Henry Bone R.A. (British, 1755-1834)Lady Elizabeth Berkeley née Carey (1576-1635), holding a fan and wearing a black velvet dress with white lace ruff and cuffs, pearls at her neck, three long strands of jewelled linking and a jewelled badge at her shoulder. Enamel on copper, gilt-wood frame, the reverse inscribed (presumably a transcript of the inscription on the counter-enamel) Elizabeth Carey - afterwards/ Lady Berkley/ Painted by Henry Bone R.A./ Enamel=painter to His Majesty/ and Enamel painter to His R.H./ the Duke of York &c &c after/ the Original in the possession/ of the Rt. Honble Countess Berkeley/ Berkeley House/ London/ Jany 1826/ No.15 Berners St./ London. Rectangular, 180mm (7 1/16in) highFootnotes:Provenance:The Collection of Lady Lanesborough, previously at Swithland Hall, Leicestershire Lyon & Turnbull, 14 January 2015, Lot 24Bone's preparatory drawing, squared in ink for transfer, and inscribed From Lady Berkeley Daughter of Lord Hunsdon/ from Berkeley House 1825, is in the collection of the National Portrait Gallery (NPG D17152). The portrait derives from an oil portrait after Marcus Gheeraerts at Berkeley Castle.Elizabeth Carey was the only child of George Carey, 2nd Baron Hunsdon and Elizabeth Spencer. She was a courtier and patroness of the Arts. She married Sir Thomas Berkeley in 1596, aged 19. Her family were patrons of Shakespeare's theatre company, and her wedding has been put forward as one of the possible occasions when A Midsummer Night's Dream was performed for the first time in public. The couple had a daughter, Theophila Berkeley (1596–1643) and a son, George Berkeley, 8th Baron Berkeley (1601-1658). Like her mother, Elizabeth was a highly educated woman and patron of the arts. Due to her husband's financial irresponsibility she took over responsibility for the management of their household. When Sir Thomas died aged 37 in 1611, Elizabeth paid off his many outstanding debts. In 1622, she married secondly, Sir Thomas Chamberlain, a Justice of the King's Bench.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
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Henry Bone R.A. (British, 1755-1834)Baroness Anne Hunsdon née Morgan (circa 1529-1607), holding a fan of feathers, wearing a large white ruff and black dress embellished with the roses of the Carey coat of arms, slashed at the bodice and sleeves to reveal white, her thumb looped through her long strands of pearls, her red hair upswept beneath a delicate pearl headdress and finished with pearl and ruby jewels. Enamel on copper, inscribed on the counter-enamel Lady H, a handwritten label (possibly concealing a further inscription), reads Lady Hudson/ by H. Bone/ From/ the Collection of/ John Swaby Esqr, unframed. Rectangular, 214mm (8 7/16in) highFootnotes:Bone's preparatory drawing, squared in ink for transfer and inscribed Lady Hunsdon - wife of Henry Carey/ Lord Hunsdon -/ Margt - Salisbury, From Hatfield = House, is in the collection of the National Portrait Gallery (inv. NPG D17151). The original portrait was painted by a follower of George Gower and is displayed at Hatfield House.In 1545, Anne married Henry Carey (1526-1596), son of Sir William Carey and Mary Boleyn, the elder sister of Queen Consort Anne Boleyn. As Carey's mother had once been the mistress of King Henry VIII, there were many at court who speculated that he was in fact, the King's illegitimate son.Carey was created Baron Hunsdon on 13 January 1559 and Anne was styled Baroness Hunsdon. Following her elevation to the rank of a peer's wife, Anne was appointed a Lady of the Privy Chamber to Queen Elizabeth I, who was also her husband's first cousin and held the couple in high regard. When Henry died Elizabeth I paid for his funeral expenses and gave Anne a gift of £400 in addition to an annual pension of £200 from the Exchequer. Shortly before Henry's death, Elizabeth appointed Anne to the office of Keeper of Somerset House, a royal residence where the Queen had lived prior to her accession to the throne. Anne held the post for the remainder of her life. She is buried in Westminster Abbey.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
Henry Bone R.A. (British, 1755-1834)Robert, 4th Earl of Buckinghamshire (1760-1816), seated in a red upholstered chair, wearing brown coat with silver buttons, white waistcoat and black breeches, his right hand resting on letters addressed to Lord Hobart. Enamel on copper, signed on the obverse HBone., signed, dated and inscribed on the counter-enamel Lord Hobart. Painted by Henry Bone Sep.r 1800 Enamel Painter to H. R. H. the Prince of Wales, after John Hoppner RA Portrait Painter to H. R. H. the Prince of Wales., gilt-wood and plaster frame with foliate corners, the inside of the wood frame with trade card 'Mr Bone Hanover Street. [.....] Square'. Rectangular, 142mm (5 9/16in) highFootnotes:Provenance:Sarah, Countess of Ripon and by direct descent to Bertie Gordon (in 1867)Katherine Gordon, widow of the latterBertie Gordon's nephew, Arthur Gordon of Ellon Castle (in 1901)Christie's, London, 7 December 2004, lot 120 The sitter entered the Army in 1776 and served in the American war. He was lord-lieutenant of Ireland in 1784 and was elected M. P. for Portarlington and for Armagh in the Irish Parliament and for Bramber and Lincoln in the English Parliament. In 1793, Hobart resigned his secretaryship and was made an English privy councillor and in October was appointed governor of the Presidency of Madras in 1794. In 1798, he was called to the House of Lords as Baron Hobart of Blicking and in 1801 was made Secretary of State for War and the Colonies 1801-1804. Hobart, the capital of Tasmania is named after him. In 1804, he succeeded his father in the peerage and joined Pitt's administration as chancellor of the Duchy of Lancaster and was joint Post Master General from 1806-1807. He married Margaretta, widow of Thomas Adderley of Innishannon and had a daughter, Sarah Albinia (d. 1867) who married 1st Earl of Ripon. He married secondly, Eleanor Agnes, daughter of 1st Baron Auckland.The original portrait by John Hoppner is on loan to the National Gallery, no. 3892.Bone's preparatory drawing, squared in ink for transfer and inscribed Lord Hobart after Hoppner 1800 is in the collection of the National Portrait Gallery (NPG D17274).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
Henry Bone R.A. (British, 1755-1834)A pair of enamels: Henry Hope (1736-1811), in double-breasted navy jacket with black tabbed lapel, yellow stand-collar waistcoat, white frilled cravat, powdered hair; together with his niece and heiress, Ann Goddard Hope (1763-1820), in white muslin wrap-front dress with classically-inspired shoulder loops, white double-frilled collar, a sheer white turban in her dark brown hair. Enamel on copper, both signed on the obverse HBone and inscribed, signed and dated on the counter-enamels Henry Hope Esq. Henry Bone pinx.t Oct.r 1802. and 'M.rs Williams Hope Henry Bone pinx.t Dec.r 1802., respectively, gilt-mounted rectangular black frames. Oval, 56mm (2 3/16in) high (2)Footnotes:Provenance:Helfried Krug Collection, Mülheim, nos. 57 and 58, by 1972 until 1993;Lempertz, Cologne, 13 May 1993, lot 172;Christie's, London, 9 December 2008, lot 29Exhibited:Freunde des Museums sammeln, Museum Folkwang, Essen, 1972, nos. 148 and 149.Literature:Walker, R.Henry Bone's Pencil Drawings in the National Portrait Gallery, The Walpole Society, LXI, 1999, p. 330, no. 269Bone's preparatory drawing for the enamel of Anne, squared in ink for transfer and inscribed Mrs Williams Hope 1803, is in the collection of the National Portrait Gallery (inv. NPG D17328).Henry Hope, born in Boston, Mass., was, together with his first cousin John Hope and Thomas and Adrian Hope, director of the renowned banking house Hope & Co. John Williams (1757-1839), a young clerk from Cornwall joined the firm and married Anne Goddard, the younger daughter of Henry Hope's sister Henrietta, in 1782. Thus John Williams became a partner in the bank and added the name Hope to his own. The Hope family were important patrons of Henry Bone (see R. Walker, op. cit., pp. 330-331, nos. 268-286) and several versions of the present enamels are recorded (he: The Metropolitan Museum, New York (accession number: 24.80.521); Phillips, London, 11 December 1985, lot 332; Phillips, London, 8 July 1997, lot 172; she: Sotheby's, London, 6 June 1996, lot 135; Bonhams, London, 22 April 1998, lot 135). For a version of 1804, see exhibition catalogue Thomas Hope: Regency Designer, The Bard Graduate Center, New York, and Victoria & Albert Museum, London, 2008, no. 6, colour ill. p. 273. This exhibition catalogue (p. 6, fig. 1-2) features a large scale family portrait by Benjamin West, also of 1802, depicting Henry Hope, his sister Henrietta, his heir Anne and John Williams Hope with their five children.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
Henry Bone R.A. (British, 1755-1834)An Officer, called Captain James Poole Oates, wearing scarlet uniform with silver epaulettes and white standing collar, a white sword belt with silver badge across his chest. Enamel on copper, signed on the obverse HBone, gilded frame, the reverse glazed to reveal locks of hair decorated with gold wire and seed pearls on opalescent glass. Oval, 77mm (3 1/16in) highFootnotes:Henry Bone's rectangular preparatory drawing of the full portrait, squared in ink for transfer and with the oval of the final enamel visible, is inscribed Capn Oates, is in the collection of the National Portrait Gallery (NPG D17770). The gallery record suggests that the sitter is a Mark Oates, a Captain in the Royal Marines and that the original portrait was by John Opie. It is not recorded where the identification of the sitter as Captain James Poole Oates derives from, but there an officer of this name, born, 17 Mar 1766 is recorded as having served in the military in the East Indies.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
Henry Bone R.A. (British, 1755-1834)Elizabeth Fiennes de Clinton (née Lady Elizabeth Fitzgerald), Countess of Lincoln (c.1528-1589), wearing elaborately embroidered black and red dress with sleeves slashed to reveal white and gold, gold chain necklaces, black jewelled cross at her throat, ruff and embroidered red cap in her hair. Enamel on copper, signed, dated and inscribed on the counter-enamel The Fair Geraldine./ Lady Elizabeth Fitzgerald, Daughter of/ the Earl of Kildare, & third Wife of/ the Lord High Admiral the Earl/ of Lincoln/ London May 1819. July/ Painted by Henry Bone R.A./ Enamel Painter in Ordinary/ to His Majesty, & Enamel painter/ to His Royal Highness The/ Prince Regent after the Original/ in Gallery of His Grace The Duke/ of Bedford - Woburn Abbey/ Bedfordshire, gilded composition frame. Rectangular, 129mm (5 1/16in) highFootnotes:Elizabeth Fiennes de Clinton, née Lady Elizabeth Fitzgerald, was born into the prominent Fitzgerald family. Elizabeth entered Princess Elizabeth's household in 1539, possibly as a maid of honour but ostensibly to be raised alongside her cousin. She was only 9 or 10 years old at the time while the princess was about 6-years-old. While in the princess's household, Elizabeth made an impression, it seems, particularly on Henry Howard, Earl of Surrey, who wrote a sonnet, From Tuscan cam my ladies worthi race in praise of her as his Fair Geraldine. In 1580, she married Edward Fiennes de Clinton, the 2nd Earl of Lincoln, thus becoming the Countess of Lincoln. Bone's preparatory drawing, squared in ink for transfer and inscribed Countess of Lincoln (the fair Geraldine)/ after the original in the Collection/ of H. G the Duke of Bedford Woburn/ Abbey Nov.r 1818 is in the collection of the National Portrait Gallery (no. NPG D17178). The prototype for the present lot is in the collection of the National Gallery of Ireland (NGI.1195).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
Henry Bone R.A. (1755-1834)Edmund Ludlow Esq, wearing blue coat over white waistcoat, stock and cravat. Enamel on copper, signed, dated and inscribed on the counter-enamel Edmund Ludlow Esq/ Painted by Henry Bone ARA/ Enamel painter to His RH/ the Prince of Wales after/ John Opie RA/ July 1804, ormolu slip and rectangular gilt-metal mount. Oval, 83mm (3 1/4in) highFootnotes:Provenance: Private Collection, SwitzerlandKoller Auctions, 28 March 2019, lot 1166Bone's preparatory drawing, squared in ink for transfer and inscribed after Opie Mr Edmund Ludlow/ 1804, is in the collection of the National Portrait Gallery (NPG D17597).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
Henry Bone R.A. (British, 1755-1834)Princess Sophia Matilda of Gloucester (1773-1884) seated before a red curtain wearing a white dress with ruff collar, and pearl waistband, she wears pearl choker and several strands of pearls in her brown upswept hair. Enamel on copper, signed on the obverse, signed, dated and inscribed on the counter-enamel Her Royal Highness The/Princess Sophia of Gloucester./London March 1803/Painted by Henry Bone, A.R.A.,/Enamel Painter to HRH The/Prince of Wales. After a/ Picture/ by Sir William Beechey, portrait/Painter to her majesty, original ormolu frame surmounted with crown, the border with raised laurel leaves. Rectangular, 140mm (5 1/2in) highFootnotes:Provenance:Bonhams, London, 22 April 1998, lot 141Bone's preparatory drawing, squared in ink for transfer and inscribed Princess Sophia Matilda of Gloucester/ After Beechey 1801, is in the collection of the National Portrait Gallery (inv. NPG D17282).Princess Sophia Matilda of Gloucester was the niece of George III, daughter of his brother Prince William Henry, Duke of Gloucester, and Maria, Countess Dowager of Waldegrave. Sophia was considered as a potential bride for her first cousin Prince William, Duke of Clarence and St Andrews (who later ruled as King William IV), but she expressed no enthusiasm for the match and remained unmarried.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
Henry Bone R.A. (British, 1755-1834)Francis Beaumont (1584-1616), dramatist in the English Renaissance theatre, wearing black silk robe over purple doublet and white lace collar, his left hand on his hip, his right hand outstretched with two fingers bent. Enamel on copper, signed on the obverse HBone, signed, dated and inscribed on the counter-enamel Francis Beaumont - Dramatic Poet/ Born at Grace Dieu in Leicestershire/ an Ancient Seat of the Family in 1585/ or 1586 - Died March 1615-/ Educated at Cambridge-/ Admitted a Student in the Inner Temple/ The inseperable [sic] companion of Fletcher/ Their joint Plays were published in 10 Vols/ His sole Works - The Masque od the Inner/ Temple & Grays Inn - A Poem the Herma-/ =phrodite - a Poetical Epistle to Ben Jonson/ Verse to his friend Master John Fletcher/ and other Poems./ London Feby 1816/ Painted by Henry Bone R.A. Enamel painter/ in Ordinary to His Majesty & Enamel painter/ To H.R.H. the Prince Regent after the/ Original in the Collection of his Grace/ the Duke of Dorset/ Knole - Kent, gilded composition frame. Rectangular, 18mm (11/16in) highFootnotes:Provenance:Purchased in January 1995Bone's preparatory drawing, squared in ink for transfer and inscribed Beaumont the Poet/ Septr 1815 from Duke of Dorset, Knowle, is in the collection of the National Portrait Gallery (NPG D17160).Francis Beaumont was the son of Sir Francis Beaumont of Grace Dieu, a justice of the common pleas and Anne, the daughter of Sir George Pierrepont. After a short career in law, he was quickly attracted to the theatre and became a student of poet and playwright Ben Jonson. Beaumont's first work was Salmacis and Hermaphroditus, in 1602 and by 1605, Beaumont had written commendatory verses to Volpone one of Ben Jonson's masterpieces. Soon after, he met John Fletcher and together they formed one of the most dynamic and productive of writing teams that English theatre has ever produced. In 1609, the two collaborated in earnest on Philaster. The play was performed by the King's Men at the Globe Theatre and at Blackfriars. It was a great success. Their careers were now well and truly launched and into the bargain they had ignited and captured a public taste for tragicomedy. There is an account that at the time the two men shared everything. They lived together in a house on the Bankside in Southwark, ' they also lived together in Bankside, sharing clothes and having 'one wench in the house between them.' Or as another account puts it 'sharing everything in the closest intimacy.'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
Henry Bone R.A. (British, 1755-1834)Sir Henry Sidney (1529–1586), standing before green drapery, a marble pillar to his left, wearing black stockings and dark brown breeches slashed to reveal black, black embroidered doublet with ermine trim to the shoulder, white collar and cuffs, ermine waistcoat, black hat with red and gold embroidered trim and large black plume, gold collar of the Order of the Garter, black belt and sword belt with gold clasps, his decorated sword hilt at his right hip, his right hand upon his hip, his left hand resting on the base of the plinth and holding a piece of green material trimmed with gold . Enamel on copper, signed on the obverse HBone., inscribed on the counter-enamel Henry Sydney, Educated with Edward VI in the/ third Yr of his reign he Knighted him & made/ him first Gentleman of his Bed Chamber - Sent/ Sent afr to France - Edward died in his arms.-/ Sent to Ireland by 2. Mary - Made Lord Justice -/ Queen Elizabeth in 1564 made him a Knight/ of the Garter - Lord President of Wales - Deputy/ of Ireland, (which Offices he held at the same time)/ Ambafr to France, Scotland &c &c Died May 1586/ aged 57 years.-/ On the Original picture,/ Sir Henry Sydney Ano dni 1573. 20 die Tulli die/ nativitatis & ætatis suce 44.-/ London/ July-1823/ Painted by Henry Bone RA Enamel-painter/ to His Majesty & Enl. painter to His R.H. the/ Duke of York &c &c - after the Original/ in the Collection of the Earl of Egremont/ Petworth - Sussex.-, gilt-metal mount engraved ENAMEL. HBONE. R.A., gilded composition frame. Rectangular, 212mm (8 3/8in) highFootnotes:Provenance:Bonhams, London, 23 November 2011, lot 6Henry Sidney was an English soldier, diplomat, and courtier, known for his significant contributions during the Elizabethan era. He was born into a prominent family, the son of Sir Henry Sidney and Lady Mary Dudley, and the brother of the celebrated poet Sir Philip Sidney. Henry was appointed as the English ambassador to the Netherlands, where he worked on maintaining alliances and navigating the complex political landscape of Europe.Another version of the present enamel is in the collection at Kingston Lacey, Dorset (NT 1250543) and the original painting is at Petworth House (PET/P/498). Bone's preparatory drawing, squared in ink for transfer and inscribed Sr Henry Sydney after the Original/ in the Collection of the Earl of Egremont and annotated in pencil Nov 1822, is in the collection of the National Portrait Gallery (NPG D17113).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
Henry Bone R.A. (British, 1755-1834)Robert Milligan, seated before a red curtain and pillar background, wearing a brown jacket with yellow waistcoat and white stock, his hair en queue . Enamel of copper, signed, dated and inscribed on the counter-enamel Robert Milligan Esq., Born at Dumfries NB. 19 Aug 1746. Died at Rosslyn Hampstead, Middx, 21st May 1809. Painted by Henry Bone R.A. Enamel painter in ordinary to His Majesty and Enamel painter to HR.H The Prince Regent, after the original by Abbot, gilt metal easel frame stamped H.J. Hatfield and Sons Ltd., London.. Rectangular, 133mm (5 1/4in) highFootnotes:Provenance:Purchased from Ellison Fine Art, October 23, 2006Robert Milligan (c.1749-1809) was a wealthy merchant and ship owner whose family had extensive sugar plantations in Jamaica. He left Jamaica in 1779 to establish himself in London, where he headed a group of powerful businessmen who planned and built West India Docks, which was to have a monopoly on the import into London of West Indian produce such as sugar, rum and coffee for a period of 21 years. The Docks' foundation stone was laid in July 1800, when Milligan was Deputy Chairman of the West India Dock Company - his strong connections with the political establishment of the day were evident from those attending the ceremony, the stone being laid by Lord Chancellor Lord Loughborough and Prime Minister William Pitt the Younger as well as Company chairman George Hibbert and himself. A statue of Milligan by sculptor Richard Westmacott stands in front of the Museum in Docklands on West India Quay. Bone's preparatory drawing, squared in ink for transfer and inscribed Mr Milligan after Abbot/ for Miss M. Feby 1810 is in the collection of the National Portrait Gallery (NPG D17643). It is assumed that the original painting was by Lemuel Francis Abbott, most famous for his portraits of Admiral Lord Nelson.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
Henry Bone R.A. (British, 1755-1834)Prince Frederick, Duke of York and Albany (1763-1827) decorated with the breast star of the Order of the Garter and collar of the Order of the Bath, wearing his scarlet Field Marshal's uniform beneath a white silk-lined black velvet mantle. Enamel on copper, signed on the obverse, HBone, signed and inscribed on the counter-enamel, His RH the late/ Duke of York &c &c &c/ London/ Febry 1827/ Painted by Henry Bone RA &c &c/ Enamel Painter to His Majesty/ and to the late Duke/ of York after/ Sr Thos Lawrence PRA, ormolu slip and rectangular gilded composition frame with scrolling foliate and floral motifs. Oval, 165mm (6 1/2in) highFootnotes:Provenance:(Possibly) The artist; his sale, Christie's, London, 7 June 1836, lot 29;Christie's London, 2 June 2020, lot 47Bone's preparatory drawing, squared in ink for transfer and inscribed HRH the Duke of York after/ Sr T. Lawrence for HR the Princess/ Sophia April 1821, is in the collection of the National Portrait Gallery (NPG D17427).This impressively large enamel, housed in the original presentation frame, is one of several derivations by Bone after Sir Thomas Lawrence's full-length portrait in the Waterloo Chamber in Windsor Castle.Bone's first version of the present portrait (of rectangular format) was enamelled for Princess Sophia in 1821. This was exhibited at the Royal Academy, London in 1822 and is possibly the same enamel, dated October 1821, sold at Christie's, 28 November 1978 (lot 58). Bone's squared-up drawing for this example is in the National Portrait Gallery Library, London and is inscribed '...for H.R.H. the Princess Sophia - April 1821.'The current work was executed the month after Frederick's death, likely from cardio-vascular disease, at the home of the Duke of Rutland in January 1827. A small head and shoulders example dated February 1827 is in the Royal Collection (RCIN 421865), which was possibly acquired from the Duke of York's own collection.Frederick was the second son of King George III and Queen Charlotte. In 1784, he was created Duke of York and Albany and Earl of Ulster. He married, in 1791, Fredericka Charlotte (Hohenzollern), Princess Royal of Prussia; their marriage was childless. He was Colonel of several regiments and was created Field Marshal (1795) and Commander in Chief (1795-1809) and (1811-27). Frederick was the 'The Grand Old Duke of York,' celebrated in the nursery rhyme for marching his men up to the top of the hill and marching them down, a commentary on his unsuccessful Flanders campaign of 1793-99.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
(ar) An Ed McLachlan cartoon featuring Winnie the Pooh, Piglet and Christopher Robin, 1993, pen and ink drawing on card featuring Winnie the Pooh taking an Extra Strong Lager from a fridge and Piglet saying to Christoper Robin ‘Er…Pooh’s just gone in for a little something’, signed and dated McLachlan (with apologies) 2/6/93, in clip frame —11 ¾in. (30cm.) x 10in. (25.5cm.)
An important Ernest Shepard letter and Teddy Growler drawing, ‘Lodsworth 212 - WOODMANCOT LODSWORTH Nr. PETWORTH - 26 October ’71 - Dear Karena, Thank you for telling me about Emma, as I too had a Teddy Bear many years ago. He belonged to my son & we called him “Growler”. I say “Him” and I suppose you call Emma “Her” - Though I can’t see the difference & I bought Growler 60 years ago at a shop in my London and my children called him that because when you tilted him forwards he growled. He remained in the family for many years and when my son Graham, grew up and married, he and his wife gave “Growler” to their daughter Minette. Tell your brother that I am an old Pauline. I have 2 years at the old school in Hammersmith Road from 1894 to 1896 my brother Cyril was there at the same time and I had two special friends named Ritchie and Collison-Morley we all joined up when war started in 1914. They joined the infantry and I joined the gunners. All three were killed (my brother in the Somme battle). I was more fortunate and only suffered from gas. All my drawings for “Pooh bear” are from sketches I made of “Growler”. When the second war came my son and his wife decided that she should go to Canada for safety, they went and took “Growler’ with them. There in Montreal, poor Growler was savaged by and dog and died. Please ask Emma to shed a tear for him, my son, Graham, joined the navy and in Sept, 1943, while guarding a convoy in the Atlantic, his corvette was sunk by torpedo and went down with all hands. I am glad to know that Nicholas is good at cricket and plays for school and Eastbourne. I don’t know if I have the time to draw “Emma”, I will send you a drawing of “Growler”, as I remember him. Perhaps that will do. Yours sincerely, Ernest H. Shephard’ - the two sided letter 7in. (17.5cm.) high x 5 ¼in. (13.5cm.) wide with envelope addressed to ‘Miss Karena Elphinstone, 9 Westleigh Avenue, Putney Hill, London, SW15; and ink, pencil and water colour illustration of Growler standing holding a ‘Hunny’ pot, inscribed ‘Teddy Growler’ and signs ‘Ernest Shephard 1971’ —5 ¼in. (13cm.) high x 4 ¼in. (10.7cm.) wide - purchased from Sotheby’s May 1999 and is sold with a copy of the catalogue and a clipping from the Antique Trade Gazette about the lot and auction - Karena Elphinstone aged 10 wrote to Shephard about her bear ‘Emma’ in 1971, resulting him answering with this detailed and sometimes sad letter, his son’s bear is believed to have been a Steiff Teddy Bear from around 1908/10, which gave Pooh his very distinctive look and making this sketch is so important in the Teddy Bear and Winnie the Pooh world - see Some of our Favourite Bears by Ian Pout, page 27
(ar) A Fred Banbery original pen, ink and watercolour Paddington illustration, 1975, ‘Please Look After This Bear’, featuring Paddington raising his hat with suitcase and famous luggage tag, preliminary drawing for Michael Bond’s Paddington Bear, London, Collins, 1975, back cover —5 ¼in. (13.5cm.) x 3 ¼ in. (8.5cm.); Provenance from the Estate of Fred Banbery, exhibited The British Art of Illustration 1800-1999, sold by Chris Beetles, St. James’s, London
COCTEAU JEAN: (1889-1963) French poet, playwright, novelist, artist, filmmaker and critic. A good original blue ink drawing signed and inscribed by Cocteau on a plain 4 x 6 card, n.p., 1959. With just a few simple lines Cocteau has drawn an attractive profile study of young man´s head, in the artist´s characteristic style. Signed and inscribed at the foot of the card, ´Pour Rainer, Souvenir de Jean Cocteau´, adding his familiar star and the year, 1959, beneath his signature. Some extremely light, very minor foxing and one small trace of former mounting to the verso, VG
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. An extraordinary collective illustrated A.L.S. by Picasso and his circle of friends, four pages, 8vo, Cafe de Flore, Paris, 15th January 1936, to Paul and Nusch Eluard, in a mixture of French, Spanish and Catalan. The scene for this meeting of great artistic talent is set at the head of the first page in the hand of Yvonne Zervos, 'l'heure de la soupe a l'oignon, Mercredi, 15 Janvier 1936, Cafe Flore' (Translation: 'Time for onion soup.....') beneath which Picasso writes 'Recuerdos a la blanquita, Picasso' (Translation: 'Regards to the white girl, Picasso'), and over the four pages follows a wonderful series of autograph sentiments and messages to Paul and Nush Eluard, beginning on the first page with Luis Fernandez 'Viva tu madre chiquita!! Ole, Ole, caramba!!......Baxant de la font del gat una noia, una noie, baxant de la font del gat una noia y Eluard si pregunta com se diu Marieta, Marieta, si pregunta com se diu marieta del ull vin! Com vos deia Fontanellas lo rei esta molt fotut! Lo qui gui a ens ha sigut es un manso sense equellas.....Fernandez' (written in multiple passages to the first and fourth sides of the bifolium in Catalan, roughly translated as 'Long live your little mother!! Ole, Ole, dammit!!......A girl coming down from the cat's fountain, a girl, a girl coming down from the cat's fountain and Eluard if you ask what Marieta's name is, Marieta, if you ask what Marieta's name is from the eye wine! As Fontanellas told you, the king is very fucked up! The one who guides us has been a meek man without them', and signed twice), Roberta Gonzalez 'Yo tambien, Roberta Gonzalez' (Translation: 'Me too'), Esther Fernandez her signature followed by the sentence 'Ne pas oublier la tarjeta postal con una vaca espanola' (Translation, from a mixture of French and Spanish, 'Don't forget the postcard with a Spanish cow'), Julio Gonzalez 'Ballen la Gardana, J. Gonzalez' (Translation from Catalan 'They dance the Gardana'), and also signed a second time with his name alone to the first page, Yvonne Zervos 'Los abrazo a los dos, Yvonne, Cafe Creme' (Translation: 'Hugs to you both....'), Jaime Sabartes 'mas recuerdos, J Sabartes' (Translation: 'More memories....'), Christian Zervos 'Un gros baiser a (?) malgre le rouge. Christian' (Translation: 'A big kiss to the (?) despite the red.....') and also with two further messages across other pages, 'On aimerait quand meme que vous soyiez avec.....de Flore chez Graff avec un arriere petit de gratinee Zervos, Man Ray attendez-moi!....... J'espere que vous reverrez la seine et la reste' (Translation: 'We'd still like you to be with .....de Flore at Graff with a little gratinee Zervos, Man Ray wait for me!...... I hope you'll see the Seine and the rest of it again') and '......Prononcez bien Vendredi les oveilles amies vous enconteront et moi je penserai aux bons moments passes a Vicozere, Chris. Zervos' (Translation: '.......Get the pronunciation right Friday, the friendly ears will greet you and I'll be thinking about the good times at Vicozere'), to the second page Yvonne Zerbos writes a further message, ‘Nous pensons toujours a vous vous etes, toujours avec nous. Man est tres triste!!!!! nous aussi Yvonne. Vendredi criez tres fort........Cafe Crème. Monte la dessus et tu verras Montmartre et le cafe Flore’ (Translation: ‘We are always thinking of you, you are always with us. Man is very sad!!!!! us too Yvonne. Friday shout out loud........Cafe Crème. Go up there and you'll see Montmartre and the cafe Flore’), as does Luis Fernandez once more in Catalan ‘Vina Ros! Puja aqui dalt!.....Bona nit tinguem!! estiguem bonets!!.....’ (Translation: ‘Come Ros! Get up here!.....Have a good night!! let's be nice!!.....’), alongside which Dora Maar has drawn an exquisite pen and ink image of an eye with two teardrops falling from the corner, adding the words ‘Devinez de qui?’ (Translation: ‘Guess who?), which is followed by a second greeting signed by Jaime Sabartes ‘Saluda a los del centro excursionista de Catalunya a la lliga regionalista......y todos los que encuentre por la Ramblas’ (Translation from Catalan: ‘Say hello to those at the hiking centre from Catalonia to the regionalist league…..and everyone you find on the Ramblas’), the third page features entries by Leonor Fini ‘Vous aimez toujours et les gros porcs tendres……..? Vous en avez vu des noirs en Espagne? Leonor’ (Translation: ‘Do you still like big, tender pigs……..? Have you seen any black ones in Spain?’) and also signed by Fini with her first name only to the right margin of the first page, Man Ray ‘C'etait triste de rentrer tout seul lundi soir de V- Beziers! Je vous embrasse tous les deux, et j'espere vous trouverez des bons amis et amies! Affectueusement, Man’ (Translation: ‘It was sad to come back alone on Monday evening from V- Beziers! Love to you both, and I hope you find some good friends! Affectionately….’), and at the foot of the page Pablo Picasso has drawn and signed a pen and ink image of a winged love heart, also incorporating the horns of a bull, and with a Cupid’s arrow piercing through the centre from right to left, signing his name (‘Picasso’) in bold black ink beneath. A series of ink hatched lines also appear beneath the drawing, partially obscuring the signature of Dora Maar. The page concludes with a series of ten question marks in the hand of Roberta Gonzalez, and with her signature beneath. The letter ends with a final message signed by Yvonne Zervos at the foot of the fourth page, ‘Cora et Elfe vous embrasse chaque jour je forme au voeux pour que vous soyiez tous les deux tres heureux la-pas!!! Yvonne. Pikina aux vins de France fabrique par Picon et cie’ (Translation: ‘Cora and Elfe kiss you every day and I hope you're both very happy! Yvonne. Pikina with French wines made by Picon and company’). Accompanied by the original envelope hand addressed by Christian Zervos to the Eluards in care of the home of Josep Maria Sert in Barcelona, and further annotated and signed by Man Ray with his initials to the verso, ‘avec la salive de C.Z. (M.R.)’ (Translation: ‘With the saliva of C.Z…..’). A truly exceptional and magnificent autograph letter, beautifully enhanced by the drawings (which could indeed be interpreted as ‘self-portraits’) in the hands of Pablo Picasso and his lover, Dora Maar. Some very light, extremely minor age toning, VG OWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION.
GIRODET DE ROUSSY-TRIOSON ANNE-LOUIS: (1767-1824) French painter who participated in the early Romantic movement and is remembered for his precise and clear style and for his paintings of members of the Napoleonic family. A fine original pencil drawing executed and signed by Girodet, one page, 8vo (approximately 15.5 x 21.5 cm), n.p., n.d. (1815). The artist has drawn an accomplished and amusing caricature of Napoleon in a full-length pose, wearing military regalia including his familiar bicorne, descending the steps of a dais and with his throne visible in the background. The Emperor has his head turned in profile towards a Phrygian cap which rests atop a long pole in Napoleon´s grip, and in his other hand, cunningly concealed behind his back, the Emperor holds the Imperial crown. Signed (´Girodet´) in pencil to the lower right at the base of the drawing. To the verso appears a second drawing by Girodet, also executed in pencil, the preparatory drawing, already reasonably well-developed, also depicting Napoleon, although this time in a head and shoulders study, his face turned to the left, and with more realistic features with no intention of caricature, his features outlined, his gaze weary, and his head bare. Numbered 144 in ink to the upper left corner of the verso. With the small circular stamp of the Coutan-Hauguet-Schubert-Milliet Collection (Lugt 464) to the lower left corner of the recto. Some light foxing, largely evident to the edges of the paper, and with some minor traces of former mounting (including a small strip of tape) to the edges and corners of the verso. GGirodet was one of Napoleon´s official painters, before bcoming one of his fiercest caricaturists. Thus, the famous full-length painting of Napoleon I in his coronation robes, created by Girodet in around 1812, contrasts with his drawn caricatures, which were the delight of English newspapers. The present drawing is evidently in the latter vein, demonstrating Napoleon´s duplicity in swapping the Imperial crown for the Revolutionary bonnet for propaganda purposes. The present drawing was engraved in etching by Pierre-Marc Bassompierre Gaston in August 1815 with the caption Et l´on revient toujours/A ses premiers amours (Translation: ´And you always come back to your first love´). Girodet´s drawing was originally acquired by the French fabric merchant and art collector Louis Joseph Auguste Coutan (1779-1830), and thence by inheritance to his wife, Lucienne Hauguet (1788-1838), and thence her brother, Ferdinand Hauguet (d. 1860), and thence by descent to his son Maurice-Jacques-Albert Hauguet (1819-1883) then his wife, née M.T. Schubert and his sister-in-law, Mme G. Milliet.It is understood that the present drawing will be included in the artist's catalogue raisonné currently being prepared by Madame Sidonie Lemeux-Fraitot.
PHOTOGRAPHERS: Sebastiao Salgado (1944- ) Brazilian social documentary photographer and photojournalist. Black ink signature and inscription on an 8vo white card, dated at Paris, 24th October 2016, in his hand and with a magazine photograph neatly affixed above the signature, the image depicting Salgado standing in a half-length pose; Raymond Depardon (1942- ) French photographer, photojournalist and documentary filmmaker. Black ink signature (´Depardon´) and inscription on an 8vo white card, dated June 2012 in his hand and also with a small ink drawing of a camera and tripod directed at the sun in his hand. With a magazine photograph neatly affixed to the upper half of the card, the image depicting Depardon standing outdoors in a three-quarter length pose, holding a camera in one hand as he engages in conversation with a gentleman standing before him. About VG, 2
NADAR: (1820-1910) Gaspard-Felix Tournachon. French photographer, caricaturist and balloonist, the first person to take aerial photographs (1858). The personal Album Amicorum belonging to Nadar, and later presented to his son, containing over sixty signatures by a wide variety of famous individuals, some of whom sat for the photographer, many of the entries accompanied by sentiments of appreciation for Nadar, and some with original drawings, paintings, or musical and literary quotations. The large oblong folio album commences with an entry signed by Nadar, gifting the album to his son, Paul, ´En accord plus que parfait, a tous points de vues avec mon adoree Sainte, et en toute reconnaissance emue, je legue cet album a l´admirable enfant, qui de nous deux, nous donna toujours tout sans jamais rien recevoir, Nadar´ (Translation: ´In more than perfect agreement, from every point of view, with my beloved Saint, and with deep gratitude, I bequeath this album to the admirable child who, between the two of us, always gave us everything without ever receiving anything, Nadar´), further adding the words ´A la connaissance et reconnaissance de tous ceux qui nous ont approches´ (Translation: ´To the knowledge and gratitude of all those who have approached us´) beneath his signature. The album continues with entries by various luminaries including (in order of their appearance within the album) Anatole France (1844-1924) French poet and novelist, Nobel Prize winner for Literature, 1921, a warm appreciation, ´Nadar est le meilleur des hommes, le plus inventif et le plus courageux, le plus tendre, le plus fier, et le plus charmant. Si nous avions garde la puissance de creer des personnages mythiques. Nadar serait en France ce que Didale [Daedalus] fut chez les grecs antiques´ (Translation: ´Nadar is the best of men, the most inventive and courageous, the most tender, proud and charming. If only we had kept the power to create mythical characters. Nadar would be to France what Didale [Daedalus] was to the ancient Greeks´), dated at Paris, 14th December 1903; Elie Metchnikoff (1845-1916) Russian zoologist and immunologist, Nobel Prize winner for Physiology or Medicine in 1908, ´Hommage bien devouee a Monsieur Nadar a qui je souhaite une bonne et heureuse nouvelle annee´ (Translation: ´A well-deserved tribute to Monsieur Nadar, to whom I wish a happy new year´) dated 31st December 1909; Jules Arsene Arnaud Claretie (1840-1913) French journalist, drama critic and director of the Théâtre-Français, ´A Nadar la Bonte, Vieille affection devouee, On parle tant des "professeurs d´energie" Nadar, mon ami de toujours, ne professa pas, il prouva et il agit-il agirait encore´ (Translation: ´To Nadar the Good, Old devoted affection, We talk so much about "professors of energy" Nadar, my lifelong friend, did not profess, he proved and he acted - he would act again´); his son Georges Claretie (1875-1936) French lawyer and man of letters, ´A Monsieur Nadar, que j´ai aime depuis que mon pere m´a parle de sa bonte, de son courage, de son energie, c´est a dire depuis toujours, et que j´aime encore plus depuis que je le connais davantage´ (Translation: ´To Monsieur Nadar, whom I have loved ever since my father told me about his kindness, courage and energy, in other words since I can remember, and whom I love even more now that I know him better´);Paul Rolier (1844-1918) French engineer and aeronaut, pilot of the balloon La Ville d´Orleans which inadvertently made the first flight across the North Sea from France to Norway on 24th November 1870 during the Siege of Paris,´Souvenir reconnaissant d´un aeronaute du Siege a son illustre collegue, le fondateur des Ballons de Paris....´ (Translation: ´A grateful souvenir from a Siege aeronaut to his illustrious colleague, the founder of the Ballons de Paris....´); and his fellow aeronaut Henri Bergeron, ´Deux mots d´admiration a mon maitre, Nadar! qui est pour moi l´eternel ideal que je ne saurai jamais attiendre´ (Translation: ´Two words of admiration for my master, Nadar! who is for me the eternal ideal that I will never be able to attain´); Victor Hugo (1802-1885) French novelist, poet and dramatist, ´Et s´il n´en reste qu´un, je serai celui-la´ (Translation: ´And if there's only one left, I'll be the one´); Charles Garnier (1825-1898) French architect of the Opera de Monte Carlo, the Palais Garnier in Paris, and other buildings, three amusing passages of text signed by Garnier, adding a simple ink drawing of a house and trees beneath his signature, 27th August 1877; Aime Laussedat (1819-1907) French scientist, astronomer and photographer, ´J´ai connu, au cours de ma longue existence beaucoup de braves gars. Je n´en ai connu nide meilleur nide plus charmante que mon vieil ami Nadar´ (Translation: ´I've known a lot of good guys in my long life. I have known none better or more charming than my old friend Nadar´), the same page also featuring an entry by Nadar himself, signed with his initial N, being a Rime batelée, and at the foot writing 'Je transcris de memoire, par a peu pres, cet exercice prosodique en souvenir de son auteur, notre bon et modeste Eug. [Ernest] Prarond, poete Abbevillois.....´ (Translation: ´I am transcribing this prosodic exercise from memory, more or less, in memory of its author, our good and modest Eug. [Ernest] Prarond, poet from Abbevillois.....´); Theophile Steinlen (1859-1923) Swiss-born French Art Nouveau painter and printmaker, a wonderful original pencil drawing of a happy, content black cat, lying in profile, signed by Steinlen in pencil and further inscribed ´A mon cher grand et bon Nadar, Beaux - indifferents - egoistes et tranquilles il y a des jours on l´on se prend a desirer - presque - d´etre comme eux´ (Translation; ´To my dear great and good Nadar, Beautiful - indifferent - egotistical and quiet, there are days when you find yourself wishing - almost - that you were like them´); and others. A remarkable album containing an impressive selection of signatures by a fascinating range of individuals, all of whom held Nadar in high esteem. All of the signatures are to the rectos of the pages (which measure approximately 50 x 36 cm each, and are paginated 1-44, 46-51, and 53-65, including some blank pages and an incomplete table of contents) and a number of pages bear multiple entries. The album is attractively bound in half-red shagreen with Nadar´s decorative gilt stamped initial N to the front board and spine, the latter of which is also gilt stamped Album., also featuring silk moire endpapers (some dampstaining to the edges) and all edges gilt. Contained in the attractive original dark red decorative slipcase. A few minor tears to the edges of some of the pages and with light overall age wear, generally about VGOWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION.
LAGERFELD KARL: (1933-2019) German fashion designer. An excellent original self-portrait signed by Lagerfeld, one page, 4to, n.p., n.d. (1980s). On a sheet of Chanel printed stationery (featuring the interlocking CC monogram of Coco Chanel which Lagerfeld integrated into a style pattern for the House of Chanel in the 1980s) Lagerfeld has executed a self-portrait in various pastels, the image showing him in a head and shoulders pose with his signature white hair, wearing a black jacket and tie, white shirt with high-starched detachable collars and his familiar black sunglasses. Signed with his name alone in black ink to the base of the drawing, adding a red outline (essentially a second signature) to his name to attractively create the effect of a red ´shadow´. A rare and highly desirable signed self-portrait. VG
HUNT TIM: (1943- ) British biochemist and molecular physiologist, Nobel Prize winner for Physiology or Medicine, 2001. Signed colour 8 x 10 photograph of Hunt in a full-length pose, jumping slightly off the ground whilst holding a large scientific drawing entitled The Cell Cycle, the image used as part of science photographer Volker Steger´s series Sketches of Science which has appeared in print in several editions and also formed the basis of an exhibition at the Nobel Prize Museum in Stockholm. Signed by Hunt in bold black ink with his name alone to a light area at the base of the image. EX
HERGÉ: (1907-1983) Georges Prosper Remi. Belgian Cartoonist. Best known for creating the series of comics “The Adventures of Tintin”. An excellent T.L.S., Hergé, one page, folio, Bruxelles, 21st October 1970, on the Studios Hergé attractive printed stationery, to his editor Monsieur Louis-Robert Casterman, in French. The letter bears at the heading the black embossed letters of “Studios Hergé” alongside a printed drawing of Tintin and Milou. Hergé explains to his correspondent that he sends attached a copy of the letter they spoke about over the telephone, and states in part `Voulez-vous examiner les conclusions émises sur un sujet dont nous aurons à nous entretenir encore dans le prochain avenir?´ (Translation "Do you want to examine the conclusions reached on a subject which we will have to discuss again in the near future?") Signed in bold black ink at the base of the letter. With binding holes to the left border, not affecting the text. Upper edge very slightly trimmed, otherwise G
DALI SALVADOR: (1904-1989) Spanish surrealist artist. An 8vo half-title page removed from an edition of Dali’s novel Hidden Faces, signed and inscribed in black fountain pen ink by the artist, ‘Pour la Marquise et Marquis de la Falaise, Hommage tres afectueux de Salvador Dali’ and dated 1945 in his hand. To the upper right corner of the page Dali has added an original pen and ink drawing in his hand, the intricate image depicting a horse rider, with spear in hand, galloping towards a small hill, above which floats a mysterious object, and with a shooting star in the skies. Again signed (‘Salvador Dali’) by Dali in a miniscule hand immediately beneath the drawing. The printed title of the novel has also been inked over in Dali’s hand. Irregularly trimmed to the left edge and with some light overall creasing and damp staining, GHenry de La Falaise (1898-1972) Marquis de La Coudraye. French nobleman, translator, film director, producer, actor and war hero. The Marquis was married three times, to the film actresses Gloria Swanson (from 1925-32) and Constance Bennett (from 1931-40) and lastly to the Colonbian socialite Emma ‘Emmita’ Rodriguez Restrepo de Roeder (from 1940 until his death). Hidden Faces (1944) was Dali’s only novel and describes the intrigues of a group of eccentric aristocrats whose extravagant lifestyle symbolises the decadence of the 1930s. Variously set in Paris, rural France, Casablanca and Palm Springs, the characters include the Comte de Grandsailles and Solange de Cleda (who pursue an ultimately doomed love affair) as well as aging widow Barbara Rogers, her bisexual daughter Veronica, Veronica’s sometime lover Betka, and a disfigured United States fighter pilot, Baba.
A LOUIS XVI ORMOLU CARTEL CLOCK OR 'PENDULE D'ALCOVE' THE CASE AFTER A DESIGN BY ROBERT OSMOND, CIRCA 1780 5,25" dial enamelled Lepaute Hger du Roy the case 46cm high, 30.2cm diameter The design for this clock case can be seen in a pen, ink and wash drawing by Robert Osmond (which is now in the collections of the Bibliothèque Doucet (inventory no. VI E15, Res., fol. 36-39.) H. Ottomeyer / P. Pröschel, Vergilete Bronzen - Die Bronzearbeiten des Spätbarock und Klassizismus, Munich 1986; I, p. 184 (Fig. 3.8.8). Condition Report: Movement has been converted from pendulum escapement to platform lever regulation - hence most of the going train has been altered. The strike train survives intact. Although this is an issue with regards to originality it does render the clock more usable. The movement is running and striking however a clean/service is advised. The dial has areas of scuffing/rubbing around each winding holes (together with related chipping around each hole). The scratching has received some overpainting which is fairly poorly executed. Case is generally in very good original condition with age related rubbing, wear, discolouration and other blemishes commensurate with age and use. The bezel hinge is a little slack but it will close and the rear edge moulding fixings have been repositioned.Clock does not have a winding key. Condition Report Disclaimer
A RARE 19TH CENTURY DRAWING DEPICTING THE SQUAW OF THE MIC-MAC TRIBEMounted on brown paper, inscribed 'Mrs Jane Tyson. Halifax n.s 48 (Nova Scotia).Along with a brown ink drawing of Halifax, Nova Scotia by Miss Kirby.Both drawings removed from a scrap book belonging to a relative of Captain James Muddle.James Muddle was born at Gillingham in Kent on 31 January 1785. James probably went to sea at a fairly young age and worked his way up to become a master mariner. The first record of him at sea, at the age of 25, is as the master of the small single mast sloop Boston sailing in coastal waters. In 1814, James then became master of the 356-ton ship ‘Leng’, armed with six 6-pounder guns, bound for the West Indies. The Lloyd's Register for 1820 also recorded that during that year James took over from as master of the 410 ton convict ship Lord Sidmouth. By the age of 35, James had progressed from being master of ships sailing in coastal waters to sailing to the Mediterranean and across the Atlantic, and now to the other side of the World. In 1820 it was reported that the Lord Sidmouth captain Muddle had sailed from Portsmouth on for New South Wales. After a voyage of 107 days, they arrived at Sydney in Australia on 19 February 1821, where 160 male prisoners were disembarked. James and the Lord Sidmouth also sailed to Jakarta, Calcutta, Mauritius. Upon arriving back to England in 1821, James became captain of the prison ship the ‘Andromeda’, which sailed from Leith to to Van Diemans Land and New South Wales. During the following two decades of travels in and around Australia, James will have collected many of the items in the collection. James is also known to have been captain of the ship ‘Lang’, as well as the “Mandarin’, ‘Glenbervie’ and the ‘Roseanne’. He sailed on prison ships to New Zealand and even China. James died in 1865 at the age of 80, and his collection has been passed by descent down the generations to the present owners.For more information please see the link below:https://www.muddlefamilies.info/harrietsham/22eaa.htm
SIR FRANCIS GRANT P.R.A., R.S.A. (BRITISH 1803-1878): AN INK DRAWING ON PAPER DEPICTING HUNTSMAN ON HORSEBACK23.5cm x 17.5cmStuck down on paper.Removed from scrap book belonging to a relative of Captain James Muddle.James Muddle was born at Gillingham in Kent on 31 January 1785. James probably went to sea at a fairly young age and worked his way up to become a master mariner. The first record of him at sea, at the age of 25, is as the master of the small single mast sloop Boston sailing in coastal waters. In 1814, James then became master of the 356-ton ship ‘Leng’, armed with six 6-pounder guns, bound for the West Indies. The Lloyd's Register for 1820 also recorded that during that year James took over from as master of the 410 ton convict ship Lord Sidmouth. By the age of 35, James had progressed from being master of ships sailing in coastal waters to sailing to the Mediterranean and across the Atlantic, and now to the other side of the World. In 1820 it was reported that the Lord Sidmouth captain Muddle had sailed from Portsmouth on for New South Wales. After a voyage of 107 days, they arrived at Sydney in Australia on 19 February 1821, where 160 male prisoners were disembarked. James and the Lord Sidmouth also sailed to Jakarta, Calcutta, Mauritius. Upon arriving back to England in 1821, James became captain of the prison ship the ‘Andromeda’, which sailed from Leith to to Van Diemans Land and New South Wales. During the following two decades of travels in and around Australia, James will have collected many of the items in the collection. James is also known to have been captain of the ship ‘Lang’, as well as the “Mandarin’, ‘Glenbervie’ and the ‘Roseanne’. He sailed on prison ships to New Zealand and even China. James died in 1865 at the age of 80, and his collection has been passed by descent down the generations to the present owners.For more information please see the link below:https://www.muddlefamilies.info/harrietsham/22eaa.htm
Edward Ardizzone (British, 1900-1979), "No. 77 The Boy and the Willow Tree 1965’’, an illustration for The Truants and Other Poems for Children, pen and ink drawing, 19.5 x 29cm.Condition: Not signed. Foxing spot above man's hat. Crease to the right of "N" in the title running vertically down the full length, with a stain running down part of the crease. 2 foxing spots at far right, a light stain also. Other minute pale brown marks under title.
German/Italian Letters.- Boon (Adrian, Senator of Hamburg).- Beii den Ittalianeren feind 20 Buch staben, manuscript in German and Italian (including 2 dedication ff. to Adrian Boon), folding sepia drawing of a town, pen and ink decoration at beginning and end, c. 140pp., browned, original calf, gilt, rubbed, corners bumped, lacks part of spine, g.e., 167 x 110mm., 19th January 1692.
Duncan Grant (British, 1885-1978)Couple Embracing pen and ink on paper21.5 x 15cm (8 7/16 x 5 7/8in).with a further pen and ink drawing, of a similar subject, on the reverse, by the same handFootnotes:ProvenancePaul Roche, and thence by descent toMartin Roche, from whom acquired by the present owner, 1992Private Collection, U.K.We are grateful to Richard Shone for his assistance in cataloguing this lot.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
Duncan Grant (British, 1885-1978)Nude with Arm Raised pen and ink on paper24 x 19.5cm (9 7/16 x 7 11/16in).Executed circa 1940with a further pen and ink drawing, of flowers and a violin, on the reverse, by the same handFootnotes:ProvenancePaul Roche, and thence by descent toMartin Roche, from whom acquired by the present owner, 1992Private Collection, U.K.The present lot is executed on the reverse of an invitation to participate in the exhibition Younger British Painters, which was held at the Ashmolean Museum in 1939. The exhibition was jointly organised with the Contemporary Art Society, and aimed to provide support to artists during the Second World War. The invitation to exhibit is inscribed with a personal note from Muirhead Bone, stating 'Dear Duncan Grant, It would be a great help to the Exhibition if you would be kind enough to send representative pictures it would very much help the young men to get a footing in these difficult times. Muirhead Bone'.We are grateful to Richard Shone for his assistance in cataloguing this lot.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
Desmond Morris (British, born 1928)Star Performer signed with monogram and dated '99' (lower left); further signed with monogram, dated and numbered '22 October 99 (1)' (on sheet verso)watercolour, ink and pen and ink on paper36.5 x 25.5cm (14 3/8 x 10 1/16in).(unframed)Completed 23 November 2015Footnotes:ProvenanceThe Artist, from whom acquired by the present ownerPrivate Collection, U.K.LiteratureS. Levy, Desmond Morris Late Work Analytical Catalogue Raisonné 2012-2020, Sansom and Company, Bristol, 2020, no. 2015/36, p. 110Please note that the ink drawing for this work was completed on 22 October 1999 and the colour was added later, in 2015. The drawing was signed in 1999, but was not re-signed when the colour was added. This is noted in S. Levy, Desmond Morris Late Work Analytical Catalogue Raisonné 2012-2020, Sansom and Company, Bristol, 2020, no. 2015/36, p. 110.We are grateful to Desmond Morris for his assistance in cataloguing this lot.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
Duncan Grant (British, 1885-1978)Two Nudes pen and ink on paper 12 x 8.5cm (4 3/4 x 3 3/8in).Executed in the 1920stogether with a further pen and ink drawing, of four male figures, by the same hand(2)Footnotes:ProvenancePaul Roche, and thence by descent toMartin Roche, from whom acquired by the present owner, 1992Private Collection, U.K.We are grateful to Richard Shone for his assistance in cataloguing this lot.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
Frederick (Fred Lawson (1888-1968), a pen and ink drawing, depicting possibly a ruined castle wall and trees, signed and dated 1962. 22 x 23 cm, framed and mounted, together with an etching depicting Lady Hill, 19 x 19 cm, framed and mounted. CONDITION REPORT: The lady Hill picture has foxing throughout the entire image. There is also a ripple and a section of staining on the right-hand side leading from the bottom two thirds of the way up. On the ruined castle picture the paper is quite brown and shows some light foxing particularly around the central tree and then further down through the lower left-hand side of the picture.
Paul Feiler, British 1918-2013 - Mousehole Harbour, 1953; ink and pencil on paper, signed and dated lower left 'Feiler 53', 13 x 16.8 cm (ARR) Provenance: The Collection of Mollie and Graham Dark Note: the present work relates to the paintings 'Mousehole Harbour, 1952' and 'Low Tide, Mousehole Harbour, Cornwall, 1953' and demonstrates the artist pairing down the Cornish landscape into abstract form, using a darkened palette. These works were made while the artist was living in Bristol and in the lead-up to his first one-man exhibition at the Redfern Gallery in London. There is a photocopy of a drawing of two figures attached to the reverse of the frame, possibly an image of the reverse of the work. Feiler was an important and celebrated artist of the modernist St. Ives School in the latter part of the 20th century, alongside William Scott, Peter Lanyon and Bryan Wynter. He first visited Cornwall in 1949, producing highly abstracted responses to the landscape. Tate St Ives has held two large solo exhibitions of his work in 1995 and 2005.
Circa 1680 A.D. Ink on paper; drawing of a Western noblewoman or pilgrim; mounted with dark blue reveal in a Victorian gilt ornate frame and later illuminated border with decorative gold and red paint. 2.3 kg, 36 x 49 cm including frame (14 1/8 x 19 1/4 in.).Acquired from the UK art market. Private Scottish collection.The headgear may suggest that the subject is Portuguese, if it depicts the traditional 'capote e capelo' hood.
*** Please note, this drawing is sold unframed.Deare (John, 1759-1798) Design for a tomb monument, with tragic heroine, possibly Artemisia, wife of Mausolus, pen and black inks, on Italian laid paper without visible watermark, signed and dated 'Rome Oct. 1787' in the roundel in the upper centre of the monument, image 210 x 210 mm (8 1/4 x 8 1/4 in), sheet laid onto paper support with ruled black ink borderlines under mount, unframed, 1787Provenance:Rupert Gunnis (collector and historian of British sculpture, 1899-1965);Collection of John and Eileen HarrisLiterature: P. Fogelman, P. Fusco and S. Stock, ‘John Deare (1759– 1798): A BritishNeoclassical Sculptor in Rome,’ The Sculpture Journal, iv, 2000, cat. no. 37, illus. p. 110*** An exceptionally rare example of a drawing by Deare for a sculptural relief, with the artist's distinctive finely cross-hatched pen lines achieving a virtuosic sense of depth and plasticity. We can trace no other examples of a drawing by the sculptor sold at auction since 1983, with only a handful of his sculptures having been sold. Deare spent most of his short career in Rome producing decorative reliefs for the mansions of wealthy Brtitsh patrons. However, in his early career he was apprenticed in 1776 to Thomas Carter II, who worked in London. Later that year in December, he enrolled at the Royal Academy Schools, and Deare and two of his contemporaries, John Flaxman and Thomas Proctor, soon became known among the students for their fine draughtsmanship. Their efforts are said to have prompted Joseph Nollekens, who was then a visitor, to give up sketching altogether. It wasn't until 1785 when Deare jointly won the Academy's travelling student scholarship, that he set out for Italy. Deare visited both Bologna and Florence en route to arriving in Rome in the summer of 1785, where he remained for the rest of his life.'One of the most innovative and talented of English Neoclassical sculptors, John Deare lived a short but intense life. A child prodigy, he died at the young age of thirty-eight; according to legend, he slept on a block of marble, hoping to find inspiration in his dreams' [Getty].
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