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Click here to subscribeLe Carré (John) The Spy Who Came in from the Cold, first edition, original boards, spine lightly faded, ends a little bumped, dust-jacket, very light creasing to spine ends and corners, one or two light marks to lower panel, otherwise a near-fine copy, 8vo, 1963.⁂ Unusually unfaded spine, making this a remarkably bright and crisp copy.
NO RESERVE Wallace (Edgar) The Man Who Knew, ink ownership name to front free endpaper, original cloth, dust-jacket, spine rubbed and faded, chipping to extremities, 1933 § Barter (John) The Sword of Somerled, first edition, original boards, dust-jacket, light creases to extremities, otherwise excellent, 1953 § Collins (Gilbert) The Starkenden Quest, first edition, endpapers browned, original cloth, light bumping to extremities, 1925 § Hyde (Mark Powell) The Strange Inventor, first edition, original cloth, 1927; and 40 others, adventure fiction, 8vo (44)
Quinn (John, art collector and Irish-American lawyer, 170-1924) A Collection of Letters between John Quinn and Alphonse Kann, documenting their art collecting activities, including autograph and typed letters, and cheques, folds, some staple stains, v.s., housed in custom-made clamshell box, 1922-24 (c.10 items) ⁂ A notable group of correspondence documenting the collecting activities of John Quinn and Alphonse Kann. Quinn was an important patron of chief figures in Post-impressionism and literary Modernism, a major collector of modern art and original manuscripts, and the first to exhibit these works after winning legal battles against censorship and cultural isolation. In the 1920s he owned the largest single collection of modern European paintings in the world. Alphonse Kann was a friend of Proust and noted collector who sold several works to Quinn. By the 1920's Kann had begun to devote himself to contemporary art, hence, perhaps, his willingness to sell to Quinn. Kann owned Barque L'Homme a la guitare and significant painting by Picasso, Gris, Klee and Ledger. He left for France in 1938 and his collection was subsequently looted by Nazis.
Dahl (Roald) Danny the Champion of the World, first edition, A.L.s from the author loosely inserted, illustrations by Jill Bennett, original cloth, dust-jacket, light spotting to flaps, spine a little faded, otherwise fine, 8vo, 1975.⁂ Letter from Dahl addressed to "Everyone who wrote to me" reads "...Several of you ask for a photograph. I am not a film-star so I don't usually send pictures of myself to others. But if you want it you shall have it. Tear it up if you think it is too ghastly. Have just finished a long new book - Danny, The Champion of the World. Will be published next autumn, I think..."
Woolf (Virginia) The Years, first edition, Barbara Hiles Bagenal's copy with her ink ownership inscription to endpaper, hinges tender, original cloth, rubbed and faded, preserved in custom morocco-backed drop-back box, 8vo, Hogarth Press, 1937.⁂ A good association copy, having belonged to the associated member of the Bloomsbury Group, Hiles. Hiles was a bohemian character and friend of Dora Carrington who likely had affairs with several members of the Bloomsbury Group, including Maynard Keynes, Saxon Sydney-Turner (whom she tried to persuade to live in a ménage a trois with her husband Nick Bagenal) and Clive Bell.
Scott (Paul) One Autograph Letter and one Typed Letter signed, to "Rene" and H.R.F. Keating, each 3pp. and 1p., on typed or manuscript headed paper, 4to, 78 Addison Way, London, 9th & 1st May 1975, the first thanking her for a call about the recent review of his latest book and discussing the launch party, the second thanking the journalist for his review of A Division of the Spoils, "I've read it several times, still feel - as I did on first reading - that it's the best and most perceptive I've ever had. Searching for the weak spots you don't pull your punches; you expose the vices but then, good heavens, turn them into the virtues they were aiming for. Not only that, you ask the major question, Why India, why India then? And answer it better than I could have hoped anyone could or would...", folds, the first lightly toned; and another early typed letter signed by Scott in the capacity of a company secretary, 1948, 4to (3)⁂ An excellent group of letters from Paul Scott, scarce in commerce. The first revealing a personable side to the writer and his connection to family. Another is addressed to H.R.F. Keating (1926-2011), who at this early point in his career was a journalist working primarily for The Times. Later Keating would publish his most notable series of novels featuring Inspector Ghote, and would become a reknown English crime fiction writer. The last letter is with The Falcon Press letterhead, thanking the recipient for her praise of a recently published work by the press. Here Scott signs it in the capacity as 'Secretary' to the company - his first novel was still four years in the future.
NO RESERVE Gathorne-Hardy (Jonathan) The Rise and Fall of the British Nanny, first edition, signed presentation inscription from the author "For Frances with much love and gratitude for her excellent contribution Jonny", original boards, dust-jacket, tear to upper panel corner, spine faded, otherwise excellent, 8vo, 1972.⁂ Inscribed to Frances Partridge who appears on p.9 "These letters were invaluable" and p.144-147 with corrections in Partridge's hand on p.144, 145, 146.
ARCTIC EXPLORATION – MCCLURE & MCLINTOCKAutograph letter signed ('Robt. McLure'), to Dr Wright ('My dear Wright'), complaining of gales and floods and the shortage of good workmen to make repairs, going on to admit '...I have no desire even if I had the option or health for Polar service...', and recommending McClintock to run another expedition if one was to go ahead ('...if it is considered worth the expense and risk of another Franklin catastrophe... I say this with the heartfelt knowledge and appreciation of his character, being both lieutenants under Sir James Ross I know him well...'), talking of his response to critical remarks in The Times from a Mr Wells ('...who writes a great deal upon what he evidently knows nothing...') over his conduct of his 1850 expedition, four pages, creased, remains of guard, 8vo (185 x 115mm.), Chipperfield, 8 January 1873; with two autograph letters signed ('F.L. McClintock'), to Dr Wright ('My dear Dr Wright'), the first thanking him for the sight of a letter from Sir Robert McClure ('...It is now probable that the present Bill will be drop't and that old Trinity will stand fast at least for another year...'); the second concerned for the welfare of McClure's widow ('...immediately wrote to his arctic companions Admiral Richardson and Osborn to look after her...') and asking for his help in raising an allowance, six pages, creased, remains of guard, the second on blue paper, 8vo (180 x 113mm.), Portsmouth, 7 March and 26 October [18]73 (3)Footnotes:The 1850 expedition of Sir Robert John Le Mesurier McClure (1807-1873) succeeded in discovering the Northwest Passage by a combination of sea travel and sledging. It ended ignominiously, however, when he was forced to abandon his ship, the Investigator, which was locked in the pack ice for three years. He faced a court martial on his return but was honourably acquitted and knighted in 1855. McClure began his naval career on the Terror under Captain George Back, and served with McClintock on the HMS Enterprise under James Ross on his 1848-49 expedition to discover the fate of Franklin's ill-fated expedition to discover the Northwest Passage 1848-9. Sir Francis Leopold McClintock (1819-1907) commanded Lady Franklin's Fox on the Franklin search expedition of 1857-59 and found the first traces of Franklin and his companions at King William's Island. He writes here whilst Admiral Superintendent of Portsmouth Dockyard and assisted in the organisation of the Arctic Expedition of 1874-75.For further information on this lot please visit Bonhams.com
SCOTT (ROBERT FALCON)Silver vesta case, engraved on upper panel 'Lieut. R.F. Scott R.N.', some dents and abrasions, 55 x 40 x 10mm., hallmarked Birmingham, John Millward Banks, 1892Footnotes:Silver vesta case belonging to Scott of the Antarctic. Scott (1868-1912) joined the Royal Navy in 1880, and was barely twenty years old when 'he was noted by Sir Clements Markham, secretary and later president of the Royal Geographical Society, as a likely candidate for the leadership of a future Antarctic expedition' (ODNB). In 1891 he qualified as torpedo lieutenant, first class, and by 1897 had become a first lieutenant. His subsequent career leading two Expeditions to the Antarctic is of course legendary.Provenance: Robert Falcon Scott; his elder sister Ettie, who married Sir William Ellison-Macartney; by descent to the present owner.For further information on this lot please visit Bonhams.com
EVA JORDAN - FEMALE BIG GAME HUNTER AND EXPLORERTwo photograph albums relating to Mrs Eva Jordan's hunting exploits (hippopotamus, zebra, boar, rhino, etc) in, and travels through East Africa and the Congo (approximately 240 images), and her chimpanzees, mostly dressed, doing activities, etc. (approximately 90 images), together upwards of 330 gelatin silver prints, some captioned on the verso, most loose mounted (or loose), images typically 105 x 75mm., or 60 x 75mm., 6 ink and wash plans of the Pyramids loosely inserted, contemporary card albums, ties, worn, one cover loose, oblong 4to, c. 1911-1912; together with a cup presented to Eva on her completion of an 'adventurous voyage made by her across central Africa' from May 1911 to July 1912 (group)Footnotes:'A FEAT HITHERTO UNACCOMPLISHED BY ANY WOMAN' - Private photograph albums , relating to the journey of some 4000 miles undertaken from Mombasa to the West African coast by Eva Jordan, undertaken as a honeymoon on her marriage to the big game hunter John Alfred Jordan, during 1911-1912. Images include her posing, gun in hand, with a dead hippopotamus, elephant tusks, her husband, her camps and local servants, and scenery. A caption on the cup included with the lot reads 'To Eva on her marriage and to commemorate the adventurous voyage made by her across Central Africa, a feat hitherto unaccomplished by any woman, leaving Mombasa, British East Africa in May 1911 passing thro' Uganda down the Aruwimi River, following the course of the Congo to its mouth, and arriving on the West African Coast in July 1912, from the Indian Ocean to the Atlantic'. A second album is devoted to Eva's chimpanzees, mostly dressed and posing (at at sewing machine and typewriter, smoking a pipe, holding a gun, seated on a goat, in a hammock, served tea by local servants, etc.).Provenance: Eva Jordan (nee Mercer), who married John Alfred Jordan in May 1911. He wrote several books, including Mongaso: Man Who is Always Moving: The Story of an African Hunter, and Elephant Stone about his exploits in Africa; by descent to current owner.For further information on this lot please visit Bonhams.com
GOLD (CHARLES)Oriental Drawings Sketched Between the Years 1791 and 1798, 42 (of 49) hand-coloured aquatint plates by Hassell, Medland and others after Gold, lacking title and contents leaf, some plates cut down and mounted, some trimmed at margins, one with tear in lower margin neatly repaired with archival tape, light spotting and damp-staining, minor soiling, later red half roan, light shelfwear [Abbey Travel 428], 4to, [Bunney and Co.] for G. & W. Nicoll, 1806Footnotes:FIRST EDITION of this collection of images made by Captain Charles Gold who served with the Royal Artillery in India during the Anglo-Mysore Wars. All the plates (with the exception of 'A Lame Beggar') were made after Gold's own sketches and reflect his fascination with the Indian customs, costumes, architecture and culture of the time. Provenance: John Quayle (b. 1762), Major Royal Artillery, ink inscription on dedication page.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
Richard Short (British, 1841-1916)Terra Nova leaving Cardiff, 15 June 1910 signed and dated 'Richard Short/1911' (lower right) and inscribed 'Terra Nova' (lower left)oil on board29.2 x 23.8cm (11 1/2 x 9 3/8in).unframedFootnotes:The present work depicts Terra Nova being towed by tugs from Bute Docks with the town hall and the Royal Hotel (where the celebrated 'farewell' dinner was held on the 13th) in the distance.This is in fact a sketch for the large painting by Richard Short that was commissioned by Alderman W.H. Renwick and W.H. Newton, after a subscription organised by the Cardiff Docks community, reflecting the pride of the City of Cardiff for the role it played in helping fund the Antarctic expedition.In Scott's Last Expedition (1913, vol. 2, p.499) Commander E. Evans acknowledged 'the unbounded hospitality of the Cardiff citizens... who docked and coaled the ship for us, gave freely in money and kind, and made their generosity so felt that Captain Scott promised that Cardiff should be the home port of the Terra Nova'.When the announcement of the deaths of Scott and his companions appeared in the newspapers on 11 February 1913 'the immediate response of the Cardiff Docks men was to accord their respect to the memory of Captain Scott by draping the Union Jack and black crepe over Richard Short's painting of the Terra Nova which occupied pride of place in the Library of Exchange Building' (A.J. Johnson, Scott of the Antarctic and Cardiff). Almost three years to the day, on June 14 1913, Terra Nova arrived back at Cardiff, met by sixty thousand well-wishers, amongst them Kathleen Scott and her son Peter who boarded for a private reunion with the survivors. The figurehead of Terra Nova was later presented to the city by the ship's owners.Short's large oil of Terra Nova was sold at Bonhams, 30 March 2012 'Polar Sale: Scott and Amundsen Centenary', lot 92 for £13,000.For further information on this lot please visit Bonhams.com
SRI LANKA - PHOTOGRAPHY ALBUMAlbum of photographs of Ceylon, with a journal, by Frederic William Bois, 169 platinum prints (59 prints approx. 152 x 203mm; the remainder ranging from 82 x 82mm. to 107 x 150mm.), and 2 albumen prints (82 x 82mm.), all mounted, mostly one or two to a side recto and verso, mostly captioned in ink on the page, mostly initialled 'F.W.B[ois], a few 'W. Bois', 29pp. of manuscript journal in ink by W. Bois (interspersed with photographs), contemporary green cloth, upper cover stamped in gilt 'Ceylon', 4to (260 x 205mm.), [c.1900-1907]Footnotes:FINE ALBUM OF 169 PLATINUM PHOTOGRAPHS OF SRI LANKA taken by Frederic W. Bois (1848-1921), whose family had been involved in trade in Sri Lanka /Ceylon from the 1860s, was a fine amateur photographer who had exhibited images at the Paris Exhibition of 1900.Subjects include views of Kandy and Colombo, local inhabitants and villages, street scenes and factories, ancient temples and antiquities, landscapes with bridges, shipping activities, and also colonial houses and family members. Bois's journal describes family trips made by motor car (shown in 4 images) in Sri Lanka, including a lengthy account of oyster and pearl fishing, undertaken by local fishermen, but also Arabs from Persian Gulf.Provenance: Winifred Bois, signed and dated 1906; C.J. Hurd-Wood, ownership label, both on front free endpaper.For further information on this lot please visit Bonhams.com
Graham Leishman Stewart; A Modern Scottish Hallmarked Silver 'Deep Peace' Bowl, Edinburgh 1997, of Arts & Crafts style engraved with Gaelic blessing "Deep peace of the running wave to you Deep peace of the flowing air to you Deep peace of the quiet earth to you Deep peace of the shining stars to you Deep peace of the son of peace to you", on collet foot, 12.5cm diameter (210grams). *Graham Leishman Stewart was a designer, gold and silversmith who ran his workshop gallery in Dunblane, Scotland from 1978. Much of his work being inspired by poetry and Celtic spirituality, widely regarded as one of the finest silversmiths of his generation, he died in October 2020. www.grahamstewartsilversmith.co.ukLot 67 - Allover scratches and tarnishing, no obvious dents or damage.
Acornman Lectern/ Music Stand, with adjustable height and raised on three ball feet, hand carved in oak in the business started by Alan Grainger and his father Alan Grainger Senior who had been an apprentice in the workshops of Robert 'Mouseman' Thompson, the lectern/ music stand is in the Arts and Crafts manner and bears a carved acorn 'signature'; 48 inches (120cms) high
19th Century Pair of Oil Paintings Mounted and Framed - The Paintings are Portraits of a Young Girl and Boy In Formal Dress. Provenance - Purchased at a Sotheby's County House Sale In Sutton Under Brails Village, From a 300 Year Old House, 90 Miles N/W of London, Owned by Dorothea Allen who Left No Will, Died In 1990, Known as the Vanishing Lady, Sotheby's Label Lot 9A. Sizes of Painting with Frames 19 x 16 Inches. Both Paintings Have Been Relined.
A Noteworthy Collection of Thirty Three LP's, with highlights to include Traffic - Mr Fantasy (Island ILPS 9061, 1667) original 1st pressing. Traffic - Last Exit (island ILPS 9097, 1969) original 1st pressing, Traffic - John Barleycorn Must Die (Island ILPS 9116, 1970) original 1st pressing, Cream - Wheels of Fire (Polydor 5830312, 1968), studio and live double lp, Cream - Disraeli Gears (Reaction 594003, 1967), Canned Heat - Living The Blues (Liberty LDL 84001, 1968)m John Mayall - Blues From Laurel Canyon (Decca SKL 4972, 1968), and more from John Lennon, The Who, David Bowie, Beatles, T Rex, Bonzo Dog band.
Over Forty LPs, to include Rolling Stonesm Some Girls, Black and Blue, Sticky Fingers, Exile on Main Street, Its Only Rock N' Roll, No 2, Let if Bleed, Out of Our Heads, Tattoo You, Get Yer Ya Ya's Out, Their Satanic Majesties, After-Math, Beggars Banquet, and Goats Head Soup, the Doors - Soft Parade, Morrison Hotel, The Doors and LA Woman, with more by Tje Who, Free, Janis Joplin, Steppenwolf, and Jefferson Airplane.
Over 100 LPs. to include Led Zeppelin (Spanish bootlet version), The Beatles - Help (PCSJ 3071 South African import), Abbey Road (bootleg), Live At The Star Club, Beatles For Sale, Hard Days Night, The Who - Live At Leeds, Odds and Sods, Tommy (Duch import), Who By Numbers, Meaty Beaty Big and Bouncy, and more by Rolling Stones John Mayall, Lou Reed, Gary Moor, David Bowie, Elvis Presley and a selection of soul and easy listening titles.
Rock Interest LPs, forty albums to include a new and sealed copy of Deep Purple - Infinite box set (E.A.R Music 0211890 EMU, 2017) Led Zeppelin - Presence, Robert Cray - Who's Been Talkin', The Who - Join Together, and others by Def Leppard Dire Straits, Yes, Whisbone Ash, Focus, Santana, Peter Gabriel, Man, ELP, Supertramp, Tom Petty and Heart.
Nineteen Rock Interest LPs, comprising of Jethro Tull - Stand Up (original UK pressing with pop-up sleeve), Woodstock 1 and 2, Cream - Fresh Cream (Reaction 594001, original stereo pressing), The Who - My Generation (Brunswick LAT 8616), UK 1st pressing), Bonzo Dog Doo Dah Band - Gorilla, The Doughnut In Granny's Greenhouse and Keynsham, Traffic - Traffic (Island ILPs 9081, original UK pressing), and others by Alice Cooper, Family, Jeff Beck, David Bowie, Zager and Evans, and The Troggs.
After Emile Renouf - The Helping Hand (Un Coup De Main) - a good 19th century Victorian oil on canvas painting after the famous picture by Renouf. Depicting an old sailor gentleman alongside a child who is helping to row the boat. Unsigned. Framed in period gilt decorated frame. Measures 57cm x 44cm
A 19th century carved oak joint stool. The stool of Jacobean 17th century influence being peg jointed with planked oak seat and carved frieze with turned legs united by peripheral stretchers. This stool and other furniture in the auction part of the Olive Knox Will Trust. Olive, the widow who was married to Alfred Dillwyn Knox, a historic figure in the history of codebreaking at Bletchley Park. Measures approx. 52 x 45 x25cm. BIO: Alfred Dillwyn (Dilly) Knox (23 July 1884 - 27 February 1943) was a British classics scholar, papyrologist and codebreaker. During WWI he worked at the Navy's Room 40 codebreaking unit, where he helped decrypt the Zimmermann Telegram, which brought the US into World War I [1]. During World War II (WWII) he ran his own codebreaking operation — Intelligence Service Knox (ISK) — at Bletchley Park, where he was successful in breaking the Enigma cipher of the Abwehr. Also documented to have encouraged Alan Turing to develop the Bombe machine which was to become the main tool for breaking Enigma keys during WW2.
A 17th century carved oak coffer chest. Raised on stile legs with recessed fielded panels under carved dentil above. Hinged top with further recessed panel work opening to reveal storage within. This coffer and other furniture in the auction part of the Olive Knox Will Trust who was married to Alfred Dillwyn Knox, a historic figure in the history of codebreaking at Bletchley Park. Measures approx. 47 x 100 x 45cm. BIO: Alfred Dillwyn (Dilly) Knox (23 July 1884 - 27 February 1943) was a British classics scholar, papyrologist and codebreaker. During WWI he worked at the Navy's Room 40 codebreaking unit, where he helped decrypt the Zimmermann Telegram, which brought the US into World War I [1]. During World War II (WWII) he ran his own codebreaking operation — Intelligence Service Knox (ISK) — at Bletchley Park, where he was successful in breaking the Enigma cipher of the Abwehr. Also documented to have encouraged Alan Turing to develop the Bombe machine which was to become the main tool for breaking Enigma keys during WW2.
Double vase en jade néphrite pâle, chacun en forme de carpe-dragon émergeant des flots, Chine, la plus grande carpe-dragon accompagnée d'un dragon et s'emparant de la perle flammée, h. 20 cm. Selon la légende, les carpes parvenant à remonter à contre-courant le Fleuve Jaune, jusqu'à atteindre les cascades de Longmen (littéralement Porte du Dragon ), se métamorphosent en dragon. Les carpes sont ainsi des symboles de persévérance, et leur transformation en dragon est une métaphore évoquant les lettrés qui, grâce à leur persistance, réussissent à passer les examens de la fonction publique Provenance: collection Brigitte Mavromichalis Des vases similaires, datés du XVIIIe s., ont été vendus chez: Sotheby's, New York, 23 mars 2022, lot n°210 Bonhams, Londres, 7 juin 2021, lot n°680 Christie's, New York, 22 mars 2013, lot n°1393 Sotheby's, Paris, 15 décembre 2011, lot n°194 A double pale nephrite jade vase, each in the form of a dragon carp emerging from the water, China, the larger dragon carp accompanied by a dragon, 20 cm high. According to tradition, carp that swim up the Yellow River against the current until they reach the Longmen (literally Dragon Gate ) waterfalls are transformed into dragons. The carp are thus symbols of perseverance, and their transformation into a dragon is a metaphor for the scholars who, thanks to their persistence, succeed in passing the civil service examinationsSimilar vases, which are dated to the 18th century, have been sold at: Sotheby's, New York, 23 March 2022, lot no. 210 Bonhams, London, 7 June 2021, lot no. 680 Christie's, New York, 22 March 2013, lot no. 1393 Sotheby's, Paris, 15 December 2011, lot no. 194
REMBRANDT BUGATTI (1884-1916)Deux léopards marchant circa 1912 signé, numéroté A2 et porte le cachet du fondeur Cire Perdue, AA. Hebrard, Fonte Albino Palazzolo bronze signed, numbered A2 and with the foundry mark, Cire Perdue, AA. Hebrard, Fonte Albino Palazzolo bronze23 x 93 x 11 cm. 9 1/16 x 36 5/8 x 4 5/16 in.Réalisé circa 1912.Footnotes:Nous remercions Véronique Fromanger d'avoir confirmé l'authenticité de cette œuvre; un certificat de Véronique Fromanger sera remis à l'acquéreur. ProvenanceGalerie Antoine Hébrard, ParisCollection Madame Gervais, Paris (acquis en 1925)Puis par descendance au propriétaire actuelBibliographieVéronique Fromanger, Rembrandt Bugatti Répertoire Monographique, Paris 2010, no. 305, p. 366, un autre exemple illustré en couleursRembrandt Annibale Bugatti (16 octobre 1884 à Milan - 8 janvier 1916 à Paris) est le plus grand sculpteur animalier. Il est le frère cadet du non moins célèbre Ettore Bugatti, fondateur de la marque automobile italienne Bugatti en 1909. La rencontre décisive et révélatrice de ce jeune sculpteur se fera au jardin des plantes près duquel Rembrandt Bugatti vit. La Ménagerie du Jardin des Plantes devient son laboratoire et sa principale source d'inspiration avant de partir pour le plus important zoo du monde de l'époque le Jardin zoologique d'Anvers ou Michel l'Hoest mettra un atelier à sa disposition en 1906 en Belgique. Pour la première fois, il peut contempler les animaux sauvages de près. Sa rencontre avec les lions, les lionnes, les panthères, les léopards, les jaguars, les loups, les vautours, les éléphants... va le bouleverser et guider son destin dans une trajectoire foudroyante. Au regard de cette étude quotidienne du comportement animalier, de leur environnement, de leur beauté, en ressortiront des chefs d'œuvres encore admirés de nos jours. Louis Vauxcelles en 1906 a tout de suite repéré ce talent et en a rapidement fait l'éloge. Le destin de ce grand sculpteur est lié également à un homme : Adrien Hébrard. Adrien-Aurélien Hébrard, grand collectionneur d'art. Il décide en 1902 de créer tout d'abord une fonderie implantée rue Victor-Duruy, très vite renommée pour la qualité de ses bronzes puis ouvrira la maison d'édition qui lui permettra d'éditer et de diffuser certaines sculptures. Enfin, la galerie installée rue Cambon puis rue Royale a contribué à l'ascension de nombreux sculpteurs grâce à l'exposition des sculptures en vue de leur vente c'est de la que vient directement notre sculpture. La renommée de cette fonderie devient virale et les plus grands artistes passent par cette maison tel que Degas, Guino, Bourdelle, Pompon... Antoine Hébrard était un collectionneur visionnaire qui s'est entouré du meilleur chef de fonderie, Albino Palazzolo. Formé chez Valsuani, ce fondeur milanais est considéré comme le plus respectueux de l'intention de l'artiste et a su donner de l'intensité aux œuvres notamment de Bugatti tout au long de sa collaboration avec Hébrard. A l'instar de la majorité des bronzes de Bugatti, les Deux Léopards marchant sont spectaculaires de par la qualité de sa fonte et de sa patine exceptionnelle. Tout le talent de Rembrandt Bugatti est représenté dans cette œuvre vivace, élégante et dynamique de ces animaux qu'il n' a étudié qu'en cage , leur rendant cette liberté sauvage apparente. Bugatti est le seul sculpteur de l'époque à savoir retranscrire un mouvement aussi parfait et une attitude animale tant étudiée. Bugatti modèle la surface en volume en laissant apparaître la musculature, les os, les renflements du corps des deux félins. Ce bronze inédit est sans conteste une des plus belles œuvres de l'artiste et la plus représentative de cette collaboration avec la fonderie.Rembrandt Annibale Bugatti (October 16, 1884 in Milan - January 8, 1916 in Paris) was the greatest animal sculptor. He was the younger brother of the equally famous Ettore Bugatti, founder of the Italian automobile company Bugatti in 1909. The decisive encounter that revealed the young sculptor took place in the Jardin des Plantes, at the Natural History Museum Paris, next to where Rembrandt Bugatti lived. There, the menagerie became his laboratory and main source of inspiration until he traveled, in 1906, to the largest zoo in the world at the time, the Antwerp Zoological Gardens, in Belgium, where Michel l'Hoest provided him with a studio. For the first time, he was able to observe wild animals up close. His encounter with lions, lionesses, panthers, leopards, jaguars, wolves, vultures, elephants... would change his life and guide his destiny along a lightning trajectory. The masterpieces admired to this day, are the result of his daily study of animal behavior, of their environment, of their beauty. In 1906, Louis Vauxcelles had recognized his talent and made his appreciation widely known. The fate of the great sculptor was also linked to one man, the art collector Adrien Hébrard. In 1902, he opened a foundry on rue Victor Duruy, which would soon be famous for the quality of its bronzes. He then decided to become an editor of bronzes which enabled him to reproduce and distribute certain sculptures. Indeed, the gallery installed rue Cambon, and later rue Royale, contributed to the rise of many artists whose sculptures were on display for sale, just as was this sculpture. The reputation of the foundry spread like wild fire and the greatest artists such as Degas, Guino, Bourdelle, Pompon sought its expertise. Antoine Hébrard was a visionary collector who chose the best foundry master, Albino Palazzolo. Trained at Valsuani, the Milanese foundryman was considered to be the most respectful of the artist's intentions and was able to render the intensity emanating from Bugatti's works, among others, during his collaboration with Hébrard. The Deux Léopards marchant are spectacular for their cast quality and exceptional patina, as were most of the bronzes produced by the animal sculptor. The full spectrum of Rembrandt Bugatti's talent is represented in this lively, elegant and dynamic work. Though he had only studied animals in cages, they seem to come to life as if in the wild. Bugatti was the only sculptor of his time who was able to capture with such perfection the movement and attitude of the animal he rendered. Bugatti modeled the surface in volume, revealing the musculature, the bones and shapes of the two felines. This unique bronze is without a doubt one of the artist's most beautiful pieces and the most representative of his collaboration with the Hébrard foundry.For further information on this lot please visit Bonhams.com
KOKUTA SUDA (1906-1990)Sans titre 1960 signé ; signé, daté 1960. 8.87 et porte des inscriptions en japonais sur le châssistechnique mixte sur toilesigned ; signed, dated 1960. 8.87 and bears incriptions in Japanese on the stretchermixed media on canvas 72.5 x 53 cm.28 9/16 x 20 7/8 in.Footnotes:ProvenanceCollection de l'artiste, JaponCollection particulière, JaponGregg Baker Asian Art, LondonAcquis auprès de celle-ci par le propriétaire actuelSuda Kokuta (1906-1990) est présenté comme l'un des artistes les plus innovants du Japon d'après-guerre. Son œuvre est surtout reconnue pour ses peintures à l'huile et ses gouaches, bien qu'il soit également et incontestablement un maître de la calligraphie, de la céramique et de l'illustration. Né à Saitama, il débute d'abord sa carrière comme peintre autodidacte. C'est à partir d'une rencontre avec le pionnier de la peinture abstraite japonaise Hasegawa Saburō (1906-1957) en 1949, que son art emprunte un chemin différent. Suda se consacre à l'art abstrait tout au long des années 1950 et 1960, avant qu'il ne revienne à l'art figuratif à partir des années 1970. Les trois œuvres présentées dans cette vente ont été peintes au cours des années 1960, figurant la démarche expérimentale employée par Suda dans son œuvre abstraite, qui dura pendant près de vingt années. La composition de ses œuvres conserve un aspect tactile et très texturé. La peinture à l'huile est souvent mélangée avec des matériaux et utilisée avec des techniques expérimentales – il faut à cet égard observer les empâtements épais du gesso appliqué sur la toile, le relief tactile des pierres et du sable broyés, et le verni transparent ; parfois, d'épaisses couches de peinture sont creusées à l'aide de peignes et d'outils faits à la main. L'artiste emploie les mêmes efforts pour ses œuvres sur papier - le papier japonais épais est gaufré pour ajouter un effet tridimensionnel, tandis que d'autres matériaux comme des pigments, ajoutent une touche intéressante de texture et de couleur à la couche picturale sur la toile. Pour Suda, l'art abstrait appelle à la créativité profonde de l'artiste, mais permet aussi d'exprimer l'intangible et des idées métaphysiques. D'abord encouragé par Hasegawa Saburō qui était familier de la philosophie et de la culture d'Asie du Sud-Est, Suda étudie avec passion la philosophie médiévale Zen à partir de laquelle il s'inspira pour créer. L'abstraction de Suda est donc profondément imprégnée de cette dimension spirituelle. La philosophie zen traditionnelle n'est pas en contradiction avec le langage moderne et universel de l'abstraction ; elle est au contraire devenue essentielle pour amener son art vers la transcendance. A cette période, ces idées étaient partagées par de nombreux artistes de l'avant-garde japonaise, comme Yoshihara Jirō (1905-1972), chef de file du groupe Gutai, comme les membres de l'avant-garde du groupe Bokujinkai conduit par Morita Shiryū (1912-1999) et Inoue Yūichi (1916- 1985). Suda et les principaux membres des groupes Gutai et Bokujinkai ont beaucoup échangé autour des modes d'expression artistique d'avant-garde en parallèle avec la culture et les idées traditionnelles japonaises. Dans la région du Kansai, où Suda s'est installé dans les années 1940, ces artistes ont activement participé à des groupes d'étude et se sont inspirés les uns avec les autres, partageant la même vision d'aspirer à de nouvelles formes d'expression artistique. Yoshihara a invité Suda à rejoindre Gutai au moment de sa fondation, mais ce dernier a choisi de rester indépendant et a continué à produire des œuvres puissantes et métaphysiques caractérisées par une esthétique très singulière.Suda Kokuta (1906-1990) one of the most innovative artists of post-war Japan, best known for his distinctive oil and gouache paintings, was also a master calligrapher, ceramicist and illustrator. Born in Saitama, he initially started his career as a self-taught figurative painter. However, following a watershed meeting with a pioneer of Japanese abstract painting Hasegawa Saburō (1906-1957) in 1949, Suda fully devoted his artistic career of the 1950s and 1960s to abstraction, before returning to figurative paintings in the 1970s onwards. Three works in this sale were executed circa 1960, in the middle of his abstract period which lasted over twenty years, with each representing Suda's diverse, experimental abstraction. His works are distinctively tactile and diversely textured, the oil often combined with unconventional materials and techniques – one would notice thick impasto of applied gesso, tactile materiality of crushed stones and sands, and a glaze like finish of a transparent medium; sometimes thick layers of paint are variously marked with combs and handmade tools. An equal effort is put into his works on paper – thick Japanese paper is diversely embossed to add a three-dimensional effect while various media, notably traditional mineral pigments, add an interesting twist of texture and palette to the painting surface. To Suda, abstraction was the field of creative endeavour but also the best mode to express intangible, metaphysical ideas. Initially motivated by Hasegawa Saburō who was also well acquainted with traditional East Asian philosophy and culture, Suda intensely studied medieval Zen philosophy from which he constantly drew inspiration. As such, Suda's abstraction is deeply imbued with spiritual dimensions. For Suda, the traditional Zen philosophy was not something that contradicts the modern, universal language of abstraction – rather, it became essential to bring his art to the next level. Such ideas were shared by many ground-breaking Japanese artists at the time, including Yoshihara Jirō (1905–1972), leader of the Gutai group, as well as members of the avant-garde calligraphy circle Bokujinkai, led by Morita Shiryū (1912-1999) and Inoue Yūichi (1916- 1985). Suda and the key members of both the Gutai and Bokujinkai groups often discussed avant-garde modes of artistic expression in parallel with Japanese traditional culture and ideas. In the Kansai region where Suda was based from the 1940s, these artists actively interacted in study groups and inspired each other, sharing a vision to aspire to new artistic forms of expression. Yoshihara invited Suda to join the Gutai at the time of its foundation, however, Suda chose to remain independent and continued to produce powerful, metaphysical work with his unique aesthetic.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
A WW1 Otautau Quilt made by members of the Red Cross in Otautau, New Zealand. As in other countries, people were charged a small fee for a square of calico and some red embroidery cotton, which they then used to embroider names, pictures and phrases. Examples include a dog beating a drum, a British bulldog with a flag, a rabbit, the Maori phrase 'Kia ora' with a floral garland above, and a pair of shoes with the phrase; We miss the patter of your little feet'. Each square was then hand-sewn together to create the blanket. It was displayed in the window of Boyd's Shop in Otautau, and then sent to a hospital in Walton-on-Thames where injured New Zealand soldiers were being treated. Overall size of quilt 210cm x 165cm.Some time after the war, the Otautau Quilt came into the possession of Mr M F Ambler of Cumbernauld, Scotland. His letter to The Southland Times in New Zealand was published on 6th April 1976, and resulted in a flurry of correspondence from people who either embroidered a square for the quilt or remembered others doing so. The quilt is being offered alongside this correspondence. Condition report:There is some iron staining to the front and back of the quilt. There are some small holes at the top, possibly where the quilt was hung up in the past. There is a noticeable difference in the red edging material in different places. This is not a traditional quilt so it does not have wadding and backing. Please see additional uploaded images.
Adult Glamour and Erotic Magazines, approximately 92 to include Park Lane Issue 5 with Cover Girl of The Month Mary Millington; Park Lane Issue 24 with an article on George Harrison Marks who photographed Mary Millington; others issues of Fiestas (7); Talents (2); Men Only (5); For The Men (4); Escorts (5); Knave (4); Razzle (4); and many other single editions of other magazines.Qty: 92Condition report:They in a generally good condition, with some additional folds to various pages.
Edwin Lord Weeks (American, 1849-1903)The Steps of the Wazir Khan Mosque, Lahore signed and inscribed 'E L Weeks/Lahore' (lower left)oil on canvas46.5 x 56cm (18 5/16 x 22 1/16in).Footnotes:ProvenanceAnon. sale, Bukowskis, Stockholm, 26 May, 2009, lot 255.Private collection (acquired at the above sale).The two most famous mosques in Lahore are the Badshahi Mosque and the Mosque of Wazir Khan. The latter was completed forty years after the former, commissioned by Hakim Aliuddin Khan, a nobleman at the court of the Emperor Shah Jahan, who promoted him subadar of the Punjab. The extensive inscriptions around the gateway include:This edifice, which, like the sanctuary of heaven, is the source of bounty.Has, like the temple of Ka'ba, for its object the benefit of mankind.To the congregation may its gate ever remain open with prosperity until the day of resurrection.When I asked of Reason the date of the foundation of this magnificent mosque, it answered: 'This is the place of worship of the pious' [that is, AH 1044/AD 1634].When I asked of Reason the date of its foundation, it answered: 'Say the founder of this Mosque is Wazir Khan'.It was well known for the many shops and stalls surrounding it, which included both booksellers and bookbinders, as well as the barbers and other tradespeople depicted here by Weeks - in fact, Wazir Khan had specifically decreed that the revenues from the shops were to be used for the upkeep of the mosque.Emily Eden, the sister of the Governor-General, Lord Auckland, visited in December 1838 during her time at the court of Maharajah Ranjit Singh, and found it splendid but dilapidated (and surrounded by crowds of people, who appear to have laughed at how she was dressed). Around forty years after that, J. Lockwood Kipling (the father of Rudyard), and first Principal of the Mayo School of Art in Lahore, was also lamenting that 'year by year less attention seems to be paid to its maintenance, and the painted work is in a dilapidated state of neglect'. He was regretful because 'This beautiful building is in itself a school of design', and 'it seems of the highest importance to secure careful copies for preservation in the Museum and School, and there could be no better training for our young decorators' (quoted in Aijazuddin, op. cit. below, p. 113).It was also sketched and painted more than once by William Simpson in 1860 (Aijazuddin, nos. 60 and 61), and it appeared in engraved illustrations in Original Sketches in the Punjab (1854) and the Illustrated London News, as well as numerous photographs in the 1870s. See F. S. Aijazuddin, Lahore: illustrated views of the 19th Century, Middletown 1991, pp. 106-115, nos. 57-64.It was doubtless this picturesque character, as well as the tile-work and the imposing nature of the building, which attracted Weeks. He produced a number of variations on the scene, with different street-vendors, and a wider focus, drawing back and showing more of the street in front of the gateway (as in the large 62 by 96-inch canvas An Open-Air Restaurant, Lahore, India), but then also - as here - up close (for another instance, see Christie's New York, 19th Century Art and Orientalist Art, 24th October 2007, lot 108). Weeks first encountered the great city of Lahore in 1888, on his second expedition to India. He travelled widely in India in 1882-83, and later in 1888 and 1893, and published an account of his journey in From the Black Sea through Persia and India (1895). Of the mosque he wrote (pp. 176-178): The entire front of the gateway is a brilliant mosaic of the kind known as 'kashi-work,' and the four massive towers, as well as the facade of the inner court, repeat the same scheme of blue and yellow and faded green. Age has but mellowed the tone of the whole edifice, and the great Persian letters of the inscription over the main entrance are still resplendent in vivid turquoise blue, which translates as 'Remove thy heart from the gardens of the world, and know that this building is the true abode of man'.The frescoed walls within the niche, of which the ornamentation above is less deeply indented than in the Persian examples of similar work, have taken on a rich bituminous and smoky tone like an old painting; and the dado above the square platform on each side of the steps, which is of marble, once white, threaded with slender black lines forming interlaced stars and hexagons, has been toned by age and the contact of many garments to a golden brown. The venerable Mussulmans [Muslims] privileged to pass their lives on the steps and the lounging-place on either side may be seen there at any time of the day [...] When not asleep or otherwise employed they appear to be absorbed in vague speculations upon the infinite, but, like their European imitators, are doubtless dreaming of mere material things. It is their custom to begin the day with a sort of dress parade-a minute investigation of their tattered raiment.Having completed their inspection, they proceed to select a, sunny exposure if in winter, or when the hot winds blow they retreat into the dim brick-vaulted corridor provided for their comfort by the munificence of an imperial Vizir, and proceed to do nothing. A few of the elect, whose heads are well thatched with a shock of black hair, and with faces tanned to the colour of burnt sienna, have literally gone to the dogs, and grovel in the dust at some distance from the steps among the canine frequenters of the sacred spot; their unique garment being of the same colour as the ground, they are scarcely distinguishable from it.There is, in truth, a good deal of life and movement to be seen from the crumbling steps of Vazir Khan.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
A group of ten paintings depicting tradespeople South India, Tanjore, circa 1825-30watercolours on watermarked paper, two with watermark J Whatman 1822, black margins, French numbered inscriptions in lower borders 375 x 233 mm.(10)Footnotes:The subjects are as follows:A pilgrim carrying a wood kavati.A 'bourgeois' man and his wife.A barber with cut-throat razor, and his wife.A merchant and his wife.A cutter of reeds and his wife, who carries an infant in a sling.A labourer with his wife and child.A man carrying heavy jars on a yoke across his shoulders.A man winding wool with his wife.A female dancer or acrobat, with a male drummer ('Jongleur').A seller of silk and his wife, winding the thread.A figure carrying a kavati, with the same feathers and carved ends depicting Hindu deities, appears in an album of ninety-one paintings, dated circa 1830-35, in the British Museum (see A. L. Dallapiccola, South Indian Paintings, London 2010, pp. 185, no. 15.1).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
A bronze figure of Krishna South India, 17th/ 18th Centuryon a square stepped base, in a dancing posture on a lotus, holding in the right hand a ball of butter, the left stretched out to the side, depicted naked and adorned with jewels 15.4 cm. highFootnotes:ProvenanceChristie's Paris, Art d'Asie, 8 June 2010, lot 395.Private US collection. According to ancient epics, Krishna was brought up by foster parents who were cow-herders, leading to the association of the deity with cows, milkmaids and, as demonstrated in the present lot, butter, which he would steal from his neighbours.For a similar example sold at Christie's and dated to the 17th Century, see Indian and Southeast Asian Art, 16 September 2008, lot 428. A similar depiction is also in the Los Angeles County Museum of Art, California, (Inv. No. M.87.124) (see P. Pratapaditya, Indian Sculpture, Volume 2, Los Angeles, 1988, p. 223, cat. 116).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
A Kashmir shawl design by Anthony Berrus Paris, dated 1855gouache on paper, signed and dated lower right 743 x 297 mmFootnotes:Anthony Berrus was an important French shawl designer who founded his atelier in 1840. He was one of the most creative artists of the 19th century, personally sketching all designs from his studio, and his work influenced production both in Europe and in Kashmir. He exhibited a number of his designs at the Paris Exposition Universelle in 1855, the same year that this design was produced. For a further discussion of his work see Frank Ames, The Kashmir Shawl, Woodbridge, 1986, pp. 153-158.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Indo-Portuguese mother-of-pearl dish Gujarat, 16th/ 17th Centuryof shallow rounded form on a short foot, constructed from pinned sections of mother-of-pearl forming a flowerhead within a central roundel with an outer band of radiating panels, brass bands to foot 20.5 cm. diam.Footnotes:ProvenanceBy repute (according to documents accompanying the dish) given by Anne Boleyn (c. 1501 – 19 May 1536), Queen of England (1533-1536), second wife of King Henry VIII to Sir John Brereton Kt; given by Miss Brereton of Brereton Hall, Cheshire to Henrietta E. Sharpe (who has collateral descent from Sir John Brereton).Acquired by a private collector from the Brereton family and thence acquired by Cameo Corner, Museum Street, Bloomsbury, London from the private collector, January – February 1940-1941.Acquired by William H. Goodenough at Cameo Corner, Museum Street, London on the 13th of June, 1941 (£18).Private UK collection.Given the western shape of these dishes, they were initially thought to be European by art historians in the 19th Century. Gujarati dishes of this design are known to have been imported to Europe from as early as the second quarter of the 16th Century, based on a documented example in the Green Vaults in Dresden. The commissioning of Gujarati mother-of-pearl wares is particularly associated with the Portuguese in India. In some cases, these dishes are known to have accompanied larger mother-of-pearl ewers, as illustrated by two examples presently in the Victoria and Albert Museum in London (inv.no. 4282-1857 and 4283-1857). For a discussion on these garnitures of Gujarati mother-of-pearl articles, see A. Jaffer, Luxury Goods From India: the art of the Indian Cabinet-Maker, London : V&A, 2002, pp.38-39.For further information on this lot please visit Bonhams.com
Cassandra Annie Walker for Della Robbia'Cantagali shape' twin-handled vase, dated 1903Terracotta, slip and sgraffito decorated with two portraits of women after Botticelli and Glasgow School stylised foliage, having moulded ring or 'fish' handles, coloured and glazed.32 cm highIncised Della Robbia galleon mark, with D R, 1903, C.A.W, .321. and 143 in an oval.Footnotes:LiteraturePeter Hyland, The Della Robbia Pottery, Birkenhead 1894-1906, 2014, p.164, Fig.174 (shows similar form recorded as 'Cantagali shape' and decorated with a paler, portrait of a woman, noted as after Botticelli)Cassandra Annie Walker was one of Della Robbia's best and longest serving designers and artists, and as with all of those who worked there, she would have executed her own designs as well as some by others. She continued her artistic education whilst working for Della Robbia and signed up for classes at the Liverpool School of Architecture and Applied Art (the 'Art Sheds') in 1896 and 1901, respectively. Interestingly, Herbert McNair, one of 'The Glasgow Four', moved to Liverpool in 1898 to take up a teaching post at the School. Herbert married Frances MacDonald in 1899 and they stayed in Liverpool until 1905. The connection to the School perhaps explains the Glasgow style influence of the decoration on the sides of the present vase.For further information on this lot please visit Bonhams.com
Erté (Romain de Tirtoff) 'Senior Service - Naval Design', early post-war Gouache on paper, mounted on paper, back drop or promotional design. 17.3 x 29.5 cm Signed Erté on right side, reverse signed N 11.023. Footnotes: Provenance Harold Boyes Thence by descent to the present owner Harold Boyes worked as the General Manager of the Piccadilly Hayride Company, circa 1946 – 1948, and for the Impresarios George and Alfred Black until he retired in 1968. Harold Boyes was in the Navy during the war and was involved with ENSA and Alec Shanks, who was a theatrical costumier and producer. It is believed that the Erté designs were given to him by Erté as work for some part of the Piccadilly Hayride Production or possibly, another later production which may, or may not, have taken place. The Piccadilly Hayride Production was a variety show which ran from 11 October 1946 for about 18 months. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
Erté (Romain de Tirtoff) 'Chanteuse' and 'Espagnole', circa 1950 Gouache on paper, two costume designs. Each: 37.5 x 26.2 cm Signed bottom right Erté, reverse annotated N 10.486 Chanteuse, with Danseuse crossed through in pen, with pencil Nesbitt and N 10.479 'Espagnole' in pen, with Denton in pencil, both inscribed on the front Showgirl. Footnotes: Provenance Harold Boyes Thence by descent to the present owner Harold Boyes worked as the General Manager of the Piccadilly Hayride Company, circa 1946 – 1948, and for the Impresarios George and Alfred Black until he retired in 1968. Harold Boyes was in the Navy during the war and was involved with ENSA and Alec Shanks, who was a theatrical costumier and producer. It is believed that the Erté designs were given to him by Erté as work for some part of the Piccadilly Hayride Production or possibly, another later production which may, or may not, have taken place. The Piccadilly Hayride Production was a variety show which ran from 11 October 1946 for about 18 months. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
Erté (Romain de Tirtoff) Sirenes, circa 1950 Gouache on paper, costume design. Sheet: 33.8 x 25.6 cm Signed middle right Erté, reverse annotated N 15.794 Sirenes, nageant derriere les chassis and 3/8 BC 2 in pen, further inscribed in pencil with various notes. Footnotes: Provenance Harold Boyes Thence by descent to the present owner Harold Boyes worked as the General Manager of the Piccadilly Hayride Company, circa 1946 – 1948, and for the Impresarios George and Alfred Black until he retired in 1968. Harold Boyes was in the Navy during the war and was involved with ENSA and Alec Shanks, who was a theatrical costumier and producer. It is believed that the Erté designs were given to him by Erté as work for some part of the Piccadilly Hayride Production or possibly, another later production which may, or may not, have taken place. The Piccadilly Hayride Production was a variety show which ran from 11 October 1946 for about 18 months. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
Erté (Romain de Tirtoff) Coquillages, circa 1950 Gouache on paper, costume design. Sheet: 33.8 x 25.6 cm Signed middle right Erté, reverse annotated N 15.801 Coquillages and 3/8 BC 2 in pen, 2 Black Pair in pencil. Footnotes: Provenance Harold Boyes Thence by descent to the present owner Harold Boyes worked as the General Manager of the Piccadilly Hayride Company, circa 1946 – 1948, and for the Impresarios George and Alfred Black until he retired in 1968. Harold Boyes was in the Navy during the war and was involved with ENSA and Alec Shanks, who was a theatrical costumier and producer. It is believed that the Erté designs were given to him by Erté as work for some part of the Piccadilly Hayride Production or possibly, another later production which may, or may not, have taken place. The Piccadilly Hayride Production was a variety show which ran from 11 October 1946 for about 18 months. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
Erté (Romain de Tirtoff) 'Le Sportif'' and 'Le Poete', circa 1950 Gouache on paper, two costume designs. Each: 38.1 x 27.9 cm Signed bottom right Erté, reverse annotated N 12.350 Le Sportif in pen, with ink stamp Alec Shanks, 55 St. James's St., S.W.1, with pencil notes on the front, and N 12.351 Le Poete in pen, with pencil notes on the front, respectively. Footnotes: Provenance Harold Boyes Thence by descent to the present owner Harold Boyes worked as the General Manager of the Piccadilly Hayride Company, circa 1946 – 1948, and for the Impresarios George and Alfred Black until he retired in 1968. Harold Boyes was in the Navy during the war and was involved with ENSA and Alec Shanks, who was a theatrical costumier and producer. It is believed that the Erté designs were given to him by Erté as work for some part of the Piccadilly Hayride Production or possibly, another later production which may, or may not, have taken place. The Piccadilly Hayride Production was a variety show which ran from 11 October 1946 for about 18 months. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
Erté (Romain de Tirtoff) 'L'Apache' and 'Le Soldat', circa 1950 Gouache on paper, two costume designs. Each: 38 x 27.9 cm Signed bottom right Erté, reverse annotated N 12.345 L'Apache and N 12.346 Le Soldat in pen, respectively. Footnotes: Provenance Harold Boyes Thence by descent to the present owner Harold Boyes worked as the General Manager of the Piccadilly Hayride Company, circa 1946 – 1948, and for the Impresarios George and Alfred Black until he retired in 1968. Harold Boyes was in the Navy during the war and was involved with ENSA and Alec Shanks, who was a theatrical costumier and producer. It is believed that the Erté designs were given to him by Erté as work for some part of the Piccadilly Hayride Production or possibly, another later production which may, or may not, have taken place. The Piccadilly Hayride Production was a variety show which ran from 11 October 1946 for about 18 months. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
Erté (Romain de Tirtoff) 'Le Peintre'' and 'Le L'Ouvrier', circa 1950 Gouache on paper, two costume designs. Each: 38 x 28 cm Signed bottom right Erté, reverse annotated N 12.348 Le Peintre in pen, with ink stamp Alec Shanks, 55 St. James's St., S.W.1, and N 12.349 L' Ouvrier in pen, both with pencil notes on the front. Footnotes: Provenance Harold Boyes Thence by descent to the present owner Harold Boyes worked as the General Manager of the Piccadilly Hayride Company, circa 1946 – 1948, and for the Impresarios George and Alfred Black until he retired in 1968. Harold Boyes was in the Navy during the war and was involved with ENSA and Alec Shanks, who was a theatrical costumier and producer. It is believed that the Erté designs were given to him by Erté as work for some part of the Piccadilly Hayride Production or possibly, another later production which may, or may not, have taken place. The Piccadilly Hayride Production was a variety show which ran from 11 October 1946 for about 18 months. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
A SELECTION OF STAFFORDSHIRE THEATRICAL FIGURES AND GROUPSMID 19TH CENTURYIncluding Henry VIII and Ann Boleyn; Mr and Mrs Punch among othersCondition Report: Some damage and restoration. Potential purchasers who wish the minutiae must view in person. Images are available from the Dept. Condition Report Disclaimer
Y A GEORGE IV ROSEWOOD WRITING SLOPECIRCA 1825, TOMPSON PATENTPossibly campaign, the hinged lid enclosing a fitted interior with compartments and secret drawers, the front with maker's label, the locks also signed, the cartouche to the lid inscribed with initials E R17cm high, 50.5cm wide, 27cm deep Condition Report: There is no previous provenance for this writing slope, we know it is TOMPSON PATENT as there is the label to the front - this can be seen on our website and additional images - it is unknown who 'ER' might have been to the lidOverall with marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, signs of age and useThe interior largely complete, there are no ink-bottles, there is one swab shaped brass arm - this is presumed to be for keeping the lid or rest ajar - perhaps as a reading stand?The lock operates at time of report but is sticky, this may well benefit from an oilMarks and stains to the interior of the box and liningsPlease see additional images for visual reference to conditionCondition Report Disclaimer
A VICTORIAN WALNUT EXTENDING DINING TABLELATE 19TH CENTURYWith four additional leaf insertions76cm high, 128cm diameter (unextended), 363.5cm long overall (when extended)Provenance: From the Private Collection of a titled familyCondition Report: Dreweatts makes no guarantees about how many chairs would fit around, there is no standard width of chair, using benches instead would probably increase the number who could be sat but may decrease the comfort of the guests. Using a set of Victorian chairs in the salerooms it is possible to get six chairs up each side, and one at each end (14)There are four leaves as catalogued, two are 59.5cm long, one is 58cm long, the last is 57.5cm longThe action is stiff, it will benefit from some lubrication to ease the runners - getting three leaves in in fairly straight forward, the forth is more challenging and requires two people - Some colour variation - the leaves are slightly lighter in colour than the ends - the leaves fairly uniform to eachother and the ends to eachother also Various marks, knocks, scratches, abrasions, dents, gouges, signs of age and use - one end in particular with indented scratches, other knocks in the usual places such as the extremitiesThere are 10 table clips present to secure the elements for full extension, there is one block detached (but present) to one leafPlease see additional images for visual reference to conditionCondition Report Disclaimer
EDWARDIAN SILVER GILT REPLICA OF THE TUDOR (HOLMS) CUP GEORGE NATHAN & RIDLEY HAYES, CHESTER 1904 the tapered circular bowl with Lombardic Latin inscription BENEDICTUS DEUS IM DONA SUIS AME, over fish scale detail, over a fluted column and lobed to stepped circular footNote: The Tudor, or Holms Cup, became famous when it sold through Christies in 1901 as part of the Dunn-Gardner collection. It would fetch £4,100, at the time the all-time record price paid for a piece of silver. The original cup of 1521, is now part of the collection of the Royal Scottish Museum, who purchased it for £9,500 in 1958.5.8cm highQty: approx. 71gOther than the Latin, there is no inscription.
John Tweed (1869-1933)Portrait bust of Sir Leander Starr Jameson, 1st Bt. (1853-1917)Signed, dated and inscribed A Mon Ami/Docteur Jameson/Paris 97 John Tweed (to back)Bronze59 x 33.2 x 25.9cmProvenance:Sir Roy Welensky (1907-1991), Prime Minister of the Federation of Rhodesia and Nyasaland;And by family descentLeander Starr Jameson was a British colonial politician, who was the Prime Minister of the Cape Colony from 1904-1908. He is perhaps best known for his role in the ill-fated Jameson Raid, but he was also Rudyard Kipling's inspiration for the poem If-.
1722 Printed Funeral Of George Monk Duke Of Albemarle Memorial Booklet later printed 1722 booklet for the funeral of George Monk who war buried in 1670. Giving a full report of the funeral. Together with a white silk handkerchief. George Monk Duke Of Albemarle, Earl Of Torrington born 1608, died 1670. Served in the 80 Years War, Irish Rebellion 1641, fought in Scotland under Cromwell forming The Coldstream Guards as part of the New Model Army in 1650, General At Sea, played an important leadership role during The Great Plague and Great Fire Of London.
SARAH BEFFIN (1784-1850) "Peach, grapes, hazelnut and walnut", a still life study, watercolour, inscribed, signed and dated to base "Drawn by Mifs S Beffin Feby 5th 1806", framed and glazed with glazed panel verso with printed article inscribed "At the Talbot Inn, the wonderful woman who is without exception the greatest curiosity exhibited since the creation of the world, Mifs Beffin - a young woman 21 years of age who was born without arms or legs who never was exhibited before last March. She is only 37" high and a very comely appearance; she is by no means deficient in good sense and has an exceeding good temper; she displays a great genius and is a lover of the fine arts but what makes her so worthy of the public notice is the industrious means she has invented and practiced to obtain the use of her scissars, knife, needle, pen, pencil & c. She cuts and makes great parts of her own cloaths, sews well and writes well. She has of late taken to drawing; in which art she is extremely delighted and likely to be equally successful, all of which she performs principally with her mouth.However strange this may appear, yet every person who honours her with their presence will be pleasingly astonished with her extraordinary gifts: in short she is considered by all who have seen her to be worthy of encouragement as any production of nature ever exhibited. The reader may easily think it impossible she should be able to do what is inserted in this bill, but if not true, the proprietor will forfeit one hundred guineas", together with a further newspaper clip from "John O' London's Weekly Nov 8 1924 - An Artist Without Arms - The Miniatures of Sarah Beffin.....", 11.5 cm x 15 cm CONDITION REPORTS Paper is discoloured throughout. Some signs of foxing. There are insect / thunder bugs between the glass and picture. There is a white mark to the right hand side corner of the picture - unsure what this is. Paper appears to be slightly wrinkled. There is a small hole / pin head mark near the shell of the hazelnut. The glass itself is very dirty. Frame has losses throughout. Has clearly been re-sealed, etc. at some point. General wear and tear conducive with age and use. See images for further detail.
A Black Edge Mourning Card. In Memory of His Royal Highness, Prince Albert - consort of Her Most Gracious Majesty, who departed this life at 10 minutes to 11 p.m. at Windsor Castle, December 14th, 1861. Aged 42 years. Interned in the Royal Vault, St George's, Windsor, December 23rd, 1861. A RARE mourning card, measuring 4½" x 3", black edged, produced on the death of Prince Albert with cut-out pattern of angels, etc. Now considered RARE. From single vendor Book and Magazine collection. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
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