimat auserkor. • Seit über 50 Jahren in Familienbesitz. • Weitere Landschaften aus dieser Zeit befinden sich bspw. im Museum Kunstpalast in Düsseldorf, im Sprengel Museum in Hannover, in der Galleria Nazionale d'Arte Moderna e Contemporanea in Rom, in der Staatsgalerie Stuttgart und im Kunstmuseum Winterthur. PROVENIENZ: Atelier des Künstlers (bis mindestens 1935). Galerie Nierendorf, Berlin (1965). Galerie Grosshennig, Düsseldorf. Privatsammlung Minden/Bad Oeynhausen (ab 1968). Privatsammlung Schweiz (1973 vom Vorgenannten durch Erbschaft erhalten). Seitdem in Familienbesitz. AUSSTELLUNG: Marc Chagall, Karl Hofer, Franz Marc, Marianne von Werefkin, Kunsthaus Zürich, 13.1.-10.2.1935; Mannheimer Kunstverein, März 1935; Freiburger Kunstverein, 30.5.-30.6.1935, Kat.-Nr. 65, S. 6 (Ausstellung aus dem Eigentum des Künstlers). Werner Zeppenfeld: Plastik, Max Beckmann: Graphik, Karl Hofer: Ölgemälde, Kunstverein in Hamburg, 5.4.-3.5.1936, Kat.-Nr. 6. Karl Hofer and Xaver Fuhr, Detroit Institute of Arts u. Russell A. Alger House, Grosse Pointe Farms, Detroit, 17.3.-2.4.1939, Kat.-Nr. 16. Expressionisten. Aquarelle, Bilder, Graphik, Galerie Nierendorf, Berlin 1965, Kat.-Nr. 16 (mit dem Titel 'Berglandschaft mit Häusern', dat. 'um 1928', mit Abb.). LITERATUR: Koch, Neue Arbeiten von Karl Hofer, in: Neues Mannheimer Volksblatt, 8.3.1935. 1918 bereist Karl Hofer erstmals das Tessin, das ihm in den kommenden Jahren immer wieder als Zufluchtsort und Inspirationsquelle dient und das er ab Mitte der 1920er Jahre dann mit dem Erwerb eines Sommerhäuschens am Luganer See zu seiner zweiten Heimat macht. In mehreren äußerst farbharmonischen Landschaftsgemälden porträtiert Hofer die ihn im Tessin umgebende Landschaft und schafft Darstellungen von Tessiner Dörfern und Sehenswürdigkeiten. Zu dieser Zeit arbeitet er meist mit vereinfachten Formen, starken Konturen und deutlich voneinander abgesetzten Farbflächen, die seinem damals intendierten strengen, fast abstrahierenden, malerischen Ausdruck entsprechen. Den hier dargebotenen Blick auf die Tessiner Berge hält er in typischer Hofer-Manier zwischen 1926 und 1945 in gleich mehreren Versionen fest. Diese Form der über mehrere Jahrzehnte gestreckten Wiederholung und Variation eines bestimmten Bildmotivs gilt als charakteristisches Prinzip der bildnerischen Gestaltung im Œuvre des Künstlers. In einem langwierigen Prozess verändert, verdichtet, klärt und präzisiert Hofer die jeweilige erwählte Bildidee und erzielt mit dieser besonderen motivischen Konzentration eine sonderbare Steigerung von Form und Ausdruck seiner Werke. Eine erste Version aus den 1920er Jahren zeigt die Landschaft noch in deutlich sanfterem Licht, Hofer verwendet abgeschwächte, teils pastellige Töne. Die vorliegende Landschaft ist nicht mehr so unmittelbar an das Gesehene gebunden, sie entsteht mehrere Jahre später. Nun bannt der Künstler die für ihn so bedeutende Landschaft um Lugano in viel kräftigeren, mutigeren Farben auf die Leinwand, setzt stärkere Konturen und Kontraste. Eine noch spätere Version zeigt dann plötzlich einige von Hofer hinzugefügte Strom- und Telegrafenmasten. Die auf die erste Version folgenden Variationen eines Bildmotivs entstehen stets in weit größerer künstlerischer Freiheit, in Unabhängigkeit vom zugrunde liegenden realen Motiv. Sie sind Ergebnis konzeptueller Überlegungen, von Emotionen losgelöst. Auf ebendiese Weise gelingt es Hofer, die für seine Werke so charakteristische distanzierte Ausstrahlung hervorzurufen. [CH] Aufrufzeit: 12.12.2020 - ca. 18.21 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONKarl Hofer 1878 Karlsruhe - 1955 Berlin Weg nach Lugano. Um 1930. Oil on canvas. Wohlert 921. Monogrammed (in ligature) in lower right. Verso of the stretcher dated 'um 1930', presumably by a hand other than that of the artist, as well as inscribed with the artist's name and address. 62 x 100 cm (24.4 x 39.3 in). Hofer made a total four versions of this mountain panorama in a both reserved yet impressive style. This work offered here is one of the two earlier versions (the other was made in 1926, Wohlert 726). Two more works with the same motif were made around 1935 (Wohlert 1168) and in 1945 (Wohlert 1910). [CH]. • One of Hofer's famous landscapes of the Ticino, which the artist had made his seocnd home in the 1920s. • Other landscapes from these days are in possession of, among others, the museum kunst palast in Düsseldorf, the Sprengel Museum in Hannover, the Galleria Nazionale d'Arte Moderna e Contemporanea in Rome, the Staatsgalerie Stuttgart and the Kunstmuseum Winterthur. PROVENANCE: Artist's studio (until at last 1935) Galerie Nierendorf, Berlin. Galerie Grosshennig, Düsseldorf. Private collection Minden/Bad Oeynhausen (from 1968). Private collection Switzerland (inherited from aforementioned in 1973). Ever since family-owned. EXHIBITION: Marc Chagall, Karl Hofer, Franz Marc, Marianne von Werefkin, Kunsthaus Zürich, January 13 - February 10, 1935, Mannheimer Kunstverein, March 1935, Freiburger Kunstverein, May 30 - June 30, 1935, cat. no. 65, p. 6. Werner Zeppenfeld: Plastik, Max Beckmann: Graphik, Karl Hofer: Ölgemälde, Kunstverein in Hamburg, April 5 - May 3, 1936, cat. no. 6. Karl Hofer and Xaver Fuhr, Detroit Institute of Arts u. Russell A. Alger House, Grosse Pointe Farms, Detroit, March 17 - April 2, 1939, cat. no. 16. Expressionisten. Aquarelle, Bilder, Graphik, Galerie Nierendorf, Berlin 1965, cat. no. 16 (titled 'Berglandschaft mit Häusern', dated 'um 1928', with illu.). LITERATURE: Koch, Neue Arbeiten von Karl Hofer, in: Neues Mannheimer Volksblatt, March 8, 1935. Called up: December 12, 2020 - ca. 18.20 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
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