William Black (20th century) A group of four works, to include two abstract studies, a harbour abstract, and a bottle still lifethree signed 'William Black' (lower right); one signed 'W Black' (lower right)ink and watercolour, unframed9 x 11.5cm, 9.5 x 12cm, 10 x 11.5cm and 12 x 9.5cm Harbour Abstract: The sheet with typical toning, this is mostly even, but deepening slightly in the left-hand margin. Perhaps some slight fading, but overall goodBottled Sunshine: Typical age toning throughout, mostly light but deepening in colour at the top right, some very slight fading, but overall good conditionAbstract (1): Some slight fading to watercolour, slight age toning with one instance of negligible foxing along the top edgeAbstract (2): Slight fading commensurate with age, sheet likely toned though it is difficult to ascertain due to the watercolour over the top, overall in nice condition
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William Black (20th century) Coastal Abstractsigned 'William Black' (lower right)oil on paper laid to board, unframed71 x 56.5cmOil on paper that has been stuck down to board, edges of the paper support are a little rough, particularly along the top edge. The surface with a typical but light layer of surface dirt and with a few minor scattered accretions. Pint layer in generally good condition, but, upon close inspection, with one small area where a fine network of drying cracks has appeared.
William Black (20th century) Sea Urchinssigned and dated 'William Black 64' (lower right)ink and watercolour, unframed13 x 18cm;together with another untitled of boats and flowerssigned and dated 'William Black 63' (lower right)ink and watercolour, unframed13 x 20cm(2)Sea Urchins: Nice bright colours, some slight age toning to sheet, margins with some very minor blemishes likely caused by the artist during execution. Overall in nice condition.Untitled: The bottom edge rough and irregular, perhaps from being removed from a sketchbook. Typical light age toning most evident in the right-hand margin, perhaps some fading to the watercolour, but overall in nice, attractive condition.
William Black (20th century) Harboursigned and dated 'William Black 65' (lower right)ink and watercolour, unframed21.5 x 15cm;together with Birds and Boatssigned and dated 'William Black 65' (lower right)ink and watercolour, unframed21.5 x 15cm(2)Harbour: Typically age toned and with some foxing along the right-hand edge. The top edge with a very small but deep crease which has split slightly at the top (Birds and Boats: Overall in nice condition. Typically toned, though this is very light and uniform throughout, some very minor fading, otherwise in nice condition.
Amédée Marcel-Clément (1873-1950) Storm at Seasigned 'MarcelClément' (lower left); further signed oil on board, unframed60 x 92cmParisian-born painter, Amédée Marcel-Clément, possessed a dextrous and confident hand in all that he painted, from his lively wildlife subjects to his evocative landscapes and bustling urban Parisian cityscapes, though it is for his maritime scenes that he is most widely celebrated.Born in 1873, biographical information about Marcel-Clément is sadly lacking, but he is recorded as having completed his training at the Salon des Beaux-Arts in Paris, with contemporary records from the school describing a painting by the nascent artist as possessing an ‘accuracy of attitude, a truth of colouring that make this little genre painting one of the most interesting canvases of the exhibition.’ In 1903, Marcel-Clément made his debut at the Salon de la Nationale des Beaux-Arts - he continued to exhibit at the Salon and at the Salon des Indépendants for the rest of his career. Between 1913 and 1914, Marcel-Clément established an international reputation when he exhibited at the Walker Gallery, Liverpool and at the Royal Scottish Academy.Marcel-Clément’s virtuosity undoubtedly lies in his masterful handling of light, shade and colour. In the present lot, an astonishing example of Marcel-Clément’s proficiency, auroral sunlight bursts through the leaden veil of clouds and hangs above the languid, glassy surf as small boats in the foreground cut through the silvery tonalities of the water, leaving trails of lilac in their wake.Oil on hardboard, some areas of board showing through in thinner passages of paint. Slight areas of damage to all edges, with some paint losses in each corner. The surface shows some white scattered accretions throughout, but mainly located in the upper left quadrant. There is a small scuff through the signature and the lower right hand edge shows a small area of raised paint and discolouration (see additional images). Outermost edges of the board have not been varnished. The main image is the most closely representative of the real life colours.
§ Richard Bawden RWS, NEAC, RE (British 1936-) Southwoldsigned 'Richard Bawden' (lower right); numbered 42/75etching and aquatint34 x 47cmNot examined out of the frame. Condition is generally good, though there is some negligible undulation to the surface visible under raking light and the outer margins are typically toned commensurate with age, though this is light and uniform. Flies beneath glass but they are largely confined to the mountboard and not the image itself.
§ Sandra Blow RA (1925-2006) Side Effectsigned 'Sandra Blow' (lower right); numbered 26/50screenprint, unframed120 x 120cmSome minor handling creases and marks and with one or two minor knocks, some very light foxing along the outermost top and bottom edges, otherwise in nice, clean condition
§ Albert Irvin OBE, RA (1922-2015) Star IVsigned and dated 'Albert Irvin '93' (lower left); numbered 166/125screenprint67 x 91cmWith signed Wiseman Original certificate of authenticityNot examined out of the frame. Colours bright and strong, perhaps some minor age toning to the outer margins of the sheet, though this is light and uniform throughout. Some undulation of the sheet visible along the top edge and with some debris trapped beneath the glass, otherwise good.
§ Albert Irvin OBE, RA (1922-2015) Star IIsigned and dated 'Irvin '93' (lower left); numbered 116/125screenprint67 x 91cmWith signed Wiseman Original certificate of authenticityNot examined out of the frame. Colours appear bright and strong. Perhaps some minor age toning to the outer margins, though this is light and uniform throughout. Some undulation visible along the top edge, a little debris trapped beneath glass though this is largely isolated to the margins. Otherwise in nice condition.
§ Brendan Neiland (1941-) A group of three unframed screenprints, to include: Hampton Court, 1984, numbered 30/250, 85 x 60cm; Pimlico, 1975, numbered 48/50, 67 x 88cm; and Concourse, numbered 3/85, 95 x 69.5cmeach signed 'Brendan Neiland' (lower right)Hampton Court: Perhaps some very slight toning of the margins, with some light handling creases visible under raking light, but overall in nice, clean conditionPimlico: Some light handling creases to the margins and the lower margins with some grubby marks at the outermost margins, one further blemish along the right hand outermost edge, otherwise in nice conditionConcourse: With some overall age toning, and some very light handling creases, otherwise in nice condition.
§ Jean Dufy (1888-1964) La Promenadesigned 'Jean Dufy' (lower right); numbered 14/225lithograph52 x 66cmNot examined out of the frame, margins obscured by mount so not available for inspection. Perhaps some slight age toning to to the sheet, but this is light and uniform. Some light foxing in the lower left-hand corner, otherwise in nice, clean condition.
§ Rick Kirby (1952-), The Shard, 2012, welded stainless steel, mounted to a steel column base204cm high overall, the sculpture 110cm highIn generally good condition noting light rust spots.The sculpture itself is app. 50cm wide and 17cm deep, it is 110cm high, 204cm overall including the pedestal.
A Newlyn copper letter rack, the planished body embellished with a repoussé tulip motif, stamped Newlyn to the underside15 x 25 x 9.5cm together with an Art Nouveau copper casket, repoussé decorated with typical foliate motifs 9 x 24.5 x 12.5cmThe letter rack in good condition noting only light surface wear, the box rather tiney and with notable loss of finish.Whiplash decoration is repousse and not applied and is light gauge
A Baccarat Dupont glass concentric millefiori paperweight, set with a garland, centred by a stardust cane, encircled by a concentric ring of pink cog canes and a larger garland of pink pastry mould and green complex cogwheel canes 7cm diameter the second, a miniature example with a central cog cane surrounded by a ring of seven cogs and an outer ring composed of five Clichy roses separated by an arrangement of ten edelweiss canes 4.5cm diameterThe larger: a couple of light bruises and surface scratchingThe smaller: with several surface bruises/chips and some surface scratching
A Louis Vuitton lady's hat box or square steamer trunk, circa 1940s, the leather-bound monogrammed body with lift-out ribbon Cage Paradis, stamped to hardware46 x 51 x 44cmDimensions provided are in the order of h x w x d.In generally good condition, some fading and wear, a few signs of historic woodworm to timber rails on base, light rust to bracing, generally wear is commensurate with age and use.
A stainless steel and glass pendant light shade, the relief-moulded amber glass frieze attributed to Whitefriars26 x 24cmBy repute, the 10 glass cruciforms that make up the frieze were originally part of a glass 'wall' created by Geoffrey Baxter for Whitefriars.glass in super condition with no known faults of damageA few light marks and scuffing to the spun aluminium body
Edvin Ohstrom for Orrefors, a 'Girl and Dove' Ariel glass vase, of tapering opal form in clear crystal and electric blue glass and internally decorated with a bird and female profile, the design heightened with amber staining, acid-etched marks to underside21cm highIn good condition, free from damage or repair, very light surface wear only.
Hamilton Watch Co. 37500 aircraft clock, the 2.75" black dial with four subsidiary dials and centre seconds, within a black casing and upon a Perspex stand, 6" high overall; also a Russian aircraft clock, the 2.75" black dial with centre seconds and subsidiary hour and seconds dials, within a light grey metal casing and upon a Perspex stand, 6" high overall (2)
The Hamilton chronometer watch (model 22), the 2.5" cream dial signed Hamilton, Lancaster, PA., U.S.A., with forty eight hour state of wind indicator and subsidiary seconds dial, within a light grey casing; also within a mahogany hinged case fitted to the front with a plaque inscribed with operating instructions and within a mahogany guard case with leather straps
George Daniels - All In Good Time, very rare limited edition no. 5/27 and signed by the author, within a light brown Nigerian goatskin leather binding with concentric gilt decoration, the centre with a circular window displaying a clock wheel made and signed by George Daniels, within a drop-back box * This book is sold with a letter from the publishers, Peoples Archive, detailing the content and construction of the book
French Boulle two train balloon mantel clock garniture, the 3.5" white dial signed Mouillard, Le Mans, the Mougin movement with outside countwheel and striking on a bell, within a gilt metal mounted balloon shaped case, 14" high (pendulum and key); also with a pair of matching twin light candelabra, 9" high
French green onyx and gilt metal mounted two train mantel clock garniture, the Mougin movement with outside countwheel striking on a bell, the 3.25" cream painted dial inset into a pillar over a stepped base and surmounted by a kneeling Cupid, 13.5" high (pendulum and key); also a pair of matching two light candelabra, 11.25" high
French black slate and rouge veined marble mounted two train mantel clock garniture, the S. Marti movement with outside countwheel striking on a bell, the 3.5" cream dial signed Sams Gallandon, within a stepped case applied with gilt metal mounts and surmounted by a classical urn, 18.25" high (pendulum and key); also a pair of matching five light candelabra, 17.25" high
Staunton (Sir George Leonard) engraved uncoloured map, A Chart of the Islands to the South of the Tchu-San on the Eastern Coast of China, generally laid down from one published by Alexander Dalrymple Esq.with additions and alterations by J. B. Arrow, c.1797, pub. London, W. Bulmer & Co. for G. Nicol, 21¾ x 14in. (55.25 x 35.5cm.); together with Sketch of the Pay-Ho or White River and of the Road from Pekin to Geho, taken 1793, H.W. Parish Royal Artillery, pub. 1796, 18 x 13½in. (45.75 x 34.25cm.), both mounted, unframed. (2)* Condition: - Tchu-San: Occasional spotting. Lower margin has two small tears and other tiny splits - possibly slightly trimmed.- Pay-Ho: Occasional light spotting. Several small handling creases. Otherwise good.
A pair of Chinese porcelain famille jaune erotic groups early 20th century, each depicting a male and female cavorting on a sofa, impressed four character seal marks to base, 6¾in. (17.2cm.) wide. (2)* Condition: One with restoration to back cushion, some light rubbing to edges, pleasing to the eye.
A Christofle silver plated part flatware set in the 'Perles' beaded pattern, to include eight dinner knives, 9½in. (24.2cm.), nine dinner forks, eleven starter forks, eight starter knives, eight fish knives, eight soup spoons, various other forks, knives, serving forks and spoons etc. (89)* Condition: A couple of pieces with blistering, light wear on a couple, overall good.
A Japanese lacquered wood square stand late 19th century, the red lacquer tray top on a black and gilt foliate decorated frame with curved supports and peripheral stretchers, 7¾in. (19.7cm.) square, 4½in. (11.5cm.) high.* Condition: Good condition - some gilt wear to edge of tray top and some light chipping to lacquer to edges of supports. Paint flake to underside of stretchers at one corner.
Charles Hunt (British, b.1806), after John Frederick Herring Snr. 'Mundig, the Winner of the Derby Stakes, Epsom, 1835'; 'St. Giles, The Winner of the Derby Stakes at Epsom, 1832', hand coloured aquatints, pub. S & J Fuller, 14 x 16¾in. (35.5 x 42.5cm.), modern fluted gilt frames. (2)* Condition: - Mundig: Light time staining. Occasional spotting, mainly to sky. Colours a little mellowed and possible light fading to reds.- St Giles: Time stained, spotting and some fading.
A Leica M3 Rangefinder Camera c.1960, serial no. 1071405, with an Elmar f/1.4 50mm lens, no. 1788223, with UV.a filter, 1251G Lens Hood, Leica-Meter MR and original Leica leather case.* Condition: Shutter is not working, although the camera itself is in very good condition physically and appears to have had careful use, with minor light scratches to the exterior, and a few tiny chips & blisters to the silver finish around the threaded tripod mount. Lens appears good, with a few minute fungus spot marks and some light dust. Light meter has a spot of corrosion to mount and scratching to the black plastic button. Case good with expected light scratching in places.
An extensive modern Haviland Limoges porcelain ' Louveciennes ' pattern dinner service decorated with foliate scroll and flowers, comprising of two oval platters, the largest, 15 5/8in. (39.8cm.); two large serving bowls, 9¾in. (24.8cm.) diameter; twin handle circular tureen and cover; twin handle sugar basin and cover; sauce jug; sauce boat and dish; fourteen dinner plates, 10¼in. (26cm.) diameter; twelve side plates, 7 5/8in. (19.4cm.); twelve small plates; twelve twin handle soup bowls with twelve under dishes; sixteen cups with sixteen saucers. (103)* Condition: Three dinner plates with chips to rim (one painted over), one saucer with chip to foot, very little used, decoration still very good, very light wear, overall good.
A George III silver salver / card waiter Edward Jay, London, 1791, of circular form with gadroon rim, the centre engraved with family crest armorial, raised on three ball and claw feet, 8in. (20.4cm.) diameter, weight 14.4 tr.oz.* Condition: Light tarnishing to underside, otherwise good with light surface wear.
Anglo-Chinese School (late 19th century) Cantonoil on canvas, unsigned, in a reeded ebonised frame (probably original)16¾ x 28½in. (42.5 x 72.5cm.)* Condition: Good condition. Light scratch to surface of varnish at lower centre - in a couple of places it has grazed the paint surface. Scattered retouches across the surface visible under UV, notably to craquelure lines and heavier retouches to the darker water in the foreground. A little strengthening visible to the skyline detail.
After George Edwards (British, 1694-1773) six ornithological engravings with hand colouring from a 'Natural History Uncommon Birds, c.1743, including the Red Backed Shrike, 'The Creeper from the East Indies', 'The Red Throated Huming Bird', 'The Red Bird from Surinam', 'The Cold Finch Cock and Hen' and one other, 9¾ x 7¾in. (24.75 x 19.7cm.), gilt framed. (6)* Condition: Acidic mounts and all show some mount burn. A few small fox marks and light toning and cockling to sheets. Not examined out of frames.
Sir William Russell Flint, RA (Scottish, 1880-1969) 'Carmelita', limited edition colour print, signed in pencil, pub. 1961, from an edition of 1000, blind stamped, 10 3/8 x 12¼in. (26.3 x 31.1cm.), well framed and matted.* Condition: Slight toning to sheet and light mount burn. Acidic mount.
after William Alexander (British, 1767-1816) 'The Fire-Backed Pheasant of Java', hand coloured copper engraving by William Skelton, pub. London, G. Nicol, 1796, 14½ x 12 3/8in. (36.8 x 31.5cm.), gilt framed.* Provenance: Old Maps & Prints Ltd, Bangkok, Thailand, c.1999* Condition: Good condition with strong colours. A little light spotting and slight cockling to sheet.
A suite of silver Kings pattern flatware Viner's Ltd, Sheffield, 1963, eight settings comprising of eight each of dinner forks and knives, starter forks and knives, fish forks and knives, eight soup spoons, eight dessert spoons, seven demitasse spoons, four serving spoons, cake slice, weighable silver 81.35 tr.oz. (68)* Condition: One demitasse spoon missing, overall good, very light wear, knives, fish slice, fish forks with steel blades (not weighed)
Utagawa Hiroshige (Japanese, 1797-1858) three woodblock prints, including Tama River in Musashi Province, from the series 'Thirty-six Views of Mount Fuji'; 'The mouth of the Nakagawa River' from the series 'One Hundred Famous Views of Edo'; and one other, 13 x 8¾in. (33 x 22.2cm.); together with a woodblock of a kabuki actor, 13 5/8 x 9¼in. (34.5 x 23.5cm.), all framed and glazed. (4)* Condition: All with acidic mounts.- Tama River: Some fading. Two small patches of toning to paper. A few light spots, two insect holes to sky.- Nakagawa River: Some time staining. Colours very slightly faded. Rubbed patch to paper just below inscribed label upper right.- Temple: Glass cracked. Good condition - reds slightly faded.- Actor: Strong colours. Worn patch to colour upper left corner (possibly print error).
William Prinsep (British, 1794-1874) 'English Troops at Sandooce'watercolour, inscribed 'No.16' lower left, inscribed as title on original mount from an album and dated 4th April, plain oak frame6½ x 9¾in. (16.5 x 24.75cm.)* Provenance: Spink, King Street, London, Stock No. K3 7688* Condition: Not examined out of frame - may have been laid down. Very slightly toned, light speckling to top corners. Slightly faded.
John Gould (British, 1804-1881) and H. C. Richter hand-coloured ornithological lithograph, 'Pucrasia Xanthospila' (Koklass Pheasant), from The Birds of Asia, c.1836, 15¼ x 22in. (38.75 x 56cm.), mounted, unframed.* Provenance: Old Maps & Prints Co. Ltd., Bangkok, Thailand* Condition: Strong colours. Crease and small tear at upper right corner. Minor losses to other corners and some toning along margins. A few very light fox marks.
Three reference books on Chinese snuff bottles comprising Perry (Lilla S.), Chinese Snuff Bottles, The Adventures & Studies of a Collector, pub. Charles E. Tuttle Co., 1969, 8th printing, with slip case; Stevens (Bob C.), The Collector's Book of Snuff Bottles, pub. Weatherhill 1976, 1st ed., with slip case; and Chinese Snuff Bottles, A Miniature Art from the Collection of Mary and George Bloch, exh. catalogue, pub. Hong Kong Museum of Art 1994. (3)* Condition: - Perry: Heavy foxing to free end papers. Otherwise good - dust jacket cockled.- Stevens: Slip case rubbed. Otherwise VG.- Bloch: Light scratching to d/j. Otherwise VG.
A Victorian silver six division toast rack Robert Garrard II, London, 1859, stamped with retailer 'GARRARDS Panton Street LONDON', having seven trefoil bars and central shaped handle, raised on ball feet, engraved with initial 'M' with bird above, 6¾in. (17.2cm.) long, heavy gauge, weight 15.9 tr.oz.* Condition: Light wear only, flea-bite / minute dents to edges etc, good.
A set of three Georgian silver fiddle pattern serving spoons Robert Peppin, London, 1818, terminals with engraved shaped family crest, 8¾in. (22.3cm.) long, together with two further fiddle pattern spoons, weight 15.0 tr.oz. (5)* Condition: one of the extra spoons having bent bowl at stem end, otherwise good with light surface wear.
A pair of Laure Japy Limoges trinket boxes of circular domed form in blue and gold gilt, having pull-off covers with pineapple finial, 3½in. (8.9cm.) diameter, together with a pair of Limoges shaped oval dishes, decorated with flower sprays, 6¾in. (17.cm.) wide. (4)* Condition: All very good, very light wear only.
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534338 Los(e)/Seite