(From the collection of George Forrest, lots 37-41)RARE INSCRIBED AND DATED ARCHAISTIC BRONZE VESSEL, FU YUAN DYNASTY, DATED TO THE XINYOU YEAR OF THE ZHIZHI REIGN, 1321AD 元 1321年 銅簠款識: 至治辛酉中慶路文廟禮器教敦趙善坤正錄孫彬杜餘慶記of rectangular form, with wide flared sides raised on a high gently splayed foot with cut-out aprons, both narrower sides set with a pair of loop handles issuing from mythical animal heads, decorated around the sides with bands of geometric motifs, wider sides with two small applied animal-mask plaques, the base with a panel reading Zhizhi xinyou Zhongqinglu wenmiao liqi jiaodun Zhao Shankun zhenglu Sun Bin Du Yuqing ji 35.5cm wide; 3278g From the collection of George Forrest (13 March 1873 - 5 January 1932). George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This item was on loan for decades, loan number A.L.331.4, with an associated museum label tied to one handle inscribed ‘Loan 331/4’, further with a museum paperboard label with the information of the item, stated as an incense burner, obtained at Talifu, Yunnan, ‘Lent by Mr. George Forrest, Edinburgh, 1929. Loan 331.4’, deaccessioned in 2023, thence by direct descent. The old photograph shows Mr Forrest outside the China Inland Mission Moongate in Dali, taken around 1905.We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photograph and its information. The inscriptions on the base record that this vessel was made in the year of Xinyou of the Zhizhi reign, corresponding to 1321AD during the Yuan dynasty. It was dedicated to the Confucious Temple located at Zhongqing Street, traceable to the still-standing Confucious Temple built in 1302AD in Anning county, Kunming city, Yunnan. While archaistic bronze ritual vessels are not uncommon, bronze ritual vessels documented to have been made for use in local academies and temples such as the present example are extremely rare. Compare to a highly similar rare inscribed and dated archaistic bronze vessel, fu, Yuan dynasty, dated to the Bingzi year of the Zhiyuan reign (1276 or 1336), formerly in the collection of Dr David Ho, sold at Sotheby's London, 3 November 2021, lot 121. Also see two documented bronze ritual vessels, fu, both dated to the Yuan dynasty, in the collection of Shanghai Museum.
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(From the collection of George Forrest, lots 37-41) LARGE BRONZE 'CHI DRAGON' TRIPOD CENSER QIANQING GONG MARK, QING DYNASTY, 18TH-19TH CENTURY 清 乾清宮款 銅螭龍耳三足大爐impressively cast with wide rounded body raising to a ridge underneath waisted neck and everted flattened mouth, all on three cabriole feet, both sides with theatrically arched chi-dragons clinging to the mouth and body as handles in high relief, the base cast with recessed medallion centred with a three-character ‘Qian Qing Gong’ mark enclosed by a band of dragon amongst crashing waves 34cm wide across handles; 5.56kg From the collection of George Forrest (13 March 1873 - 5 January 1932). George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This censer was on loan for decades, loan number ‘A.L.331.3’, with an associated museum tag label tied on one foot inscribed ‘Loan 331/3’, further with two associated museum cardboard labels with item details, loan number ‘L.331.3’ and ‘Lent by Mr. George Forrest, Edinburgh, 1929’, deaccessioned in 2023, thence by direct descent. The old photograph shows Mr Forrest outside the China Inland Mission Moongate in Dali, taken around 1905.We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photograph and its information. Qianqing Gong, The Palace of Heavenly Purity, or Qianqing Palace (乾清宫) is a palace in the Forbidden City in Beijing, China. It is the largest of the three halls of the Inner Court, located at the northern end of the Forbidden City. During the Qing dynasty, the palace often served as the Emperor's audience hall, where he held council with the Grand Council. Objects, especially censers, bearing Qianqing Gong mark are deemed similar to ‘Neitan Jiaoshe’ mark (內壇郊社, refers to the altar to Heaven and Earth within the inner walls of the Temple of Heaven) as Imperial wares adorning or used in their specific rooms. Compare to an example of a bronze tripod censer with chilong handles, Qing dynasty Qianlong period, with a different treatment of the ‘Qian Qing Gong’ mark, sold at China's Guardian, 19 May 2021, lot 4634. Stylistically, a comparable large bronze tripod censer with chilong handles, dated to the late Ming dynasty, note the similar treatment of the waisted band with ridge on the mouth, sold at Sotheby's London, 22 February 2022, lot 50; Two other censers with similar design on the mouth, dated to Ming and late Ming dynasty, were sold at Christie's London, 18 Mar 2015, lot 686 and Sotheby's London, 10 November 2017, lot 366.
NINGXIA RUG QING DYNASTY, 19TH CENTURY 清 寧夏團花紋毯an arrangement of eight floral roundels intermittent with butterflies, flowers, pomegranate and buddha-hand citrus sprays against a burnt orange field, enclosed by a beaded border further with a larger floral border 184.5cm x 124.5cm From the collection of George Forrest (13 March 1873 - 5 January 1932), Edinburgh. George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This rug was on loan for decades, loan number A.L.331.1, with an associated museum tag label inscribed ‘L331.1’, deaccessioned in 2023, thence by direct descent. The old photograph shows Mr Forrest outside the China Inland Mission Moongate in Dali, taken around 1905.We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photograph and its information. Two comparable Ningxia rugs, similar in design, were in the collection of Arthur M. Sackler, sold at Sotheby's New York, 16 September 2009, lot 68 & 70
FRANCE. Silver 5 francs, 1873 A. Paris. Dies by Augustin Dupré and Désiré-Albert Barre. Alfred Renouard de Bussière, mint-master. Obv: RÉPUBLIQUE FRANÇAISE, denomination and date within wreath; mint-marks below. Rev: LIBERTÉ ÉGALITÉ FRATERNITÉ, Hercules standing facing between Liberty and Equality; mint-mark below.In secure plastic holder, graded PCGS MS62 , certification number 47254712. PCGS population in this grade: 145.PCGS population in higher grade: 550.Reference: KM-820, Gad-744, F-334.Diameter: 37 mm.Thickness: 2 mm.Weight: 25 g.Composition: Silver.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.
UNITED KINGDOM. Victoria, 1837-1901. Silver florin, 1873. Royal Mint. Crowned 'Gothic' head of Queen Victoria left, dress decorated with rose, thistle and shamrock; W.W. behind near edge; Victoria d: g: britt: reg: f: d: mdccclxxiii Design by William Wyon. / Crowned, cruciform shields, rose in centre, floral emblems in angles; 'One florin' above; 'one tenth of a pound' below. Design by William Dyce. Edge milled.In secure plastic holder, graded NGC AU 53, certification number 4735953-013. NGC Census in this grade: 2.NGC Census in higher grade: 64Total NGC Census: 76Reference: Bull-2879; Davies-757; ESC-841; KM-746.2; S-3893Mintage: 5,921,839.Weight: 11.3104 g.Composition: 925.0/1000 Silver.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.
ATTRIBUTED TO THE TAKAOKA WORKSHOP OF KANAZAWAAn Impressive Pair of Inlaid Bronze Monumental Elongated Baluster Vases with En-Suite Stands Meiji era (1868-1912), late 19th/early 20th centuryThe mottled-brown patinated body of each vase chiselled and decorated in flat and relief inlays of gold, silver, shakudo, bronze and copper with several registers of ornament, the main surface with a mirrored kacho-ga (bird-and-flower) design, each vase depicting a pair of kiji (pheasants) on one side perched on hanakaido (hall crabapple) branches with their heads turned and eyeing a solitary bee hovering among the blooms and two yama semi (crested kingfishers) flying towards flowering yuri (lilies), nogiku (daisies) and shukaido (hardy begonia) on the other, around the shoulder two wide bands enclosing a stylised bird on either side and a formalised foliate motif, separated by a narrow band enclosing repeated confronting mythological creatures, around the bottom section flowering kohone (nuphar japonicum) and around the base repeated, tall arabesque foliate motifs, elongated demon-mask handles fitted with a double ring applied to either side, each vase supported within an en-suite tall elaborate stand made up of five openwork zoomorphic elements in ancient Chinese style, carved with a prominent mythological beast-head, the stands and handles also with inlaid flat gold and silver decoration; each vase unsigned. Each vase approx., 72cm (28 3/8in) high. (2).Footnotes:During the Edo period (1615–1868), the cities of Kanazawa in Kaga Province (present-day Ishikawa Prefecture) and Takaoka in Etchu Province (Toyama Prefecture) developed as major artistic metalworking centres thanks to the patronage of the Maeda clan, the wealthiest in all Japan aside from the ruling Tokugawa dynasty. In the very early years of the Meiji era, government bureaucrats encouraged the development of a metalworking industry in both cities, in particular by commissioning work for display at the Vienna Weltausstellung (World Exposition) held in 1873. Following the success of Japanese metalwork at that great global event, Takaoka entrepreneurs set up private companies to capitalize on new opportunities for international trade. The city remains to this day a major centre for the manufacture of ornamental bronze.Like Suzuki Chokichi in Tokyo, craftsmen in Takaoka and Kanazawa combined outstanding bronze-casting and bronze-finishing skills, honed by centuries creating Buddhist images complemented by the crafts of inlay and chiselling that had long been an essential component of sword decoration. For two preparatory drawings detailing identical handles, decoration and feet for another vase of similar shape and design, see Meiji-ki Takaoka Doki Chokin Meisaku Hozonkai (Association for the Preservation of Masterpieces of Meiji-Era Bronze Vessels and Metalwork from Takaoka), Takaoka doki: Meiji-ki chokin meisakushu (Takaoka Bronzes: Collected Masterpieces of Meiji-Era Metalwork). Takaoka, Toyama Prefecture, 1986, unpaginated, nos.97 and 98.For further information on this lot please visit Bonhams.com
NAMIKAWA YASUYUKI (1845-1927) OF KYOTOA Cloisonné-Enamel Slender Baluster Vase Meiji era (1868-1912), late 19th/early 20th centuryDelicately worked in tapering gold wire and red, yellow, blue and green enamels with a solitary bird perched among flowering maple branches reserved on a lustrous black ground, applied with a shakudo rim and foot, signed directly on the base silver base with engraved characters Kyoto Namikawa; with a small wood stand. 23cm (9 1/16in) high. (2).Footnotes:Published and Illustrated:Gregory Irvine, Japanese Cloisonné Enamels: The Seven Treasures, London, Victoria and Albert Museum, 2006, p.76 (right image).Born in 1845 to a rural samurai family, Namikawa Yasuyuki started his cloisonné business in Kyoto in 1873 and by the 1880s was successful enough to build, and then extend and upgrade, a large compound that eventually included workshops housing 20 or more employees, a showroom, a family residence and a garden with a fishpond. He used these facilities to create a carefully orchestrated private retail experience that was described in admiring detail by American and European travel writers, selling many of his finest wares directly to private clients, as well as carrying out imperial commissions and participating in international expositions. Between 1876 and 1904 he won 11 overseas awards and in 1896, along with his unrelated namesake the Tokyo enameler Namikawa Sosuke (the two family names are written with different characters), was among the first individuals to be appointed to the ranks of Teishitsu Gigeiin (Artist-Craftsmen to the Imperial Household). Such was his reputation that at the 1900 Paris Exposition Universelle his wares were snapped up the moment they were unpacked and sold for up to ten times the amount anticipated. For a detailed biography of Namikawa Yasuyuki, see Frederic T. Schneider, The Art of Japanese Cloisonné Enamel: History, Techniques and Artists, 1600 to the Present, Jefferson, N.C., McFarland, 2010, pp.86–87.For further information on this lot please visit Bonhams.com
KOMAI OTOJIRO (1842-1917) OF KYOTO A Finely Inlaid Iron Vessel and Cover in the Form of a Squat Lobed Gourd Meiji era (1868-1912), probably circa 1895-1905The Persian-inspired shape raised on four stubby feet, the melon-shaped, silver-rimmed lobed body cast and chiselled in typical Komai silver and gold relief overlay, scattered with eight silver-outlined round or fan-shaped panels, each enclosing different scenes of kacho-ga (bird-and-flower), famous landmarks or legendary episodes, the upper section with (1) Three butterflies hovering among peonies (2) Kosekiko standing on a dragon offering the 'recovered shoe' (3) Two tsubame (swallows) in flight among trailing wisteria (4) Kinkakuji Temple; the lower section depicting (5) Sailing boats on the lake at Miyajima (6) A bugaku court dancer performing the kocho no mai A 'butterfly dance' (7) A kamakiri (praying mantis) among kuzu (kudzu vine) and flowering nadeshiko (pinks) and (8) Boats sailing towards the pine-tree lined shores at Miho no Matsubara, Mount Fuji in the distance, reserved on a typical Komai dense ground of kiku-mon (chrysanthemum crests) interwoven among karakusa ('Chinese grasses') or on a ground of converging narrow bands of repeated textile, keyfret, diaper and other geometric patterns, formal foliate motifs and stylised bats, the tall, conical lobed cover also inlaid with vertical bands of the same lavish decoration to match the body, surmounted by a finial in the form of overlapping lotus leaves, the feet similarly inlaid in gold with floral medallions, signed on the base in gold nunome-zogan in seal form Saikyo no ju Komai sei on a silver eight-petal panel inlaid in silver numome-zogan with repeated geometric and fragmented rinzu (textile-weave) patterns; with double wood storage boxes, the outer box black-lacquered. 26.5cm x 22cm (10 3/8in x 8 5/8in). (4).Footnotes:Around 1873 Komai Otojiro, son of a sword-fitting maker from Higo Province, started selling his richly decorated wares in the international port of Kobe. Before long, his chargers, vases, and other items of iron overlaid with gold and silver, sold under an exclusive contract with the Ikeda Company, were in international demand and by 1881 he was wealthy enough to buy a mansion in Kyoto. Following a difficult trading period during which he was forced to work as Ikeda's employee, in 1894 Komai set up a business catering to wealthy European and American travellers and began to promote his wares at international expositions under his own name. He retired in 1906 and was succeeded by his son Komai Seibei (1883–1970)Saikyo ('Western Capital') was an alternative name for Kyoto (corresponding to Tokyo, 'Eastern Capital') widely used during the early part of the Meiji era.For further information on this lot please visit Bonhams.com
Fritz Bamberger, Spanische Küstenlandschaft zwischen Murcia und AlmeriaÖl auf Leinwand. 51,5 x 83 cm.Signiert und datiert unten rechts: Fritz Bamberger 1868.ProvenienzGalerie Hergenmann, Neuwied 1982. - 600. Lempertz-Auktion, Köln, 21.-23.5.1984, Lot 519. - Auktion Fischer, Luzern, 23.5.1998, Lot 2091.LiteraturJürgen M. Plötz: Der Landschaftsmaler Fritz Bamberger (1814-1873), (=Schriften zur Kunstgeschichte 23), Hamburg 2009, S. 222, Nr. 86, Abb. S. 340.Fritz Bamberger wurde am 17. Oktober 1814 in Würzburg geboren. Er studierte seit 1828 an der Berliner Akademie bei Wilhelm von Schadow, anschließend bei dem Marinemaler Wilhelm Krause. Ab 1830 wurde er Schüler von Johann Georg Primavesi in Kassel. 1832 übersiedelte er nach München, wo er wesentliche Impulse durch Carl Rottmann erhielt. Von München aus unternahm Bamberger mehrere Reisen nach Spanien. Anfang der sechziger Jahre lernte er in München den Grafen Schack kennen, der sieben spanische Landschaften von ihm kaufte. Darunter befand sich die monumentale, 1863 entstandene „Ansicht von Gibraltar“ (100 x 147 cm). Sie gilt als Hauptwerk unter den spanischen Landschaften Bambergers und gehört heute den Bayerischen Staatsgemäldesammlungen.
A LARGE CORAL RED-GROUND SILK EMBROIDERED 'LONGEVITY' HANGING19th century Finely embroidered with a seaside scene featuring a crane standing on pitted rocks amidst pine trees, branches of large peaches, peonies and bats, beside a dedicatory inscription painted in gold, all surrounded by a border of leiwen designs interspersed with three Shou medallions and the Eight Auspicious Symbols, between two bands of scrolling lotus, beneath a gathering of immortal figures and above a flock of cranes carrying a tally besides a pagoda floating on water.434cm (170 7/8in) high x 187cm (73 1/2in) wide.Footnotes:十九世紀 緞繡紅地「海屋添壽」圖掛屏繡款「例贈安人郝尊母李太君七旬榮壽製 恭祝」Provenance: a distinguished private European collectionMarie Joséphine Eugénie Brégère-Kromer Violet (1864 - 1921) and thence by descent來源： 顯赫歐洲私人收藏Marie Joséphine Eugénie Brégère-Kromer Violet (1864 - 1921)，並由後人保存迄今Marie Joséphine Eugénie Brégère-Kromer Violet, a wealthy French lady, married Lambert Violet in 1899. Lambert was the son of Simon Violet, a prominent wine producer who, in 1873, created Byrrh, a renowned aromatised wine aperitif blending wine with mistelles and botanicals. Initially marketed as a health tonic, Byrrh faced challenges competing with established local aperitif producers. However, the business thrived, growing from a modest operation to one of significant scale.Following Simon's passing in 1891, Lambert assumed control of the family business, overseeing the construction of immense cathedral-like cellars in Thuir. These cellars, completed in 1892, boasted 70 oak vats with a total storage capacity exceeding 15 million litres. By 1910, the company boasted 750 employees and distributed over 30 million litres of Byrrh annually.In 1914, Marie assumed leadership of her husband's business, significantly expanding its operations. Her children, Jacques and Simon, continued this growth, and by 1934, Byrrh had become France's leading aperitif brand, selling approximately 35 million litres annually.The decorative subjects embroidered on the present hanging suggest that it would have been commissioned to commemorate a birthday, as the dedicatory inscription also suggests: 例贈安人郝尊母李太君七旬榮壽製 恭祝 Which may be translated as: 'Made in honour of Madam Hao's respected mother, Madam Li, on her seventieth birthday, with respectful wishes.'Cranes were believed to transport the immortals to heavens; the large peaches growing in the garden of the queen Mother of the West bestowed Immortality to whomever ate them; finally, the cranes carrying tallies to the pavilion floating amidst water form the rebus Haiwu Tianchou, which can be translated as 'Adding tallies to the Immortal's abode above the sea'. The literary origin of the scene originated in 'Conversations of Three Old Men', from the 'Collected Writings by Su Dongpo' Dongpo Zhilin 東坡志林, by the Northern Song scholar Su Shi (1037-1101 AD). The text centres on a dialogue among three immortals discussing their longevity. One of them proudly declared 'Throughout every epoch of the sea transforming into mulberry fields, I've kept track by placing a bamboo strip in my home as a tally. Now, the tallies have overflowed ten houses.'For further information on this lot please visit Bonhams.com
A LARGE CORAL-RED-GROUND SILK EMBROIDERED 'LONGEVITY' HANGING19th century Finely embroidered with a seaside scene featuring a pair of cranes standing on pitted rocks amidst pine trees, branches of large peaches, peonies and bats, surrounded by a border of leiwen designs interspersed with three Shou medallions and the Eight Auspicious Symbols, between two bands of scrolling lotus and between a gathering of immortal figures on the upper register and a flock of cranes carrying a tally besides a pagoda on the lower register.430cm (169 2/8in) high x 186cm (73 1/8in) wide.Footnotes:十九世紀 緞繡紅地「海屋添壽」圖大掛屏Provenance: a distinguished private European collectionMarie Joséphine Eugénie Brégère-Kromer Violet (1864 - 1921) and thence by descent來源： 顯赫歐洲私人收藏Marie Joséphine Eugénie Brégère-Kromer Violet (1864 - 1921)，並由後人保存迄今Marie Joséphine Eugénie Brégère-Kromer Violet, a wealthy French lady, married Lambert Violet in 1899. Lambert was the son of Simon Violet, a prominent wine producer who, in 1873, created Byrrh, a renowned aromatised wine aperitif blending wine with mistelles and botanicals. Initially marketed as a health tonic, Byrrh faced challenges competing with established local aperitif producers. However, the business thrived, growing from a modest operation to one of significant scale.The business began modestly with just a few small barrels of wine, but as demand grew, so did the size of the wine barrels. Following Simon's passing in 1891, his son Lambert assumed control of the family business and embarked on the construction of vast cathedral-like cellars in Thuir. These cellars housed 70 oak vats with a combined capacity exceeding 15 million litres of wine, making them the largest in the world upon their inauguration in 1892. By 1910, the company boasted 750 employees and distributed over 30 million litres of Byrrh annually. In 1914, Mary assumed leadership of her husband's enterprise and oversaw its significant expansion, a legacy continued by her children Jacques and Simon in 1920. By 1934, Byrrh had emerged as France's premier aperitif brand, with annual sales reaching approximately 35 million litres.Replete with auspicious symbolism underscoring wishes for long life and happiness, this large hanging would have likely served as gift to commemorate the seventeenth birthday of a female figure, as the inscription suggests. Cranes were deemed vehicles transporting the immortals to heavens, whilst large peaches grew in the enchanted garden of the Queen Mother of the Western Immortal Realm, who every three thousand year held a banquet for all the immortals, featured in the upper register, to enjoy her large peaches that prolonged their life for another six thousand years. In addition, the scenes on the lower register conveys the birthday wish 'May the length of your life be eternally prolonged' Hai wu tian shou 海屋添寿'. This originates from the 'Conversations of Three Old Men', from the 'Collected Writings by Su Dongpo' Dongpo Zhilin 東坡志林, by the Northern Song scholar Su Shi (1037-1101 AD). During one chance meeting of three Immortals, the topic of age was broached. Each one of the sages tried their best to exaggerate their own great age. The second sage famously boasted, 'After every cycle of the sea drying up and becoming mulberry fields, I put a strip of bamboo in my house as a counter and now the tallies have already filled ten houses'.For further information on this lot please visit Bonhams.com
A PAIR OF VERY LARGE CORAL-RED-GROUND SILK EMBROIDERED FLORAL CURTAINS19th century Each panel finely embroidered in varying shades of blue, red, ochre and green with a variety of floral shrubs including narcissi, lotus and peonies, set amidst flittering butterflies, the Eight Auspicious Emblems and branches of large peaches and pomegranates, all on a vibrant coral-red ground, the reverse green. One curtain, 302cm (119in) high x 222.5cm (87 3/8in) wide; the second, 297cm (117in) high x 224cm (88 1/8in) wide. (2).Footnotes:十九世紀 紅地緞繡花蝶圖掛屏一對Provenance: Marie Joséphine Eugénie Brégère-Kromer Violet (1864 - 1921) and thence by descent來源： Marie Joséphine Eugénie Brégère-Kromer Violet (1864 - 1921)，並由後人保存迄今Marie Joséphine Eugénie Brégère-Kromer Violet, a wealthy French lady, married Lambert Violet in 1899. Lambert was the son of Simon Violet, a prominent wine producer who, in 1873, created Byrrh, a renowned aromatised wine aperitif blending wine with mistelles and botanicals. Initially marketed as a health tonic, Byrrh faced challenges competing with established local aperitif producers. However, the business thrived, growing from a modest operation to one of significant scale.The business began modestly with just a few small barrels of wine, but as demand grew, so did the size of the wine barrels. Following Simon's passing in 1891, his son Lambert assumed control of the family business and embarked on the construction of vast cathedral-like cellars in Thuir. These cellars housed 70 oak vats with a combined capacity exceeding 15 million litres of wine, making them the largest in the world upon their inauguration in 1892. By 1910, the company boasted 750 employees and distributed over 30 million litres of Byrrh annually. In 1914, Mary assumed leadership of her husband's enterprise and oversaw its significant expansion, a legacy continued by her children Jacques and Simon in 1920. By 1934, Byrrh had emerged as France's premier aperitif brand, with annual sales reaching approximately 35 million litres.Exquisitely embroidered with a vibrant array of multicoloured threads, the present curtains are replete with symbols that convey auspicious wishes. Butterflies hudie, symbolise happiness, while peaches are emblematic of longevity, drawing inspiration from the fabled garden of the Queen Mother of the West where they flourished. Lotus flowers, emerging gracefully from muddy waters, symbolise purity but also fertility, evoked by their abundant petals. Similarly, pomegranates, with their abundance of seeds, are associated with progeny, representing fertility and prosperity.Compare with a related but much smaller pair of green-ground silk embroidered curtains, 19th century, which was sold at Christie's New York, 24 October 2022, lot 906.For further information on this lot please visit Bonhams.com
lotto composto da due orologi con casse in argento, diametro 54 mm, quadranti in argento con numeri romani in oro rosso, piccoli secondi al sei, lancette a cuore in metallo e oro. Movimenti con scappamento ad ancora inglese, protetti da parapolvere.LOT OF TWO SILVER OPEN FACE POCKET WATCH, ENGLAND 1873-74
William McTaggart RSA RSW (British, 1835-1910)At the Fair signed and dated Wm McTaggart/1873' (lower right)oil on canvas96 x 76cm (37 13/16 x 29 15/16in).commenced in 1871 and completed in 1873Footnotes:ExhibitedDundee, Dundee Fine Art Exhibition, 1873.Edinburgh, Royal Scottish Academy, 1874, no. 342 ('342' is inscribed on the canvas verso and the work is as titled).McTaggart's early work is often referred to as being based in the Pre-Raphaelite idiom, before developing into the impressionistic landscapes of his later career. The present work was painted during this crucial pivot point. Although the work is figurative, there are hints of McTaggart's new expressive brushwork being explored in the background and girls' clothing. We know that this work was started during a sketching season in Tarbert in 1871, but not competed until 1873. The accurate dating comes from James Caw's seminal McTaggart biography:'From correspondence with Mr. Alexander Macdonald of Kepplestone in the early months of 1873, it is evident that that gentleman was again thinking of acquiring a picture by McTaggart, but, as before, the negotiations came to nothing. Amongst the pictures mentioned was that of 'Lasses at the Fair,' commenced at Tarbert in 1871 and now practically finished. When shown at the Royal Scottish Academy the following year this charmingly composed picture of three pretty and delightfully contrasted country girls looking at a photograph, evidently just taken, of one of them, was received with greater favour than a good many of its predecessors had been.' (J. Caw, William McTaggart R.S.A., A Biography and an Appreciation , James Maclehose & Sons, Glasgow 1917, p. 61).Tarbert Fair has been held since the early 18th Century and is one of the oldest fairs in Scotland. It takes place every year on the last Thursday of July and continues the festivities over the weekend. Originally a cattle fair, it progressively became focussed on amusements and fairground rides. During the 19th Century, the new art form of photography gave people the ability to capture images in a revolutionary way. Scottish scientists, artists and photographers played a huge part in pioneering this new technology, a medium we now take for granted. The girls portrayed here by McTaggart may be holding a tintype photograph. Tintypes were popular in the 1860s and 1870s. Nicknamed 'gems' because of their shiny surface and small size, these portraits could be posted on a piece of card and became very popular for seaside vacations or days out from the city because they were easily and cheaply produced. McTaggart captured this moment in time in his own artform. He is celebrating the youth enjoying the latest technology available to them. There is something very relatable to us as a viewer in the 21st century; one can easily imagine the girls holding a smartphone and gazing at a selfie they have just taken.For further information on this lot please visit Bonhams.com
Queen’s South Africa 1899-1902, 2 clasps, Elandslaagte, Defence of Ladysmith (90117 Dvr: J. Webster, 42nd. Bty: R.F.A.) edge bruising, very fine £240-£280 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Joseph Webster was born in Ilkeston, Derbyshire, in 1873 and attested for the Royal Artillery at Derby on 6 May 1892, having previously served in the 3rd (Militia) Battalion, Sherwood Foresters. He served with the Royal Field Artillery in India from 23 November 1894 to 16 September 1899, and then with the 42nd Battery in South Africa from 17 September 1899 to 21 May 1900. He transferred to the Reserve on 1 April 1902, and was discharged on 5 May 1904, after 12 years’ service. Webster re-enlisted in the Royal Field Artillery on 24 November 1914, and served with them during the Great War on the Western Front from 3 April 1915. He transferred to the Labour Corps on 13 December 1917, and then to the Royal Engineers on 3 September 1918, and was discharged on 18 January 1919. Sold with copied research.
A most unusual Great War D.S.O. group of six awarded to Captain (Retired-Admiral, R.N.) T. P. Walker, Royal Naval Reserve, who was in command of H.M. Armed Yacht Aegusa when she was sunk by a mine in the Mediterranean in April 1916 Distinguished Service Order, G.V.R. silver-gilt and enamels, with integral top riband bar; India General Service 1854-95, 1 clasp, Perak (T. P. Walker. Midn. R.N. H.M.S. “Modeste”); 1914-15 Star (Capt. T. P. Walker, R.N.R.); British War and Victory Medals (Capt. T. P. Walker. R.N.R.); Italy, Kingdon, War Cross, mounted as worn, minor chips to wreaths on the first, otherwise early extremely fine (6) £2,400-£2,800 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- D.S.O. London Gazette 3 June 1918: ‘In recognition of services in the prosecution of the war. Thomas Philip Walker, R.N.R. (Admiral, Retired).’ Italian War Cross London Gazette 22 January 1922. Thomas Philip Walker was born in Bedford on 16 September 1858, and entered the Training Ship Britannia in January 1872. He was appointed Midshipman in Modeste in December 1873 and served with the Laroot Field Force during the operations against the Malays in 1875-76 (Perak Medal and Clasp). He served as Sub-Lieutenant in the Royal Yacht Victoria & Albert in 1879, was a Member of the Naval Intelligence Department from April 1896 to March 1899, and Assistant to the Admiral Commanding Coastguard and Reserves from April 1906 to March 1908. Walker was appointed A.D.C. to the King from February 1907 to 22 March 1908, when he was promoted to Rear-Admiral. He retired in September 1911, advancing to Vice-Admiral (Retired) in May 1913, and to Admiral (Retired) in April 1917. Following his retirement in 1911, Walker was appointed an Assessor under the Supreme Court of Judicature Act to attend Admiralty Appeals in the House of Lords. Admiral Walker was granted a temporary commission as a Captain in the Royal Naval Reserve in 1914, and saw active service afloat in command of H.M. Armed Yacht Aegusa, which arrived in the Mediterranean at the end of 1915. On 13 April 1916, Walker received a wireless intercepted message that a submarine had been sighted at 8 a.m., and proceeded towards the reported position. Before arriving there, he received news that the enemy had apparently gone towards the Adriatic, and accordingly altered course, hoping to catch her before sunset. At 5.35 p.m. a steamer was observed about five miles off, and almost immediately afterwards a submarine was seen coming away from the steamer. The submarine fired a torpedo which caused the ship to heel over and sink. In the meantime the Aegusa had opened a deliberate fire at 8,000 yards. The enemy was making off at full speed on the surface in an easterly direction, and soon submerged, thus escaping. A fortnight later the Aegusa was lost off Malta when she was sunk by a mine. There was happily no loss of life and Walker went on to get the D.S.O. as a Retired Admiral in his sixtieth year. He was the author of Seamanship Examination Questions of the Training Squadron, 1891; Editor of Captain Alston’s Seamanship, third edition revised and enlarged; and also of Nare’s Seamanship. Admiral Walker died on 27 August 1932. Sold with copied research including record of service.
Four: Lieutenant T. G. Fraser, Royal Navy, who was mentioned in despatches and promoted for the Zulu War, was present at the bombardment of Alexandria and landed with the Naval Brigade at Tel-el-Kebir South Africa 1877-79, 1 clasp, 1879 (Sub: Lieut: T. G. Fraser, R.N. H.M.S. “Active”); Egypt and Sudan 1882-89, 2 clasps, Alexandria 11th July, Tel-El-Kebir (Lieut: T. G. Fraser. R.N. H.M.S. “Superb”); Order of the Medjidie, 4th class breast badge in silver, gold and enamel, reverse with maker’s cartouche of Mon. Paul Stopin, Palais Royal, lacking two appliqué plaques from central surround and chips to enamel; Khedive’s Star, dated 1882, mounted on a contemporary wearing bar as worn, contact marks, otherwise nearly very fine and rare (4) £2,400-£2,800 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Thomas Guthrie Fraser joined the Royal Navy in January 1871, becoming Midshipman in June 1873 and Sub-Lieutenant in June 1877. As Sub-Lieutenant of Active he served with the Naval Brigade in Zululand in 1879. He was present at the action of Inyezane, 22 January 1879, formed part of the garrison at Ekowe with Colonel Pearson’s Column, and afterwards joined General Crealock’s Column and advanced to Port Durnford. He was mentioned in despatches (London Gazette 11 March 1879), promoted to Lieutenant, and received the Zulu Medal and clasp. He was Lieutenant of Superb at the bombardment of Alexandria, 11 July 1882, and during the Egyptian war; he landed with the Naval Brigade and was present at the battle of Tel-El-Kebir, for which he received the Egypt Medal and two clasps, the Bronze Star, and the 4th Class of the Medjidie. Lieutenant Fraser retired on 29 October 1895.
Album containing crowns, 1889, 1935; 1/2 crowns, 1845, poor, 1921, 28; florins 1923, 29, 36; shillings, 1873, 93, 1920; 6ds, 1899, 1926; Irish 1/4, 1806, vf; USA dollar, 1921, other coins, £5s, 1990; £2s, 1986 (2); other colonial, European and world coins, 2 India notes, etc. (a lot).*Please note: The Securicor silver medal has been withdrawn from this lot*
MEIKEISAI HOJITSU: A FINE IVORY MASK NETSUKE OF OKINABy Meikeisai Hojitsu (c. 1790-1873), signed Hojitsu 法實Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Published: Wilhelm, Gabor (2005) On the Continent, INSJ 25/1, p. 16, no. 2638.Finely carved, the wizened face of the elderly man detailed with elaborate, interconnecting wrinkles, the jaw made to look movable, the eyes and lips with polychrome pigments, the long beard flowing to the verso. The natural himotoshi formed by a twining cord linked to both sides. Signed HOJITSU.HEIGHT 4.8 cmCondition: Very good condition with minor wear, small losses to the polychrome pigment, expected age cracks, and a small chip to the edge of the beard.Provenance: Nagel Auction, 13 November 2004, Stuttgart, lot 2638. European collection P. Jacquesson, acquired from the above.According to F. Meinertzhagen, Meikeisai Hojitsu (c. 1790-1873) ranked among the great netsuke masters of the 19th century because of his “keen aesthetic perception combined with [his] supreme craftsmanship and versatility” (MCI, part A, p. 169).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 24-B-0056). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
DENMARK. Christian IX. Gold 20 kroner, 1873 CS. Copenhagen. head of Christian IX right, legend around with date below, flanked by mintmark and initials of Diderik Christian Andreas Svendsen, Mint Master (1869-1893). / Seated Mother Denmark left with shield and porpoise, denomination below. Reference: KM 791Mintage: 1,153,000.Diameter: 23 mm.Weight: 8.9606 g. (AGW=0.2593 oz.)Composition: 900.0/1000 Gold.PLEASE NOTE: 10% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. 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.
GERMANY. WüRTTEMBERG. Gold 10 mark, 1873 F. Karl I. Bust facing right, KARL KOENIG VON WUERTTEMBERG. / Crowned imperial eagle, DEUTSCHES REICH 20 M. 1873.Reference: KM 621; Jaeger 289Diameter: 19.5 mm.Weight: 3.982 g. (AGW=0.1152 oz.)Composition: 900.0/1000 Gold.PLEASE NOTE: 10% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. 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.
SWEDEN. Oscar II, 1872-1907. Gold 10 kronor, 1873 ST. Bare head facing right, date below with stars on either side. Legend reads OSCAR II SVERIGES O. NORGES KONUNG. / Crowned and mantled shield-of-arms (without central inescutcheon), mintmarks on either side, denomination below and King's motto above.Reference: KM-732, Ahlstrom 24Diameter: 18 mm.Weight: 4.4803 g. (AGW=0.1297 oz.)Composition: 900.0/1000 Gold.PLEASE NOTE: 10% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. 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.
GERMANY. WüRTTEMBERG. Karl I. Gold 20 mark, 1873 F. Stuttgart. Bust facing right, KARL KOENIG VON WUERTTEMBERG. / Crowned imperial eagle, DEUTSCHES REICH 20 M. 1873. Edge imprinted GOTT MIT UNS.Reference: KM 622; Jaeger 290Mintage: 1,357,000.Diameter: 22.5 mm.Weight: 7.965 g. (AGW=0.2305 oz.)Composition: 900.0/1000 Gold.PLEASE NOTE: 10% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. 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.
GOLD - Goldmünzen aus Europa und Nordamerika in 3 Alben. 49 Stück. Belgien 20 Franken 1865 (2x), 1878, 1914. Dänemark 20 Kronen 1873, 1908, 1910 und 1913. Frankreich 20 Franken 1830, 1831, 1839, 1847, 1849, 1850, 1852, 1856, 1859, 1868 und 1895. Griechenland 20 Drachmen 1884, Großbritannien Sovereign 1871, 1876, 1890 und 1908. Kanada Sovereign 1911 Ottawa, 1918 Ottawa, 20 Dollar Gedenkmünze 1967. Österreich 8 Gulden 1876, 1881, 20 Kronen 1894, 1904. Rumänien 20 Lei 1883, 1906 40-jähriges Regierungsjubiläum. Russland 15 Rubel 1897, 10 Rubel 1899 (2x), 5 Rubel 1890. Sardinien 20 Lire 1826, 1834, 1849 und 1852. Spanien 100 Reales 1861, 25 Pesetas 1879, 1881. Türkei 100 Piaster 1876. USA 10 Dollar 1897, 1910, 5 Dollar 1893, 1911. Teilw. Belag und min. Grünspan, sonst sehr schön - prägefrisch. Insg. ca. 350,62 g Feingold. Sehr interessantes Los, am besten besichtigen. Steuerbefreit nach § 25c UStG.|GOLD - Gold coins from Europe and North America in 3 albums. 49 pieces. Belgium 20 francs 1865 (2x), 1878, 1914. Denmark 20 kronor 1873, 1908, 1910 and 1913. France 20 francs 1830, 1831, 1839, 1847, 1849, 1850, 1852, 1856, 1859, 1868 and 1895. Greece 20 drachmas 1884, Great Britain Sovereign 1871, 1876, 1890 and 1908. Canada Sovereign 1911 Ottawa, 1918 Ottawa, 20 dollar commemorative coin 1967. Austria 8 guilders 1876, 1881, 20 crowns 1894, 1904. Romania 20 lei 1883, 1906 40th government anniversary. Russia 15 rubles 1897, 10 rubles 1899 (2x), 5 rubles 1890. Sardinia 20 lire 1826, 1834, 1849 and 1852. Spain 100 reales 1861, 25 pesetas 1879, 1881. Türkiye 100 piastres 1876. USA 10 dollars 1897, 1910, 5 dollars 1893, 1911. Partly covering and minimal verdigris, otherwise very fine - uncirculated. Total approx. 350.62 g fine gold. Very interesting lot, best visited. Tax exempt according to § 25c UStG.
W. Stadler(Deutscher Miniaturist, tätig 20. Jh.)Miniaturporträt von Kaiserin Elisabeth von Österreich ("Sissi") (1837 - 1898)Ovales Bildnis der jungen Kaiserin mit sternengeschmücktem Haar nach dem berühmten ganzfigurigen Bildnis von Kaiserin Elisabeth von Österreich, gemalt 1865 von Franz Xaver Winterhalter (1805 - 1873). Temperamalerei. Sign.; 11,8 cm x 9 cm. Messingrahmen.Provenienz: aus einer Privatsammlung in Brandenburg. Ersteigert im Dorotheum Wien, 26.04.2006, Auktion Kaiserhaus, Lot 149.A tempera miniature portrait of Empress Elizabeth of Austria. Signed. Framed.
A Mamluk-style glass flask, Josef Lobmeyr (1792-1855) designed by architects Jan Machytka and Franz Schmoranz, Austria, circa 1878, The squat globular form with tapering neck and collar, over a high conical foot, painted with three large medallions enclosing a stylised flower flanked by panels of gilt leaf scroll above a band of bold naskh inscriptions in gilding divided by rosettes, the neck with a Kufic inscription in white enamel, with inscription to base in German and Lobmeyr's maker's mark,31cm. high. Footnotes: An almost identical flask is in the MAK Austrian Museum of Applied Arts, Vienna (Inv. GL 2573)The inscriptions translate as 'The realm belongs to God, the One and Eternal, the Truthful', 'Oh thou, who passest this clear water, drink.'Originally established in Bohemia in 1822/23, the glasshouse of Josef Lobmeyr (1792-1855) produced glass of a high standard in the second quarter of the 19th century but also sold the products of different manufacturers. The firm was later entitled J.& L.Lobmeyr and was run principally from 1855 by his two sons Josef and Ludwig. By this time they no longer operated their own glassworks but commissioned glass to their own designs from Haida and elsewhere in Bohemia.The first major exhibition in which Lobmeyr participated was that of London in 1862. Here they were awarded a gold medal "for excellence in the making of crystal glass, tableware, and candelabra". Ludwig Lobmeyr, who took over the firm after the premature death of his brother Joseph, contacted Rudolf von Eitelberger, the founder of the Austrian Museum of Art and Industry, during the period of the exhibition. The two men's objective was the promotion of good taste in design. Ludwig Lobmeyr used the museum's exhibits as inspirational models for his glassware and regularly exhibited his new creations at the museum and at the World Fairs.Supplied by manufacturers of glass in Bohemia both for home consumption and export, Lobmeyr became one of the leading glass sellers of the second half of the 19th century and their new glass took the exhibitions by storm. At the Vienna Exhibition of 1873 Lobmeyr was singled out for the highest praise.The architects Johann Machytka and Franz Schmoranz (1845-1892) travelled extensively in Palestine. For Lobmeyr, they designed a considerable number of vessels in 'Arabian style' between 1876 and 1878, drawing their inspiration from original pieces in museums in Cairo and elsewhere. These new designs were much sought after when they were displayed in Paris in the 1878 Exposition. Lobmeyr continued to exhibit at all the major international fairs in the last quarter of the 19th century.The present lot is based on an extremely rare 13th century Egyptian or Syrian Mamluk form, an example of which was mentioned by G. Schmoranz in his publication Old Oriental gilt and enamelled glass vessels, 1899, p.33. See the example from the Collection of the Late Baroness Batsheva de Rothschild, sold Christie's London, 14th December 2000, lot 48 and that in the Victoria and Albert Museum, London (Inv. 328-1900). Gustav Scmoranz's drawings in the 1870s provided the designs for several of the Islamic styles introduced by Lobmeyr. See W.Neuwirth, Orientalisierende Gläser, 1981, p.51, pl.18Condition Report: This lot presents as clean overall with strong enamels. The gilding although strong overall, shows some scattered minimal losses noticeable only under close inspection. Under U. V the rendering is homogenous. Only one area renders a bright pink reflection : a minute spot above the medial letter ق of the inscription applied to the flaring neck. An inspection with a loupe reveals some superficial dark matter, perhaps a misfiring to the enamel or a later deposit, now dried. No attempts were made to remove it. The foot shows a chip and a flake right above it affecting the gilt band. Opposite the chip, to the foot, the lot shows a large loss on approximately 3cm. leading to a series of flakes above interrupting the same gilt band.
Charles Pears, RSMA (British, 1873-1958)A luffing match at Lymington signed 'CHAS.PEARS' (lower left); bears inscription 'A luffing match at Lymington/by Chas Pears' (verso)oil on board33.4 x 67.3cm (13 1/8 x 26 1/2in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A rare silvered and gilt brass Regiomontanus sundial and perpetual calendar, probably German, circa 1700,the silvered brass plate mounted with pinhole sights and three section gilt brachialis supporting plumb line and bead, upper and lower 12-12 hour scales, calendar scale, shadow square and altitude quadrant, the reverse with perpetual calendar and two gilt brass volvelles with scrolling foliate decoration, 4in x 2 2/3in x 1/10in (10 1/2cm x 6 4/5cm x 1/4cm) Footnotes:Provenance:The Time Museum, Inventory no. 1544.UTO Auctionem, 13th November 1873, ZurichSotheby's Olympia, London, 30th October 2002.Private collection.For further information on this lot please visit Bonhams.com
MÄRTA MÅÅS-FJETTERSTRÖM (1873-1941) 'NYPONBLOMMAN', RUG DESIGNED IN 1932, EXECUTED AFTER 1941 Handwoven wool on a wool warp, woven with producer's mark 'AB MMF' 302 x 248 cm Provenance: Sotheby's London, where purchased by Count Manfredi della Gherardesca, 17 October 2017, lot 12 Condition Report: overall good clean condition, light natural wear. Weave is tight and the edges are presentCondition Report Disclaimer
AFTER EDWIN LANDSEER (1802-1873) The deerstalker's return Oil on board over a printed base 20.5 x 25.3cm Together with English School Early 19th Century; Study of a pointer, Pen and brown ink with brown wash, possibly over an etched line, 9.2 x 16.8cm (2)ProvenanceParker & Morris: The Art of Decorating.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
AN ITALIAN WALNUT DRAW-LEAF DINING TABLEIN RENAISSANCE STYLE, IN THE MANNER OF ANGIOLIO BARBETTI (1805-1873), 19TH CENTURYwith a foliate carved border above a base with winged female busts surrounded by scrolling foliage and dragon feet, tied by a stretcher with carved and pierced vase shaped supports76cm high, 259cm long, 98cm deep (max)ProvenancePurchased from Chevertons of Edenbridge Ltd., 15th June 2002, for £16.500 for the table and chairs (lot 39)The selected contents of Dinton Hall, Buckinghamshire.
BIRMINGHAM AGRICULTURAL EXHIBITION SOCIETY SILVER MEDALS. Seven silver, Birmingham Agricultural Exhibition Society medals by Ottley Medallists, Birmingham. Awarded to Mr. Herbert Farthing in 1869, 1872, 1873, 1874, 1875, 1876 & 1879 for various breed classes. Very good condition. Three medals have original glass covers each side, three with covers one side only & one with no covers. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Victoria, Shilling, 1889, Sixpences (7), 1873, 1876, 1877, 1884, 1887, 1891, 1899 (S (S 3910, 3927-9, 3941); George V, Halfcrowns (4), 1930(2), 1936(2), Florin, 1932, Shilling, 1928, Sixpences (3), 1913, 1915, 1927 (S 4014, 4037-40); George VI, Halfcrowns (5), 1937, 1939, 1941, 1944, 1945, Florin, 1945, Shillings (9), 1937(3, 1 a proof), 1939, 1940, 1942, 1943, 1947, silver Threepences (16), 1937(12, 1 a proof), 1938(2), 1940(2), 1941, Brass Threepences (2), 1946, 1940 (S 4080-3, 4085, 4112); Elizabeth II, Halfcrowns (6) 1953(2), 1954, 1961, 1964(2), Shillings (6), 1953(4), 1954(2) (S 4145, 4147); together with a gilt maundy Groat of William and Mary and miscellaneous bronze coins (7) [lot]. Fine to extremely fine £100-£150
M. Gianni (Italian 1873-1956) "Naples from Posillipo" Signed, titled on label verso, gouache.18.5 x 41cm (framed 45.5 x 68cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. The paper has browned slightly in areas across the sheet. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Millicent Etheldreda Gray (British 1873-1957) Girl and baby Signed, watercolour.36 x 26.5cm (framed 60.5 x 50cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed.
Four: Commander W. A. L. Q. Henriques, Royal Navy, who served ashore in Egypt in the Armoured Train and had an impressive record for saving lives during his career Egypt and Sudan 1882-89, dated reverse, no clasp (Lieut. W. A. L. Q. Henriques, R.N. H.M.S. “Malabar”); British War Medal 1914-20 (Commr., R.N.); Khedive’s Star 1882, unnamed; Royal Humane Society, small successful bronze medal (Sub. Lieut. W. A. L. Q. Henriques, R.N. 16 July 1671 (sic)) last with integral top riband buckle, together with related group of four miniature medals mounted on a Hunt & Roskell quadruple silver buckle brooch, and a ‘Queen Mary’s Carpenters of War Hospital, Central Surgical Supply Depot’, oval bronze lapel badge, the reverse inscribed ‘Capt. Henriques R.N. Oct. 1915 -’, generally very fine or better (lot) £600-£800 --- Provenance: Dix Noonan Web, December 2006. William Abraham Ludington Quixans Henriques was born on 25 September 1850, and entered the Navy as a Naval Cadet in June 1865, becoming Midshipman in March 1866, Sub Lieutenant in December 1870, and Lieutenant in December 1874. He served in China in 1866, as Midshipman in H.M.S. Pelorus, and was present and assisted in the destruction of several piratical villages and junks in the Lejemon Pass, near Hong Kong, for which the officers engaged received the thanks of the Governor of Hong Kong. Whilst Midshipman of H.M.S. Juno in 1869, he jumped overboard on two occasions and saved the lives of two marines who had fallen overboard in Portsmouth Harbour, one being in heavy marching order. As Sub-Lieutenant of H.M.S. Monarch, on 16 July 1871, he jumped overboard to save E. Ringsford, A.B., and J. Breshnahan, Pte. R.M.L.I. (Bronze Medal of the Royal Humane Society). In East Africa from 1873 to 1875, as Sub-Lieutenant of H.M.S. Thetis, he was present at the capture and destruction of several slave dhows, and the liberation of 600 slaves, including the expedition up the Mtusi River, resulting in the taking of three large dhows after a determined resistance by the Arab slave dealers. He subsequently received Prize Money for one Slave Dhow, name unknown, captured on 16 July 1874, and another, name unknown, captured on 29 October 1874. In 1874 he also rescued the crew of the galley which had capsized on the bar at Pangany, after dark and under circumstances of great difficulty, for which he received the thanks of Captain T. Le H. Ward. Heriques served throughout the war in Egypt in 1882 as Lieutenant in H.M.S. Malabar, including service ashore, and was twice under fire in the Armoured Train (Medal & Khedive’s Bronze Star). Whilst in Malabar, he rescued the Boatswain who had fallen overboard at night, the ship going at 11 knots under steam and all possible sail. He was publicly thanked in the presence of the ship’s company by Captain Grant for going away in the lifeboat. Promoted to Commander and Retired in September 1895, Henriques was re-employed during the Great War from March 1917 to late 1918, borne in H.M.S. President for ‘Miscellaneous and Special Service’ as Commander on the Active List.
Six: Chief Bosun’s Mate Charles Chapman, Royal Navy, whose outstanding campaign service included the action against the Peruvian Rebel Turret Ship Huascar in 1877 Ashantee 1873-74, no clasp (C. Chapman, Ord. H.M.S. Rattlesnake. 73-74) official correction to initial; South Africa 1877-79, 1 clasp, 1879 (”Shah” C. Chapman A.B. H.M.S.); Egypt and Sudan 1882-89, dated reverse, 2 clasps, Alexandria 11th July, Suakin 1885 (C. Chapman. Cap: F’cle, H.M.S. “Penelope”); India General Service 1854-95, 1 clasp, Burma 1885-7 (C. Chapman, Actg. Chf. Bos. Mate, H.M.S. Sphinx); Royal Navy L.S. & G.C., V.R., narrow suspension (Chas. Chapman, Ch. Bos. Mte. H.M.S. Sphinx) impressed naming; Khedive’s Star, dated 1882, the silver medals all cleaned bright, light contact marks but generally very fine or better, a rare and exceptional group (6) £2,000-£2,400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Douglas-Morris Collection Part I, Dix Noonan Webb, October 1996; Dix Noonan Webb, July 2001. Charles Chapman was born in Sutton, Kent on 9 October 1854. He joined the service as a Boy 2nd Class aboard H.M.S. Rattlesnake on 8 October 1870, advanced to Boy 1st Class on 15 November 1871, and Ordinary Seaman 2nd Class on 20 October 1872, prior to leaving Rattlesnake on 25 March 1874, after service in the Ashantte campaign. Advanced to Able Seaman in January 1875 he was drafted to H.M.S. Shah in August 1876, in which vessel he took part in the action against the Peruvian Rebel Turret Ship Huascar in 1877. He was paid off from Shah in October l879 after earning his South Africa campaign medal with clasp. He next joined H.M.S. Penelope as Petty Officer 2nd Class during January 1881 and advanced to P.O. 1st Class (Captain of Forecastle) in June 1882. He was not amongst those chosen to serve at Tel-el-Kebir aboard the armoured train. He transferred to H.M.S. Sphinx as Acting Chief Petty Officer on 19 January 1885, becoming her Chief Bosun's Mate in January 1886 and seeing service at Suakin and in Burma. He was awarded his LS & GC medal on 8 May 1886, and was pensioned during October 1892.
Pair: Colour Sergeant W. Carroll, Royal Irish Regiment Egypt and Sudan 1882-89, dated reverse, 1 clasp, Tel-El-Kebir (257. Corpl. W. Carroll. 2...... Regt) pitted from Star; Khedive’s Star, dated 1882, reverse privately impressed ‘R.I. 257 R.I.R.’, housed with Regimental gilt metal insignia and Sergeant’s bullion stripes in presentation custom made leather case, the latter with a brass plaque which is inscribed, ‘Presented By The Members Sergeant’s Mess 1st Royal Irish Regt. To Sergt. W. Carroll. As A Small Token Of Esteem On His Leaving The Regt. September 1894’, plaque loose, generally nearly very fine (lot) £300-£400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- William Carroll was born in Whitechapel, London in July 1859. He attested for the 101st Foot at Manchester in June 1873, and was appointed a Drummer in April 1876. Carroll advanced to Corporal in August 1880, and was discharged by purchase in June 1881. The discharge was cancelled the same month, and Carroll re-enlisted with the Royal Warwickshire Regiment in October 1881. He transferred to the 2nd Battalion, Royal Irish Regiment in February 1882, and served with the Battalion in Egypt. Carroll advanced to Sergeant in December 1882, and transferred to the 1st Battalion in January 1885. He returned to Egypt, January - September 1885, and transferred to the 4th Battalion in February 1888. Carroll advanced to Colour Sergeant in March 1888, and served at the Royal Hibernian School, June 1890 - February 1893. He returned to the 1st Battalion, Royal Irish Regiment in February 1893, and was discharged having completed 21 years service with the Colours. In later life he resided in Cork, Ireland. Sold with parchment holder for Certificates of Discharged Soldiers, Army Reserve Men, and Discharged Militiamen, cover annotated ‘257 William Carroll 1/R. Ir. R.’; and copied service papers.
HENRY SCOTT TUKE (BRITISH, 1858-1929)Portrait of Lord Ronald Charles Sutherland-Leveson-Gower (1845-1916) inscribed 'Lord Ronald Gower' (verso) oil on board 23 x 15cm Provenance The Great niece of Henry Scott Tuke; Sale, Bonhams Oxford, 16th November 2011, lot 98 (catalogued as 'Portrait of a Gentleman'), where acquired by the present ownerFootnoteRonald Gower, who was the seventh son of George, 2nd Duke of Sutherland (1786-1861), sat for Tuke in 1897, a work now held in the National Portrait Gallery (NPG 4841). He had an eclectic career, serving as liberal MP for Sutherland between 1867-1874, but allegedly only made one speech in parliament during that period. He was also a sculptor with his most famous works being the Shakespeare memorial at Stratford-upon-Avon which includes a bronze of The Bard on a pedestal surrounded by bronzes of Hamlet, Lady Macbeth, Prince Hal and Falstaff, representing philosophy, tragedy, history and comedy. Gower was a trustee of the National Portrait Gallery as well as being an author who published biographies of Joan of Arc and Marie Antoinette along with a history of the Tower of London.His most enduring personal relationship was with author Frank Hird (1873-1947), twenty-eight years his junior, who he actually went on to adopt. Gower commissioned Tuke to paint a pastel portrait of Hird (whereabouts unknown) and both are mentioned in Tuke's Diary entry for 11th June 1902: A pleasant drive to Chidingstone with Lord Ronald Sutherland-Gower and Frank Hird. Left at 4 and found Kairns Jackson and Eiloart at the Chess Club. They associated frequently with Oscar Wilde who made a typically witty observation regarding his relationship - 'Frank may be seen but not Hird.' Wilde's 1889 novel The Portrait of Mr W.H is generally considered to be a comment on Gower's immediate circle and, furthermore, he is considered an inspiration for the character of Lord Henry Wotton in The Picture of Dorian Gray.Gower was implicated in the Cleveland Street Scandal of 1889; Police discovered a male brothel but the government attempted to cover the matter up due to the social prominence of many of the clientele. Gower died in relative poverty having been defrauded of his fortune by Francis Shackleton, brother of the Antarctic explorer. Having been entrusted with Gower's finances, Shackleton sold his portfolio in exchange for worthless stocks that only benefitted himself, forcing Gower to sell Hammerfield, his country house near Penshurst in KentMuch of what is known about Gower's life comes from his diaries which are often remarkably candid regarding his attraction to men. Even though homosexuality was illegal at the time Gower would have assumed his high society rank would protect him from prosecution. Condition reportBoard slightly bowed upper left, although this isn't particularly noticeable now board has been re centred (previously it had slipped a little).A small semi circular pale mark visible upper centre edge, this may be original to work. This mark was only visible because the board had slipped a little in the frame, it isn't noticeable now board has been re-centred.Appears in very good, ready to hang condition.
Y  ENGLISH SCHOOL MID 19TH CENTURY MINIATURE PORTRAIT OF HARRIET FRANCES RAMSDEN In a gold coloured unmarked glazed frame with enamel monogram HFR to back, inscription inside back "Harriet Frances Marshal, Eldest daughter of The Earl of Strafford GCB, Mar.d 1828 Charles Ramsden, 4th son of Sir John Ramsden Bt, died Nov 5 1873", back with glazed hair plait Watercolour on ivory image 5cm high, case 7cm high including button release to top Lady Harriet Frances Byng, daughter of Field Marshal John Byng, 1st Earl of Strafford and Marianne James, married Charles Ramsden on 14 June 1828. He was the son of Sir John Ramsden, 4th Bt. and Hon. Louisa Susan Ingram-Shepheard.Please note, Dreweatts have applied for a de minimis exemption for this lot ref: CFSCKRN2 Condition Report: Case lacking front and bevel. Miniature generally good untouched- some dirt visible to margins, mild wear from handling to case Condition Report Disclaimer
Joachim Antonisz Wtewael,um 1566 Utrecht – um 1638DIE HEILIGE FAMILIE MIT JOHANNES UND MUSIZIERENDEM ENGELÖl auf Holz.37,8 x 53,1 cm.Verso mit dem bekrönten Monogramm GR für König Georg V von Hannover und diversen Sammlungsetiketten.In ebonisiertem Profilrahmen.Das vorliegende Gemälde wird in Dr. Lowenthals Werkverzeichnis Joachim Wtewael and Dutch Mannerism aufgenommen, die Echtheit wurde von Dr. Anne Lowenthal bei unten genannter Auktion bestätigt.In einem angedeuteten, durch seine Schattenspiele lebender Innenraum eine Tischplatte. Auf dieser das Lamm Gottes, das einerseits von dem stehenden Johannes gehalten wird, sich andererseits dem diagonal emporsteigenden Christuskind zuwendet: Statt wie sonst üblich einen der Vorderläufe auf einen Kreuzstab zu legen, liegt er auf dem Oberschenkel Christi selbst und schafft somit eine direkte semantische Verbindung zum Erlösungstod. Christus hält eine Birne und mit der anderen Hand das Haar der hinter ihm befindlichen Maria. Links vorn Joseph eine Traube haltend, ebenfalls mit dem Erlösungstod in Verbindung stehend, rechts im Hintergrund vor einem Krug und Früchten (auch Trauben) ein Engel mit Renaissance Zister stehend. Kompositionell nimmt das Gemälde Bezug auf ein verloren gegangenes Gemälde von Bartholomäus Spranger, dem das vorliegende Werk lange zugeschrieben wurde und das durch einen Druck von 1605 durch Lucas Kilian bekannt ist (Holstein 45; Lowenthal 1986, Abb. 99), während die beiden Kinderfiguren an Wtewaels Gemälde im Musée de Picardie in Amiens erinnern.Provenienz:Christie’s New York, 29. Januar 2014, lot 32.Per Erbschaft an den Einlieferer.Nan Baumgartner (*1915), Frau von Carl-Johan Creutz (1913 - 2007).Konsul Leonhard Reinhold Baumgartner (1874 - 1946), Loviisa, Finnland und dessen Tochter.Erworben durch Gösta Stenman, Stenmans Konstsalong im Auftrag des Konsuls Baumgartner.Cassirer und Helbing, Berlin, 27. - 28. April 1926, lot 168.Fideikommiss – Galerie des Gesamthauses Braunschweig-Lüneburg.An dessen Sohn vererbt: Ernst August, Kronprinz von Hannover (1845 - 1923).Sammlung König Georg V von Hannover (1819 - 1878) Oberbaurath David Conrad Bernhard Hausmann (1784 - 1873), Verkauf der gesamten Kunstsammlung 1857 an König Georg V.Dessen Sohn Ludwig Georg Thedel, Feldmarschall Graf von Wallmoden-Gimborn (1769 - 1862).Vermutlich Johann Ludiwig Greichsgraf von Wallmoden-Gimborn (1736 - 1811), illegitimer Sohn von Georg II und dessen Mätresse Amalie von Wallmoden.Vermutlich schon Sammlung Franz Ernst Brückmann (1697 - 1753), Inventarnummer 50.Literatur:B. Hausmann, Verzeichnis der hausmannschen Gemäldegalerie in Hannover, Braunschweig, 1831, Nr. 174, als Bartholomäus Spranger.O. Eisenmann, Katalog der zum Ressort der Königlichen Verwaltungs-Kommission gehörigen Sammlung ... im Provinzial-Museumsgebäude ... zu Hannover, Hannover, 1891, Nr. 608. O. Eisenmann, Katalog der zur Fideicommiss-Galerie des Gesamthauses Braunschweig und Lüneburg gehörigen Sammlung von Gemälden und Skulpturen im Provinzial-Museum ... zu Hannover, Hannover, 1902, Nr. 608.O. Eisenmann und W. Köhler, Katalog der zur Fideikommiss-Galerie des Gesamthauses Braunschweig und Lüneburg ... im Provinzial-Museum, Hannover, 1905, S. 170, Nr. 606.C.M.A.A. Lindeman, Joachim Anthonisz. Wtewael, Utrecht, 1929, S. 64, 104-105 und 254, Nr. 41, Tafel 28.W. Stechow, review of Joachim Anthonisz. Wtewael by C.M.A.A. Lindeman, Zeitschrift für Bildende Kunst: Kunstchronik und Kunstliteratur (Beilage), II, 1930, S. 130.J. Foucart in R. Bacou und andere, Le XVIe siècle européen: Peintures et dessins dans les collection publiques françaises, Ausstellungskatalog Petit Palais, Paris, Oktober 1965 - Januar 1966, S. 265, Nr. 324.J. Zimmer, Joseph Heintz der Ältere als Maler, Weissenhorn, 1971, S. 53 und 78.A.W. Lowenthal, The Paintings of Joachim Anthonisz. Wtewael (1566-1638), Columbia University, New York, 1975, Nr. A-49.Vgl. A.W. Lowenthal, Joachim Wtewael and Dutch Mannerism, Groningen, 1986, S. 48, 129-30 und 224, Nr. A-58, Tafel 85.Vgl. Andreas Michel, Cither, Cithrinchen, Zister, Beiträge zur Geschichte eines traditionellen Musikinstrumentes in Deutschland, Suhl, 1989. (1381802) (†)Joachim Antonisz Wtewael,ca. 1566 Utrecht – ca. 1638THE HOLY FAMILY WITH ST JOHN AND AN ANGEL PLAYING MUSICOil on panel.37.8 x 53.1 cm.With the crowned monogram GR for King George V of Hanover and various collection labels verso.In ebonised profile frame.The present painting will be included in Dr Lowenthal’s catalogue raisonné Joachim Wtewael and Dutch Mannerism, and its authenticity was confirmed by Dr Anne Lowenthal at the auction mentioned.
Edward Reginald Frampton, ROI (British, 1873-1923)'Or in a clear-wall'd city on the sea Near gilded organ pipes, her hair wound with white roses, slept St.Cecily, An angel look'd at her' signed 'E Reginald Frampton' (lower left)oil on canvas laid to panel94 x 40cm (37 x 15 3/4in).Footnotes:ProvenancePrivate collection, UK.The subject of the present work is taken form Tennyson's poem The Palace of Art, first published in 1832 and extensively revised by the poet ten years later. The poem expresses the spiritual despair of the Soul who isolates herself in her arts and can only be cured by leaving the palace of art for a cottage among men. Frampton would certainly have been familiar with The Palace of Art: St Cecilia published by Edward Moxon in 1857 with engraved illustrations by the Dalziel brothers after original designs by Rossetti.In the introduction to the Frampton Memorial Exhibition catalogue of 1924 the art critic Rudolf Dircks noted that the artist 'was amongst the few distinguished modern painters who sought to express decorative form in his pictures...his spirit moved in the type of legendary or religious subject which lends itself particularly to decorative treatment...' and 'the poetic and decorative fervour' of his works, which were 'all accomplished in detail, beautiful and sensitive in colour'1Frampton had travelled in Italy as a young man and this, combined with his love of the work of Puvis de Chavannes and Edward Burne-Jones informed his art and resulted in easel and mural painting and stained glass characterised by a 'restful and dignified serenity'.2Saint Cecilia is famous in Christian iconography as the patron saint of music and is shown here having fallen asleep whilst playing the organ, the instrument most usually associated with her. Her hair is adorned with a garland of white roses (an attribute often associated with her) and by her feet grow poppies a well-known emblem of oblivion and sleep as her guardian angel looks on.Frampton is known to have painted this subject on several occasions and exhibited versions at The Royal Academy in 1911 and 1917. Writing in The Art Journal in 1907, Rudolf Dircks reflects on Frampton's treatment of the subject 'In St Cecily, have we not a precise and sympathetic interpretation of the lines of Tennyson – in which the full poetic beauty is apprehended pictorially?'1R. Dircks, cited in Memorial Exhibition of Paintings and Water-Colours by the Late E.Reginald Frampton, London, 1924, pp. 3-4.2Aymer Vallance, The Paintings of Reginald Frampton, R.O.I., International Studio, 1919, p. 66.For further information on this lot please visit Bonhams.com
CARTWRIGHT (JOSEPH)Selections of the Costume of Albania and Greece, with Explanatory Quotations from the Poems of Lord Byron and Gally Knight. Including a Highly Finished Portrait of Ali Pacha, FIRST EDITION, 12 hand-coloured aquatint plates by R. Havell after Cartwright (dated February-June 1822, one watermarked 'J. Whatman 1821'), light off-setting onto blank versos, contemporary half morocco over boards, gilt morocco lettering label ('Greek Costumes') on upper cover, worn with some loss to spine and corners, label scuffed [Colas 544; Tooley 131; cf. Abbey, Travel 134, note; not in Atabey, Blackmer or Lipperheide], folio (460 x 310mm.), R. Havell, [1822]Footnotes:VERY RARE COMPLETE COPY IN THE ORIGINAL BINDING - only one other complete copy traced at auction in the past fifty years.Known primarily for his marine paintings Joseph Cartwright was Paymaster-General of the British forces in Corfu during 1816-1820, publishing his Views in the Ionian Islands in 1821 and this work on his return to Britain in 1822. Published during the campaign for Greek Independence, eight of the plates are accompanied by quotations from works by Byron, including Childe Harold, The Giaour, and Don Juan.Provenance: Charles Richard Fox, ink inscription 'Charles R. Fox 1822', with price '2£-10' on upper cover. Fox (1796–1873) was an army officer, member of the Society of Dilettanti and numismatist whose important collection of 11,500 Greek coins was purchased after his death by the Royal Museum in Berlin. His early interest in coin collecting was strengthened by his travels in Greece and Turkey in 1820 while aide-de-camp to Sir Frederick Adam at Corfu, at which time he would possibly have become acquainted with Joseph Cartwright.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
THOMSON (JOHN)Illustrations of China and its People. A Series of Two Hundred Photographs, With Letterpress Description of the Places and People Represented, 4 vol., FIRST EDITION, 96 plates of photographic illustrations, publisher's maroon morocco-grain cloth gilt, bevelled edges, corners bumped, rebacked, g.e., folio (480 x 360mm.), Sampson Low, 1873-1874Footnotes:One of the most extensive photobooks of nineteenth-century China. It is thought that only 750 sets were published. Thomson's original photographs are beautifully reproduced by 'autotype', a form of collotype patented by the publisher Sampson Low to maintain the high level of resolution of the original albumen prints. Between 1870 and 1872 Thomson 'undertook four distinct journeys, up the north branch of the Pearl River, up the River Min to the area around Foochow (Fuzhou), to Peking (Beijing), and finally up the great Yangtze (Yangzi) River. The photographs taken on these journeys form one of the most extensive photographic surveys of any region taken in the nineteenth century. The range and depth of his photographic vision mark Thomson out as one of the most important travel photographers' (ODNB). Images include Imperial China, portraits of high government officials, and spectacular architectural and scenic views, showing 'the many sides of China: sweeping landscapes, royalty and ruling classes, merchants and economic activity, everyday life, and the faces of men, women and children' (Western Travellers in China, 91).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
SUFFRAGE HANDKERCHIEFSatirical handkerchief titled 'Women's rights and what came of it '1981'', depicting women of the future fulfilling traditional male roles such as Politics, Science, Law, the Army, Navy and Police, a group of men doing the laundry ('Now we're busy') and a group of 'Frozen Out M.D.'s' complaining 'We've got no work to do-o-o', printed in black on fine cotton, registered number 364805, in fine condition, one or two small marks, 610 x 545mm. [1881]Footnotes:THE CONSEQUENCES OF ALLOWING WOMEN THE VOTE.This satirical handkerchief warns of what life would be like in 100 years if women were given equal rights, predicting the unconceivable possibility of women working in traditionally male roles, and showing a future where men are forced to (somewhat haplessly) undertake roles previously the preserve of women. The design '...contains all the tropes – the embodiment of light-hearted, but deeply-rooted prejudice – that are now so familiar to us through the comic postcards that were produced in response to the suffragette campaign in the years before the First World War...' (Elizabeth Crawford, Women and Her Sphere blog, September 2015). The design number was registered on 7 May 1881 by Carslaw & Henderson, fabric manufacturers, of 68 Gordon Street, Glasgow (Museum of London website).It is thought by the family that this suffrage handkerchief may have been given as a gift to the vendor's great grandmother Emma Laming Shepherd (1855-1930) possibly on her marriage to William Tombs (1858-1942) in August 1881. Three generations of the vendor's family were in service to the households of Richard Attlee (1795-1873) and his son Henry (1842-1908), and were held in high regard. Emma was the illegitimate child of Martha Laming, who held the position of maid with the Attlees and she, in her turn, was taken on as nursemaid to the Attlee children and is listed as part of the household in the 1881 census. On her marriage, it is believed that the Attlees gave her a house in Clapham Park, London so she could support herself by taking in lodgers. Her daughter Cecilia also worked for the family as lady's maid and was a childhood friend of the future Prime Minister, Clement Attlee.Provenance: Emma Laming Shepherd (1855-1930); thence by descent.For further information on this lot please visit Bonhams.com
SOCIETY FOR THE DIFFUSION OF USEFUL KNOWLEDGEThe Complete Atlas of Modern, Classical and Celestial Maps, together with Plans of the Principal Cities of the World, 226 hand-coloured engraved maps (numbered 1-218, and bis numbers, including 49 city-plans and 6 star-charts), some double-page with 2 numbers per sheet, title, additional 'Sketch map of Dr. Livingstone's Discoveries' pasted inside upper cover, preliminaries and opening map loose, occasional light spotting (heaviest to plate 1), 2 with short tear to blank margin, contemporary half calf, titled in gilt on upper cover, g.e., worn, upper cover detached, folio (440 x 360mm.), Edward Stanford, 1873Footnotes:Maps include United States (16 sheets), China (2), World (3), and Australia (3), with city plans including New York, Philadelphia, London (double-page), Canton, Moscow and St. Petersburg.Provenance: William Lawson, early ownership inscription on front free endpaper.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
Rowland Henry Hill (Staithes Group 1873-1952): Sunset, watercolour signed and dated 1930, 24.5cm x 30.5cm Provenance: private collection, purchased David Duggleby Ltd Whitby 14th September 2004 Lot 110; with Phillips & Sons of Cookham 1985Condition Report: Excellent original strong colour and condition, ready to hang
Rowland Henry Hill (Staithes Group 1873-1952): North Yorkshire Foxhounds on a Country Lane, watercolour signed and dated 1908 Provenance: private collection, purchased David Duggleby Ltd 16th September 2013 Lot 43; exh. Phillips & Sons, Cookham, November 1980Condition Report: Good condition and colour - ready to hang.
Owen Bowen (Staithes Group 1873-1967): Cattle Grazing, oil on canvas signed 56cm x 76cm Provenance: private collection, purchased David Duggleby Ltd 16th April 2021 Lot 158Condition Report: Good condition, well presented - ready to hang. Relined but shows no signs of overpainting under UV light.
Rowland Henry Hill (Staithes Group 1873-1952): 'Realejo Alto - Tenerife', watercolour signed and dated 1938, 26cm x 36cm Provenance: private collection, purchased David Duggleby Ltd Whitby 14th September 2004 Lot 98Condition Report: Good condition and strong colour, some slight discolouration to the paper and mount.
Rowland Henry Hill (Staithes Group 1873-1952): Harvesting at Ellerby, watercolour signed and dated 1927, 27cm x 37cm Provenance: with T B & R Jordan Fine Art Specialists, Stockton on Tees, label verso; David Duggleby Ltd 8th December 2017 Lot 115Condition Report: Very good condition with strong original colour. Well presented behind museum glass in quality gilt frame - ready to hang.
Rowland Henry Hill (Staithes Group 1873-1952): 'Lansdowne Cottage Runswick Bay', watercolour signed and dated 1944, 25.5cm x 31.5cm Provenance: private collection; purchased Phillips Leeds 19th November 1998, Lot 365Condition Report: Excellent original colour and condition, well presented, ready to hang
Owen Bowen (Staithes Group 1873-1967): Building a Hayrick, oil on canvas signed and dated 1900, 28cm x 45cm Provenance: private collection, purchased Tennants Auctioneers 22nd May 2021 Lot 226Condition Report: Very good condition, well presented in quality swept gilt frame - ready to hang. Minor stretcher mark along the top edge, no signs of overpainting visible under UV light.
Spiders:British Spiders, an introduction to the study of the Araneide of GreatBritain and Ireland, E. F Stavely, pub. Lovell Reeve & co. 1866 1stedition. Octavo. 280pp. 16 coloured plates. Publisher's catalogue torear. Blue cloth with a gilt illustration of a spider on the front panel.The spine is slightly darkened. A very good, solid copy of this classicwork by Eliza Fanny Staveley [1831-1903]. Pencil annotations by thebook's owner, West including a handwritten page tipped in at the frontlisting other works which reference the spider.WithBritish Insects, A familiar description of the form, structure, habits,and transformations of insects, E. F. Stavely. pub. L. Reeve and Co.no date [c. 1871]. Octavo. 392pp. 16 coloured plates (15 to the rearof the book, plate I is the frontispiece). Bookseller's catalogue to rear.Blue cloth with gilt illustration of an ancient Greek fellow, possiblytrying to think up a word to describe the study of insects. Pencilannotations by the book's owner, West including a handwritten pagetipped-in at front used as a key to the frontispiece.WithHarvesting Ants and Trap-Door Spiders, Notes on their Habits andDwellings, by J. Traherne Moggridge, FLS. Pub. L. Reeve & co. 1873.Bound with Supplement to Harvesting Ants and Trap Door Spiderswith separate title page, dated 1874. Publisher's catalogue to rear. 304pp 20 plates of which four are double page coloured plates. Pencilannotations. Large octavo. Blue cloth. gilt vignette monogram to frontpanel. Abrasion with loss of cloth at foot of spine. Mottling and loss ofcolour from cloth to bottom of the front panel, spine and rear panel.Despite the (cosmetic) damage to the boards, the book remains a solidexample of this work.(3)The following lots of books represent the library of George West.West's biographical details are hard to pin down, his date of birthunknown, (probably around the 1880's) and his death sometime after1945. He is known to have worked as an assistant and then lecturer inBotany at the University of Dundee from 1906. At that time theuniversity was a constituent college of St Andrews University. Westseems to have remained there until around 1926. In his publication'Practical Principles of Plain Photo Micrography' (1916) he describeshimself as a lecturer in Botany. Most of the books in the sale bear thehandstamp, 'George West' to the front pastedowns. Many volumes bearextracts from booksellers' catalogues with prices of the titles,suggesting that West liked to keep up with the current values of hislibrary.The books represent a working library and many are alsoannotated in pencil in his hand, cross-referencing other works andadding his comments. To the front of the first volume of Walker'sDiptera (see lot no.) he has inserted his handwritten poem, 'To theFuture Owners of this book'.Geordie has now turned up his toesAnd gone aloft to seek reposeFrom various varmints nips and stings,Especially those base mankind brings...........He trusts the child who gets this bookWill on the various notes just lookAnd feel that every pencil strokeHelps on the game dear Walker wrote...Although a botanist by profession, his main interest, judging byhis library appears to have been entomology and amongst the booksare some rare titles in that field many dating from the nineteenthcentury, a golden age for the natural sciences. Many of the giants inthe field of Entomology are represented in the books and there aregood sets of Curtis, Donovan and Stephens with many exquisite, hand-coloured illustrations. Geology was another of his interests, as well asmicroscopy.What little is known of George West is largely gleaned from apublication from Hereford Museum published in 2007. West haddonated a large collection of mineralogical specimens to the Museumin 1945. His connection with Hereford, however, appears to betenuous and the man remains something of an enigma.
Thomas Sidney Cooper, RA (British, 1803-1902)Cattle at pasture signed and dated 'T.Sidney Cooper RA/1873' (lower right)oil on canvas105 x 74cm (41 5/16 x 29 1/8in).Footnotes:ProvenanceAnon. sale, Neales, Nottingham, 8 July 1993, lot number unknown.For further information on this lot please visit Bonhams.com
Fernand Toussaint (Belgian, 1873-1955)Nature morte au bouquet de chrysanthèmes et raisinsigned 'Toussaint' (lower left) oil on canvas 81.3 x 64.8cm (32 x 25 1/2in).Footnotes:ProvenancePrivate collection, UK.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
South Africa 1877-79, 1 clasp, 1877-8 (H. Goff. Bandsn. H.M.S. “Active.”) edge bruising and contact marks, polished, very fine £400-£500 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Henry Goff was born in Portsea, Hampshire, on 14 November 1847 and joined the Royal Navy as a Bandsman on 9 October 1873. He served in H.M.S. Active from 30 July 1877, and was shore discharged at his own request on 23 April 1879. Sold with copied research.
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