Early 20th century albumen photograph print depicting figures posing on camelback in front of the Great Sphinx and the Great Pyramid of Giza. Possibly depicting the von Hallwyls family trip to Egypt and Sudan from November 5, 1900 to March 29, 1901.Lot Essay:These 1855-1900s albumen photographs of "The Rediscovery of Egypt" represent the earliest days of the successful use of commercial photography. For the first time photographic images could be produced from glass plate negatives allowing European travelers to return home with actual images of Egypt's great treasures. Photographers include Felice Beato (Italian/British, 1832-1909), Antonio Beato (Italian/British, ca. 1832-1906), Adelphoi Zangaki (Greece), Jean Pascal Sebah (Syrian/Armenian, 1872-1947), and Maison Bonfils (France).Many of the images offered in this sale capture ruins and artifacts that have since collapsed, moved to museums or, in some cases, are under water. The remarkable series of photographs of the Great Sphinx of Giza show it in various states of revelation - from seeing only its head to its excavation and re-excavation, until the now well-known lion's paws were finally revealed. There are additionally many photographs of hieroglyphics, temple ruins, and the Great Pyramid.Sight; height: 8 in x width: 10 1/8 in. Matted; height: 14 1/8 in x width: 17 1/8 in.Condition: There are no visible restorations. There is a 3 1/4 inch long horizontal tear extending inward from the right edge. Creases throughout. Some soiling throughout. The sheet is toned. Housed between two non-acidic mats. With plastic sleeve wrapped around and affixed to the verso of the matboard. Not inspected out of matting.
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Maison Bonfils (France). Late 19th to early 20th century albumen photograph print depicting the first pylon of the Luxor Temple with its obelisk. Inscribed illegibly along the lower right; numbered 128; signed in negative along the lower left.Lot Essay:These 1855-1900s albumen photographs of "The Rediscovery of Egypt" represent the earliest days of the successful use of commercial photography. For the first time photographic images could be produced from glass plate negatives allowing European travelers to return home with actual images of Egypt's great treasures. Photographers include Felice Beato (Italian/British, 1832-1909), Antonio Beato (Italian/British, ca. 1832-1906), Adelphoi Zangaki (Greece), Jean Pascal Sebah (Syrian/Armenian, 1872-1947), and Maison Bonfils (France).Many of the images offered in this sale capture ruins and artifacts that have since collapsed, moved to museums or, in some cases, are under water. The remarkable series of photographs of the Great Sphinx of Giza show it in various states of revelation - from seeing only its head to its excavation and re-excavation, until the now well-known lion's paws were finally revealed. There are additionally many photographs of hieroglyphics, temple ruins, and the Great Pyramid.Sight; height: 7 3/4 in x width: 11 in. Matted; height: 14 1/8 in x width: 17 1/8 in.Condition: There are no visible tears, creases, losses, or restorations. One minute area of foxing in the upper left quadrant. Housed between two non-acidic mats. With plastic sleeve wrapped around and affixed to the verso of the matboard. Not inspected out of matting.
Early 20th century albumen photograph print depicting figures posing on camelback in front of the Great Sphinx and the Great Pyramid of Giza. Possibly depicting the von Hallwyls family trip to Egypt and Sudan from November 5, 1900 to March 29, 1901.Lot Essay:These 1855-1900s albumen photographs of "The Rediscovery of Egypt" represent the earliest days of the successful use of commercial photography. For the first time photographic images could be produced from glass plate negatives allowing European travelers to return home with actual images of Egypt's great treasures. Photographers include Felice Beato (Italian/British, 1832-1909), Antonio Beato (Italian/British, ca. 1832-1906), Adelphoi Zangaki (Greece), Jean Pascal Sebah (Syrian/Armenian, 1872-1947), and Maison Bonfils (France).Many of the images offered in this sale capture ruins and artifacts that have since collapsed, moved to museums or, in some cases, are under water. The remarkable series of photographs of the Great Sphinx of Giza show it in various states of revelation - from seeing only its head to its excavation and re-excavation, until the now well-known lion's paws were finally revealed. There are additionally many photographs of hieroglyphics, temple ruins, and the Great Pyramid.Sight; height: 8 in x width: 10 1/2 in. Matted; height: 14 1/8 in x width: 17 1/8 in.Condition: There are no tears or restorations. The colors are slightly faded. Light to moderate creases throughout. Affixed to paper. Housed between two non-acidic mats. The work has slipped its hinges and is loose.
MAURICE PIRENNE (1872-1968)Intérieur Signé en bas à droite Pastel sur papier Getekend rechtsonder Pastel op papier Signed lower rightPastel on paper 44 x 36 cm (17 5/16 x 14 3/16 in)67 x 57 cm (26 3/8 x 22 7/16 in) (framed)Footnotes:ProvenancePrivate Collection, BelgiumThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com
FREDERIC RUDOLPHI (1808-1872)La chasse au serpent, Coupe Signé du monogramme sur le bord de la baseArgent doré, agathe, émail et grenatGetekend met het monogram op de rand van de voet Verguld zilver, agaat, email en granaat Signed with the monogram on the edge of the base Gilt silver, agate, enamel and garnet 19 x 17 x 12 cm (7 1/2 x 6 11/16 x 4 3/4 in)Footnotes:Provenance Christie's, London, February 27, 1997, lot 201 Gallison Hall, Charlottesville, Virginia: The James F. Scott CollectionPrivate collection, FranceFor further information on this lot please visit Bonhams.com
Queen’s South Africa 1899-1902, 3 clasps, Relief of Kimberley, Paardeberg, Driefontein (79956 Gnr: H. Burgess, G Bty., R.H.A.) edge bruise, nearly very fine £70-£90 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Henry Burgess was born in Islington in 1872 and attested for the Royal Artillery at Dover on 16 July 1890. Initially posted to India for 6 years, he served in South Africa from 28 October 1899 to 5 June 1900 and is confirmed as present at the Relief of Kimberley when 6,000 horses of the Cavalry Division under General French charged straight for the Boer positions, causing the enemy to flee in disarray.
A Great War O.B.E. and Order of St John group of six awarded to Doctor A. V. Davies, a distinguished Surgeon and Member of Parliament The Most Excellent Order of the British Empire, O.B.E. (Civil) Officer’s 1st type breast badge; The Order of St. John of Jerusalem, Knight of Grace set of insignia comprising neck badge and breast star, silver and enamel, neck badge lacking suspension loop; Coronation 1911, St John Ambulance Brigade (Dist. Supt. Of Stores A. V. Davies) Jubilee 1935; Coronation 1937; Service Medal of the Order of St John, silver, straight bar suspension, with two additional service bars (1525 Dst. Staff Ofcr. A. V. Davies No. 4 Dst. 1919) mounted on card for display, the star with some central enamel damage, otherwise nearly very fine or better (7) £800-£1,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- O.B.E. (Civil) London Gazette 1 January 1920. Order of St. John, Knight of Grace London Gazette 25 May 1918. Arthur Vernon Davies was born on 10 June 1872, the son of Edwin Edgar and Catherine Davies, of Bridgend, Glamorgan. He married Annie Maude, daughter of J. Brooke Unwin, M.D. of Dunchurch and there was a son and a daughter of the marriage. He was educated privately in Cardiff and at Owen’s College, Manchester. He graduated M.B. Ch.B., was House Surgeon Manchester Royal Infirmary and Northern Hospital, Medical Officer of Health for Crompton U.D.C., M.O. Infant Welfare Centre, Public Vaccinator (Oldham District) and Certifying Factory Surgeon, Shaw, Lancs. He was elected Conservative and Unionist M.P. for the Royton Division of Lancashire in the General Election of October 1924 serving until his retirement in October 1931. He was a distinguished doctor in the Manchester area, and active in the St. John Ambulance Brigade and the British Red Cross in Lancashire. Dr. Vernon Davies died on 4 August 1942. His recreations were noted as music and ambulance work.
Five: Regimental Sergeant Major E. W. Tulett, Royal Horse Artillery, later Royal Field Artillery Queen’s South Africa 1899-1902, 3 clasps, Cape Colony, Orange Free State, Transvaal (81661 Serjt: E. Tulett. R.H.A.); 1914-15 Star (38762 S.Mjr. E. W. Tulett. R.F.A.); British War and Victory Medals (38762 W.O.Cl.1. E. W. Tulett. R.A.); Army L.S. & G.C., E.VII.R. (81661 B.Q.M. Sjt: E. W. Tullett [sic]. R.H.A.) mounted court-style for display, contact marks to first, generally very fine and better (5) £200-£240 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Edward William Tulett, a labourer, was born in Portsmouth, Hampshire, in 1872, and attested for the Royal Artillery at Woolwich on 22 November 1890. Posted as Driver to “N” Battery on 6 December 1892, he was raised Acting Bombardier on 25 November 1897 and Corporal whilst stationed at Umballa, India. Returned home to England, he passed a short course in gunnery - judged as ‘fair’ - and served in South Africa during the Boer War from 29 December 1899 to 3 January 1901. Released from service with “D” Ammunition Column 13 September 1911, his superiors were keen to extol his virtues: ‘I can recommend him thoroughly in every way!’ Tulett subsequently took employment as a caretaker in Hampshire, but volunteered his services at the London recruitment office of the Royal Artillery on 16 September 1914. Posted to France with 46th Battery, Royal Field Artillery from 19 May 1915, he was advanced R.S.M. on 5 January 1917 and served as a pivotal figurehead for new recruits at the Northern Army Training Centre; he was finally released from the army in November 1918 in consequence of being physically unfit. Sold with copied service record and extensive research.
A RARE GOLD AND SILVER-INLAID BRONZE TAPIR-FORM VESSEL, ZUN17th/18th centuryThe creature standing four square with mouth slightly open below a curled snout, carrying a square-sectioned vase on its back, the pointed ears behind flaming eyebrows, the collar with a band of bosses, the body and face inlaid with gold and silver depicting foliate, geometric and spiralling designs. 35.5cm (14in) long.Footnotes:十七/十八世紀 銅錯金銀犧尊Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源： Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年），並由後人保存迄今The vessel belonged to Sir Michael (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD. Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. Their Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond-sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Finely cast as a tapir carrying a gu vase on its back, the present vessel is a playful interpretation of archaic bronze models, encapsulating the reverence for the past and expansion of political power at the time of its production. The form and decoration are based on ancient prototypes dating to the Warring States period (475-221 BC), which were similarly shaped and decorated with inlaid designs in gold and silver.The identity of the creature cast as the base for the present vase has been greatly discussed and variously referred to as a 'mythological animal', a 'rhinoceros' and a 'tapir'. The latter appears to be the most likely candidate as tapirs, although currently extinct in China, appear to have been indigenous to the area since as early as 200,000 BC.Archaistic vessels of this type are the result of renewed interest in ancient bronzes during the reign of Emperor Huizong of the Northern Song dynasty (AD 960-1127). The ruler, a keen antiquarian, prompted the publication of the 'Xuanhe Illustrated Catalogue of Antiques', Xuanhe Bogu tulu, which included an illustration of a tapir-shaped bronze vessel. The popularity of inlaid zoomorphic bronze vessels continued into the Yuan, Ming and Qing dynasties (13th-18th centuries). The 'Catalogue of Xiqing Antiquities' Xiqing gujian, for example, is an illustrated catalogue of ancient bronze utensils and other objects from the Shang (1600-1046 BC) to the Han (202 BC-220 AD) dynasties in the Imperial collection of the Qing dynasty. This work was commissioned by the Qianlong Emperor, compiled under the supervision of scholar-official Liang Shizheng (1697-1763), and completed in 1751. This ambitious literary project reflected the emperor's intention to 'restore the ancient ways', referring to the view of ancient culture as having intrinsic moral qualities of sincerity, simplicity and happy exuberance.Compare with a related cloisonné enamel zun vessel shaped as a tapir at the base, carrying a vase on its back, Qianlong mark and of the period, in the National Palace Museum, Taipei, illustrated in Enamel Ware in the Ming and Ch'ing Dynasty, Taipei, 1999, no.43. See also a related bronze gold and silver-inlaid 'tapir' vessel, Ming dynasty, in the collection of the Cernuschi Museum, Paris, acc.no.M.C.583.A related bronze gold and silver-inlaid 'tapir' vessel, zun, 17th/18th century, was sold at Christie's New York, 13 February 2018, lot 108; see also a related bronze 'tapir' vessel, xizun, Qianlong mark and period, which was sold at Christie's London, 3 November 2020, lot 90.For further information on this lot please visit Bonhams.com
TWO VERY RARE IMPERIAL-TRIBUTE PAINTED ENAMEL TURQUOISE-GROUND TRIPOD INCENSE BURNERS, DINGQianlong red enamel four-character marks and of the periodThe two globular vessels each raised on three bulbous feet, colourfully enamelled with similar designs of gourd or melon and butterfly within four gilded scrollwork-edged cartouches, against a turquoise ground interspersed with scrolling lotus, the gilded shoulder raising to a cylindrical neck with alternating gilded and painted flowers, below the wide rim repeating the similar design of painted and gilded cartouches, flanked by a pair of similarly enamelled S-shaped handles set with openwork gilt-copper cash-motif tubes. 21.5cm (8 7/16in) high, and 22.8cm (9in) high. (2).Footnotes:清乾隆 御供銅胎畫琺瑯瓜蝶紋雙耳三足香爐兩件礬紅「乾隆年製」楷書款Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022)來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏The vessels belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.These opulently decorated covered incense burners, modelled in the form of archaic bronze ding vessels, would have likely been commissioned by the Imperial Court from workshops in Guangzhou. Since the technique of enamelling on metal was introduced by Jesuit missionaries residing in Guangzhou around 1684, the craftsmen of Guangzhou proved so proficient in the new craft that by 1716 the Kangxi Emperor was known to have summoned two artisans from there to work in the enamel workshop of the Imperial Household Department in the Palace. By the Qianlong Emperor's reign, the art of enamelling on metal had reached exceptionally high standards, as the present examples illustrate, and this art form continued to receive the emperor's foremost interest and patronage.Compare with a similar incense burner, from a painted enamel alter set with interlocking lotus design, Qianlong mark and of the period, illustrated in the Compendium of Collections in the Palace Museum: Enamels 5, Painted Enamel in the Qing Dynasty, Beijing, 2011, pp.232-233, no.176. The incense burner is similarly painted with a turquoise ground and reserves painted with gourds amongst vines within gilded cartouches. See also the related design of gourds on a painted enamel cup and cover, Yongzheng mark and period, illustrated by Shi Jingfei, Radiant Luminance: The Painted Enamelware of the Qing Imperial Court, Taipei, 2012, p.100, no.63.Compare with a related 'Imperial-Tribute' yellow-ground Canton enamel tripod incense burner and cover, Qianlong mark and of the period, which was sold at Sotheby's Hong Kong, 2 June 2015, lot 669.For further information on this lot please visit Bonhams.com
'Vive la France!', 'Le Chauffeur Râleur' and 'Le Chauffeur son Avertisseur', a rare complete set of three bronze mascots by Jean Verschneider (French, 1872 -1943), 1909charming gilt patinated bronze mascots, each signed with correct foundry markings, each depicting a child with period driving coat, goggles and cap, one holding aloft a French flag with 'VIVE LA FRANCE' printed to the centre, another depicted squeezing a bulb horn and the last angry at the hooting. The flag bearer set on a turned oak base, with original gilded patina French, circa 1909, 15cm high, (27cm to tip of flag), the others mounted mounted as bookends with period marble bases and upstands, both 14cm high, 13cm long. (3)Footnotes:Jean Verschneider was an extremely versatile French artist and sculptor who also created a number of statues for Goldscheider. He was probably best known for 'The Kid', a rare 1925 car mascot depicting Jackie Coogan as featured in the title role of the 1921 Charlie Chaplin film of the same name.Lot to be sold without reserve.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
'Femme en Automobile', after Manuel Robbe (1872-1936), circa 1902,signed in pencil, monochrome etching on paper, 50 x 40cm, mounted, framed and glazed. Lot to be sold without reserve.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
1870 - 1872 | PUBLISHER: Kempten, Jos. Kosel | NUMBER OF PAGES: 448 + index + 389 + index | LANGUAGE: German | DIMENSIONS: 162 x 113 mm | THE FULL TITLE OF THE WORK: Ausgewahlte Schriften des Septimius Tertulianus. [Erster Band] + Zweiter Band (2 volumes) | CONDITION: spots | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
1872 - 1873 | PUBLISHER: Kempten, Jos. Kosel | NUMBER OF PAGES: 425 + index + 368 + index | LANGUAGE: German | DIMENSIONS: 162 x 113 mm | THE FULL TITLE OF THE WORK: Ausgewahlte Schriften des heiligen Irenaus. Erster Band + Zweiter Band (2 volumes) | CONDITION: spots | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Joseph Marie Vien (Montpellier 1716- 1809 Paris)Priam partant supplier Achille de lui rendre le corps d'Hector signé et daté 'jo. m. vien 1782' (sur le tapis, en bas à gauche)pierre noire, sanguine, aquarelle et rehauts de blanc sur papier, mise au carreausigned and dated 'jo. m. vien 1782' (on the carpet, lower left)black, red chalk, watercolour and heightened with white on paper, squared53.3 x 69.4cm (21 x 27 5/16in).Footnotes:This present work is a preparatory study for the painting of the same subject commissioned by the Comte d'Angiviller in 1779 to Vien. The finished oil painting was exhibited at the Salon of 1783, deposited in the Musée d'Alger in 1872 and has since been lost. However, a bozzetto, oil on canvas, was formerly in the Lagerfeld Collection and sold at Christie's, New York, 23 May 2000, lot 5 (see Th. Gaethgens and J. Lugand, Joseph-Marie Vien Peintre du roi (1716-1809), Paris, 1989, p. 201 and fig. 249).Another drawing in pen and brown ink of the same subjet is now at the Musée des Beaux Arts, Bézier (inv. 2040)(see Th. Gaethgens and J. Lugand, ibid, Paris, 1989, p. 249, no. 124).For further information on this lot please visit Bonhams.com
Michel Romagnesi (Paris 1731-1813)Portrait de Jean-Charles-Philibert Trudaine de Montigny (1733-1777) signé 'Romagnesi.' (sur le livre, en bas à gauche)huile sur toilesigned 'Romagnesi.' (on book, lower left)oil on canvas43.6 x 34.6cm (17 3/16 x 13 5/8in).Footnotes:ProvenanceCollection of Jean-Charles-Philibert Trudaine de Montigny (1733-1777), château de Montigny-Lencoup, thence by descent to Charles-Louis Trudaine (1764-1794) or Charles-Michel Trudaine (1766-1794) thence by descent to his widowMarie-Josèphe-Louise Micault de Courbeton (died in 1802)Collection of William Lowther, 2nd Earl of Lonsdale (1787-1872), 14 Carlton House Terrace, thence by descent to his nephew Henry Lowther, 3rd Earl of Lonsdale (1818-1876), thence by descent to William, 5th Earl of Lonsdale, 14 Carlton House TerraceHis sale, Christie's London, 18 June 1887, lot 875 (150 gns to Agnew)With Agnews (according to a label on the reverse)Archibald John Primrose, 5th Earl of Rosebery (1847-1929)Albert Edward Harry Meyer Archibald Primrose, 6th Earl of Rosebery, Mentmore TowersHis Sale, Sotheby's London, 25 May 1977 lot 2453Sale, Christie's London, 10 July 1987, lot 150 (as a Portrait of Etienne-Francois de Choiseul)Private Collection, SwitzerlandLiteratureR. Butler, Choiseul, I, Father and Son 1719-1754, 1980, ill.Country Life, 1987, vol. 181, p. 138The present work was formerly thought to be a portrait of Etienne-François de Choiseul-Beaupré-Stainville (1719-1785), however Greta Kaucher has now identified the sitter as Jean-Charles-Philibert Trudaine de Montigny (1733-1777), a renowned chemist. Here the sitter is depicted three-quarter length in elegant costume, and seated in a red satin gilded wooden fauteuil à la reine in his cabinet in Montigny-Lencoup. His cabinet is adorned with beautiful pieces clearly showing his interest for science, with the gilded claw compass held in his right hand and the important vacuum pump, after the design by L'Abbe Jean-Antoine Nollet, with a lacquered wooden base with gilded fillets and a glass bell, beside him.From a French-Italian family of military and theatrical fame, Michel Romagnesi was a pupil of Robert Le Vrac de Tournières (1667-1752) and had been a member of the Académie de Saint Luc in Paris since 1766 as Peintre Sculpteur but little else is known about his life.Very few works by Romagnesi are recorded but there is an altarpiece in the chapel of the hospital in Dax, representing the Apotheosis of Saint Vincent de Paul, and a Portrait of Claude-Alexandre de Villeneuve de Vence (1702-1760) given to Romagnesi or his Master Levrac Tournières, which was with Galerie Gismondi in 1990, listed in the Louvre documentation.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Louis Joseph Watteau, dit le Watteau de Lille (Valenciennes 1731-1798 Lille)La querelle militaire signé et daté 'J. WATTEAU 1781' (en bas à droit)huile sur panneausigned and dated 'J. WATTEAU 1781' (lower right)oil on panel36.4 x 47.8cm (14 5/16 x 18 13/16in).Footnotes:ProvenanceProbably Collection of Charles Lenglart, LilleCollection of Louis Lenglart, LilleCollection of Auguste Lenglart Collection of Dehau, BouvinesHis sale, Drouot, Paris, 23-24 April 1909, lot 88Lecreux CollectionSale, Drouot, Paris, 13 December 1983, lot 116Collection of Cailleux, ParisExhibitedLille, Salon des Arts, 1784, no. 5LiteratureL. Lefebvre, Livrets des Salons de Lille : précédés d'une introd. et suivis d'une table des noms, 1872, p. 252, no. 5P. Marmottan, Notice historique et critique sur les peintres Louis et François Watteau, dits Watteau de Lille, Paris, 1889, p. 57G. Maës, Les Watteau de Lille, Paris, 1998, pp. 234-235, cat. LP218Born in Valenciennes into a family of painters, including his uncle Antoine Watteau (1684 - 1721), Louis Joseph first trained in Paris with Jacques Dumont (1701-1781) and then entered the Académie Royale, where in 1751 he was awarded first prize for painting.In 1755, he settled in Lille, where he taught in the school of drawing until his dismissal for his innovative but scandalous introduction of the study of nude, as was accepted in Paris. He then returned to Valenciennes where he became assistant teacher to Louis-Jean Guéret (active between 1773-1778), director of the school of drawing in Lille, in 1770. He played a decisive role in the foundation of what would become the Musée des Beaux-Arts de Lille, opened in 1803, by producing the first inventory of paintings confiscated by the state during the French Revolution.He introduced an annual Salon in Lille in 1773, where he exhibited regularly between 1773-98, and the present work was included in 1784. A painting of the same subject is now at the Museum of Fine Arts of Rennes (975.4.132).For further information on this lot please visit Bonhams.com
JAMES GODSELL MIDDLETON (BRITISH ACTIVE 1826-1872) PORTRAIT OF HELEN C. BARLOW, HALF-LENGTH Oil on board Signed, inscribed and dated '1835' (verso) 32 x 26cm (12½ x 10 in.) Provenance: Sale, Capes Dunn & Co, 19 June 2001, lot 666 Sale, Hartleys, 6 December 2001, lot 903 Condition Report: There is a horizontal crease to the board approx.. 7cm at the centre left edge, and this is visible verso and recto. Light craquelure throughout. Inspection under UV reveals scattered retouching throughout with a large area concentrated to the sitter's chest. Unexamined out of glazed frame. Condition Report Disclaimer
A Leicestershire Yeomany Cavalry Officer’s silver shoulder belt and pouch Birmingham 1872, mounted with a crowned LYC Cypher 'Prince Albert's Own', the silver braided strap with silver mounts backed with red morocco the pouch 18cm wide (2)Shipping Disclaimer: Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country. Condition ReportWear to red morocco strap very minor dents to front panel of silver pouch
A collection of GB & foreign 19th and 20th century stamps, alphabetised and presented in six albums. The lot comprising: Album containing letters A to C, from Aden to the Cayman Islands. Including stamps from 1862 for Argentine Republic, Australia issues from 1913, Queensland from 1897, South Australia from 1868, Tasmania, Victoria and Western Australia, Austria from 1863 onwards; Barbados from 1892, Bavaria from 1867, Belgium from 1869, Brazil from 1891, Bulgaria from 1882, Canada from 1870, and others. Some franked, some clean of markings. Believed containing over 3,500; CAT value 2015 £1,625.15. Album containing letters C to F, from Ceylon to French West Africa. Including stamp issues from Ceylon dated 1872 onward, Chile from 1878, China, Colombia from 1917, Cuba from 1878, Cyprus from 1917, Curacao from 1915, Czech Republic, Danzig from 1921, Denmark from 1875, France from 1853, French Colonies incl. Madagascar, Martinique, Mauritania, French Morocco from 1914, 1885 from French P.Os in Turkish Empire, Reunion from 1892, Togo and Tunisia; as well as many others. Single album, believed containing over 2,700 stamps; CAT value 2015 £1,089.90. Album containing India to Dutch Indies. Including stamps from Iran from 1889, Italy from 1863, Jamaica from 1860 onwards, Japan from 1871, Jordan from 1930, Kenya Uganda & Tanganyika from 1917, Laos from 1959, Latvia from 1923, British Virgin Islands from 1867, Lichtenstein from 1920, Strait Settlements Malaya from 1902 & issues from Malacca, Pahang, Penang, Perak, Selangor, Malta from 1860, Mexico from 1899, Monaco from 1921, Netherlands from 1869, and Netherlands Indies from 1883. Some franked, some clean of markings. Single album believed containing over 2,500 stamps; CAT value 2015 £990.50. Album containing letters N to S, from Newfoundlands to Singapore. Including stamps from Newfoundland from 1890 onwards; New Zealand from 1882, Nicaragua from 1897, Nigeria from 1912, Norway from 1893, two 1860 Nova Scotia issues, Pakistan from 1947, Palestine from 1920, Papal States from 1852 & unfranked 1867 issues; Philippines from 1890, Poland from 1919, Portugal from 1870, Macau from 1938, Cape Verde Islands from 1934, three 1872 issues from Prince Edward Island, Rhodesia from 1896, Romania from 1893, Russia from 1864, Samoa from 1877, single Saxony issue from 1863, and Singapore from 1948. Some franked, some clean of markings. Single album believed containing over 2,500 issues; CAT value 2015 £2,813.65. Album containing letters S to U, from Slovakia to Uruguay. Including stamps from 1905 for Somalia, Cape of Good Hope from 1882, an 1869 Orange Free State issue, South Africa from 1902, Spain from 1876, St. Lucia from 1938, St. Vincent from 1913, Sudan from 1898, Surinam from 1913, Sweden from 1872, Switzerland from 1862, Syria from 1930, Tanganyika from 1927, Tanzania, Thailand from 1909, Togo from 1959, Tonga from 1897, Trinidad from 1883 & Trinidad and Tobago from 1913, two 1936 Tuva issues, Turkey from 1865, Ukraine, United States of America USA issues from 1861 onwards, and Uruguay from 1900, amongst others. Some franked, some clean of markings. Single album, believed containing over 2,700 issues; CAT value 2015 £1,866.21.
Cyril Edward Power (1872-1951) Self-Portrait, circa 1927signed 'Cyril Power' (lower right)linocut in black 14.5 x 9cm Provenance:With The Redfern Gallery, London, 1985 Sale; Bonhams, London, 15 April 2014, lot 42Exhibited: London, Wolseley Fine Arts, Touring Exhibition, 1999Margins appear to have been trimmed, hinge mounted to board with two small pieces tape at the top corners. Possibly slightly faded, otherwise in good order
Jagdpokal und -becher. 1. H. 20. Jh. 1x Pokal aus farblosem Glas mit zartgelbem Überfang, konischer, facettierter Kuppa, facettiertem Balusterschaft und polygonalem Fuß. Umlaufend die geschnittene Darstellung einer Waldlandschaft mit berittenem Jäger, Jagdhund und Hirsch (H 18 cm). / 1x signiert "J. Urban fec." (= wohl Josef Urban [1872-1933], Mitarbeiter der Künstlervereinigung Wiener Werkstätte): konischer, facettierter Becher aus farblosem Glas mit der tiefgeschnittenen Darstellung einer Waldlandschaft mit Auerhahn (H 14,5 cm). Minimale Bestoßung an Stand und Mündungsrand des Bechers. Aufrufzeit 24. | Okt. 2024 | voraussichtlich 16:51 Uhr (CET)Hunting cup and goblet. 1st half 20th century 1x goblet of colorless glass with pale yellow overlay, conical, faceted bowl, faceted baluster stem and polygonal foot. Circumferential cut depiction of a forest landscape with a mounted hunter, hunting dog and stag (h 18 cm). / 1x signed "J. Urban fec." (= probably Josef Urban [1872-1933], employee of the artists' association Wiener Werkstätte): conical, faceted beaker of colorless glass with a deep-cut depiction of a forest landscape with capercaillie (h 14.5 cm). Minimal wear to the stand and rim of the beaker. Call time 24 | Oct. 2024 | presumably 16:51 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
12er Satz Historismus-Mokkalöffel im Original-Etui. 800er Silber, vergoldet. Länge: 9 cm. 98 Gramm. Aufwendig gearbeitete Griffe im Renaissance-Stil. Punzen: undeutlicher Feingehaltsstempel, undeutliche Marke, französischer Einfuhr/Ausfuhrstempel 1864-1893, Einfuhrstempel Österreich-Ungarn 1872-1902 mit C für Prag. * Partnerauktion Bergmann. Literatur : Rosenberg (1928) Band IV Nr. 5906, Divis (1984) Nr. 79. Aufrufzeit 24. | Okt. 2024 | voraussichtlich 19:04 Uhr (CET)Set of 12 historicism demitasse spoons in original case. 800 silver, gold-plated. Length: 9 cm. 98 grams. Elaborately crafted handles in Renaissance style. Hallmarks: indistinct hallmark, indistinct mark, French import/export stamp 1864-1893, import stamp Austria-Hungary 1872-1902 with C for Prague. * Partner auction Bergmann. Literature : Rosenberg (1928) vol. IV no. 5906, Divis (1984) no. 79. Call time 24 | Oct. 2024 | probably 19:04 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Wiener Silberdöschen. Beschauzeichen Dianakopf/undeutliches Meisterzeichen gepunzt. 1872-1922.Silber (Feingehalt 900). 1 x 9 x 6 cm. 163 g. Flache, rechteckige Dose mit hellblauem Transluzidemail und Blütenkorb auf dem Deckel. Aufrufzeit 24. | Okt. 2024 | voraussichtlich 19:30 Uhr (CET) Viennese silver box. Hallmark Diana's head/undefined master's mark hallmarked. 1872-1922.Silver (fineness 900). 1 x 9 x 6 cm. 163 g.Flat, rectangular box with light blue translucent enamel and flower basket on the lid. Call time 24 | Oct. 2024 | presumably 19:30 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Silberner Tafelaufsatz mit Glasschale. Undeutliche Dianakopfpunze (Feingehalt 800). 1872-1922. Österreich-Ungarn.Glas, Silber. H 23,5 cm, Ø 27,5 cm. Violette, rippenoptisch geblasene Glasschale mit mehrfach gekniffenem Mündungsrand, auf floral graviertem Silberfuß. Aufrufzeit 24. | Okt. 2024 | voraussichtlich 19:30 Uhr (CET) Silver centerpiece with glass bowl. Indistinct Diana hallmark (fineness 800). 1872-1922. Austria-Hungary.Glass, silver. H 23.5 cm, Ø 27.5 cm.Violet, ribbed optically blown glass bowl with multiple pinched mouth rim, on a florally engraved silver foot. Call time 24 | Oct. 2024 | presumably 19:30 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Kleiner Silberkorb. Beschauzeichen Dianakopf/Meisterzeichen Kleeblatt gepunzt. 1872-1922. Österreich-Ungarn.6,5 x 14 x 17 cm. 156 g. Schlichtes Körbchen mit Perlrand, auf 4 gedrückten Füßchen. Minimal gedellt.Aufrufzeit 24. | Okt. 2024 | voraussichtlich 19:31 Uhr (CET) Small silver basket. Hallmark Diana's head/Master's mark cloverleaf hallmarked. 1872-1922. Austria-Hungary.6.5 x 14 x 17 cm. 156 g.Simple basket with beaded rim, on 4 pressed feet. Minimally dented.Aufrufzeit 24. | Oct. 2024 | probably 19:31 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Außergewöhnlich großer Uhu auf Bücherstapel. A. Förster & Co., Wien. Pressmarke, ca. 1899 bis 1908. Am Buchsockel signiert "Doblinger". Modell-Nr. 216 1. Entwurf: Ferdinand DOBLINGER (1872-1935). Weiß glasiert, dezent farbig staffiert. H 82,5 cm. Ausdrucksstarke, plastische Tierfigur, auf einem Buchsockel sitzend. Restauriert, partiell leichte Defekte an der Glasur. Abholung erforderlich.Aufrufzeit 25. | Okt. 2024 | voraussichtlich 10:45 Uhr (CET)Exceptionally large eagle owl on stack of books. A. Förster & Co, Vienna. Press mark, ca. 1899 to 1908. Signed "Doblinger" on the book base. Model no. 216 1. design: Ferdinand DOBLINGER (1872-1935). White glazed, subtly colored. H 82.5 cm. Expressive, sculptural animal figure, sitting on a book base. Restored, slight defects to the glaze in places. Collection required.Call time Oct. 25 | 2024 | probably 10:45 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
2 russische Schalen aus dem Service des Cottage de Péterhof. St. Petersburg. 1x Marke Alexander II, 1855-1881 und 1x Marke Alexander III, 1881-1894. Russland. Polychrom bemalt, goldstaffiert. H 8,5 cm, Ø 21 cm. Gefußte Kraterschalen mit dem schauseitigen Cottage-Wappen mit Schwert und Rosenkranz sowie der kyrillischen Umschrift "Für Glaube, Zar und Vaterland". 1x Gold berieben. Das Service wurde zwischen 1827 und 1829 von Zar Nikolaus I. (1825-1855) für den Alexandria-Palast, genannt "Cottage" entworfen. Das neugotische Herrenhaus wurde im Alexandria-Park in Peterhof errichtet und war ein Geschenk des Zaren an seine Frau, Kaiserin Alexandra Feodorowna (1872-1918). Das ursprünglich aus 530 Teilen bestehende Service wurde 1835 verdoppelt und von einem Kristallservice begleitet, das ebenfalls das Wappen zierte. Das Wappenmotiv mit dem Titel "Weiße Blume" wurde von dem Dichter Wassili Andrejewitsch Schukowski (1783-1852) entworfen und war einer Figur aus dem Roman "Der magische Ring" von Ritter le La Motte-Fouqué nachempfunden. Als "Weiße Rose" wurde auch Zarin Alexandra Feodorowna, geborene Prinzessin Charlotte von Preußen. genannt, die das Wappen für ihre Privatresidenz Cottage verwendete. Literatur : Vergleiche URL (07.08.24): https://www.alexanderpalace.org/porcelain/pcottage.html. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 11:39 Uhr (CET)2 Russian bowls from the service of the Cottage de Péterhof. St. Petersburg. 1x Alexander II mark, 1855-1881 and 1x Alexander III mark, 1881-1894. Russia. Polychrome painted, gilt. H 8.5 cm, Ø 21 cm. Footed crater bowls with the Cottage coat of arms with sword and rosary on the front and the Cyrillic inscription "Für Glaube, Zar und Vaterland". 1x gold rubbed. The service was designed between 1827 and 1829 by Tsar Nicholas I (1825-1855) for the Alexandria Palace, known as the "Cottage". The neo-Gothic mansion was built in Alexandria Park in Peterhof and was a gift from the Tsar to his wife, Empress Alexandra Feodorovna (1872-1918). The service, which originally consisted of 530 pieces, was doubled in 1835 and accompanied by a crystal service, which also featured the coat of arms. The coat of arms motif entitled "White Flower" was designed by the poet Vasily Andreyevich Zhukovsky (1783-1852) and was based on a character from the novel "The Magic Ring" by Ritter le La Motte-Fouqué. Tsarina Alexandra Feodorovna, née Princess Charlotte of Prussia, who used the coat of arms for her private residence Cottage, was also known as the "White Rose". Literature : Compare URL (07.08.24): https://www.alexanderpalace.org/porcelain/pcottage.html. Review time 25 Oct. 2024 | probably 11:39 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Kind mit Bilderbuch als Paperweight. Meissen. Schwertermarke mit Punkt, Pfeiffer-Zeit, 1924-1934, 1. Wahl. Modell-Nr.: U 143. Entwurf: 1904-1905. HENTSCHEL, Konrad (1872 Cölln - 1907 Meißen) Polychrom bemalt. H 6,5 cm. Sitzendes, sich ein Leporello anschauendes kleines Kind. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 15:55 Uhr (CET)Child with picture book as paperweight. Meissen. Sword mark with dot, Pfeiffer period, 1924-1934, 1st choice. Model no.: U 143. Design: 1904-1905. HENTSCHEL, Konrad (1872 Cölln - 1907 Meissen) Polychrome painted. H 6.5 cm. Sitting small child looking at a leporello. Aufrufzeit 25. | Oct. 2024 | probably 15:55 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Bajazzo. Rosenthal. Marke Kunstabteilung Stammwerk Selb, 1940. Bezeichnet. Modell-Nr.: K 449. Entwurf: 1917. HIMMELSTOß, Karl (1872 Breslau - 1967 München) Polychrom bemalt. H 33,5 cm. Harlekin mit Maske und Mandoline. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 17:19 Uhr (CET)Bajazzo. Rosenthal. Marked by the art department of the Selb factory, 1940. Model no.: K 449. design: 1917. HIMMELSTOß, Karl (1872 Breslau - 1967 Munich) Painted polychrome. H 33.5 cm. Harlequin with mask and mandolin. Aufrufzeit 25. | Oct. 2024 | voraussichtlich 17:19 Uhr (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Seelöwe und Seelöwengruppe. Rosenthal. Verschiedene Marken Kunstabteilung Stammwerk Selb, 1. H. 20. Jh. Unterglasurbemalung. 1x Modell-Nr. 1289, Entwurf 1934 von Theodor Kärner (1884-1966): sitzender, nach oben schauender Seelöwe (H 19,5 cm). / 1x Modell-Nr. 1311, Entwurf 1934 von Karl Himmelstoß (1872-1967): zwei miteinander spielende Seelöwen. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 17:28 Uhr (CET)Sea lion and sea lion group. Rosenthal. Various marks Art department Selb main factory, 1st half 20th century Underglaze painting. 1x model no. 1289, design 1934 by Theodor Kärner (1884-1966): seated sea lion looking upwards (h 19.5 cm). / 1x model no. 1311, design 1934 by Karl Himmelstoß (1872-1967): two sea lions playing with each other. Aufrufzeit 25. | Oct. 2024 | voraussichtlich 17:28 Uhr (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Pinguin und Pinguingruppe. Rosenthal. Stempelmarken, 1. H. 20. Jh. Unterglasurbemalung. 1x Modell-Nr. 1711, Entwurf 1939 von Fritz Heidenreich (1895-1966): stehender Königspinguin (H 24 cm). / 1x Modell-Nr. 693, Entwurf 1923 von Karl Himmelstoß (1872-1967): Pinguinpaar (H 14 cm). Aufrufzeit 25. | Okt. 2024 | voraussichtlich 17:28 Uhr (CET)Penguin and penguin group. Rosenthal. Stamp marks, 1st half of the 20th century Underglaze painting. 1x model no. 1711, design 1939 by Fritz Heidenreich (1895-1966): standing king penguin (h 24 cm). / 1x model no. 693, design 1923 by Karl Himmelstoß (1872-1967): pair of penguins (H 14 cm). Call time 25 | Oct. 2024 | probably 17:28 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Pinguingruppe und 2 kleine Pinguine. Unterglasurbemalung. 1x METZLER & ORTLOFF, 1935, Modell-Nr. 7549, monogrammiert "HD.": Pinguinpaar auf einer Eisscholle (H 13,5 cm). / 2x ROSENTHAL, 2. H. 20. Jh., Modell-Nr. 397 und 398, Entwurf um 1914 von Karl Himmelstoß (1872-1967): stehende Pinguine (H 7 und 8 cm). Aufrufzeit 25. | Okt. 2024 | voraussichtlich 17:29 Uhr (CET)Penguin group and 2 little penguins. Underglaze painting. 1x METZLER & ORTLOFF, 1935, model no. 7549, monogrammed "HD.": Pair of penguins on an ice floe (h 13.5 cm). / 2x ROSENTHAL, 2nd half 20th century, model no. 397 and 398, design around 1914 by Karl Himmelstoß (1872-1967): standing penguins (H 7 and 8 cm). Call time 25 | Oct. 2024 | probably 17:29 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Spatzengruppe, Kükengruppe und Hühnergruppe. Rosenthal. Verschiedene Stempelmarken Kunstabteilung Stammwerk Selb, um 1920/30. Alle bezeichnet. Unterglasurbemalung. 1x Modell-Nr. 1531, Entwurf 1934 von Karl Himmelstoß (1872-1967): drei auf einem Ast sitzende Spatzenküken (H 11 cm). / 1x Modell-Nr. K 478, Entwurf 1917 von Hulda Krebs-Himmelstoß (1879-1967): Kükenpaar (H 8 cm). / 1x Modell-Nr. 218, Entwurf 1913 von Karl Himmelstoß (H 14 cm). Aufrufzeit 25. | Okt. 2024 | voraussichtlich 17:31 Uhr (CET)Spatzengruppe, Kükengruppe and Hühnergruppe. Rosenthal. Various stamps from the Selb art department, around 1920/30, all inscribed. Painted underglaze. 1x model no. 1531, design 1934 by Karl Himmelstoß (1872-1967): three sparrow chicks sitting on a branch (h 11 cm). / 1x model no. K 478, design 1917 by Hulda Krebs-Himmelstoß (1879-1967): pair of chicks (H 8 cm). / 1x model no. 218, design 1913 by Karl Himmelstoß (H 14 cm). Aufrufzeit 25. | Oct. 2024 | voraussichtlich 17:31 Uhr (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
2 Enten und Entengruppe. Polychrom bemalt. 2x ROSENTHAL, 1916 und 1918, Entwurf von Karl Himmelstoß (1872-1967): Entenpaar (H 7,5 cm) und Erpel (H 6,5 cm). / 1x HUTSCHENREUTHER, ab 1970, Entwurf Uwe Netzsch (*1944): über einer Seerose auffliegender Erpel (H 30 cm). Aufrufzeit 25. | Okt. 2024 | voraussichtlich 17:37 Uhr (CET)2 ducks and group of ducks. Polychrome painted. 2x ROSENTHAL, 1916 and 1918, design by Karl Himmelstoß (1872-1967): pair of ducks (H 7.5 cm) and drake (H 6.5 cm). / 1x HUTSCHENREUTHER, from 1970, design by Uwe Netzsch (*1944): drake (H 30 cm). Call time 25 | Oct. 2024 | probably 17:37 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
3 Hunde. 1. H. 20. Jh. 2x Unterglasurbemalung, 1x weiß. 1x METZLER & ORTLOFF, Modell-Nr. 6001, Entwurf von Siegismund Wernekinck (1872-1921): jaulender Hund (H 16,5 cm). / 1x PASSAU, Modell-Nr. 1116, Entwurf von E. Wagner: sitzender Hund (H 13,5 cm). / 1x HEUBACH: sitzender Hundewelpe (H 10 cm). Aufrufzeit 25. | Okt. 2024 | voraussichtlich 17:41 Uhr (CET)3 dogs. 1st half 20th century 2x underglaze painting, 1x white. 1x METZLER & ORTLOFF, model no. 6001, design by Siegismund Wernekinck (1872-1921): yowling dog (h 16.5 cm). / 1x PASSAU, model no. 1116, design by E. Wagner: sitting dog (H 13.5 cm). / 1x HEUBACH: sitting dog puppy (H 10 cm). Call time 25 | Oct. 2024 | probably 17:41 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
DÜCKER, Eugen Gustav(1841 Arensburg (Livland) - 1916 Düsseldorf) DorfstraßeAquatinta. Bleistiftsignatur unten rechts. 3/50. Platte: ca. 16,5 x 24,5 cm. Gerahmt & hinter Glas : 42,5 x 48 cm. Ansicht einer menschenleeren Straße zwischen schlichten, dörflich anmutenden Häusern. Studierte von 1858 bis 1862 an der Akademie in St. Petersburg Bildhauerei und Landschaftsmalerei, war ab 1872 Lehrer für Landschaftsmalerei an der Düsseldorfer Kunstakademie, prägte mit seiner naturalistischen Kunstauffassung eine Vielzahl von Schülern, darunter Andreas Dirks, Otto Modersohn und Fritz Overbeck. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 10:32 Uhr (CET) DÜCKER, Eugen Gustav(1841 Arensburg (Livonia) - 1916 Düsseldorf) DorfstraßeAquatinta. Pencil signature lower right. 3/50. Plate: approx. 16.5 x 24.5 cm. Framed & behind glass : 42.5 x 48 cm. View of a deserted street between simple, village-like houses. Studied sculpture and landscape painting at the academy in St. Petersburg from 1858 to 1862, was a teacher of landscape painting at the Düsseldorf Art Academy from 1872, influenced a large number of students with his naturalistic approach to art, including Andreas Dirks, Otto Modersohn and Fritz Overbeck. Aufrufzeit 26. | Oct. 2024 | probably 10:32 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
MIHAILESCU, Dimitrie(1872 - 1942 Bukarest) Rumänischer BauernhofÖl/Malkarton. Rechts unten signiert. 29 x 48 cm. Gerahmt : 40 x 57,5 cm (heller Stuckrahmen). Blühende Obstbäume am Rand des Hofes in bergiger Landschaft unter wolkigem Himmel. Rumänischer Maler. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 12:10 Uhr (CET) MIHAILESCU, Dimitrie(1872 - 1942 Bucharest) Romanian farmOil/painting card. Signed lower right. 29 x 48 cm. Framed : 40 x 57.5 cm (light stucco frame). Blossoming fruit trees at the edge of the courtyard in a mountainous landscape under a cloudy sky. Romanian painter. Aufrufzeit 26. | Oct. 2024 | probably 12:10 pm (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
BAYERLEIN, Fritz(1872 Bamberg - 1955 ebd.) Rokokoszene in sonniger LandschaftÖl/Leinwand. Rechts unten signiert. 60 x 114 cm. Gerahmt : 66 x 119 cm (Goldrahmen). Zwei junge Frauen und ein Herr im Park beim Musizieren im Sonnenschein und Blick in die weite Landschaft. Eine sehr kleine restaurierte Stelle mit Hinterklebung. Deutscher Maler, studierte an der Kunstgewerbeschule Nürnberg und an der Akademie München unter Raupp. Literatur : Thieme/Becker. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 13:31 Uhr (CET) BAYERLEIN, Fritz(1872 Bamberg - 1955 ibid.) Rococo scene in a sunny landscapeOil/canvas. Signed lower right. 60 x 114 cm. Framed : 66 x 119 cm (gold frame). Two young women and a gentleman in the park playing music in the sunshine and looking out into the wide landscape. A very small restored area with backing. German painter, studied at the Nuremberg School of Arts and Crafts and at the Munich Academy under Raupp. Literature : Thieme/Becker. Aufrufzeit 26. | Oct. 2024 | probably 13:31 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
BAUER, Leo(1872 Münstertal/Baden - 1960 Stuttgart) Junge Dame im GartenÖl/Malkarton. Links unten signiert. 90,5 x 70 cm. Gerahmt : 100 x 80 cm (Silberstuckrahmen). Lesende Frau in einem Stuhl im Garten unter Schatten spendenden Pflanzen. Leichte Altersspuren. Maler in Stuttgart, studierte an den Akademien Karlsruhe und Stuttgart bei Grünenwald. Literatur : Thieme/Becker. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 14:17 Uhr (CET) BAUER, Leo(1872 Münstertal/Baden - 1960 Stuttgart) Young lady in the gardenOil/painting card. Signed lower left. 90.5 x 70 cm. Framed : 100 x 80 cm (silver stucco frame). Woman reading in a chair in the garden under shady plants. Slight traces of age. Painter in Stuttgart, studied at the Karlsruhe and Stuttgart academies under Grünenwald. Literature : Thieme/Becker. Aufrufzeit 26. | Oct. 2024 | probably 14:17 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
FENKOHL, Gustav(1872 Barschken - 1945) RügenÖl/Hartfaser. Links unten signiert. 49 x 69 cm. Gerahmt : 57 x 77 cm (beige-silberner Rahmen). Heller Sonnenschein über der Steilküste auf der Insel in der Ostsee. Leichte Altersspuren. Marine- und Landschaftsmaler in Berlin, Schüler von Müller-Schönefeld und M. Uth in Berlin. Literatur : Vollmer. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 16:29 Uhr (CET) FENKOHL, Gustav(1872 Barschken - 1945) RügenOil/hard fiber. Signed lower left. 49 x 69 cm. Framed : 57 x 77 cm (beige-silver frame). Bright sunshine over the steep coast on the island in the Baltic Sea. Slight traces of age. Marine and landscape painter in Berlin, pupil of Müller-Schönefeld and M. Uth in Berlin. Literature : Vollmer. Aufrufzeit 26. | Oct. 2024 | probably 16:29 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
PURVITIS, Vilhelms(1872 Zaube - 1945 Bad Nauheim) OstseeküsteÖl auf Karton. Signiert. Datiert: 1905. 15 x 22 cm. Gerahmt : 21 x 28 cm. Profilierter Waschgoldrahmen. Eine Rahmenecke defekt. Purvitis (Purwit, Wilhelm): lettischer Landschaftsmaler. Studierte 1890-1897 an der Akademie in Sankt Petersburg, Meisterschüler von Archip Iwanowitsch Kuindschi. Bereiste Europa, 1906-1909 Lehrtätigkeit in Reval. 1909-1934 Direktor der Akademie in Riga, leitete bis 1944 das Atelier für Landschaftsmalerei. Ab 1919 Direktor des Kunstmuseums in Riga. Erhielt zahlreiche Auszeichnungen * Partnerauktion Bergmann. Literatur : Thieme-Becker (1907-1950), Benezit (2006), De Gruyter (2018). Aufrufzeit 26. | Okt. 2024 | voraussichtlich 16:59 Uhr (CET) PURVITIS, Vilhelms(1872 Zaube - 1945 Bad Nauheim) OstseeküsteOil on cardboard. Signed. Dated: 1905. 15 x 22 cm. Framed : 21 x 28 cm. Profiled wash gold frame. One frame corner defective. Purvitis (Purwit, Wilhelm): Latvian landscape painter. Studied at the Academy in St Petersburg from 1890-1897, master student of Archip Ivanovich Kuindzhi. Traveled Europe, 1906-1909 taught in Reval. 1909-1934 Director of the Academy in Riga, headed the landscape painting studio until 1944. Director of the Riga Art Museum from 1919. Received numerous awards * Partner auction Bergmann. Literature : Thieme-Becker (1907-1950), Benezit (2006), De Gruyter (2018). Call time 26 | Oct. 2024 | probably 16:59 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
BAYERLEIN, Fritz(1872 Bamberg - 1955 ebd.) "Mainstädtchen"Öl/Malkarton. Rechts unten signiert, verso bezeichnet/betitelt mit Zusatz München. 50 x 69,5 cm. Gerahmt : 57,5 x 77 cm (teils goldener Rahmen). Flusslandschaft mit Stadt am Ufer unter bedecktem Himmel. Deutscher Maler, studierte an der Kunstgewerbeschule Nürnberg und an der Akademie München unter Raupp. Literatur : Thieme/Becker. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 17:11 Uhr (CET) BAYERLEIN, Fritz(1872 Bamberg - 1955 ibid.) "Mainstädtchen"Oil/painting card. Signed lower right, verso inscribed/titled with the addition Munich. 50 x 69.5 cm. Framed : 57.5 x 77 cm (partly gold frame). River landscape with a town on the bank under a cloudy sky. German painter, studied at the Nuremberg School of Arts and Crafts and at the Munich Academy under Raupp. Literature : Thieme/Becker. Aufrufzeit 26. | Oct. 2024 | probably 17:11 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
CURRY, Robert Franz(1872 Boston - 1955 Riederau) Bildnis eines HundesÖl/Leinwand. Rechts unten signiert. 43 x 33 cm. Gerahmt : 53,5 x 44 cm (schwarzer Lackrahmen). Porträt eines Bernhardiners im hellen Licht. Leichte Altersspuren. Porträt-, Landschafts- und Tiermaler, studierte in Harvard, ging 1891 nach Europa. Tätig in Stuttgart und München. Schüler in München von Knirr, Marr und Löfftz. Literatur : Thieme/Becker. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 18:55 Uhr (CET) CURRY, Robert Franz(1872 Boston - 1955 Riederau) Portrait of a dogOil/canvas. Signed lower right. 43 x 33 cm. Framed : 53.5 x 44 cm (black lacquer frame). Portrait of a St. Bernard in bright light. Slight traces of age. Portrait, landscape and animal painter, studied at Harvard, went to Europe in 1891. Active in Stuttgart and Munich. Pupil in Munich of Knirr, Marr and Löfftz. Literature : Thieme/Becker. Aufrufzeit 26. | Oct. 2024 | probably 18:55 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Emaillierte flache Silberdose. Dianakopfmarke Wien (1872-1922), undeutliches Meisterzeichen, einige Nummern. Um 1910-20. 900er Silber, transluzides türkisfarbenes Email über Guilloche, goldstaffiert. 1 x 8,5 x 6 cm. 165 g. Rechteckige Dose, auf dem Boden und auf dem Scharnierdeckel über konzentrischer Guilloche emailliert; auf dem Deckel zusätzlich dezent gerahmt und goldstaffiert. Aufrufzeit 23. | Okt. 2024 | voraussichtlich 17:28 Uhr (CET)Enameled flat silver box. Diana head mark Vienna (1872-1922), indistinct master's mark, some numbers. Circa 1910-20. 900 silver, translucent turquoise enamel over guilloche, gilt. 1 x 8.5 x 6 cm. 165 g. Rectangular box, the base and hinged lid enameled over a concentric guilloche; the lid also discreetly framed and decorated in gold. Call time 23 Oct. 2024 | probably 17:28 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
ERNEST WALBOURN (1872-1927) A COTTAGE GARDEN SCENE, depicting a female figure standing beside the doorway to a cottage, she has a hand shading her eyes while gazing at the viewer, signed bottom right, oil on canvas, 58cm x 44cm, frame size 80cm x 65cm, Condition Report: the painting is behind glass, however there is a lot of dust behind the glass, the back of the glass is dirty, the painting appears to be free from holes and restoration, losses to the frame
* Déprez (Gaston, 1872-1941). Bust of the poet and writer Paul Verlaine (1844-1896), circa 1896, lost wax casting, signed on the left side ‘Déprez’, height 31 cm (12 ins), width 17 cm (6 3/4 ins)QTY: (1)NOTE:Provenance: possibly Oscar Wilde (1854-1900); Robert Ross (1869-1918); Charles Ricketts (1866-1931); David Peel, London (by 1965); Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge. The tentative early provenance is derived from information on the accompanying purchase invoice from David Peel, which accompanies this lot. The purchase invoice from David Peel & Co. Ltd., Dealers in Fine Art, 2 Carlos Place, Mount Street, London, W.1, dated 7th April 1965, to Michael Jaffé, King’s College, Cambridge: 'A wax portrait bust of Verlaine, Déprez, £120.00. Ex-collection-Oscar Wilde, Robert Ross', with additional note to verso: ‘This object was bought by me from a private person in London [asterisked and identified in ink below as M. Ricketts]. He, in turn, had bought it from a small dealer who said that he had bought it from what was left of the estate of Robbie Ross, and that it had been found by him after Wilde's death, and that it had at one time belonged to Wilde himself. I see no reason to doubt the statements, although I have no documents to substantiate them.’ The reported provenance is plausible, as Verlaine was known and admired by Wilde. Wilde met Verlaine once, at his absinthe-drinking haunt, the Café François Premier, while visiting Paris in 1883, and remained a fan thereafter. In a letter to Arthur Symons, (22 October 1890), Wilde wrote, ‘I look forward to an evening together, and to a talk about French art, the one art in Europe that is worth discussion—Verlaine’s art especially.’ Robert Baldwin Ross (1869-1918) was a British journalist, art critic and art dealer, best known for his relationship with Oscar Wilde (1854-1900), to whom he was a devoted lover and literary executor.
ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR COALBROOKDALE IRONWORK COMPANY AESTHETIC MOVEMENT SIDE CHAIR, CIRCA 1870 cast iron, painted black with gilt embellishments 44cm wide, 133.5cm high, 34cm deep Literature: Cooper J. Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau, Hong Kong 1998, p.34, pl. 70.Note: Dresser was an adept and versatile designer who delighted in working in a broad spectrum of materials. He produced designs for The Coalbrookdale Ironwork Company between 1867 and 1872 and became their lead designer during this period. The highly stylised foliate forms and Gothic details in the present lot relate to his interest and close study of botany and the wide array of styles that influenced his designs.
MINTON'S ART POTTERY STUDIO PAIR OF AESTHETIC MOVEMENT MOONFLASKS, CIRCA 1872 glazed and gilt embellished earthenware, the decoration attributed to William S. Coleman, impressed factory marks, year cypher for 1872 and shape no. 1498, printed Kensington Gore marks, various red and black painted numerals (2) 34.3cm high Provenance: Christies, London, An Aesthetic Odyssey: The Peter Rose and Albert Gallichan Collection, 30th September 2021, Lot 107 Literature: Coleman B. The Best of British Arts & Crafts, Atglen 2004, pp. 70, 86.Levy M. Living with antiques: A collection of Victorian Decorative Arts, 'Antiques', June 2000, pp. 948-955, p. 950, pl. iii.
RHODA GARRETT (1841-1882) AND AGNES GARRETT (1845-1935) RARE AESTHETIC MOVEMENT CHAISE LONGUE, CIRCA 1875 mahogany with upholstery and loose squab cushion 57.5cm wide, 94cm high, 130cm long Literature: The Furniture History Society: British and Irish Furniture Makers Online (bifmo.furniturehistorysociety.org)Note: Rhoda and Agnes Garrett were trailblazers in British interior design, becoming the first women to establish their own firm, R. & A. Garrett House Decorators, in 1874. Originally working as a governess and housekeeper, they began their careers with apprenticeships under Jean McKean Brydon in the London office of Cottier & Co. After completing their three-year training, they embarked on a tour of English country houses, which informed their design aesthetic, giving them the confidence to start their own business in London.The Garretts’ firm offered interior design services and created furniture, wallpapers, and textiles. Their designs reflected principles of the Arts & Crafts Movement, emphasizing the use of authentic materials and craftsmanship. Their 1876 book Suggestions for House Decoration in Painting, Woodwork, and Furniture was aimed at middle-class households, promoting the idea that "every material has in itself a beauty," encouraging natural aesthetics rather than imitation.Their most notable clients included James and Margaret Beale, for whom they designed pieces for their home at 32 Holland Park. These pieces, including the daybed of the same design as the current lot, were later moved to the Beales' country house Standen, which remains a National Trust property (see NT 1214057). The Garretts also worked on the homes of notable family members, including Elizabeth Garrett Anderson and Millicent Garrett Fawcett, pioneers in medicine and suffrage, respectively.The sisters were committed to advancing women's rights, particularly through their involvement in the Women’s Suffrage Movement. Agnes served as the joint honorary secretary of the Central Committee of the National Society for Women’s Suffrage in 1872, actively advocating for women’s right to vote. Rhoda was also a powerful public speaker, delivering speeches at meetings and rallies. In one of her speeches in 1876, she emphasised the role of women in improving household art, arguing that through their contributions to home design, women could positively impact society. Their activism extended beyond suffrage; Agnes trained female apprentices in her design firm, providing women with professional opportunities in a field that had traditionally excluded them. Through their work and activism, the Garrett cousins played a pivotal role in promoting both gender equality and women's rights in the professional and domestic spheres.After Rhoda’s death in 1882, Agnes continued the firm, managing a skilled team of workers and training apprentices, including women, which was uncommon at the time. She exhibited her designs at major events like the Arts and Crafts Exhibition Society in 1888, further cementing the Garretts’ influence.Their contribution to furniture design is regarded as significant due to its focus on craftsmanship and accessibility for the middle class, and their pioneering role as women in business and design. Through their work and activism, they left an enduring legacy in both the design world and the women's rights movement.
AMBROSE HEAL (1872-1959) FOR HEAL & SON ARTS & CRAFTS WARDROBE, CIRCA 1910 unpolished chestnut, model 392 165.5cm wide, 203cm high, 59cm deep Provenance: From The Millinery Works Collection. Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.173 where this lot is illustrated along with the original drawing
COX & SON, LONDON AESTHETIC MOVEMENT DRAWING ROOM CABINET, CIRCA 1862 ebonised wood, with polychrome and gilt painted panels, gilded embellishments and glazed doors 198.5cm wide, 142cm high, 37.5cm deep Provenance: Paul Reeves, London Literature: The Building News, May 31st 1872, p. 439 where an example of this lot is illustrated in a line drawing of the Cox & Son stand (exhibit no. 2781)Note: Cox & Sons, a prominent London-based firm founded in 1837, initially specialized in church furnishings but expanded their scope in the 1860s and 1870s to include fashionable art furniture and decorative objects. This period marked the height of their success, as they embraced the growing demand for artistic, handcrafted furniture inspired by the Arts and Crafts movement. By 1870 a catalogue of Cox & Son claimed to be able to supply 800 designs of furniture, Gothic metalwork, carpets and hangings by 'eminent church designers'. The firm worked with leading designers of the time, including B.J. Talbert, S.J. Nicholls, G. Goldie, J. Moyr Smith, O.W. Davis, C. Rossiter and E.W. Godwin.Bruce Talbert, an influential designer and architect, played a significant role in shaping the firm's aesthetic. Known for his Gothic Revival designs and intricate use of ornamentation, Talbert's work for Cox & Sons helped solidify their reputation as creators of high-quality, artistic furniture. His influence is particularly evident in the detailed woodwork and decorative panels that became a hallmark of Cox & Sons’ output.John Moyr Smith also contributed to the firm's artistic offerings, particularly through his tile designs, such as The Winds series, which were incorporated into both tile collections and painted furniture panels. Charles Rossiter provided figurative designs, further enhancing Cox & Sons' reputation for merging art and utility. By the late 19th century, Cox & Sons had established themselves as leaders in Victorian art furniture design.
James Macbeth (Scottish, 1847-1891) -Portrait of a young woman listening to a seashell -Watercolour and gouache -60 x 49.5cm - 77.5 x 67cm framed -Monogrammed and dated 1874 lower left -The artist's label attached to the backing with his address and title 'No. 1 A Portrait' -Exhibiting at the Royal Academy in years 1872-84, as well as other major London venues, Macbeth specialised in landscape paintings. This evocative watercolour portrait, atypical for the artist's most well-known oeuvre, encapsulates all of the quintessential features of the Aesthetic Movement in British art - from the richly embroidered Oriental dress of the sitter, to the peacock feathers emerging from the upper right corner. Perhaps referencing an earlier work by the great Victorian painter Frederic Leighton, 'Echoes' (Bonhams, 29 March 2023, lot 42), Macbeth's portrait synthesises both the style and emblems of Aestheticism.
GUSTAVE CARIOT (1872-1950)Travaux dans les champs dans le Nivernais signed and dated 'G. Cariot 1917' (lower right)oil on canvas22 x 27cm (8 11/16 x 10 5/8in).Painted in Nivernais in 1917Footnotes:The authenticity of this work has been confirmed by Tess and Norbert Saffar. This work will be included in the forthcoming Gustave Cariot catalogue raisonné, currently being prepared.ProvenancePrivate collection, France (probably acquired directly from the artist).Private collection, France (by descent from the above); their sale, Néo Enchères, Paris, 28 September 2023, lot 11.Acquired at the above sale by the present owner.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
The Cabinet:English, c.1880, constructed of French polished mahogany, 2 doors opening to reveal a bank of drawers, label to inside of door reads 'ELCOCK - September 29th at 28 Fitzroy Avenue, Belfast, Harriet Sophia wife of Charles Elcock of a son, 1878', the top drawer containing a selection of slides, some by Elcock and others of diatoms and other subjects including one from the HMS Challenger Expedition, the bottom drawer containing a number of hand blown glass bottles and vials containing soundings from the HMS Challenger Expedition ( sounding dates, depths and locations corespond with the charts from 'VOYAGE OF THE CHALLENGER, WYVILLE THOMPSON, 1878', a copy of whihc is included in another lot), with 8 drawers of blank diatom slides and mounting equipment, the cabinet 59cm wide, 59cm tall, 33cm deep.Charles Elcock (1834-1910) was a well known figure in the world of microscopy, particularly known for his expertise in creating microscope slides featuring foraminifera, a group of amoeboid protists characterized by their intricate shell structures. Born in Pontefract, Yorkshire, England, on August 18, 1834, Elcock was the second son of Charles and Mary Ann Elcock. The Elcock family were Quakers, a religious background that profoundly influenced Charles throughout his life, as reflected in his writings and humanitarian efforts during the Franco-Prussian War. Elcock's early career was varied, encompassing teaching and publishing, but it was his later work in microscopy for whihc he is remembered.Early Life and Career.Elcock's early years were marked by a strong education and a diverse set of experiences. After the death of his father in 1837, his mother took up teaching to support the family. Elcock attended the Friends' School at Rawdon, which was a formative experience given the Quaker values emphasized there. His early professional life included roles as a teacher and printer, and he maintained a close association with the Quaker community throughout. By the 1860s, Elcock was involved in publishing religious texts, which eventually led to his work in London and Gloucester, where he likely developed his interest in microscopy through his connection with Alfred William Bennett, a prominent member of the Royal Microscopical Society.Microscopy and Foraminifera.Charles Elcock's most significant contribution to science was his work with microscopy, particularly in mounting foraminifera on microscope slides. Foraminifera are microscopic marine organisms that produce a shell, often referred to as a "test," which can be quite intricate and beautiful. Elcock's slides were celebrated not just for their scientific utility but also for their aesthetic appeal. His work involved arranging these tiny shells meticulously on slides, often organizing them by species and orientation, which made his slides valuable for both scientific study and as objects of beauty.Elcock's expertise in preparing these slides was widely recognized. He became a member of the Belfast Naturalists' Field Club shortly after moving to Ireland, where his skills in mounting foraminifera were lauded. In 1879, his work won a prize from the club for its artistic skill and superior finish. His techniques and methods were innovative, and he shared his knowledge through articles, most notably in the Journal of the Postal Microscopical Society, where he also advertised his slides.Legacy and Impact.Elcock's slides were distributed through well-known retailers in London, Manchester, and Bath, and they were highly regarded by contemporary scientists and hobbyists alike. Reviews of his work praised the meticulous attention to detail and the scientific value of the slides. His contributions to microscopy, particularly in the study of foraminifera, have left a lasting legacy in the field. While much of his life was also dedicated to religious writing and humanitarian efforts, it is his work in microscopy that has cemented his place in the history of science. A large part of his original equipment and the slides he produced is held at the Whipple Museum of Science in Cambridge: https://www.whipplemuseum.cam.ac.uk/explore-whipple-collections/microscopes/foraminifera-slides-and-working-tools-microscope-slide-maker Challenger Expedition: Revolutionizing Oceanography through Deep-Sea SoundingsThe Challenger Expedition (1872-1876), a pioneering oceanographic endeavor, marked a turning point in our understanding of marine sciences. This British voyage, named after the HMS Challenger, was the first dedicated scientific exploration to systematically study ocean basins, marine life, and geology. Among its most critical contributions were the extensive soundings, temperature recordings, and water samples taken during the expedition, which have had a lasting impact on oceanography.Deep-sea soundings, the process of measuring the depth of the ocean, were among the most revolutionary aspects of the Challenger Expedition. Utilizing newly developed sounding equipment, the expedition made nearly 500 soundings across the world’s oceans. These measurements were pivotal, not only in mapping the seabed but also in discovering the global patterns of oceanic trenches, underwater mountains, and plains.Prior to the Challenger Expedition, the depths of the oceans were largely unknown. The sounding techniques employed involved lowering weighted lines, known as sounding lines, into the ocean until they reached the seabed. The depths recorded by Challenger revealed for the first time the complex topography of the ocean floor. One of the most significant findings was the Challenger Deep in the Mariana Trench, recorded as the deepest part of the world's oceans.The data collected on these soundings provided foundational knowledge that spurred further scientific inquiry. For instance, the temperature profiles of ocean waters at different depths, also recorded during these soundings, helped scientists to begin understanding thermocline and its role in oceanic circulation patterns.The implications of these findings were vast. They challenged previous notions of a lifeless deep sea by providing evidence of life at all depths, and the samples of sediment helped develop the fields of marine geology and paleontology. This wealth of data collected by the Challenger laid the groundwork for modern oceanography and prompted the establishment of permanent oceanographic institutions.The Challenger Expedition was instrumental in transforming oceanography from a field cluttered with myths and speculations to a serious scientific discipline. Its soundings opened up new realms in the understanding of oceanic depths and laid down the benchmarks for future explorations, forever altering our relationship with the oceans. The expedition not only charted unknown waters but also set the course for future marine scientific endeavors, proving its legacy in the history of science.
Robert Brough RA ARSA (British, 1872-1905)A portrait study of a young lady, with ribbon in her hair, head and shoulders signed and dated 'Robert Brough/91' (lower right), faint initials and date (lower right of sitter), indistinctly inscribed '--- --- Study' (lower left)pencil and chalk drawing on grey paper60 x 41cm (23 5/8 x 16 1/8in).Footnotes:ProvenancePrivate collection, UK.For further information on this lot please visit Bonhams.com
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