![[MOORE, Henry (1898-1986)]: SHAKESPEARE, William (1554-1616). Hamlet. Rome: Delfino, [1985]. first edition, first printing, u](https://cdn.globalauctionplatform.com/811b39b7-30e7-4818-9a6e-b18600f79cc3/6b39b0dc-f9fd-40e6-ace6-b1940133213c/468x382.jpg)
[MOORE, Henry (1898-1986)]: SHAKESPEARE, William (1554-1616). Hamlet. Rome: Delfino, [1985]. first edition, first printing, unabridged English edition edited by Dr. Stanley Wells, numbered 0018 of 1,200 copies (although likely fewer), foreword by Sir John Gielgud, 10 offset full-page lithographs in colours after Henry Moore, captioned tissue-guards, edges untrimmed, original red goatskin, with rectangular gilt-metal bas-relief by Henry Moore entitled Hamlets Dilemma on upper cover, raised bands, gilt title on spine, housed in a vertical red suede sculptural stand, folio, 36 x 51cm. The colophon states an edition of 1,200 copies, however, the consensus in commerce together with a total of only three institutional copies being recorded, it is likely that the edition was never completed. Condition Report: rubbing and light scuffs to binding, otherwise the book is internally clean and bright, overall good condition. the red suede sculptural stand faded, with some rubbing to top and bottom.
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Thomas Sewell Robins (British 1810-1880), Vessels off the coast, oil on canvas, signed with initials and dated 58 lower right, 23.5 x 33cm. FramedCondition Report: small patch and retouching around area of sails, peripheral paint loss, craquelure throughout, needs a light clean and minor retouchings.
Jean-Baptiste Émile Beranger (1814-1883), The Lady's Maid, oil on panel, signed and dated 1873 lower left, 20 x 15cm. Framed. Condition Report: Slight peripheral rubbing upper edge, minor retouchings visible under u.v. light, mainly in area of bed curtain, but good overall appearance, ready to hang.
J Wheeler (British, exh. 1817-1845) Portrait Portrait of Mr W. Grant of Newberry; Portrait of Mrs Grant, a pair, watercolour, both signed, inscribed and dated 1836 on reverse, each 13.5 x 11cm.(2) Framed and glazed. Condition Report: Both original condition under glass, may benefit from a light clean.
§ Harold Wyllie (British 1880-1973), H.M.S. ArkRoyal 1587, oil on canvas, signed lower left, 46 x 81cm. Framed This lot is being sold on behalf of the charity Shelterbox Please note that Artist Resale Right be may additionally payable on top of the hammer price for this lot, up to a maximum of 4% of the hammer price. Visit DACS.org for more information. Condition Report: Relined, no visible retouching under u.v. light, good overall appearance.
Follower of Henry Redmore, Vessels off the coast, a pair, oil on canvas, one bears a signature and date lower left, each 25 x 40cm (2). FramedCondition Report: Both with minor retouchings visible under u.v. light, The first with light surface abrasions, minor paint loss to the second, both need a light clean and minor retouching.
After Hoefnagel, Pontefract Castle, late 17th / 18th century, oil on canvas, 66 x 84cm Condition Report: Has been restored and relined/restretched recently, fine craquelure throughout, stretcher mark visible top edge, scattered retouching and infilling visible under u.v. light, paint thin in places especially foliage in top left corner, but good overall appearance. Probably 18th century in date.From a local deceased Estate
A. Jacques Weismann (twentieth century), Still life with flowers, oil on board, signed lower left, 25 x 33cm.; together with I. Cheleye (20th century), Floral still life, oil on board, signed lower right, 33 x 40cm.(2) FramedCondition Report: Both good appearance, no visible retouching under u.v. light.
Manner of Jean Baptiste Camille Corot, Couple with boat in river landscape, a church beyond, oil on canvas, bears a signature lower right with handwritten note dated April 1892 verso, 32 x 39cm. Framed. The note on the reverse was written by Isabella de Adjuria (nee Saulfield) stating that the painting had belonged to her mother and had been in the family for years. Isabella Saalfield (b1855 Marylebone) was the daughter of German Jews who emigrated to England in the 1840s and in 1863 moved to the USA after her father was declared bankrupt due to lavish spending on this home, furnishing and accessories. Isabella married Gregoria de Ajuria in 1884 but he died just a few years later, money ran out and she was forced sell their expensive New York home, the date would suggest that it was this point she sold the painting. Condition Report: Fine craquelure throughout, retouchings visible under u.v. light, needs a clean.
Attributed to John Steeple (British 1823-1887), A showery day, early spring, oil on canvas, with a John Steeple Private view invitation, 51 x 81cm. Framed Condition Report: In a good period gilt plaster frame, canvas relined, surface dirt, scattered retouchings visible throughout, would benefit from a light clean.
Octavius Thomas Clark (British 1850-1921), A figure on a riverside lane with cattle watering, oil on canvas, signed lower right, 51 x 76cm. Framed.Condition Report: Relined, fine craquelure throughout, no obvious retouching under u.v. light., small piece of frame moulding missing otherwise good appearance ready to hang.
Circle of Michael Dahl, A group portrait of a mother with her two daughters, one holding an exotic bird, oil on canvas, 92 x 81cm. Framed. Condition Report: Old relining, craquelure throughout, old retouchings visible throughout under u.v. light, needs cleaning and possible further restoration.
George Hyde Pownall (British 1876-1932), Westminster Bridge; Westminster Abbey and St Catherine's Square, a pair, oil on board, both signed lower right, each 15 x 22.5cm. (2) Framed Condition Report: Light surface dirt, minor retouchings visible under u.v. light, but overall good appearance.
Harold Riley (British 1934-2023) "2nd + 16th Green, St. Andrews, 1978" Signed, titled and numbered 8/50 in pencil in the margin, limited edition colour print.21.5 x 38.5cm (framed 45.5 x 62.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. There are some minor undulations across the sheet and some light time staining and yellowing around the edges of the paper near the mountboard. The print is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
L.S. Lowry R.A. (British 1887-1976) "St. Luke's Church, Old Street, London, E.C." Signed and numbered 819/850 in pencil in the margin, published in 1973 by G.R. Mellor, with publisher's blind stamp, limited edition colour print.64.5 x 47cm (framed 88 x 69cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There is some light time staining and browning in the margins around the edges of the paper near the mount board as highlighted by a lighter strip along the top of the sheet where the print has dropped slightly below the mount. The print is ornately framed and glazed. The original frame has some minor scuffs and scratches commensurate with age.
Bob Kay (British 1907-1994) "Colour Sketch, Stockport Viaduct" Signed, titled and dated July '52, watercolour.35 x 26cm (framed 53.5 x 43.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. The ink used in the signature has faded. There is some light time staining and browning around the edges of the paper near the mountboard and some minor spots of foxing across the sheet. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
John Haydn Jones (British 1923-1997) "Pillory Street, Nantwich" Signed, titled and dated 1988 on artist's label verso, watercolour.24 x 26.5cm (framed 48.5 x 49.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed. There is some light water staining in the upper right hand corner of the mountboard and the original frame has some minor scuffs and knocks commensurate with age.
James Lawrence Isherwood F.R.S.A., F.I.A.L. (British 1917-1989) "Mevagissey" Signed and dated '62, titled on verso, oil on board.25 x 30cm (framed 31 x 36cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. The surface of the painting is a little grubby in areas and would benefit from a light clean. The painting is framed but not glazed and the board has become loose in the frame. The frame has some minor scuffs and knocks commensurate with age.
L.S. Lowry R.A. (British 1887-1976) "Sailing Boats" Signed in pencil in the margin, with Fine Art Trade Guild blindstamp, published in 1975 by Venture Prints Limited of Bristol, limited edition colour print.32 x 36cm (framed 55 x 58.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There is some very light time staining and browning in areas across the margins. The print is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Harold Riley (British 1934-2023) "St. Andrews" Signed, titled and dated '90 in pencil in the margin, numbered 1/5, colour print.25.5 x 35cm (framed 43.5 x 52.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There is some light time staining and browning around the edges of the paper near the mountboard. The print is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Bob Kay (British 1907–1994) "Colour Sketch, Stockport" Signed and titled, watercolour.35 x 26cm (framed 53 x 43.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. The ink used in the signature has faded and the title is rubbed. There is some light time staining and browning around the edges of the paper near the mountboard and some minor spots of foxing and other surface marks across the sheet. The painting is framed and glazed. There are areas of mould across the slip mount and the frame has some minor scuffs and knocks commensurate with age.
A NEAR PAIR OF POLYCHROME-PAINTED MOULDED QAJAR POTTERY TILES WITH RIDERS Qajar Iran, 19th centuryEach of rectangular shape, painted in cobalt blue, turquoise, and manganese purple with black outlines on a milky white ground, covered in a thick, glossy, transparent glaze, each depicting the same scene with slight variations featuring a well-dressed Qajar youth with a voluminous, multi-folded turban riding his steed, his left arm reaching out for a large phoenix-like bird at the top of the scene, possibly the mythical Persian bird of the epics known as simurgh, several floral stems in the foreground and Qajar buildings with tall iwan gates in the background, an intertwined vegetal scroll repeated at the top of each tile, the reverse plain with provenance stickers, the largest 34.5cm x 26.5cm. Provenance: Poggio Bracciolini Casa d'Aste, Florence, Italy, 15 - 21 December 2023. the largest 34.5cm x 26.5cm Qty: 2 Evidence of some superficial scratches, and rubbing especially to the borders and corners. The glaze of the tile glossy with some minimal superficial crackles especially on the body of the horse and phoenix, the colours true and vibrant, minor bleeding, especially to the turquoise pigment, both tiles are intact, with no clear evidence of major breaks to the body under UV light. The corners rubbed and chipped, one tile with indentated chips and loss on the top and bottom borders, and areas of repainting on the lower corners Overall two fair examples in good conditions.
A RARE CANTAGALLI OTTOMAN DAMASCUS-STYLE POTTERY TILE WITH WILD ANIMALS AND FLOWERS Cantagalli manufacture, Florence, Italy, ca. 1900 - 1949Of square shape, painted in cobalt blue, manganese purple, and green with black outlines against a white ground, depicting a roaming lion in the foreground, a pair of foxes above it, and in the upper left corner a rooster, the iconic symbol of Cantagalli, the Italian pottery manufacturer, all set against a vibrant ground of rosette sprays, tulips and foliage, stamped 'CANTAGALLI' at the back, the manufacturer's trade hallmark in use in the first half of the 20th century, mounted on a dark wooden frame, 21.2cm x 21.2cm including the frame. 21.2cm x 21.2cm including the frame Qty: 1 No clear evidence of breaks, damage, cracks or restoration under UV light. A vertical darker hairline crack seen in the upper middle section, a miss-fired darker stain mark to the shoulder of the lion, the glaze glossy, the colours true and vibrant, no evidence of pigment bleeding, evidence of old glue residues to the back, the frame rubbed and worn with several scratch marks. Overall a very attractive example in good conditions.
AN IZNIK-STYLE POTTERY JUG WITH ROSETTES AND SAZ LEAVES Tehran, Qajar Iran, ca. 1880 - 1900Of baluster shape, with a globular body resting on a short, splayed foot, rising to a tall cylindrical neck, with a curved handle on the side, painted in cobalt blue, sage green, faded manganese pink, and light green with black outlines on a white ground, the decorative repertoire and design inspired by Ottoman Iznik pottery jugs mostly produced in the 1520 - 1540s, with a prominent cobalt blue palette deprived of the mid-16th century raised bole red, featuring two horizontal bands in-filled with scrolling rosette sprays and saz leaves, chevron and fretwork bands on the handle and around the rim, shoulders and foot, 20cm high. For two analogous Iznik pottery examples presenting an almost identical decorative repertoire, size, and shape featured in the present Qajar Iznik-revival piece, please see Christie's London, 21 April 2016, lot 162, and the British Museum collection (acc. no. 1878,1230.514). 20cm high Qty: 1
A LACQUERED AND GILT PAPIER-MÂCHÉ KASHMIRI PEN CASE AN EYE FOR DETAIL: PROPERTY FROM A PRIVATE ESTATE IN NORTHERN LONDON Possibly Srinagar, Kashmir, North India, late 19th – early 20th century With rounded ends and a sliding tray, painted in polychromes, gilt and lacquered, the top and sides decorated with a lush gold floral bloom with interlocking vegetal stems against a light green ground, the underside and the interior of the sliding tray with blue, yellow and gold-painted floral sprays all set against a bold red ground, 29.5cm long. 29.5cm long Qty: 2
AN AUBUSSON-STYLE FIGURAL TAPESTRY FRAGMENT WITH A TURK'S HEAD Possibly Aubusson or Felletin, France, 18th centuryOf rectangular shape, woven in polychrome wool threads, portraying the profile of a Turkish ruler, ambassador, or member of the courtly elite, characterised by a light brown beard on his chin, wearing a sumptuous, opulent, gem-encrusted headdress with a multifolded ochre yellow turban cloth around the base, with gem-studded epaulets on his shoulders, the fragment once part of a much larger figural panel possibly depicting a diplomatic encounter or historical event, the trimmed edges re-lined in cobalt blue wool with the date 1944 and the initials 'MD', mounted on a gilt, plastered, and mirror-inlaid wooden frame, 57.5cm x 49.5cm including the frame. 57.5cm x 49.5cm including the frame Qty: 1
A LARGE EMBROIDERED AND PAINTED STANDING PORTRAIT OF A GREEK EVZONOS (MEMBER OF THE GREEK ARMY LIGHT INFANTRY AND MOUNTAIN UNITS) Greece, ex-Ottoman Balkan provinces, second half 19th centuryOf rectangular shape, embroidered in polychrome cotton threads in a variety of stitches, including metal thread French knots and spangles, on a light blue silk satin ground, the face and hands oil painted on canvas and stitched on the satin ground, the mixed fabric and painting patchwork portrait depicting a Greek evzonos (also known as evzones or evzonoi) standing on top of a hill overlooking a coast-line or harbour-like seascape, wearing a traditional Balkan pleated skirt-like garment called fustanella, with an embroidered long-sleeved black vest, around his waist a belt with a pocket knife and a palaska (cartridge case), resting his right elbow on a matchlock rifle, mounted, glazed and framed, 105cm x 60cm including the frame. The fustanella dress with its typical embroidered waistcoat and jacket originates in the Balkan territories and was particularly popular among Albanians. However, in the 19th century, several other nationalities started wearing it, including the British regiment stationed in the Ionian Islands in the 1810s, as well as the revolutionary fighters of the War of Independence in Greece in the 1820s. Because of this association with Western army troops, the fustanella became a principal visual symbol of Philhellenism and resistance against the Ottomans. Consolidated as an emblem of male bravery and national heroism, the fustanella was proclaimed the official court costume and national dress in Greece in 1835 and a shorter version of it became the traditional military attire worn by ceremonial and light infantry units, such as the evzones, in 1868. 105cm x 60cm including the frame Qty: 1
TWO REVERSE GLASS PAINTINGS OF INDIAN MAHARAJAS China made for the Indian export market, 19th centuryOpaque pigments, polychrome enamels, white wash, and gold on glass, each vertical-format composition depicting a member of the Indian ruling elite, comprising an interior portrait with a Maharaja seated on an elaborate golden masnad floor spread with red vegetal design, resting against a large bolster, wearing a bright red and gold striped turban, a white muslin shirt, and red baggy pantaloons, holding a rose blossom in his hand in a fashion typical of Mughal emperors' portraits, set against a light blue background, framed, 56cm x 42cm; and an equestrian portrait of an Indian ruler on a dappled steed, clad in a Central Asian, almost Mongolian attire, with a rounded helmet with a black heron feather, and almond-shaped dastana armguards, underneath the ruler a red cartouche inscribed in pseudo-Devanagari script possibly reading 'Shashah', set against a natural hilly background, the back of the frame with a handwritten sticky note stating 'King of Iran Name Rustam 150 years old', framed, 58cm x 42.5cm. the largest 58cm x 42.5cm including the frame Qty: 2
AN OVERGLAZE PINK-ENAMELLED AND GILT IZNIK-STYLE POTTERY VASE Commissioned by Tiffany & Co. New York, attributed to James Macintyre & Co. Ltd., Staffordshire, England, ca. 1888 - 94Of pronounced pyriform shape, resting on a concave circular base, rising to a tall, tapering neck with a gently everted rim, and two narrow gilt rings around the shoulders and at the neck's mid-height, covered in a glossy, transparent glaze, overglaze-enamelled in magenta pink, and gilt, the exterior decorated with a floral and vegetal repertoire reminiscent of Islamic wares, especially Ottoman Iznik vases, featuring rosette stems spraying stylised serrated leaves (saz leaves) and lotus scrolls, with Westernised vegetal festoons and arabesque-like palmettes, the base stamped with Tiffany & Co. New York, 'no. 48', and the maker's mark monogram, 40cm high. 40cm high Qty: 1 Overall a charming and well-preserved vase. Minor wear and rubbing to the gilding and scattered minute flakes of enamels to the lower body, with no clear evidence of damage or restoration when inspected under UV light.
A LARGE POLYCHROME-PAINTED MOULDED QAJAR POTTERY TILE WITH A COURTLY BANQUET SCENE Qajar Iran, 19th centuryOf rectangular shape, painted in cobalt blue, turquoise, manganese pink, and pale yellow with black outlines on a milky white ground, covered in a glossy, transparent glaze, the horizontal-format composition depicting a typical Safavid-revival scene replicated with Qajar flare, reminiscent in style of the Chihil Sotun Palace frescoes in Isfahan, specifically the banquet scene with the Safavid ruler, Shah Abbas I, and Vali Muhammad Khan, featuring a female dancer in the foreground accompanied by two musicians and two attendants, including a female saqi (cup bearer), in the background five noble youths, possibly envoys or members of the courtly entourage, standing behind each of the rulers seated in the middle ground by an arched window overlooking a courtyard with large fountains and verdant trees, the scene encased within a decorative border with pair of birds interspersed amidst floral meanderings, mounted on a later blue-painted plaster frame, 44.5cm x 59cm including the frame. 44.5cm x 59cm including the frame Qty: 1 The frame with evidence of peeling, scratches, and loss to the pigment. The glaze of the tile glossy with minimal, superficial crackles to the borders, the colours true and vibrant, minor bleeding, especially to the turquoise pigment, intact, with no clear evidence of damage, breaks, cracks or restoration under UV light. Overall an excellent example in very good and desirable conditions.
A REVERSE GLASS PAINTING OF AN INDIAN MUSICAL GATHERING IN A PALACE INTERIOR China made for the Indian export market, 19th centuryOpaque pigments, polychrome enamels, white wash, silver, and gold on glass, the horizontal-format composition depicting a courtly gathering with three musicians standing in the background, accompanied by two female dancers on a floral masnad floor spread in the middle ground, surrounded by ten noblemen gazing in admiration, each holding a rose stem in their hands, a recurrent motif in Mughal portraiture, wearing blue, white, and red gowns and embroidered light-blue turbans, many pale white glass lamps hanging from the ceiling, the scene replicating an idealised 19th-century Indian palatial interior, framed, 54cm x 69cm including the frame. 54cm x 69cm including the frame Qty: 1
AN INTACT RED AND GILT BOHEMIAN URANIUM CUT-GLASS SPIRIT DECANTER FOR THE IRANIAN EXPORT MARKET Bohemia, Czech Republic, Eastern Europe, late 19th century Of typical pyriform shape, resting on a circular flat base, with a tapering ringed neck rising to a wide everted mouth, the lid faceted and arrow-shaped, the polychrome-enamelled and gilt decoration typical of the Iranian export market production and consisting of swirling bands of gilt beading, polychrome rosette and floral bouquets interspersed amidst diamond-cut grid patterns and stylised vegetal festoons, around the shoulders golden oval frames in-filled with dense floral bouquets, the base cut with an octagonal star design around the edges and marked in red '110' in the centre, the transparent uranium glass fluorescing brightly under UV light, 47.8cm high. 47.8cm high Qty: 2
Essex House Press. A Mornynge Remembraunce, compyled by the Reverent Fader in God, Johan Fysher Bishop of Rochester, Essex House Press, 1906, frontispiece by C. R. Ashbee, printed in red and black, original vellum, slight toning to spine, 8vo, presentation inscription at front 'Nina from Maur, August 1921', limited edition,67/125, together with The Hymn of Bardaisan, rendered into English by F. Crawford Burkitt, Essex House Press, 1899. woodcut initial, printed in red and black, unopened, original boards, spine a little toned, small indentations to rear cover, 8vo, limited edition of 300, plus The Picture of Kebes the Theban, Essex House Press, 1906, printed in red and black, bookplate of Thomas Edward and Catharine Hodgkin, original boards, 8vo, limited edition of 50, this copy presented to M(r) Enthoven, together with Ashbee (C.R., editor). The Manual of the Guild and School of Handicraft: being a guide to county councils and technical teachers, London: Cassell & Company, 1892, title with woodcut device of the Guild, 16 pp. publisher’s catalogue at rear, light spotting to half-title, with an 8pp. printed Guild booklet extract loosely inserted at front, containing a Preface by G. F. Watts, introduction and course of lectures (pages numbered 9-[16]), and a 3pp. printed order form for the Guild's volume of Transactions loosely inserted at rear, uncut and untrimmed, original printed pale brown wrappers, in very good condition, 8vo, plus 4 others including A Bibliography of the Essex House Press... from the year 1898 to 1904, Essex House Press, 1904, Report on the Work of the Campden School of Arts and Crafts 1903-04, Essex House Press, 1904 anf Reprint of an Article in 'Handicraft' by Mr. Frederic Allen Whiting, Secretary of the Arts and Crafts Society of Boston, Massachusetts... Essex House Press, 1904, all ex-libris of John AveryQTY: (8)NOTE:A Mornynge Remembraunce is inscribed by the Arts and Crafts etcher F. L. Griggs (1876-1938) to his wife Nina Griggs.The Manual of the Guild and School of Handicraft provenance: John Avery, F.C.A., Woodford Green, Essex, with his printed label to inside front cover of the first volume, and to final leaf of the three printed booklets.Tomkinson 66, 3 & 71 respectively for the first three Essex House Press titles.
Clare (John). The Shepherd's Calendar; with Village Stories, and Other Poems, 1st edition, London: John Taylor, 1827, engraved frontispiece by Edward Finden after P. Dewint, neat gift inscription in brown ink to front blank dated 1838, preliminaries spotted, contemporary half calf gilt, rubbed with some light wear (small portion of title label lacking), 12moQTY: (1)
Yeats (W. B.) Stories of Red Hanrahan and the Secret Rose, 1st edition, London: Macmillan and Co., 1927, 2 colour plates and monochrome illustrations by Norah McGuiness, a little light spotting to title and endpapers, original red variant pictorial cloth, dust jacket, slight toning to spine, 8voQTY: (1)NOTE:Wade 157. Also issued in dark blue cloth.
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534325 Los(e)/Seite