We found 2332 price guide item(s) matching your search

Bourgogne Pinot Noir and 2 x Cote de Beaune 1995 Leroy Negoce Above 3 bts

Horology - John Harrison the Man who found Longitude, first edition, 1966; Technique and History of the Swiss watch; How To Make A Congreve Clock by John Wilding; Leon Leroy Livres; etc

An early 20th century French red boulle work mantel clock by LeRoy, 30cm

French Leroy of Paris, 20th century 8 day mantle clock, with gilt mounted urn finial, supported by four tapering columns, standing on rectangular plinth base and turned brass feet, 41cm high.

Champagne Duval-Leroy Vertus in Tanners of Shrewsbury own Label 9 bottles Champagne Duval-Leroy Vertus in Tanners of Shrewsbury own Label (all at less than 1cm inverted – excellent presentations).

6 bottles Champagne. Veuve Clicquot Ponsardin, Brut NV. Duval LeRoy, 1er Cru NV. Castelnau, Reserve Brut NV. Gosset, Excellence Brut NV. Etienne Oudart, Brut-Extra NV. Haton, Cuvee de Reserve, Brut NV.

A NAPOLEON III EBONISED, CUT-BRASS INLAID AND POLYCHROME DECORATED PORTICO CLOCKThe circular white enamel dial detailed LEROY A PARIS, with pierced blued steel hands, the twin train drum-shaped movement S Marti & Cie and LEROY A PARIS, with countwheel strike 45cm highCondition reportLacking pendulum and bell.  There is no key.  Otherwise it appears to be in good condition.

A LOUIS PHILIPPE ORMOLU AND PATINATED BRONZE PORTICO CLOCKBy LeRoy, Palais Royal, ParisWIth stepped architectural pediment above Gothic arches and tracery, the dial with silvered chapter ring signed LEROY HORLOGERIE DU ROI / PALAIS ROYAL, the twin train drum-shaped movement stamped to the backplate AG 364, with countwheel strike on a bell, above stepped plinth with Gothic arches, on scrolled feet52 cm highCondition reportThere is no key.  The movement would benefit from a service.  The case is in good condition.  With its pendulum.

AN UNUSUAL FRENCH BRASS PETITE SONNERIE STRIKING AND REPEATING CARRIAGE CLOCK WITH DUPLEX ESCAPEMENTBy LeRoy & Fils, Palais Royal 13 & 15, Paris, No. 360, circa1880The canalee-style case with fluted decoration, five rectangular bevelled glass panels, with signed white enamel dial (restored), 'Breguet' moon hands and alarm subsidiary, the movement signed to the edge of the backplate on the left side, with original silvered platform, bi-metallic compensated balance and duplex escapement, striking and repeating on two small bells, the base with SILENCE/SONNERIE selector13.8cm highPROVENANCE: Cyril Fish, thence by descent.Condition reportThe clock is in working order.  As stated the dial has been restored.  Together with a double-ended key.

LEROY NEIMAN (AMERICAN, 1921-2012)Horse and Rider signed and dated ’LeRoy Neiman 72 Munich' (lower right) pen, ink and crayon 29 x 33.5cm Provenance Private collection, UK

ß&nbsp2015 Maison Leroy, Bourgogne, Rouge OC 12x75cl IN BOND Previously stored with Berry Brothers

60s ARTISTS - 7" COLLECTION. A super selection of around 100 7" singles, mostly 60s musicians. Artists/ titles include David Bowie inc Space Oddity (3-10834), The Rolling Stones - Five By Five (DFE 8590), Steve And Stevie - Merry-Go-Round (TT 510), Hamilton King - This Love Of Mine, The Beatles - Penny Lane (R6670, solid-centre). Second City Sound - A Touch Of Velvet A Sting Of Brass, Los Massot - Un Ray De Sol. Ronnie Hawkins - Bo Diddley, Eddie Kendricks - Eddie's Love, John & Yoko - Happy Xmans, The Honeycombs - That's The Way. The Ronettes, 1910 Fruitgum Co, Sandie Shaw, The Typhoons, Pat Campbell, Wings, The Stylistics, Adam Faith, Elvis Presley, Georgie Fame, Tommy James, The Travellers, Leroy Van Dyke, The Auctioneer. Condition is generally VG to Ex+.

ROCK N ROLL/ ROCKABILLY/ DOO WOP/ R&B - 7" COLLECTION. Another super collection of around 120 x 7" singles. Artists/ titles include Bobby Vee inc Everyday, Take Good Care Of My Baby, The Night Has A Thousand Eyes, Sharing You, Staying In, Look At Me Girl. Billy Vaughan inc The Shifting Whispering Sands, Sail Along Silvery Moon. Leroy Van Dyke inc Dim Dark Corner, Walk On By, If A Woman Answers, Your Money. The Vanilla Fudge - You Keep Me Hanging On, Joe Valino - Garden Of Eden, June Valli - The Wedding, Van Jean - Mr Mozart's Mash, Del Shannon inc Hats Off To Larry, The Answer To Everything, Ginny In The Mirror, From Me To You, Jody. Dee Dee Sharp inc Gravy, Set My Heart At Ease, Do The Bird. Condition is generally VG to Ex+.

Prunk-Ei mit UhrPavel Ovchinnikov/Moskau/Russland, um 1900. 84. Zolotniki. Emaille. Punzen: Herst.-Marke, Kokoshnikmarke. H. 15,5 cm. Gew.: 576 g. Das Uhrwerk wurde von LeRoy Paris gefertigt. Wenn der Deckel aufgeklappt wird, erscheint ein tanzender Bär.

A late 19th century ebonized bracket clock, striking on a bell, the enamel dial inscribed 'Leroy a Paris', the movement similarly signed, 25cm high, (hairlines to dial), with pendulum, on mahogany bracket.  

140 silver gelatin prints and original vintage photographic reproductions depicting various sports from the archives of the Star Tribune including horse racing, fishing, mountaineering, weight lifting and many more. Subjects including LeRoy Neiman, Steffi Graf, Niilo Halonen, Paul Anderson, among others.Provenance: From the archives of the Star Tribune, established over 150 years ago, Minneapolis, Minnesota.The copyrights for these images remains solely with the Star Tribune or with the issuing agency or photographer. The prints are available as a collectible item only and may not be reproduced in any form whatsoever without prior written consent from the copyright holder.Height ranges from 2 in to 10 in; width ranges from 1 1/2 in to 10 in. />Condition: All lots are in used condition. These photographs are from a working archive and contains notes, marks, labels, clippings, and/or retouching put in place by the staff at the time of publication. All may have cracks in the emulsion, losses, creases, folds, tears, smudges, and other issues associated with time, age, and use. The archive contains both silver gelatin prints and original vintage photographic reproductions.

Stewart (Duncan). A Treatise on Uterine Haemorrhage, 1st edition, London: James Moyes, 1816, half-title, ownership inscription to head of title, ex-library with ink stamps to preliminaries, scattered spotting, untrimmed, original paper-covered boards, spine worn with some loss, 8vo, together with:Capper (James). Meteorological and Miscellaneous Tracts, applicable to navigation, gardening, and farming, with calendars of flora. For Greece, France, England and Sweden, 1st edition, Cardiff: J. D. Bird, [1811], half-title, folding tables, armorial bookplate of Christopher P. Norbury of Worcester to front pastedown, untrimmed, original paper-covered boards, paper title label to spine, lightly marked and rubbed, 8vo, withChastel (Francois). Recueil de Tables Progressives pour les Vibrations du Régulateur, 1817, bound with Arlaud (Francois) Table qui indique les nombres qu'il faut aux roues de rencontre des montres, 2nd edition, Geneva: Luc Sestié, 1805, first work signed by the author to foot of preface, contemporary ownership inscription to front free endpaper, book ticket of Léon Leroy to front pastedown, contemporary blue paste-paper boards, paper label to spine, 8vo, contained in blue cloth drop-back box with title in gilt to spine, with 4 others related, including Bransby Cooper's Observations on the Structure and Diseases of the Testis (2nd edition, 1841), John Sparkes' A Manual of Artistic Anatomy (1888), M. Fonzi's Rapport sur les dents artificielles, terro-métalliques (1808) and Manuale medicaminum simplicium et commistorum formulas continens (Bristol, 1816) QTY: (7)

Taschenuhr: einzigartiges Observatoriums-Chronometer 1er Klasse mit Chronograph, L. Leroy & Cie, um 1900: Ca. Ø55mm, ca. 132g, Silber/Gold mit Tulabeschichtung, sehr hochwertige Gehäusequalität mit noch schwergängigen Scharnieren, Gehäusepunze Louis Leroy No. 8293, Staubdeckel mit kompletter Signatur und Werksnummer 67772, Teilnahme am Chronometerwettbewerb 1er Klasse in Besancon, Goldmedaillengewinner mit 245 Punkten, signiertes Ankerchronometerwerk in Spitzenqualität, Chronograph mit 60- Minuten-Zähler, perfekt erhaltenes, originales, signiertes Emaillezifferblatt, Goldzeiger, im Randbereich kleine Mängel in der Oberfläche der Tulabeschichtung, ansonsten sehr gut erhalten und funktionstüchtig.

Taschenuhr: hochinteressantes Taschenchronometer mit Louis Audemars Aufzugsmechanismus, Leroy & Fils Paris: Ca. Ø51,5mm, ca. 135 g, 18K Gold, guillochiert, à-goutte, Staubdeckel signiert und nummeriert mit der Leroy Seriennummer 43340, Gehäuse und unter dem Zifferblatt das Werk nummeriert 11767, die Seriennummer von Louis Audemars als Lieferant des Werkes, hervorragendes Ankerchronometerwerk mit rotgoldenen Laufrädern, zylindrischer Spirale und Aufzug über Kette/Schnecke, Chronometerunruh mit Goldschrauben und Platinschrauben, signiert Leroy & Fils, signiertes Emaillezifferblatt (feine Krakelee im Randbereich), rotgoldene Zeiger, sehr gut erhalten, funktionstüchtig. Die Uhr verfügt über einen seltenen frühen Louis Audemars Aufzugsmechanismus mittels Krone, bei dem zusätzlich der seitliche Schieber betätigt werden muss ""REMONTOIR PAR LE PENDANT, SE DÉGAGEANT DE LUI-MÊME, SYSTÈME LOUIS AUDEMARS"-" (Aufziehen durch die sich selbst lösenden Krone, System Louis Audemars), ansonsten ist die Krone ohne Funktion. Louis Audemars Patent von 1862. Die Werksqualität als auch die 11.000er Werksnummer sprechen eindeutig für Louis Audemars als Werkslieferanten. Demnach ist die Uhr zwischen 1875 und 1877 entstanden! Diese Chronometer sind extrem selten. Uns sind lediglich 2 weitere Exemplare bekannt. Die Nummer 10739 versteigert in Genf 2018, Schätzpreis 10.000-12.000 Schweizer Franken (https://www.cortrie.de/go/eDe) und die Schwesteruhr 10740, die im Historischen Archiv des Hauses Audemars erwähnt ist. Dank des Historischen Archivs von Audemars kann man feststellen, dass die Fertigungskosten und der Verkaufspreis dieser Zeitmesser sehr hoch waren.

Taschenuhr: Gold/Emaille-Prunkuhr für den osmanischen Markt, ca. 1810: Ca. Ø42mm, ca. 37g, 18K Gold, typisches geschweiftes Gehäuse mit mehrfarbig emaillierten Segmenten, mittig ein florales Motiv, Pendant und Bügel ebenfalls emailliert, flaches Spindelwerk, Seriennummer 48529, Breguet-Typ Zifferblatt, guillochiert, Breguet-Goldzeiger, sehr schön erhalten und gangbar. Diese prächtigen Emailleuhren mit geschweiften Gehäusen waren überwiegend für den osmanischen Markt bestimmt. Die meisten davon findet man auch mit osmanischen Zifferblättern, bis auf wenige Ausnahmen, wie bei dem hier vorliegenden Objekt. Ähnliche Uhren gibt es mit Signaturen von Lepine und Leroy.

Taschenuhr: exquisite, rare Lepine mit Repetition, Jean-Antoine Lepine Paris, um 1795: Ca. Ø54mm, ca. 113g, 18K Gold, rückseitig kleine ovale Kartusche mit Monogramm PP, markanter Münzrand, Pariser 20K Goldpunze, typischer Werksaufbau von Jean-Antoine Lepine mit kleinerem, zentralen Staubdeckel und außenliegenden Tonfedern, Staubdeckel signiert Leroy Palais Royal No.2406, exquisites Jean-Antoine Lepine Zylinderwerk mit Viertelstunden-Repetition, signiertes Emaillezifferblatt in hervorragendem Originalzustand, goldene Verzierungen, goldene Signatur, originale Breguet-Stahlzeiger. Die Uhr ist gangbar und von hervorragender Qualität. Lediglich die Emaillierung der kleinen Monogrammkartusche ist minimal berieben. Taschenuhren, die aus den Werkstätten von Jean-Antoine Lepine stammen, sind heute ebenso gesucht wie Uhren von Breguet und Berthoud. Er lieferte diese Uhr an Leroy, weshalb sie auch seine Verkäufersignatur trägt. Jean Antoine Lépine wurde am 18. November 1720 in Challex (Frankreich) geboren. Um 1750 entwickelte Lépine die Kommahemmung. 1762 absolvierte er erfolgreich seine Meisterprüfung und wurde 1766 noch unter Louis XV. zum Königlichen Hofuhrmacher ernannt. Diesen Titel behielt er auch unter Ludwig XVI. und unter Napoleon. Jean Antoine Lépine gilt als Meister der Raumausnutzung. So verbesserte er u.a. die Konstruktion des Federhauses, in dem er dieses verzahnte und damit den Antrieb über Kette und Schnecke entbehrlich machte. Er ermöglichte dadurch den Bau von sehr flachen Uhren, die auch nach ihm benannt wurden. Ein Video für dieses Los finden Sie auf unserer Website.

A French "Boulle" Striking Table Clock, signed LeRoy, Paris, circa 1850, caddied pediment with flame urn finials, ebony and tortoiseshell veneers and elaborately scroll and leaf decorated with brass and pewter inlay, side glazed panels, bun shaped feet, 8-inch silvered chapter ring with Roman numerals, enamel cartouche below signed Leroy Paris, twqin barrel movement with quarter ting-tang striking on two steel gongs, spring suspension, movement backplate numbered 1887255.5cm highCase with some brass inlaid stringing missing in parts, minor pieces of brass stringing is lifting, majority of the brass and pewter inlay is in good condition, top right hand side of the case with two small chips to the wood, front glass with small scratches, dial is clean, movement plates are slightly dirty, movement is going and striking, with original pendulum with bob numbered 18872 which matches the movement backplate number. This clock is sold with the last service invoice and dated 8th.Feb.2012.

A Valerie Gane Limited Edition colour Print, no. 2/150, of Jazz musicians titled 'Louis & Leroy'. 20cm x 40cm.

Meursault 1er Cru, Blagny 2002 (1)Leroy(lightly bin-soiled label; US import back label; nicked capsule)Corton-Charlemagne 2004 (5)Morey-Blanc(3 nicked labels; US import back labels)6 bottlesFor further information on this lot please visit Bonhams.com

A HAKU PATRA PLAQUE, TAMIL NADU, SOUTH INDIA, 15TH/16TH CENTURY of rectangular form, with cusped arched top, surmounted by kirttimukha, the front with five tiers of relief scenes, the top with central figure of Siva Nataraja, flanked by Skanda and Parvati and Ganesha and Krishna; the second tier including a figure of Durga and a rishi, the middle tier with a row of ten figures, two with detached heads, the next two depicting various objects, figures and implements, the lower tier and the reverse densely inscribed with numerous lines of Tamil script,40.5 x 24.5 x 0.5cm Provenance: Private collection, England. Acquired by the vendor 22nd April 1980 from Spink and Son, London. A copy of the invoice is included with this lot. Haku Patras are effectively grant certificates which accord rights to single or groups of people and mostly come from the Eastern Deccan and Tamil Nadu. They might grant rights over the use of land, to perform music and drama or provide services. They are thought to have been in use for about 500 years. As well as metal, Haku Patras are sometimes paper documents or scrolls. The main work on the subject is research undertaken by R. Thirmal Rao Repally funded by the British Library (https://doi.org/10.15130/EAP201). A similar example to ours, in the J. LeRoy Davidson Collection, was exhibited in San Diego, at the Mingei International Museum of Folk Art, March-June 1981. See also Mallebrein, pp.160-161, no.92.

A United States of America Second War Navy group of four awarded to G. L. Long United States of America, Navy Good Conduct Medal (Guy Leroy Long 1943); American Campaign Medal 1941-45, bronze; European African Middle Eastern Campaign Medal, bronze; Navy Occupation Service Medal, bronze, mounted as worn together with the riband for the Asiatic-Pacific Campaign Medal 1941-45, extremely fine A United States of America Second War Navy group of six awarded to R. E. Miller United States of America, American Campaign Medal 1941-45, bronze; Asiatic-Pacific Campaign Medal, bronze; European African Middle Eastern Campaign Medal, bronze; American Defense Service Medal, bronze, with Base clasp; Victory Medal 1945, bronze; Navy Good Conduct Medal (Raymond Earl Miller 1945) the first four all in card boxes of issue, extremely fine United States of America, Navy Good Conduct Medal (Frank Albert Gilmore 1938) engraved naming; together with the recipient’s rank badge and pre-Second War Navy continuous service certificates giving full details of his naval service between 1934 and 1946; Army Good Conduct Medal (David T Parker) engraved naming, good very fine (12) £70-£90

Miniatur Napoleon Bonaparte, 19. Jh., polychrom auf Beinplatte, am rechten, unteren Rand signiert ''Leroy''. Hinter Glas im durchbrochen gearbeiteten Messingrahmen mit Restvergoldung, leicht ber., H. 12,5 cm

Eugène LEROY (1910-2000) Entrée de village, 1941Huile sur toileSigné et daté en bas à droite H. 46 cm - L. 38 cm

Eugène LEROY (1910-2000) Nature morte aux fleurs, circa 1940 Huile sur panneauSigné et daté en bas à droite H. 55 cm - L. 43,5 cm

Vinyl - 37 mainly 1970s Rock, Prog, Psyche 7" demo promos to include Duffy, The Troggs, Granny, Dr Marigold's, English Rose, Silk, Axe, Oliver, Clutch, Mike Cooper, Claggers, David Riley, James Leroy, Angelo, Gallagher & Lyle, Richard Kerr, Harpers Bizarre and more. Some without sleeves. At least Vg overall

Vinyl - 34 1960s Rock / Psych / Beat / Pop UK demo promos 7” singles to include: The Truth, Danny Street, Barry And The Tamerlanes, Human Beinz, Leroy Van Dyke, Lonnie Mack, Marianne Faithfull, The Treetops, The Motions, Beau Brummell Esquire, Cheryl Kennedy, The High, John Mayall’s Bluesbreakers, The Everly Brothers, The Turtles, Spectrum, The Symbols, Dave Berry, and others. Condition VG overall

Vinyl - 48 mainly 1960s beat / pop demo promo 7" singles to include Spencer Davis Group, Freddie & The Dreamers, The Elusive Dream, Andy Stewart, Ray Merrell, Jimmy Clanton, Gene Latter, Brian Fahey, John Walker, Spencer's Washboard Kings, Marion Davies, Tony Cole, Bud Logan, Leroy Holmes, Rudy Vallee and others. Vg overall with many better

CONTEMPORARY/ VOGUE - LP PACK. A fantastic selection of 6 jazz LPs, all released on Contemporary/ Vogue records. Artists/ titles include The Curtis Counce Group - Carl's Blues (LAC 12263, record Ex+/ sleeve Ex), Jimmy Woods Sextet feat Elvin Jones - Conflict (LAC 571, Ex/ Ex), The Leroy Vinnegar Sextet - Leroy Walks! (LAC 12136, Ex+/ Ex+), The Music Of Bob Cooper (LAC 12157, Ex/ Ex), Buddy Collette - Man Of Many Parts (LAC 12090, Ex+/ Ex) & Lennie Niehaus - The Octet #2 Vol.3 (LAC 12054, Ex/ Ex).

BLUES/ JAZZ BLUES - LP COLLECTION. A smashing collection of 27 LPs. Artists/ titles include Blind Willie Johnson - 1927-1930 (RBF 10), Otis Spann's Chicago Blues - Nobody Knows My Troubles (545 030), Ike Rodgers - Masters Of The Blues Vol 11, Leroy Carr - Masters Of The Blues Vol 12, Alan Lomax - Murderer's Home (NJL 11), Odetta And The Blues. Blind Blake inc 1926-29: No Dough Blues & 1926-30: Bootleg Rum Dum Blues. Tomm Johnson/ Ishman Bracey - The Famous 1928 Session, Elmore James - Greatest Hits, Lightning Hopkins (Boulevard 4001). Muddy Waters, Alberta Hunter with Lovie Austins Blues Serenaders, Lead Belly inc Sings & Plays, Last Sessions Vol.1. Jimmy Witherspoon, Jimmy Rushing, Sister Gertrude Morgan, Lonnie Johnson. Various - It Feels So Good. Edith Wilson, Bessie Smith, Mamie Smith, Various - Female Blues Singers 1922-29. Condition is generally VG to Ex.

KAMINUHR, Frankreich, Ende 19 / Anf. 20. Jahrhundert, vergoldetes bzw. brüniertes Messing, Gehäuse im Regency-Stil, Echappementwerk aus Messing, auf der Rückplatine mit Herstellerbezeichnung und nummeriert „L. Leroy & Cie Paris / 17522“. HxBxT: 31/15/7,5 cm. Werk überholungsbedürftig, Gehäuse teilw. Ergänzt, div teile Lose.| CHIMNEY CLOCK, France, late 19th / early 20th century, gilt or burnished brass, Regency-style case, brass escapement movement, on the back plate with maker's mark and numbered "L. Leroy & Cie Paris / 17522". HxWxD: 31/15/7,5 cm. Movement in need of overhaul, case partly replaced, various parts loose.

A PENTAX K1000 CAMERA, THREE CARVED BRIAR PIPES AND A LEROY LETTERING SET

1970-80 Rock Pop Music Badges, Patch, Photographs, Press cards poster, to include 1982, Meat Loaf neverland express patch and badge, badges Dr Feelgood, David Essex tour 79, Gillan tour 1981, Pretenders 1981, Bob Dylan badges Graham Parker Xray Spex, Leroy and the Kools mini poster, J SE press booklet of assorted bands, Hamster, drive in rock, press cards Raymen Froggart, Election and more

A pair of Royal Crown Derby twin handled vase and covers,date code for 1905, in the manner of Désiré Leroy, of ovoid form each with slender neck and beaded gilt handles, the blue ground bodies reserved with a shaped panel painted with exotic birds, edged with jewelled detail, 26cm high (2)Condition ReportOne finial to cover restored. Rubbing to gilding of the other finial.

FERNAND KHNOPFF (1858-1921)Fore Aeternum, Futur 1909Monogrammé, titré en bas au centrePastel et crayon de couleur sur papier Gemonogrammeerd, getiteld middenonderPastel en kleur op papier Monogrammed, titled lower centrePastel and coloured pencil on paper28 x 28 cmFootnotes:Provenance / HerkomstAdolphe Stoclet Collection, acquired in the early 20th century Ce tableau est inscrit dans les archives de Fernand Khnoppf sous le numéro d'inventaire au catalogue raisonné 464 bis. L'authenticité a été confirmée par Madame Gisèle Ollinger-Zinque. Reconnu à juste titre comme le représentant le plus subtil, le plus raffiné mais aussi le plus ambigu et le plus mystique de l'esprit symboliste qui fleurit dans les milieux littéraires et artistiques en Belgique à la fin du XIXème siècle, Fernand Khnopff est à lui seul une énigme. A la fois peintre, dessinateur, sculpteur, et graveur, il pratique également la photographie, réalise des costumes et des décors pour le Théâtre de la Monnaie, et s'adonne à l'illustration de livres et à la création d'ex-Libris. Metteur en scène de sa propre œuvre, il conçoit à Bruxelles une maison-atelier, comme un sanctuaire voué à son ego, « un temple du moi » dans lequel il trouve un refuge au bruissement du monde extérieur.  Car ce touche-à-tout est un solitaire, méfiant et peu expansif, un Narcisse qui s'est construit avec soin son propre mythe, imposant une certaine lecture de lui-même. Né en 1858 dans un milieu bourgeois, Fernand Khnopff passe sa petite enfance à Bruges. L'atmosphère de la ville le marque profondément et lui inspire quelques très belles vues de la cité, mélancoliques et silencieuses, vidées de toute présence humaine. La famille déménage en 1865 à Bruxelles où son père est nommé Substitut du Procureur du Roi. Après une année de droit à l'université, le jeune Fernand s'oriente vers une carrière artistique et suit des cours auprès de Xavier Mellery. Il parfait ensuite son apprentissage à Paris à l'Académie libre de Jules Lefèbvre, auprès de Gustave Moreau, et à l'atelier Julian. Pétri de littérature, Fernand Khnopff se nourrit d'elle : Flaubert, Rodenbach, Grégoire Leroy lui inspirent, entre autres, des univers intimes et intérieurs dont son art porte les stigmates. Il se lie à la bohême littéraire belge qui se regroupe autour de la revue et du mouvement « Jeune Belgique » et participe au groupe artistique des XX dont il est un membre fondateur. Proche des Préraphaélites anglais dont il partage le goût pour un art sincère et nostalgique, il prend part aux salons de la Rose-Croix sous l'égide du Sâr Péladan.  L'art de Fernand Khnopff est un « art de patience, de précision et de raisonnement » comme le décrit Emile Verhaeren dans son éloge à l'artiste. Et de poursuivre, « Minutieux, à petits coups brefs, avec une lenteur à peine inquiète, sa pointe, brosse ou crayon, griffe le panneau ou le papier. Mais son regard est aigu à l'extrême, on sent un vouloir cruel, on y surprend toute une observation tendue vers les choses, implacable et incessante. La main ne fait aucun mouvement que n'ait déterminé et contrôlé la pensée. Elle n'hésite point, toutefois elle n'a aucun entrain, aucune folie, elle est d'une réserve et d'une prudence nettes. Point de belle liberté de dessin, point de facture forte et caractérisante, mais des traits minces, sévères, décisifs, presque de l'écriture ». Ce dessin délicatement nuancé est subtilement rehaussé de pastel. Il évoque un être au visage androgyne angélique et impassible. L'androgynie a émergé dans le milieu symboliste et décadent comme le nouvel idéal. Elle trouve un écho particulier dans l'œuvre de Khnopff dont l'idéal féminin est tout sauf univoque. Dans ce dessin, la figure est frontale, dans la lignée des portraits en buste florentins. Le visage garde ses secrets, emprisonne ses sentiments. Il est découpé au niveau du front. Un voile transparent estompe légèrement le bas du visage et se déploie sur le haut de la poitrine, accentuant encore l'aspect hiératique de la figure, enserrée dans un cercle. Khnopff considère en effet le cercle comme un symbole de la perfection. Sur le sol de son atelier, il a fait tracer un cercle d'or au milieu duquel il pose son chevalet avant d'entamer toute création.  Le passe-partout entoure le dessin et en limite la perception, comme si les formes et les volumes continuaient au-delà des limites proposées. Khnopff impose cette mise-en-scène, tout comme il se permet de décentrer ses figures dans ses œuvres : « on m'a souvent reproché de couper les têtes de mes personnages par le cadre qui les entoure..., mais agissant ainsi, j'avais chaque fois un but bien précis ». Il accentue ainsi le regard de la femme mystérieuse et le texte énigmatique qui l'accompagne : « Fore Aeternum » ou  « ce serait pour toujours », un hymne à l'intemporalité. Il n'est pas étonnant que ce dessin ait trouvé sa place au sein du Palais Stoclet, bijou par excellence de la Sécession Viennoise à Bruxelles, qui plus est dans la chambre à coucher des maîtres de maison, Adolphe et Suzanne Stoclet. Encensé, adulé par le public lors de la première Sécession en 1898, Khnopff connaît en cette fin de siècle une notoriété internationale, inspirant des générations d'artistes en quête d'imaginaire, de rêve et d'irréel. Fernand Khnopff wordt terecht erkend als de meest subtiele, verfijnde, dubbelzinnige en mystieke vertegenwoordiger van de symbolistische geest die aan het einde van de 19e eeuw opbloeide in de Belgische literaire en artistieke kringen. Hij was schilder, tekenaar, beeldhouwer en graveur, maar hij fotografeerde ook, ontwierp kostuums en decors voor het Munttheater, illustreerde boeken en creëerde ex-Libris. Als regisseur van zijn eigen werk heeft hij een atelierwoning in Brussel ontworpen, als een heiligdom gewijd aan zijn ego, een 'tempel van het zelf' waarin hij een toevluchtsoord vindt voor het lawaai van de buitenwereld.  

Karossuhr Silber "H. Leroy á Paris" Hofuhrmacher 9cmAufzug Kette Schnecke, Sign. Werk Nr. 3588 - Vollplatinenmessingwerk. Silbergehäuse mit gewölbtem orig. Glas, zus. Bezeichnet "Le Roy H. Ger. Horolger de SAJ Roi …" Charrles Le Roy: Tätig ca 1770-1790 (Baillie Watchmakers) Einzeigeruhr mit martelliertem und geschwärztem Zifferblatt aus Silber, Div. versch. Silberstempel und franz. Silberbeschau (Cock vor 1832) sowie Contremarken. Funktionstüchtig, Durchmesser 9cm, gesamt 12,5cm. Ca. 549g total .

Sotheby's catalogue 'Collection Litteraire Pierre Leroy'

A RARE AND UNUSUAL FRENCH GOTHIC REVIVAL ‘ANGELUS’ REPEATING CARRIAGE CLOCK the silvered case modelled as a casket with finely cast handle modelled as entwined dragons above a dragon decorated a strapwork rosette within an octagonal border which is repeated to the dial, the case sides modelled with six figural relief medallions representing months of the year, the left January to June and the right July to December named in Latin to the margins, the rear with lower panel mirroring that of the front modelled with the Admonition beneath a hatch door incorporating decorative strap hinges and ornamental bolt clasp. The underside decorated with an octagonal motif stamped with A.X.F. diamond trademark and depose within angles, the eight-day spring driven movement having a fixed hinged key with LeRoy patent single wind motion for time and strike springs, original lever escapement striking and repeating on a gong. - similar clocks have sold in the past, Bonhams, San Francisco 27th March 2018 (lot 47) selling for $7,500; Bonhams, London 15th December 2015 (lot 120) for £5,625; Christies, London 23rd September 2010 (lot 107) for £5,000 and Christies, London 6th December 2006 (lot 16) for £4,80017.5cm high handle up

Leroy Lettering Set by Keuffel & Esser Co, containing eight stencils/rules in box, 40cm wide.

BESSIE ELLEN DAVIDSON (AUSTRALIAN 1879 - 1965), ROSES BLANCHES oil on board, signed, titled versoframedimage size 33cm x 40cm, overall size 41cm x 48cm Note: Bessie Ellen Davidson was born in 1879, in Adelaide, Australia, to a family of Scottish and English origin. She was the second child of David Davidson, who was in the mining industry, and Ellen Johnson Davidson. Her great-grandfather, William Gowan was a sculptor, and her grandmother Frances Gowan was a painter. She was educated at the Advanced School for Girls, studied art with the painter Rose McPherson (better known as Margaret Preston) and began exhibiting with the South Australian Society of Arts in 1901. In 1904, after her mother's death, she went to Europe to study art with Preston. They spent the first few months in Munich, where Davidson studied briefly at the Künstlerinner Verein, before moving to Paris. There she studied at the Académie de la Grande Chaumière, where she met and began a lifelong friendship with Philippe Besnard's future wife, Germaine Desgranges. A year after her arrival in France, she was exhibiting at the Salon de la Société des Artistes Français and the year after that at the Société Nationale des Beaux-Arts. In 1922 she would become the first Australian woman elected a member of the Société Nationale des Beaux-Arts. She was also a founding member of the Salon des Tuileries at which she would exhibit almost every year between 1923 and 1951. Returning to Australia in 1907, Davidson rented a studio with Preston and continued painting and exhibiting. In 1910 she returned to Paris and set-up a workshop in Monparnasse in the same street as Raymond Legueult and the Dutch painter Conrad Kickert. She made many other friends in Parisian art circles, including the painter Anders Osterlind. Davidson travelled to Australia in 1914 and was there when World War I began. She returned to France immediately, where she joined the French Red Cross and served in various military hospitals. During the war, she met the woman who would become her companion for the next two decades, Marguerite Leroy (d.1938), whose nickname was Dauphine. The postwar period to 1920 saw Davidson producing quiet, intimate, loosely impressionistic paintings - mostly interiors, still lives, and portraits - in muted tones. Her style evolved in a more vigorous direction in the 1920s and 1930s, with vibrant, dramatic colours laid on with a palette knife. She travelled around Europe, Russia, and Morocco making outdoor sketches that she used as the basis for later studio works. Her landscapes are notable for their quality of light and sense of atmosphere. In 1930 Davidson was a founding vice-president of La Société Femmes Artistes Modernes. She was also a founding member of the Société Nationale Indépendentes and a member of the Salon d'Automne. In 1931 she was the first Australian woman appointed to the French Legion of Honor. She exhibited widely with such artists as Mary Cassatt, Tamara de Lempicka, Camille Claudel, and Suzanne Valadon. Although still a citizen of the British Commonwealth, Davidson decided to stay in France during World War II. She lived with friends in Grenoble and some sources say that she was a member of the French Resistance. Her paintings from this period are strong, bright, and lively. In 1945, she returned to her old studio in Paris, occasionally spending time at a farm she bought near Rouen. In the postwar period she painted mostly outdoors on small wood panels. She died at Montparnasse in France in 1965 and was buried in Saint-Saëns.

A 19thC Leroy Dubois triple clog Faience vase, decorated with figures, crest of Malestroit, etc., 16cm high.

Le Roy et Fils, Paris, a brass carriage clock the eight-day duration movement having a platform lever escapement and striking the hours and half-hours on a gong, repeating the last-hour at will, the backplate stamped with the serial number 5979, the white enamel dial having black Roman numerals, blued-steel spade hands and signed Le Roy et Fils, 57, New Bond Street, London, Made in France, Palais Royal Paris and having an alarm setting dial, the brass Corniche case having a three-bale handle, height 17.5cm/13.5cm handle up/down. The leather travelling box with satin ribbon within the lid signed for Leroy.

Leroy, Jules Gustave (1856 - 1921) Oel/Leinwand. "Katzenvergnügen" um 1880/90, rechts signiert. 40 x 33 cm. Rahmen 52 x 44 cm.

Leroy for Royal Crown Derby, a Kedleston ewer, painted with a floral bouquet within raised and tooled gilt cartouche, on blue ground with green lip, highlighted in turquoise, 15.5cm high

SEBASTIEN LEROY (mort en 1832)La leçon de musiquesigné et daté 'Seb. Leroy 1816' (en bas au centre)plume et encre brune, lavis brunsigned and dated 'Seb. Leroy 1816' (lower centre)pen and brown ink, brown wash10 x 14cm (3 7/8 x 5 1/2in)For further information on this lot please visit Bonhams.com

Le Roy & Fils, New Bond Street and Palais Royal. A late 19th century hour repeating carriage alarum clock with patent bottom winding gorge case with plain handle over bevelled glass panels, the white enamel Roman and Arabic dial with alarm subsidiary, the twin barrel movement with silvered lever platform escapement with cut and compensated bimetallic balance, striking the hours and sounding the alarm on a coiled steel gong, wound from below via Le Roy’s patent (number 9501) integral winding key, 9.5cm wide, 8.5cm deep, 16cm high***CONDITION REPORT***Case heavily polished over the years and now down to a dull bronze tone with only a trace of gilding remaining at the back, dial looks to be original, some small black speckling near 11 o'clock but essentially good, bevelled glazing all looks good but for a small chip to the bottom of the back door, movement stamped Brevete A.O. S.G.D.G. Top plate thought to be original. Dial inscribed Leroy & Fils 56, New Bond Street Made in France Palais-Royal Paris. Movement going, repeat mechanism working, alarum not tested.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

CHRISTIAN LEROY (1931-2007), 'Young woman', terracotta, 41cm H, on marble base. (Subject to ARR - see Buyers Conditions)

antique Belgian ivory Christ corpus on a crucifix in ebony - marked A. Leroy Bruxelles (on the back) - with CITES certificate ||A. LEROY - BRUXELLES antieke, fijngesculpteerde ivoren Christuscorpus (19 cm hoog) in barokstijl op een kruisbeeld in ebbenhout gemerkt op achterkant met CITES certificaat ref 2023/BE02782/CE

4 bts Bourgogne 2009 Leroy 1 i.n, 3 ts, capsules sl raised, 3 signs of historic seepage

Rock 'N' Roll/Rockabilly/Pop. One hundred and three 7" singles. Shades. 'Leroy/Shades,' TAB 4, vg disc, Tabitha, UK, 1978; Alain Thierry. 'Rien Que Du Rock 'N' Roll,' NRS 1061, vg to Ex disc, Ex original sleeve, Blackjack, Belgium, 1981; Charley Gracie. 'He'll Never Love You Like I Do,' D-101, some mould to good disc, unofficial release; Roddy Jackson. 'Hiccups/Moose On The Loose,' 649, vg disc, Speciality, 2014; Various. 'For Real Gone Cats Vol.1,' E.P. 005, vg to Ex disc, original sleeve, Boppin' Discs, Norway, n.d; Whirlwind. 'Hang Loose (I've Got To Rock),' NS 25, vg disc, original sleeve, 1978; With 97 other 7" singles. (103)

Wooden Leroy A Paris mantel clock, 34 cm high, and small Metamec mantel clock

Bourgogne Rouge Leroy 1 bt Unknown Vintage Capsule cut Corton Grancey 1978 Domaine Louis Latour 1 bt Unkown Burgundies Louis Latour 3 bts Bourgogne Rouge Jacques Thevenot-Machal 1 bt Above 6 bts

Leroy Neiman (b.1926-d.2012) and Ian Poulter signed "37th Ryder Cup 2008" colour poster - played at Valhalla Golf Club signed by both the artist and Ian Poulter European Ryder Cup player to the border - mf&g overall 25.5" x 33.5" - note USA won 16.5-11.5 to end the run of three successive victories by Europe

Leroy Neiman (b.1926-d.2012) signed "PGA Championship 2000" colour golf poster - played at Valhalla Golf club Louisville, Kentucky - won by Tiger Woods and the start of his Grand Slam - signed black mark pen - mf&g overall 32.75" x 26.75"

Leroy Neiman (b.1926-d.2012) signed "79th PGA Golf championship 1997" colour poster - played at Winged Foot Golf club New York signed in black marker pen by the artist to the border - won by Davis Love III - mf&g overall 25.75" x 25.5"

French grand sonnerie striking, repeating and alarm carriage clock by Leroy & Cie, Paris, gilt metal Anglaise Riche case with Ionic columns, two circular enamelled dials, the main dial signed Leroy & Cie, platform escapement, the movement striking on two gongs, grand sonnerie, petit sonnerie and silent selector to the base, the backplate of the movement signed and numbered 18124, 16cm.Condition report:The case is in good condition, glass panels all good an intact, inscription on the main dial is worn, alarm dial is cracked with small loss to the centre near the hands. The movement winds and ticks and appears to strike and alarm correctly, associated key.Additional images have been uploaded to the lot page on our website for you to view.