Notaphilie Liebhaber aufgepasst! Spannende Sammlung größeren Umfangs, 10 Alben, darunter großer Anteil Notgeld in allein 4 Alben. Mitunter die Jahre ab ca. 1916 bis 1925, einiges als Bildserien, darunter u.a. Baden-Württemberg, Bayern, Hessen, Mecklenburg, Niedersachsen, Hamburg, Oldenburg und Ostsee. Vieles zum Jahr 1921 mit u.a. Pommern, Preussen, Ostpreussen, Westpreussen, Riesengebirge, Schlesien, Thüringen und Niederösterreich. Dazu Reichsbanknoten (der Sammler hat versucht, hier eine Sammlug in Anlehnung an das Buch "Das Papiergeld im Deutschen Reich 1871-1948" zusammenzustellen), Behelfspapiergeld, wertbeständiges Notgeld, Rentenmark und Reichsmark, einige modernere Ausgaben mit Ausland und Europa, übriges Ausland mit China. Seien Sie sich der einen oder anderen Seltenheit gewiss. Erhaltungen sehr verschieden. Besichtigung empfohlen!| Attention notaphilia lovers! Exciting collection on a larger scale, 10 albums, including a large proportion of emergency money in 4 albums alone. Sometimes the years from about 1916 to 1925, some as series of images, including Baden-Württemberg, Bavaria, Hesse, Mecklenburg, Lower Saxony, Hamburg, Oldenburg and the Baltic Sea. A lot about the year 1921 with, among other things, Pomerania, Prussia, East Prussia, West Prussia, the Giant Mountains, Silesia, Thuringia and Lower Austria. In addition, Reich banknotes (the collector tried to put together a collection based on the book "Das Papiergeld im Deutschen Reich 1871-1948"), makeshift paper money, emergency money of stable value, Rentenmark and Reichsmark, some more modern issues with foreign countries and Europe, the rest of the world with China. Be sure of one or the other rarity. Conditions very different. Viewing recommended!
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OF IRISH POLITICAL INTEREST: JOHN MITCHELL (1815-1845) ‘JAIL JOURNAL’ or ‘Five Years in British Prisons’, author’s edition (Cameron & Ferguson circa 1854), later bound half-calf and marbled boards, stuck-in handwritten signed letters, at the back pages from Patrick James Smyth MP (1823/1826 - 1885) and then from his widow. Smyth also known as Nicaragua Smyth, Irish politician, and journalist, was a Young Irelander in 1848, and as with the author Mitchell, spent time in American exile. From 1871 he was an Irish Home Rule Member of the United Kingdom Parliament for Westmeath and from 1880 for Tipperary. Also, present newspaper obituaries for SmythProvenance: from the residual library of Henry Tobit Evans. Instructions received from his descendants. There will be further books and publications in The Welsh Sale on 19 November. Please see Lot ### (no.1) for further details.
Douglas N. Anderson (British, 1871-1942)Officers of The Cameronians (Scottish Rifles)Two watercolour and gouache29cmx 25cm and 27.5cm x 17.5cm together withThomas Ivester Lloyd (British 1871-1942)10th (Prince of Wales Own) Royal Hussarsthree watercolours and gouache35.5cm x 26.5cmand 'Cameronians Scottish Rifles', gouache, signed 'Dash'. 33 x 23cm (13 x 9 1/16in).(6)For further information on this lot please visit Bonhams.com
A collection of silver flatware itemsvarious maker's and dates, Fiddle pattern items, comprising: a soup ladle, Richard Crossley, London 1804; two sauce ladles, London 189; six soup spoons, Sheffield 1929; eight dessert forks, including three William Cummins, also incuse stamped NEILL, Dublin 1825, crested; one dessert spoon and ten teaspoons; Old English pattern items, six table forks, Morris & Michael Emanuel, London 1826, three table forks, Samuel Neville, Dublin 1806, three Maltese silver forks, stamped LEBRUN, three dessert forks, and a set of eleven Scottish Old English bead teaspoons, Edinburgh 1871, another matched, weight 78oz. (Qty)For further information on this lot please visit Bonhams.com
A pair of Victorian silver and blue glass bon bon dishesFrederick Brasted, London 1871 Of circular form, with pierced silver-gilt decorative stands featuring classical motifs, blue glass liners, on three fluted column feet, diameter 13.5cm; also including two pie servers with armorials, Robert Hennell, London 1790 plus John Emes, London 1818; two silver Georgian salts, Henry Chawner, London 1792 and possibly Alexander Field, London 1807, elliptical form with blue liners; a French 19th century silver mounted cobalt blue ceramic pot, stamped 1st standard, circular form, silver mounted top rim with laurel leaves, on a silver pedestal base, height 11.5cm and finally two wine funnels, one by Matthew Boulton, Birmingham 1820 and the other Samuel Meriton, London 1770, diameter 13.5cm. (9)Footnotes:Property of a private collector.For further information on this lot please visit Bonhams.com
A Victorian silver five-piece tea and coffee service including kettle on standRobert Hennell, London 1871, cream jug unmarkedBaluster form with bead rims and broad bellied sides, embossed all over with graduated onion form motifs brightly polished, all among scrolls and over a stippled ground, with kettle on stand, tea and coffee pots, these have had the insulators removed, sugar bowl and cream jug, shaped reserve on one side with engraved initial 'G', the large kettle with removable base centred with a burner, weight excluding cream jug 160oz. (5)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
George Leslie Hunter (British, 1877-1931)Still life with roses and Japanese print oil on canvas61 x 50 cm. (24 x 19 11/16 in.)Footnotes:ProvenanceArthur Leyden and thence by descentThe inclusion by Hunter of a framed picture as a backdrop was a composition format he used from circa 1916 and at irregular intervals up until the end of the 1920s. However, this painting appears to be one of only two still lifes featuring a Japanese print, both datable to circa 1921-22.Hunter's fascination with oriental art was nothing new, nor did it differ from similar interests held by other artists. From early days in San Francisco, he was drawn to Chinese culture. His still life paintings often featured Oriental porcelain such as blue-white vases and ginger jars. A ceramic jade bowl was a favourite in the early 1920s (see Bill Smith and Jill Marriner, Hunter Revisited, the Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, pp.89-90, and plate 75).With Hunter not re-locating to Scotland until 1906, the Glasgow Boys' attraction to Japanese art (circa 1888- 1900) was not of any influence. His fellow Colourist, Samuel John Peploe (1871-1935) utilised Japanese prints in pictures such as Flowers and Fruit circa 1915 (Kirkcaldy Museum & Art Gallery) or Interior with Japanese Print, circa 1919 (University of Hull Art Collection), but Hunter's friendship with Peploe did not start until 1921. Hunter's notebook from circa 1920-1923 confirms that he was more concerned with Paul Gauguin (1848-1903) and the French Nabis movement (circa 1888-1900). The Nabis were also drawn to Japanese printmaking as a source of inspiration, particularly Édouard Vuillard (1868-1949) and Pierre Bonnard (1867-1947) whose art Hunter especially admired in 1921 and 1922. Furthermore, their pictures were readily accessible to Hunter in several of his friends' collections. In Still Life with Roses and Japanese Print, Arthur had acquired a superb still life with an almost unique composition from Hunter. He most likely purchased it in 1924 during his Scottish visit of that year. This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
λ DOROTHEA SHARP (BRITISH 1874-1955)FEEDING TIMEOil on canvasSigne (lower left)99 x 81cm (38¾ x 31¾ in.)Painted circa. 1910. Provenance:Sale, Sotheby's, London, Modern British and Irish Paintings, Drawings and Sculpture,18 June 1997, lot 34Private collection, BerkshireDorothea Sharp's reputation has become synonymous with images of children playing freely in nature, beautiful rippling waters and memories of days spent frolicking at the beach. Dorothea Sharp was born in Kent in 1871. At the age of 21 she began her art education at Richmond art school and went on to study at the Regent Street Polytechnic. On arrival in Paris, Sharp was struck by the work of Claude Monet and this was to have a lasting effect. Sharp was a member of the Society of Women Artists and served as vice-president for four years. Sharp regularly exhibited at the Royal Society of British Artists and The Royal Academy during the first half of 20th century, holding her first one-woman show at Connell Gallery in 1933. Sharps' highly impressionist style captured idyllic scenes across Europe but also closer to home where she captured the British coast in St. Ives and Bosham. Condition Report: The canvas has been relined. Inspection under UV reveals very light scattered retouching along the upper edge and to a very small area in the centre of the work just above the farthest away goose's head. Overall the work is in good original condition. Condition Report Disclaimer
λ DOROTHEA SHARP (BRITISH 1874-1955)THE ROCK POOLOil on canvasSigned (lower left)64 x 76.5cm (25 x 30 in.)Provenance:Sale, Christie's, South Kensington, 17 December 1992, lot 58Sale, Christie's, Modern British Art, 19 June 1997, Lot 175 Private collection, BerkshireDorothea Sharp's reputation has become synonymous with images of children playing freely in nature, beautiful rippling waters and memories of days spent frolicking at the beach. Dorothea Sharp was born in Kent in 1871. At the age of 21 she began her art education at Richmond art school and went on to study at the Regent Street Polytechnic. On arrival in Paris, Sharp was struck by the work of Claude Monet and this was to have a lasting effect. Sharp was a member of the Society of Women Artists and served as vice-president for four years. Sharp regularly exhibited at the Royal Society of British Artists and The Royal Academy during the first half of 20th century, holding her first one-woman show at Connell Gallery in 1933. Sharps' highly impressionist style captured idyllic scenes across Europe but also closer to home where she captured the British coast in St. Ives and Bosham. Condition Report: The canvas has not been relined. Inspection under UV reveals no obvious evidence of restoration or repair. The work appears to be in good original condition. Condition Report Disclaimer
BRITISH COINAGE a lot comprising Victorian farthings to include amongst numerous other years 1840, 1844, 1863, 1876, 1881 and Edward VII, George V, George VI etc and Elizabeth II, half pennies 1853, 1871, 1910, 1930, 1967 etc, Victorian pennies 1844, 1856,1871 etc Condition Report:Available upon request
δ Pablo Picasso (1871-1973)Le FumeurLithograph, 1965, signed in pencil, a proof aside from the edition of 200, on BFK Rives paper, the full sheet, sheet 310 x 260mm (12 1/4 x 10 1/4in) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
ILYA GINZBURG (RUSSIAN 1859-1939)Boy Playing The Flute,1906bronze with medium brown patinaheight without wooden base: 47 cm (18 1/2 in.)signed in Cyrillic, dated, impressed with Woerffel foundry mark, and inscribed 3 on baseLOT NOTESIlya Ginzburg was born in Grodno and studied under the noted sculptor M.M. Antokolsky in St. Petersburg from 1871-8, and later at the Imperial Academy of Arts. Close to the "Peredvizhniki" [Wanderers] group of artists, he produced busts of numerous artists, writers, and musicians, including Kramskoi, Aivasovsky, Tolstoy, and Rubinshtein.
GIACOMO BALLA (1871-1958)Lettera con il motivo della 'Linea di velocità + paesaggio' signed 'Balla' (lower centre) and dated '1.7.14' (upper right); inscribed 'Via Paisiello 29' (on the reverse)watercolour on paper10.8 x 17.8cm (4 1/4 x 7in). (image size)22 x 18cm (8 11/16 x 7 1/16in). (sheet size)Executed on 1 July 1914Footnotes:The authenticity of this work has been confirmed by Elena Gigli. This work will be included in the forthcoming Catalogo Ragionato dell'opera di Giacomo Balla, currently being prepared.ProvenanceFilippo Tommaso Marinetti Collection, Milan.Luce Marinetti Collection, Rome (by descent from the above).Leonard Hutton Galleries, New York (acquired from the above on 2 March 1994).Private collection, Germany (acquired from the above on 6 December 1996).ExhibitedParis, Artcurial, Giacomo Balla, un art de vivre, 18 May – 15 July 1995.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
GIACOMO BALLA (1871-1958)Linea di velocità + paesaggio signed 'Balla' (centre left); stamped three times with the Pugno di Boccioni stamp and affixed with the artist's estate label (on the reverse)gouache and collage on card14.6 x 19.7cm (5 3/4 x 7 3/4in).Executed circa 1915Footnotes:The authenticity of this work has been confirmed by Elena Gigli. This work will be included in the forthcoming Catalogo Ragionato dell'opera di Giacomo Balla, currently being prepared.ProvenanceCasa Balla, no. 993 (the artist's estate).Luce & Elica Balla, Italy (the artist's daughters, acquired circa 1958).Flora Viale Collection, New York and Rome (acquired from the above in 1979).Crane Kalman Gallery, London (acquired from the above through Hirschl & Adler, New York, in early 1999).Private collection, Germany (acquired from the above in 1999).ExhibitedLondon, Crane Kalman Gallery, Collage, The Pasted-Paper Revolution, 28 June - 7 September 1999, no. 3.LiteratureE. Gigli, Giacomo Balla, Coloratissimo e luminosissimo, exh. cat., Bologna, 2013, no. 20 (illustrated p. 165).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Y A VICTORIAN SCOTTISH SILVER LOBED CIRCULAR TEAPOT MCKAY, CUNNINGHAM & CO., EDINBURGH 1871 With a lobed circular finial to the domed cover, the foliate scroll handle with ivory warming bands, a chased floral and shell border, the fluted body with a floral band and on four foliate and paw feet 26.5cm (10 1/2in) long 779g (25.05 oz) Please note Dreweatts have applied for a de minimis exemption licence for the ivory in this lot Ref: HG8NW25P Y - Indicates that this lot may be subject to CITES regulations when exported. Condition Report: Marks are clear Play to the hinge Cover sits well Handle good Splits to the ivory Slightly wobbles Minor dent to the body No engraving Light scratches and wear commensurate with age and use Condition Report Disclaimer
DUNCAN MCFARLANE (FL.1834-1871). Follower of. THE `MARGARET` AND THE `ROGER STEUART` OFF A HEADLAND. Bears signature, oil on canvas, 61.5 x 90.5cm., * Possibly off Kinnaird Head lighthouse, Fraserburgh, Aberdeenshire. * Unlined; partial clean on leftside; needs a fuller clean. **BP 22.5% inc VAT + Lot Fee of £8
A M.V.O. and R.V.M. group of five awarded to Sergeant H. G. Barrett, Royal Horse Artillery The Royal Victorian Order, M.V.O., Member’s 5th Class breast badge, silver, silver-gilt, and enamel, the reverse unnumbered [see footnote], minor blue enamel restoration to motto; Queen’s South Africa 1899-1902, 1 clasp, Cape Colony (49234 Sgt. H. G. Barrett. U Bty., R.H.A.); Coronation 1911, silver, unnamed as issued; Army L.S. & G.C., E.VII.R. (49234 Sjt: H. G. Barrett. R.H.A.); Royal Victorian Medal, G.V.R., silver, unnamed as issued, mounted court-style for display, traces of lacquer, otherwise good very fine and better (5) £700-£900 --- M.V.O. 5th Class London Gazette 2 January 1933 Henry Gulliver Barrett was born in Woolwich on 2 May 1871; his father was Richard Barrett, a Sergeant in the Riding Establishment, Royal Artillery. Following his father’s footsteps, Barrett joined the Royal Horse Artillery and as a Sergeant in ‘U’ Battery R.H.A. served in South Africa during the Boer War from 21 December 1899 to 5 March 1900. He was awarded his Long Service and Good Conduct Medal with Gratuity per Army Order 172 of October 1903. After leaving the Army he joined Royal Service, and as Clerk of the Stables at Marlborough House he was awarded the Royal Victorian Medal in Silver on 31 December 1925, on the occasion of the death of Queen Alexandra, on 20 November 1925. He was subsequently in the Household of H.R.H. the Prince of Wales and for many years organised the reunion dinners of ‘Q’ Battery, R.H.A. As ‘Storekeeper, Royal Mews, Buckingham Palace’, he was appointed a Member Fifth Class of the Royal Victorian Order on 29 July 1932, and was presented with the insignia in hospital by Sir Arthur Erskine shortly before he died in Croydon General Hospital on 13 November 1932. Note: Research included with the lot, compiled by John Tamplin, indicates that the recipient was allocated the M.V.O. badge no. 589; however, owing to the fact that the insignia of the Order was presented to him in hospital in a presumably hurried ceremony, and before the notification of the award had even appeared in the London Gazette, it is possible that he was invested with an unnumbered badge. Sold with copied research.
John Alfred Wheeler of Bath (British, 1821-1903)A hunter and three foxhoundsSigned and dated 'J Wheeler/Bath/71' (lower right) Oil on canvas 71 x 91cm (27 15/16 x 35 13/16in).Footnotes:In 1871, the year this lot was painted, John H Arkwright was still hunting, although was no longer a Master. The North Herefordshire Hunt, which John H Arkwright had jointly-mastered with Sir Velters Cornewall of Moccas from 1858, met three times a week (around sixty-six times per season). The opening meet was held annually at Hampton Court Castle, when up to a hundred people sat to breakfast. Sir Velters died in 1868 and Arkwright reduced his stables in 1872 and again in 1873. In 1874 most or all of the hounds were dispersed, as well as over a dozen more horses, as financial constraints began to tell. Among the horses sold in 1874 was 'Kitten' a favourite hunter and possibly the subject of this painting. With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
John Alfred Wheeler of Bath (British, 1821-1903)Pedigree Herefordshire cattle - a bull, cow and calfSigned and dated 'J Wheeler/71' (lower right) Oil on canvas 76 x 102cm (29 15/16 x 40 3/16in).Footnotes:The Hampton Court herd of pedigree Hereford Cattle had been founded by John Arkwright in 1819. It was his son, John H Arkwright, who began showing the Herefords from 1859; at the Bath and West of England and Royal Agricultural Society of England Shows. In 1878 John H Arkwright called a meeting at which the Hereford Herd Book Society was established; he was its first President. He exported beasts all over the world and the Hampton Court name became synonymous with the Hereford breed. When Johnny was appointed Lord Lieutenant of Herefordshire in 1901 he said that he felt that Edward VII (with whom he sat on the Council of the RASE) when he selected him, must have been thinking of the 'white faces' that represented this agricultural county. This picture, with bull, cow and calf, represents Arkwright's love for his 'ruby moos', his favourite agricultural endeavour on the estate. In 1871, Johnny entered three cattle for the Royal Show (that year in Wolverhampton); two yearling heifers and a heifer calf. The heifer 'Miss Hungerford' won Reserve and Highly Commended in her class, and the calf was Highly Commended. The sire of both winners and his prime bull at the time (which had himself won First Prize two years before at the Royal Show in Manchester) was called 'Sir Hungerford' (after Johnny's grandfather, Sir Hungerford Hoskyns). It is therefore possible that this is a portrait of Sir Hungerford and Miss Hungerford and the unnamed heifer calf. With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
A MATCHED SET OF TWELVE VICTORIAN GRADUATING TRAVEL BEAKERS. 6 larger beakers, by John Samuel Hunt, London 1861 and 6 smaller, by Charles Frederick Hancock, London 1871, all crested, gilt interiors and contained in a fitted leather case; the case 4.75 (12cm) high; 43.3oz (12). **BP: 22.5% (inc VAT) + Lot Fee of £8
![Frank Patterson [1871-1952]-Down in Devon Now,:- pen and ink illustration, 44 x 30cm, together with an associated book titled](https://cdn.globalauctionplatform.com/b153d2f4-47de-4af6-88c6-af1900baa21e/49310f08-ee7a-480a-85cd-af1d00ca30b5/468x382.jpg)
UNITED KINGDOM. Elizabeth II, 1952-. Gold 5 pounds, 2021. Royal Mint. Proof. Released to commemorate the 150th anniversary of the construction of the Royal Albert Hall.Fifth crowned head of Elizabeth II facing right; JC below; ELIZABETH · II · DEI · GRA · REGINA · F · D · 5 POUNDS · 2021. Design by Jody Clark. / Depiction of the Royal Albert Hall in London, inscription 'ROYAL ALBERT HALL 1871 - 2021'. Designed by Anne Desmet RA. Edge plain with incuse lettering 'INSPIRING ARTS AND SCIENCES'.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 6030407-002. NGC Census in this grade: 30, equal-finest graded.Total NGC Census: 32Mintage: 180.Diameter: 38.61 mm.Weight: 39.94 g. (AGW=1.1773 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1872/1 M. Melbourne. Shield; 2 over 1. In 1871 it was decided to open a second mint in Australia, this time in Melbourne, to service the increasing demand for gold coins. From now coins would bear the same design as the British sovereigns, identified by a mint mark in the lower section of the reverse of the coin. Dies of the new designs and bearing the date 1871 were prepared in London and left Southampton via boat on 30 September 1871. However, after transferring the package to the steamer Rangoon on 1 November, the boat hit a rock on the Southwest coast of Ceylon. Despite this terrible fate all passengers and a small number of packages were saved. The 1872/1 overdate is testament to the survival of at least one of the 1871 dies as local engraver Julius Hogarth was commissioned by the Melbourne mint to create the overdate die. An extremely rare variety with a captivating story and truly historical significance.Young head left, WW on truncation; date below, with 2 struck over 1; VICTORIA DEI GRATIA. / Crowned shield within wreath; mintmark M and national emblems below; BRITANNIARUM REGINA FID: DEF:. Edge milled.Ex-TCC Auction 51, Lot 509. In secure plastic holder, graded NGC AU Details, certification number 2126678-007. NGC Census in this grade: 2.Reference: S-3854; Marsh-59A; McD-120cDiameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Interessantes Konvolut im Präsentationskasten mit 9 Auszeichnungen, bestehend aus u.a. Preussen Königlicher Kronen-Orden Kreuz 4. Klasse am Bandabschnitt, Bronze vergoldet und emailliert. Württemberg Charlottenkreuz, Baden Kriegsverdienstmedaille mit Bandspange 1870-1871, Hessen 2 x Militärsanitätskreuz 1914, Verdienstkreuz für Pflege der Soldaten. Mecklenburg-Schwerin Kriegsverdienstkreuz 2. Klasse am Band für den Krieg 1870. Hamburg Hanseatenkreuz 1915 und Weiteres. Erhaltungen verschieden. Keine Gewähr für die Authentizität aller Stücke. Bitte unbedingt ansehen!| Interesting lot in the presentation box, consisting among other things of Prussia Royal Crown Order 4th Class Cross on the ribbon section, gilt and enamelled bronze. Württemberg Charlottenkreuz. Baden War Merit Medal with ribbon clasp 1870-1871, Hessen 2 x Military Medical Cross 1914, Merit Cross for the care of soldiers. Mecklenburg-Schwerin War Merit Cross 2nd Class on the Ribbon for the War 1870. Hamburg Hanseaten Cross 1915 and others. Conditions different. No guarantee for the authenticity of all pieces. Please have a look!
Bayern - ex 1813/1871, Konvolut von 9 Silber Münzen, Kronentaler 1813, Patrona Bavariae 1775, Geschichtstaler 1828, Kronentaler 1837, Doppelgulden 1847+1853+1855, Vereinstaler 1860, Siegestaler 1871, verschieden erhalten, teils verschönt.| Bavaria - ex 1813/1871, mixed lot of 9 silver coins, Kronentaler 1813, Patrona Bavariae 1775, Geschichtstaler 1828, Kronentaler 1837, Doppelgulden 1847+1853+1855, Vereinstaler 1860, Siegestaler 1871, various condition, some beautified.
A collection of silver items, to include: a Victorian silver mug, by Roberts & Belk, Sheffield 1871, the side repousse horses and riders, repair to stem, height 13.5cm, a silver thimble in a bakelite acorn screw top case, a silver cased christening spoon, An Irish silver fiddle pattern dessert spoon, Dublin 1809 (no makers mark), and other items. (lot as found). (silver weight 262.4g)
Marie Spartali Stillman (British, 1844-1927)The last sight of Fiammetta 'Above her garland and her golden hair I saw a flame about Fiammetta's head' (Boccaccio)signed with monogram (lower right), inscribed on an exhibition label (attached to the reverse)watercolour, bodycolour and gum arabic82 x 62cm (32 5/16 x 24 7/16in).Footnotes:ProvenanceAnon. sale, Christie's, London, 11 April 1967.With Abbott and Holder Ltd., London.Eric Smith (purchased from the above circa 1968).By family descent.Private collection, UK (gifted to the present owner, 2004).ExhibitedLondon, Royal Academy, 1876, no. 757.Manchester, Royal Manchester Institution, Exhibition of the Works of Modern Artists, 1876.Paris, Universal Exhibition, 1878, British Fine Art Section.The present lot has not been seen in public for decades, so it represents a welcome addition to the Stillman's oeuvre, at a moment when her reputation is rising. The finely painted fanciful half-length figure depicts a girl no older than early teens, wearing a rose-garland on her loose hair, who dreamily fingers a rose-entwined mandolin. The feeling is of harmony and repose. Art historian Pamela Gerrish Nunn declared of the work that it 'is surely destined to be regarded as her masterpiece [sic]'.Moreover, it belongs in a sequence of events consolidating the mutual regard between Spartali Stillman and Dante Gabriel Rossetti, as it prompted the last major canvas from the latter before his death in 1882. As observed in the 1989 publication Women Artists and the Pre-Raphaelite Movement, the existence of the present work was then known only from old exhibition catalogue listings. The exhibiting history of the work began at the Royal Academy in 1876. At the time, the significance of this work to Rossetti is indicated by the fact that, eighteen months after the exhibition, he asked Spartali to sit for him for his own version of Fiammetta. Since her reputation as a model has tended to obscure her career as an artist and since she is typically said to owe her pictorial inspiration entirely to Rossetti, it is worth noting that in this case her choice of subject evidently stimulated his own, and that by 'casting' Marie as Fiammetta, so to speak, Rossetti implicitly recognised her choice of the theme. ***Stillman and Rossetti met in the early 1860s, when she decided to pursue art practice, and through her father sought tuition from Rossetti. Given his lack of aptitude, Rossetti sensibly passed the request to Ford Madox Brown, who from 1864 welcomed her for twice-weekly sessions alongside his own children. Brown then encouraged her exhibition debut at the Dudley Gallery in 1867, and became a lifelong artistic mentor. She continued to exhibit after her marriage in 1871 to the American journalist, William Stillman, whose career as a foreign correspondent took the family to postings in Greece (Corfu) and Italy. In winter 1874-5 they visited the US, where her exhibited works were commended by Henry James in Atlantic Monthly and Galaxy. Back in Britain, when not overseas she divided her time between her parents' homes in Clapham and the Isle of Wight. Following his paranoid collapse in 1872, Rossetti stayed mainly at Kelmscott Manor, the secluded country home he leased jointly with William Morris, until in summer 1874 he returned to his London home in Cheyne Walk, and to his art practice. His translations from early Italian poetry, first published in 1861, were re-arranged and re-issued this year. The volume includes examples of Boccaccio's poetry, 'chosen for their beauty alone. Two of these relate to Maria d'Aquino, if she indeed be the lady whom, in his writings, he calls Fiammetta.' More probably, this was a fictive inamorata, the same name – 'little flame' – being given to the protagonist in Boccaccio's Elegy of Madonna Fiammetta, lamenting a faithless lover. Rossetti also used the title for a 'pot-boiler' executed around the same time as Monna Vanna and offered to George Boyce in December 1866.The present work is the first of Stillman's based on Rossetti's translations from Boccaccio, where a sonnet entitled 'The Last Sight of Fiammetta' describes what seems to be the death of the beloved:Round her red garland and her golden hairI saw a fire about Fiammetta's head;Thence to a little cloud I watch'd it fade,Than silver or than gold more brightly fair;And like a pearl that a gold ring doth bear,Even so an angel sat therein, who spedAlone and glorious throughout heaven, array'dIn sapphires and in gold that lit the air.Then I rejoiced as hoping happy things,Who rather should have then discern'd how GodHad haste to make my lady all his own,Even as it came to pass. And with these stingsOf sorrow, and with life's most weary loadI dwell, who fain would be where she is gone.In 1875 the artist sold a Renaissance-style image of her stepdaughter Lisa Stillman under the title Mona Lisa (Royal Academy, 1875, no. 719; Manchester, 1875, 40gns; untraced). So, looking forward to the 1876 exhibition season, a comparable theme was chosen for the present work, borrowing again from Boccaccio/Rossetti and in all likelihood using eleven-year-old Lisa as model. The chosen genre was that described by William Rossetti – pejoratively but accurate - as 'lovely ladies with floral accessories'; derived from Lely's Hampton Court beauties, this format became newly popular and saleable in the late nineteenth century. On 7 January 1876, Stillman ordered from the art suppliers, Robersons, a support of similar dimensions – 31 by 21 ins – prepared to her specifications with board covered in three sheets of paper – two cartridge and one seamless Whatman. This was likely for Fiammetta, because although Stillman was a painstaking artist who typically took a year or more to complete an exhibition piece, the present work has been enlarged with additional strips along the left side and lower edge. While not exact, this surely relates to her Robersons' order on 11 March, for '2 slips of wood fitted with [indecipherable] to fix on edges of drawing board covering with two surfaces of paper', at a cost of four shillings.The brushwork is notably delicate on the figure and mandolin, looser on the upper foliage and very much looser on the added strips. An undated letter from Rossetti to Brown mentions that the frame, with its reeded edge and 'Pre-Raphaelite' roundels, cost £3.10s. So, the enlargement probably relates to the availability of this frame. The picture was submitted to the RA in April. Accepted and hung, it was catalogued as 'no. 757 / The last sight of Fiammetta / Above her garland and her golden hair / I saw a flame about Fiammetta's head. – Boccaccio.' It was listed under the name 'Miss M.S.Stillman'. Amidst the scores of landscapes and still lifes in this section, it was favourably commended by W.M. Rossetti in his role as art critic, as 'one of the genuinely fine works of colour in the exhibition – warm, soft, pure flesh tints, admirably supported by the general colour scheme, the copper-yellow hair garlanded with red and pink roses, the charmingly-painted mandoline, the embowering foliage.' The overall standard at the RA that year was however not the most commendable. In 1877 Sir Coutts Lindsay launched his rival fine art show at the Grosvenor Gallery, and maybe on the strength of Fiammetta, Marie Stillman was one of two women invited to exhibit at the inaugural exhibition. Subsequently it was selected for the British Fine Art section of the Paris Universal Exhibition in 1878. Around this time, it was photographed and reproduced as a large-size sepia print, one copy being in the Bancroft Collection at Delaware Art Museum.The work also prompted Rossetti to renewed effort, despite poor health and very low spirits... For further information on this lot please visit Bonhams.com
Giovanni Boldini (Italian, 1842-1931)Al caffè signed and inscribed 'To Miss B. Pearce/with admiration/Boldini' (on the reverse)oil on card10.5 x 18.5cm (4 1/8 x 7 5/16in).Footnotes:ProvenancePrivate collection, Italy.Please note that this lot is accompanied by a digital certificate of authenticity issued by expert on the artist and author of his catalogue raisonné, Dr Francesca Dini.The son of an artist, Boldini undertook training in his hometown of Ferrara before moving to Florence where he lived for about a decade. Here, from 1864, he joined the Macchiaioli group of artists, now known as the greatest exponents of Realist art in Italy. The portraits painted by the young Boldini at this time - mainly of his artist friends and of some members of the Russian and English aristocracy residing in Tuscany - mark in Italy the renewal of this pictorial genre and they cemented the young Boldini's reputation. Subsequently, in 1871, he travelled to London where he sought patrons amongst English high society; however, in the same year, drawn by the light and glamour, he decided to settle in Paris. Here, he began producing small fanciful oils designed not only to capture the costumes and lifestyle found in the city's grand homes, but also to please the international clientele of the famous gallery, La Maison Goupil. During the 1880s, however, Boldini moved away from these somewhat staid subjects and instead devoted himself to the more faithful representation of his beloved Paris. Now, the French capital appears at its most vital with paintings depicting the squares and animated streets, the outdoor cafes, the transit of carriages and their horses' manes in the wind, the elegant bourgeoisie and street vendors, all characterised by a new freedom of brushstroke and modern spatiality. The present lot can be placed during this period of the artist's life.This work is an early example of his Parisian café sketches, a subject which he revisited several times. These studies seem to have been produced in preparation for one his masterworks, Scène de fête au Moulin Rouge, currently housed at the Musée d'Orsay in Paris. In the Musee d'Orsay painting, during one of the usual night sorties, Boldini stops in at the famous Parisian restaurant, made characteristic by the bright reds of the tapestries; he welcomes the clamour of the voices that mix with the sounds of music, of shimmering garlands of suspended lights that come down from the ceiling and make the glasses sparkle, illuminating the wonderful costumes; he has revelled in the attitudes of bystanders, with their desire to seduce and be seduced, as in the case of the seated gentleman to the right of the scene, who confidently perches in front of the cocotte that has approached his table, smiling at him, winking and amused. The atmosphere of this finished oil is captured in the present study, and this shows how the immediacy of these sketches could inform his more highly finished works. This painting can therefore be seen as an early idea on this theme, defined with quick brushstrokes with the characteristic Tiepolesque white lighting. The dedication placed on the back of the card brings us to the second half of the eighties, at which time Boldini - who was perfecting his new style of portraiture, highlighted by elegant figures painted on a large scale, with energetic and loose brushwork - befriended John Singer Sargent and the group of American painters active in Paris at the time, including Charles Sprague Pearce, a genre painter native to Boston who was distinguished by his gold medal at the Salon of 1883. Pearce married a French lady and remained in France for the rest of his life, so the Miss Pearce mentioned on the reverse of the card could be an American relative of the painter.We are grateful to Dr Francesca Dini for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An album containing a collection of gold, silver, cupro-nickel, copper and bronze United Kingdom coinage, to include; an 1871 shield back sovereign, a George V sovereign, dated 1912, a George V half sovereign, dated 1914, crowns, half crowns, florins, shillings and sixpences, from George III to Elizabeth II (a lot)
Various coins and banknotes including bronze Diocletian Sestertius and silver denarius (not identified) to/w two silver Commemorative medallions 1897/1902, 1780 Thaler, 1797 Cartwheel penny etc; lot also includes 1871 paper automaton greetings card and banknotes including five uncirculated Reicksbank 1923 20,000-mark notes and a 1922 50,000-mark note, 1910 1,000-mark and other world notes
Auguste Van Pers (Dutch, 1815-1871)Twenty-two views of Javanese types, including Princes, soldiers, street vendors and tradershand-coloured lithographed plates by C.W. Mieling after A. Van Pers, captioned in Dutch, French and Javanese in yellow beneath the images, [c.1853-1862]image 265 x 210cm (104 5/16 x 82 11/16in).window-mounted (22)Footnotes:A group of 22 costume studies from the rare portfolio Nederlandsch Oost-Indische Typen by Van Pers, an engraver and draughtsman at Buitenzorg, who 'attempted to portray various ethnic groups in Java for the first time' (Bastin & Brommer).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
Barthé lemy Lauvergne (French, 1805-1871)'Couvent de la Guia à Macao'hand-coloured aquatint by Himely after Barthélemy Lauvergne, c.1830image 220 x 310cm (86 5/8 x 122 1/16in).and 2 lithographed views of Macao after E.B. de la Touanne, c.1828 (3)Footnotes:Other images comprise: 'Costumes Chinois et famille de pecheur à Macao (Chine)'; 'Grotte du Camoens, dans le jardin de M. Pereira, a Macao (Chine)'.For further information on this lot please visit Bonhams.com
John Simpson (British, 1811-after 1871): An oval enamelled copper self portrait miniature together with a rectangular enamelled copper portrait miniature of Mrs Simpson (probably Mrs William Page Simpson)the first miniature with the sitter looking to dexter with mutton chop whiskers, wearing a black silk bow tie, the rear inscribed and dated Painted by J. Simpson for his son W. P. Simpson, Jan 1865, the second miniature of canted topped rectangular form, the sitter looking to dexter, her hair dressed with long ringlets, her black silk dress with laced collar, the rear signed dated Mrs Simpson 1855., by J. Simpson', the first miniature, 4cm x 3.3cm, the second miniature, 5cm x 4cm (2)Footnotes:John Simpson (1811-after 1871) was trained as a porcelain painter at the Derby porcelain factory before moving to London in 1845. He soon established a practice as a miniature painter specialising in works on enamel, and fulfilled the first of many commissions for Queen Victoria in that year. He is last recorded describing himself at the end of his career as a 'photographic artist' (1871 census return); the date of his death is not known.For further information on this lot please visit Bonhams.com
William Page Simpson (British, 1845-1911): An oval enamelled copper portrait miniature of a gentlemanpossibly a self portrait for his father, John Simpson (British, 1811-after 1871)the sitter looking slightly to dexter with mutton chop whiskers wearing a high black stock collar, mounted within a later brown plush covered contemporary rectangular frame with milled gilt slip, the miniature, 3cm x 2.5cm, the frame, 10.5cm x 7.5cm Footnotes:John Simpson (1811-after 1871) was trained as a porcelain painter at the Derby porcelain factory before moving to London in 1845. He soon established a practice as a miniature painter specialising in works on enamel and fulfilled the first of many commissions for Queen Victoria in that year. He is last recorded describing himself at the end of his career as a 'photographic artist' (1871 census return); the date of his death is not known.For further information on this lot please visit Bonhams.com
UNITED STATES. Gold quarter dollar, 1871. California Fractional Gold:https://www.ngccoin.com/coin-explorer/united-states/territorial-issues-and-confederate-states/california-fractional-gold/Liberty head left, with stars around; "G" and date below/ "1/4 DOLLAR CAL" within wreath.R4 rarity. In secure plastic holder, graded PCGS MS61 , certification number 02457753. PCGS population in this grade: 18.PCGS population in higher grade: 77.Reference: BG-840.Weight: 0.25 g. (AGW=0.0072 oz.)Composition: 900.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Tower .577 sporterised Snider rifle Tower .577 sporterised Snider rifle, 25 inch barrel fitted with reproduction sight, 1871 dated lock stamped with a crown, Snider Patent stamped MkII breech.Section 58(2) antique / obsolete calibre, can be owned without a licence. Buyer must be over the age of 18, age verification ID will be required if the lot it to be posted out. 105cm longThe rifle has been heavily sporterised and customised to suit a particular owner in the past. The stock has been shortened and now has a length of pull of 11.75". The butt plate is either a replacement or has been heavily modified. There is a split to the stock in typical place between the breech and the side screw which holds the lock in place. The action works correctly with a strong spring. The bore has a fair amount of pitting throughout. The exterior of the rifle has overall pitting, there are dents to the barrel and to the hammer. The breech block is quite sloppy in fit. The rear sight and the firing pin nipple have been replaced.
A COLLECTION OF SILVER FLATWARE VARIOUS MAKERS AND DATES To include: a set of nine Victorian fiddle pattern tea spoons by Josiah Williams & Co., Exeter 1858, engraved B, 14.5cm (5 3/4in) long; an Edwardian set of six Apostle tea spoons by Thomas Hayes, Birmingham 1904, 12cm (4 3/4in) long; a Victorian fiddle pattern caddy spoon by H. J. Lias & Son, London 1871, with a shell shaped bowl, 10cm (4in) long; a Georg Jensen spoon, London 1926 import mark, 13cm (5in) long; together with other silver items of flatware 504g (16.2 oz) gross Condition Report: There is no condition report available for this lot and is sold as found Condition Report Disclaimer
UNION BREVET BRIGADIER GENERALS (9) Fine lot of nine items signed by Union brevet brigadier generals, includes: WILLIAM MAYNADIER (1807-1871), postwar petition to a church, signed; MORRIS S. MILLER (1814-1870), D.S., Murfreesboro, May 26, 1863, quartermaster's return; ROBERT MINTY (1831-1906), D.S., Chattanooga, Dec. 7, 1863, forage return; TIMOTHY C. MOORE, D.S., Talladega, Oct. 4, 1865, General Order No. 1 assuming command of nine counties; ANDREW J. MACKAY D.S., Shields Mills, Tn., Apr. 5, 1865, inventory inspection report; JOHN K. MURPHY (1796-1876), partial muster roll, signed; GEORGE R. MYERS, war-date D.S., 1p. folio, White Oak Church, Apr. 9, 1863, 18th N.Y. muster out roll, JOHN MORRILL A.E.S., Ottawa, Apr. 13, 1891 to Henry Cist concerning the 1862 discharge of 'Col. Williams'; and CHARLES S. MERCHANT, signed endorsement, June 6, 1866. Nine pieces.
Yugoslavia, Social Federal Republic, A selection of Fire Brigade Medals, including Medal of Merit, First Class, gilt and enamel; Order of Sacrifice (2), Second Class, silver and enamel; Third Class, bronze and enamel; Medal of Good Conduct, First Class, gilt and enamel; Medal for Honour, bronze and enamel; Commemorative Medal for the 110th Anniversary of the Creation of the First Fire Brigade 1871-1981, bronze and enamel; together with various other miscellaneous Yugoslav medals, generally very fine (lot) £70-£90
UNITED KINGDOM. Elizabeth II, 1952-. Gold 5 pounds, 2021. Royal Mint. Proof . Released to commemorate the 150th anniversary of the construction of the Royal Albert Hall.Fifth crowned head of Elizabeth II facing right; JC below; ELIZABETH · II · DEI · GRA · REGINA · F · D · 5 POUNDS · 2021. Design by Jody Clark. / Domed depiction of the Royal Albert Hall in London, inscription 'ROYAL ALBERT HALL 1871 - 2021'. Designed by Anne Desmet RA. Edge plain with incuse lettering 'INSPIRING ARTS AND SCIENCES'.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 6031131-004. NGC Census in this grade: 52, equal-finest graded.Total NGC Census: 58Mintage: 210.Diameter: 38.61 mm.Weight: 39.94 g. (AGW=1.1773 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
5x Horsehair Plumes for British 1871 Pattern Dress Helmets, including example for 3rd PWO Dragoons, Norfolk Yeomanry, 5th Dragoons, etc. Various conditions. PLEASE NOTE THIS LOT IS STORED IN THE USA, THE LOT WILL BE SHIPPED FROM THE USA. ALL ITEMS STORED IN THE USA WILL BE SHIPPED AFTER MONDAY 15TH AUGUST 2022. PLEASE READ INFORMATION ABOUT LOTS STORED IN THE USA ON THE AUCTION INFORMATION PAGE AND IN OUR TERMS AND CONDITIONS OF SALE.
Clothing. Embroidered skirt for a Robe à la Française, British, circa 1730-40, hand-stitched wide skirt, composed of 5 pieced cream silk panels, each 72.5 cm (28.5 ins) wide, 1 panel unadorned, with 31 cm long stitched opening from waistband, the other 4 panels elaborately hand-embroidered in polychrome silk threads with a wide border (46 cm/18 ins) depicting an abundance of flowering and fruiting meandering stems including roses, tulips, carnations, and pomegranates, some of the stems gathered together with a bow, using a variety of stitches, including stem stitch, long and short stitch, latticework, basket weave, and satin stitch, the skirt shaped for pannier hoop with gathers to sides, original tape edging and drawstrings to waist, hem and one side seam stitched, the other side seam raw, a few small marks and 1 or 2 minor pulled threads, pale brown stain to blank area above embroidery (6 x 3 cm), 2 cm closed tear to hem almost touching a leaf, 99.5 x 362 cm (39.25 x 142.5 ins)QTY: (1)NOTE:Provenance: The Farquhar Collection, Redlynch House, Salisbury, Wiltshire (see also lot 160).A rare, beautifully-preserved, large portion of embroidery on a wide skirt, intended to be part of an 18th century gown, but seemingly never used. The condition of this almost 300-year-old piece is remarkable, with the colours still vibrant and the silk fabric robust. The finished gown would have been worn with a pannier beneath, made of metal, cane or whalebone supports, to give the skirt its shape. The voluminosity of the gown would accentuate the small waist of the wearer, whilst the large expanse of costly material would indicate the wealth and status of the lady. As the 18th century wore on skirts expanded in width so that by the middle of the century some ladies wore panniers seven feet wide.The Farquhar family were bankers and collectors of fine art and antiques. Celebrated members of the family include John Farquhar who bought Fonthill Abbey, Wiltshire, in its entirety from William Beckford in 1823, and Alfred Farquhar who was one of the partners of the private bank Herries, Farquhar & Company, which eventually merged with Lloyd's at the beginning of the nineteenth century. The bank lent money to Napoleon III, and in 1871, when Napoleon was exiled, he sought refuge with banking partner Sir Walter Rockcliffe Farquhar. According to family tradition, the former Emperor struggled to repay his debts, so instead paid in kind, with valuables from French royal palaces which had been brought to England by bullock carts.
Jules-Constant Peyre, French, 1811-1870, (born-active), a pair of ‘ceramo-marbre’ portrait reliefs of Empress Eugenie and Napoleon III, third quarter 19th century, each signed J.PEYRE, and with maker’s stamp to reverse Nouveau Modeles Ceramo-Marbre, Propriété de L'Editeur, in brass slip frames, 18cm diameter Note: Peyre was born in Sedan, and having trained under the famous animalier sculptire Bayre he joined the Sevre porcelain factory as a modeller (1845-1848) and went on to become Chief Designer (1856-1871). During some kind of sabbatical in the early 1850s he took obe of the factory's most distinctive material formulations, bisque porcelain, and developed it into a much more durable and versatile synthetic marble, which he called "ceramo-marble". Exploiting this new product he began to commercialise a range of portrait medallions based on his own deisgns. In 1855 he sculpted a medallion of Princess Eugenie which was based on a life-size marble bust created in the previous year by Alfred-Emilien, comte de Niewerke. Peyre then sculpted a matching medallion of the Emperor himself, and marketed the resulting Imperial Pair in a range of different sizes, typically 7-10cm. The present lot is unusually large and rare example of this model.Please refer to department for condition report
A pair of George III silver teaspoons, Hester Bateman, no date letter, nine fiddle pattern silver teaspoons, HH, London 1871, a cased set of six silver coffee spoons and three spoons, approximately 397g CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
A Victorian silver goblet, London 1874, with engraved border, 16.5cm high and another, Birmingham 1871, 15.75cm high approximately, 304g CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
William Powell Frith (1819-1909)/At My Window, Boulogne/signed and dated 1871/oil sketch on canvas, 46cm x 35cm/see illustration CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
A good mid 19th century two-day brass-bound rosewood marine chronometerFrodsham & Son Liverpool & London No. 1608The three part case with blank brass cartouche inlaid on the top lid, the centre section with brass 10 point star button above an unmarked circular ivory plaque, the lower section with inlaid brass escutcheon and folding handles. The 3.75 inch silvered Roman dial with subsidiary power reserve indicator from 0-56 hours at XII and observatory style seconds dial at VI, signed in the centre Frodsham & Son Liverpool & London N.o 1608 below the gold spade hands. The spotted 3/4 plate movement with four plain pillars and maintaining power to the chain fusee, free sprung blued steel helical balance spring with jewelled endstone and Earnshaw type escapement, cut and compensated bimetallic balance with circular weights, sitting in a weighted gimballed bowl. Ticking with a tipsy key, a further winding key and a case key. 19cms (7ins) wide. Footnotes:Purchased 22 March 2001 from Jeffrey Formby Antiques.John Frodsham was born in 1781, joining his father and grandfather at 'William Frodsham & Son' after completing his apprenticeship in Clerkenwell, in 1805. By 1807, his father and grandfather had both died, leaving him as sole proprietor; the firms name was changed that year to 'John Frodsham'. He gained his freedom in 1822, relocating the business and establishing himself as a maker of pocket watches and chronometers, as well as marine chronometers. In 1834, he took his eldest son, Henry John Frodsham, 25, as a business partner and changed the business's name to 'John Frodsham & Son'. Henry John Frodsham died a year before his father, in 1848, and the business was taken over by John Frodsham's youngest child, George Edward Frodsham, born in 1831. It is likely that George Edward Frodsham had already become part of the firm, after the death of his older brother, as the name remains 'John Frodsham & Son' during this period. This would remain the firm's name until 1854, at which point it was changed to 'Frodsham, Son & Co'. The firm bore this name until 1855, then became 'Frodsham & Baker' until 1863, when it was changed again to 'George E. Frodsham,' the name it kept until it disappears from trade directories in 1901. George Edward Frodsham died in 1903. His cousin, Henry Frodsham, was born in 1802 and was apprenticed to William James Frodsham, his (Henry's) father and one of the founders of the celebrated 'Parkinson & Frodsham' firm. Around 1831, it seems that Henry moved to Liverpool to run the nascent Liverpool branch of 'Parkinson & Frodsham,' which had been started 10 years previously. Three years later, Henry purchased the Liverpool branch from 'Parkinson & Frodsham' and renamed the business 'Henry Frodsham, chronometer maker, 38 Castle Street, Liverpool.' In 1856, the firm entered into partnership with a local nautical instrument maker, Robert John Keen, and the name was changed to 'Frodsham & Keen', Keen's own shop being renamed 'Keen & Frodsham.' Henry Frodsham died in 1858, the business passing to his wife, Frances Louisa. The firm continued under the name 'Frodsham & Keen' until closing its doors in 1935; Frances Louisa died in 1871, so it seems that at some point she sold her partnership to Keen.This seems to suggest that this chronometer was made before 1855, before both the London and Liverpool firms changed their names when entering into separate partnerships. Why refence is made to both branches on the dial is not known, it is unclear how much interaction various branches of the family had, though this chronometer does suggest a hitherto unknown close connection between the Gracechurch Street Frodshams and the Liverpool Frodshams.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 and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
A 19th century two day mahogany marine chronometerSigned 'Eleve de' Parkinson & Frodsham London #537The three part case with blank brass cartouche to the top lid, the centre section with brass flower button above a later ivory signature plaque, the lower section with inlaid brass escutcheon with an ivory number plaque below and folding handles to the sides. The 3.25 inch silvered Roman dial enclosed by an Arabic minute band, subsidiary power reserve from 0-48 at XII and observatory style seconds dial at VI, signed eleve de Parkinson & Frodsham London No. 537 below the gold spade hands. The spotted movement with four ringed pillars and maintaining power to the chain fusee, free sprung blued steel helical balance spring with diamond endstone and Earnshaw type escapement, cut and compensated bimetallic balance with circular timing weights, with typical bayonet-fitting sprung dust cap in a weighted, scratch-numbered gimballed bowl. Ticking with two winding keys and a case key. 15.5 x 15.5 x 16Footnotes:Purchased 16 August 2002 from Gerald Marsh Antique Clocks, Winchester.There are three people associated with Parkinson & Frodsham that are known to have used the 'eleve' signature. The first is William Edward Frodsham who was the second eldest son of William James, born in 1814. He entered into his apprenticeship with his father in 1823, but tragically drowned in 1825, at the age of 20. Despite this, two marine chronometers are known to exist by him, numbered 1 and 2, and both signed on the dial Eléve of Parkinson & Frodsham. No. 2 accompanied Charles Darwin aboard H.M.S Beagle, and was sold in these rooms in 2014.The second person to use the 'eleve' name was Thomas Cotterell. Thomas Cotterell (also spelled Cottrell) was based at 163 Oxford street as Cotterell & Co. throughout the 1820's-1830's. Cotterell is known to have signed some marine chronometers as Elevé de Parkinson & Frodsham, despite not being listed as an official apprentice. One chronometer is known to be signed as Cotterell and Co., London and Parkinson & Frodsham, meaning it is possible that Cotterell made movements for Parkinson & Frodsham, rather then having been apprenticed to the firm. Further evidence of his association with Parkinson & Frodsham is that several chronometers were entered in the Greenwich trials by T. Cotterell, yet Parkinson & Frodsham literature took credit for the favourable results received. A chronometer made by Cotterell, No. 368, was bought for 80 guineas in 1829 by the government, to be used on the HMS Rainbow 1823, a 28-gun warship. He had several correspondences between 1822-1835 with Greenwich observatory, regarding the Trials and various parties interested in buying his chronometers. Beyond this, very little is known about his life, including when he stopped trading.The third person to consider is Henry Herbert Frodsham, William Edward Frodsham's nephew. Henry Herbert Frodsham was born in 1850 to Henry Frodsham, a Liverpool watch and chronometer maker and brother of the above-mentioned William Edward Frodsham. Henry Herbert served his seven-year apprenticeship with Thomas Robert Russell, completing it in 1871. After his apprenticeship, he was made a manager of Thomas Robert Russell and sent to manage their branch locations in Chile, then Germany, and finally London, where he seems to have established his own shop at 33 Picidilly, staying there between 1881-1884. A deck watch is known by him from this date, and it is signed on the dial Henry Frodsham élève of Parkinson & Frodsham, Change Alley, London. By 1886 Henry Herbert had moved to Bedford, again establishing himself as a watchmaker. In 1897, he went in to business with his wife Catherine, who was an optician, and formed H & C Frodsham, specialising in optics, whilst still offering watch repairs. Henry Herbert Frodsham died in 1915, but H & C Frodsham continued as an opticians under his daughter, Dorothy Frodsham, until her retirement in 1961.It seems likely that this particular chronometer was made by Thomas Cotterell. Cotterell outlived William Edward Frodsham and spent longer working in London then Henry Herbert Frodsham. Cotterell also used a grammatically correct French signature, eleve de, rather then William Edward and Henry Herbert, both of whom used eleve of. Why Cotterell didn't include his name, as he had done on previous examples remains unknown.The trade sticker in the chronometer box is from Liverpool nautical instrument and chronometer maker Alexander Cairns. He is recorded as working at 12-13 Waterloo Road between 1859-1872, having previously worked at 32 Waterloo Road, just up from Waterloo Dock. There is no record of interaction between Cairns and Parkinson & Frodsham. However, the latter had two branches in Liverpool, four wards east, also just up from the docks. It is possible that this chronometer may have been sent from the London workshop to be sold in Liverpool, though this cannot be confirmed.University of Cambridge (2015) Cambridge Digital Library: Papers of John Pond. Available at: https://cudl.lib.cam.ac.uk/search?keyword=Cotterell%2C%20Thomas%20(fl%201822-1835)%20chronometer%20maker&page=1Davidson, S., Linstead-Smith, P. (2016) 'W. E. Frodsham No.1. Another chronometer identified from HMS Beagle's second voyage', Antiquarian Horology, Vol. 37 (3), pgs. 70-80E. C. V. Blyth (1957) 'Trade Offers Under £50', Antiquarian Horology, Vol. 2 (5), p. 94.Harvard University Hilliar's Guide for Strangers and Visitors Through Liverpool 1854. Available at:https://iiif.lib.harvard.edu/manifests/view/ids:10327532Historic Liverpool (2022) 1860: Weekly Dispatch Atlas. Available at: https://historic-liverpool.co.uk/old-maps-of-liverpool/weekly-dispatch-atlas-1860/#2/-87.8/-61.9This 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 and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
STROUD ROBERT: (1890-1963) American Prisoner and Ornithologist, known as The Birdman of Alcatraz, and considered to be one of the most notorious criminals in American history. A.L.S., Love, Bob, Robert Stroud #594, two pages, 4to, Alcatraz, California, 6th August 1954, to his sister, Mamie Stroud. Writing in bold pencil, Stroud acknowledges receipt of his sister's letter and continues 'I also had a long sales letter from Marc this evening. The second I have had this week, but can't say that I am feeling any better about the whole situation. I do not think that he has fouled things up intentionally, that is, not consciously so, but it amounts to the same thing anyway, and the sad part of it is that he has really worked hard and spent a lot of money, but I cannot get him to carry things through to the end nor can I breaking of the bad habit of consistently lying to me, when the truth would serve his purpose a lot better. So I am still thoroughly dispirited about the whole thing. He now says that he will have the book ready to send in in November, and it will be out in the spring, but I cannot see where I am ever going to get anything out of it, so I am probably a fool for not calling the whole thing off now. Which is what I should have done years ago'. Stroud also writes of his health, 'Physically I have been feeling pretty good the last few weeks, but I have not been sleeping much. I had about four hours last night, which is the most of any night this week. I never did require a great deal of sleep, but when I do not get that little that I do require, it gets me down' and of his activities within prison, 'I have been reading all week on a French book, La Commune, which is the 4th book of a series dealing with the conditions in France leading up to, during and following the war of 1870…..This is a phase of history with which I was not very familiar, and it is one with which it would profit a lot of people in this country to be more familiar. It is from this set of circumstances that the communists take their name, although it was not until years later that the name was used in this country. Commun (spelled without an e on the end) means common in French, and what we call a city council is there called the common council or commune (spelled with an e). What we call communist today was at that time in France spoken of as members of the society international de oeuvres, or the International Society of workers. In England and the United States up until the First world war it was known as the 3rd International Trade Unions Congress. In 1871 the city of Paris, disgusted with 21 years of treason and inefficiency which led to defeat by Germany……refused to give up its arms and fought a war against the national government, and many of the disgraceful conditions that led to that cruel and bloody impasse exist in this country today. The difference being Paris, which is different from any other city in the world, because for a thousand years it has attracted to it the most independent thinkers of the world, who have always been ready to fight for their rights….' Also signed in the return address panel at the head of the first page. VG Stroud served seventeen years of his life imprisonment at Alcatraz from 1942-59 and was allowed access to the prison library where he began studying law.
A Sèvres 'Coupe Réticulée', made for the Comte de Paris, circa 1845Modelled by Hyacinthe Régnier, the bowl with reticulated double-walled Asian motifs including stylised lotus flowers, the inside decorated with eight vignette still life scenes of flowers and vases, standing on subtle gilt fretwork bases, all surrounding a central rosette in of silvered single flowers placed in abstracted pointed arches in Islamic taste, placed on a circular reticulated baluster pedestal foot, in its original fitted green leather circular case, the coupe: 24.8cm high; the case: 34.5cm diam., crowned LP monogram and SEVRES 1845 (indistinct) within a circle stencilled in blue, gilder's mark B and incised 8VZ(?) - 43 -3Footnotes:Provenance: Delivered to the Comte de Paris on 19 November 1845Le Goût ChinoisIn November 1831 Hyacinthe Régnier was paid an advance for initial designs of elements of a déjeuner simply known as 'Chinois'. His inspiration was drawn from the Chinese objects he would have seen in the famous sale of Chinese art of the Parisian art dealer F. Sallé which began on 11 April 1826. This sale contained a section of 'Openwork Chinese Porcelain'. In a description of the pieces it reads: 'The Chinese make a kind of porcelain with openwork designs resembling paper cut-outs. In the centre is a vessel for liquid. This vessel forms one unit with the openwork' (T. Préaud, The Sèvres Porcelain Manufactory - Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847 (1997), cat.no. 73 and 76). The Sèvres factory was not the first to attempt these 'double walled' objects, indeed the Meissen factory had made similar technically precarious pieces in the earliest days of its existence, and a large double-walled Doccia coffee pot is in the Museo Internazionale delle Ceramiche di Faenza. But Régnier was the first to successfully adapt the intrinsic Chinese patterns to a modern eclectic taste, and manage the huge technical challenges of firing, in several stages, the very delicate pierced outer wall. Chinese influence began to have a major influence on the decorative arts, and many Sèvres piece were inspired by forms, glazes and decorations of authentic Chinese models. As Tamara Préaud notes (op. cit. p.275) careful scientific examination of Chinese wares also prompted the development of new techniques at Sèvres.The déjeuner chinois réticulé instantly became a success, and other shapes and objects, ever more ambitious, were realised in this new, exotic taste. The first design for the present Coupe Réticulée was realised in 1842, around the same time Brogniart decided to undertake a chinoiserie cabinet inspired by Auguste Borget's Sketches of China and the Chinese (1842). Brogniart wrote he took care to avoid imitation of Chinese ornament, whereby he meant that the decoration was closely modelled after 'authentic' Chinese examples, a historically correct approach that was quite new at the time. (Préaud op.cit. p. 307).The original designs for this coupe are kept in the archives of the Sèvres manufactory. Although slightly different, the reticulated walls also show the same stylised lotus flower and foot.Philippe, Comte de ParisThe present coupe is listed in the Sèvres sales register at 650 livres on 19 November 1845 as follows Livré à Son Altesse Royale Monseigneur le Comte de Paris. Le 19 Novembre 1845. Coupe réticulée, fond bleu (...) décor en or et couleurs dans le style chinois. [delivered to HRH the Count of Paris. 19 November 1845. A reticulated coupe, blue (...) with a decoration in gold and colours, in Chinese style.]Prince Philippe, Count of Paris (24 August 1838 - 8 September 1894), became the Prince Royal, heir apparent to the throne, when his father, Prince Ferdinand-Philippe, Duc d'Orléans, died in a carriage accident in 1842. Although there was some effort during the days after the abdication of his grandfather in 1848 to put him on the throne under the name of Louis-Philippe II, with his mother (Helene of Mecklenburg-Schwerin) as Regent, this came to nothing and the family fled as the French Second Republic was proclaimed. Philippe married the Infanta Maria Isabel of Spain in 1864, and during their early married life, the Count and Countess of Paris lived at York House, Twickenham. In 1871 after the Franco-Prussian War and the downfall of Napoleon III, they were allowed to return to France, and many of their properties were restored to them. They did not, however, succeed in claiming the throne in a restored monarchy after the fall of Napleon III. In 1886 the family was exiled again returning to England, where they first lived at Sheen House, near Richmond, and in 1890 they moved to the much grander Stowe House, where Philippe died in 1894.For further information on this lot please visit Bonhams.com
Robert Salles (French, 1871-1929)Un après-midi au port signed and inscribed 'Robert Salles/PARIS' (lower right)oil on canvas99.4 x 200.3cm (39 1/8 x 78 7/8in).Footnotes:ProvenanceWith The Devonshire Gallery, Devon, no. P711.Private collection, UK.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
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