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Preisdatenbank abonnierenRoyal Crown Derby china paperweight "Royal Cat" pattern and seven other Royal Crown Derby china paperweights to include model birds, duck, penguin, squirrel and a small clown (8) Condition ReportOwl ornament with large loss to back. No stopper in cat or clown. Remainder with gold stoppers, thrush looks to have a slightly more silver stopper, but it is difficult to tell.Condition of pieces except the owl, generally okay, some light scratches.
Charles Jones (1836 - 1892)Oil on canvasStudy of Suffolk (?) sheep on hillside, monogrammed and labelled to gilt frame, with Haynes Fine Art label verso 32.5 x 48 cmsCondition ReportGenerally okay, perhaps slightly yellowed. Some grey scratch type marks to the sky when viewed under UV light. From the estate of a private vendor. Possibly re-lined.
Robert HillingfordOil on canvas"Triumphant Reception" Napoleon arriving on horseback within fortified courtyard, greeted by military band and soldiers. 48 x 73 cmsCondition ReportMJM postage (found on our website) MBE Cheltenham. Picture not bad condition. Some light scratches, perhaps slightly discoloured. Signature half hidden in frame. Possible relined. See images.
HO/OO Gauge. A mixed group of mainly Railway related kits in original packaging including 4 Ratio Trackside 515 Island Platform Canopy kits, Faller Roll On/Roll Off and Traffic Light sets, a Keyser Locomotive kit and a Peco Truntable kit and Starter Track Set together with a small quantity of unboxed track sections, 3 bagged cardboard building kits by Hornby and SuperQuick, a boxed Lima 302893 Wagon with parts detached and a Revell Boeing 737 aircraft kit, also boxed. Conditions vary with items in opened packaging unchecked for completeness. (15)
A Distler (Germany) tinplate Mercedes '4 Gear Car', approximately 25cm long, with clockwork mechanism. original key, instruction sheets. The car appears generally G but does have some light surface corrosion on the blueish grey paintwork, the base of the model being quite clean, with the clockwork drive mechanism appearing to function as it should when tested. The colourfully illustrated box which accompanies the model is in a somewhat distressed condition with tears and several sections of the box, including both end flaps, being separated.
An Edwardian stained oak dresser, the base enclosed by a pair of rectangular moulded panelled doors and two frieze drawers, on cabriole supports, beneath a recessed open plate rack with two fixed shelves, together with a small walnut table cabinet enclosed by a pair of panelled doors with foliate detail over two drawers, and a medium to light oak drop leaf dining table, raised on four turned legs united by a central stretcher to seat 4/6 (3)
A set of six teak framed dining chairs (probably G-Plan) with light brown upholstered drop in seats and padded backs, raised on square tapered forelegs, together with a teak and stained beechwood nest of occasional tables, the outer with rectangular top, housing four sliding oval drop leaf folding tables
* Home (Robert, 1760-1836). The Prayer of Hope, Grant Possibility, oval black ink and watercolour on thick paper, depicting an allegorical scene with classical female figure in a landscape, with decorative outer border incorporating title at head and foot, 17.5 x 13.5 cm (7 x 5.25 ins), laid down on old backing paper, with attribution in contemporary sepia ink lower right 'by Mr. Home', backing paper cut away on verso to reveal early pencil inscription 'Robert Home 1760-1836, pupil of Angelica Kauffman', together with a fine female head & shoulders study profile to left, entitled 'Ariadne' and initialled 'MG' in contemporary ink to lower right and left respectively, pencil and watercolour on wove paper, a few light marks, and some paper adhesion to tips of left corners and verso, sheet size 23.5 x 19.5 cm (9.25 x 7.75 ins), plus ten other 19th-century English watercolours including 2 by W. Gunton, both of gun dogs and game birds, and some decorative floral borders and motifs (Qty: 12)
* Quilts. A patchwork quilt by Mrs. Twine, Sussex, early 20th century, a hand-stitched patchwork bedcover, with all-over star pattern, composed of a wide variety of printed cotton fabrics, with pieced 20 cm border, backed with varying pieces of brushed cotton (some light staining), butted edge, with maker's sepia ink fabric label stitched to one edge 'Mrs. A. Twine, 1 Cobden Place, Hailsham, Sussex', approximately 237.5 x 213 cm (93.5 x 84 ins), together with another early 20th century English patchwork quilt, made of various printed cotton fabrics, with a pattern predominantly of wide and narrow zigzags and wild goose chase motifs, in shades of pink, red, blue, and cream, backed with blue and white printed cotton, hand-quilted overall in pale cotton thread, butted edges machine-stitched, dust-soiled, some brown marks, and occasional edge-fraying to motifs, approximately 254 x 254 cm (100 x 100 ins) (Qty: 2)
* Spencer Noel (1900-1986). Charing Cross, London, Le Pont Marie Paris, & Four Arches, Moseley, 3 etchings each printed with light plate tone, each signed and titled in pencil by the artists, plate size 18.3 x 23cm (7.2 x 9ins) or similar, matching frames, glazed, together with 3 other etchings, various, including: Geoffrey H. Wedgewood, Piazza Campo de'Fiori, Rome, 1926, signed dated and titled in pencil, Fred Richards, Venice, etching with dry point, signed and titled, Ernest M. Dinkes, Caudebec sur Seine, 1927, signed, dated, titled and inscribed to Kenneth Holmes in pencil by the artist, all framed and glazed (Qty: 6)
* Brustolon (Giovanni Battista, 1712-1796). Canalis majoris caput qua Venetias ingreditur, [1766], etching with engraving on laid paper, from the series of 12 views entitled Feste Ducali, o r Solennita Dogali, published by Ludovico Furlanetto, with title and publisher's imprint below, numbered 4 to right hand corner of the plate, some light spotting, mainly to margins, plate size 32 x 46 cm (12.5 x 18.2 ins), sheet size 47 x 60 cm (18.5 x 23.5 ins), together with an etched landscape published by Pierre Drevet (1664-1738), after S.B., framed and glazed (Qty: 2)NOTESA view of the Grand Canal with Santa Maria della Salute to the left after Canaletto, from the second series of views by Brustolon, published by Furlanetto 3 years after his first series of 12 engravings titled Prospectuum Aedium urbis Venetiarum.
* Dress. A printed cotton day dress, circa 1840s, pink and green floral pattern on a mottled dark cream and white ground, lined with muslin, tucked bodice with central vertical ruffle, terminating in a v-shape at waist, fastened with brass hooks and stitched loops, and some press studs, long sleeves with narrow cuffs, some holes, repairs, and later stitching, length 128 cm (50.5 ins), bust 83 cm (32 ins), waist 68 cm (27 ins), sleeves 52 cm (20.5 ins), plus a hand and machine-stitched cream moiré taffeta loose gown with high waist and cap sleeves, mid-late Victorian, press stud fastenings to front opening of bodice, shoulders covered by integral cream lace cape with arm slits, black velvet bows to latter and large matching bow on reverse of dress, hem trimmed with three bands of black velvet ribbon, and edged with the same, some wear, discolouration, and staining, length 163 cm (64 ins), bust 99 cm (39 ins), plus a late Victorian hand-stitched long cream wool skirt, gathered at waist and with linen waistband (lacking button), large tuck to hem above a wide embroidered scalloped floral border, worked by hand in cream silk thread, some light marks and one or two small holes, length 87.5 cm (34.5 ins), waist 64 cm (25 ins) (Qty: 3)
* Boitard, (Louis Philippe, active 1734-1760). Seated Gentleman Asleep, pen, brown ink, and grey wash on laid paper, light overall mount stain and some small scattered light spots, tipped-on later laid backing paper, sheet size 194 x 124 mm (7.6 x 4.8 ins), framed and glazed, with old printed label of Squire Gallery, Baker Street, Portland Square, London to verso, together with Cruickshank (George, 1792-1878) sketch of a Commedia dell'arte character , pencil on wove paper, with accompanying pencil annotations, unsigned, 14 x 12.5cm (5.5 x 5ins) mount aperture, framed and glazed (Qty: 2)
* Dress. A brocade gown of mid to late 18th century Spitalfields silk, circa 1835-1840, hand-sewn dress of silk brocade, with woven flower sprays in shades of pink, purple, and olive green, on an ivory striped ground figured with floral and foliate sprays (some colour run), calico-lined fitted boned bodice with v-shaped waist, back with metal hooks and sewn loops, long wide sleeves with off-the-shoulder gathers, a pair of patterned mother-of-pearl buttons on each cuff, long gathered skirt with one pocket, generally stained and worn, with areas of silk perished, length 138.5 cm (54.5 ins), bust 82 cm (32 ins), waist 64 cm (25 ins), sleeves 49.5 cm (19.5 ins), together with a 1930s black & white photograph of the gown being worn by a seated lady, plus a hand-sewn open robe with pleated back of Spitalfields silk, circa 1760s-70s, with sleeves removed and shoulder straps attached (partly sewn, partly pinned), woven with coloured flower sprays on a cream ground figured with foliate tracery, some light marks, but silk predominantly bright and robust (Qty: 2)
* Coornhert (Dirk Volkertsz, 1522-1590). The Parable of the Great Banquet: The Second Excuse, 1558-59, copper engraving after Maarten van Heemskerck, on laid paper (with indistinct watermark), published by Hieronymus Cock, small wormhole to centre of the image, minor waterstain to lower centre, a good impression, trimmed to platemark, sheet size 20.4 x 24.8 cm (8 x 9.75 ins) window-mounted, together with Sadeler (Jan, or Johannes Sadeler, 1550–1600). The Descendants of Lamech (from the series The Story of the First Men), 1583, engraving on fine laid paper, after Maarten de Vos, the second state (of two) with plate number 9 added to lower margin of the image, trimmed outside the platemark, laid down on archival paper, sheet size 21.3 x 26.8 cm (8.4 x 10.5 ins), light soiling, window-mounted, plus an etching by Daniel Hopfer (circa 1470-1536), Reliquary with a Pieta, the second state (Bartsch 17, ii), sheet size 24.3 x 16.7 cm (9.6 x 6.6 ins), window-mounted, and other Old Master prints, various, including 2 large etched landscapes by Herman van Swanevelt, 2 small landscapes by S. Le Clerc, Georg Pencz (circa 1500-1550), Virginia, circa 1546/47 (Bartsch 84, Hollstein 125), with margins unevenly trimmed touching the image, 2 battle scenes by Stefano della Bella, a mezzotint by Christian Rugendas after G. P. Rugendas dated 1696, a woodcut of Christ Purifying the Temple, from Speculum Passionis, 1507 by Hans Schaufelein (printed text to verso), etc., some mounted (Qty: 16)NOTESProvenance: Estate of Michael Jaffe (1923-1997). Hollstein 345 Coornhert) and 25 (Sadeler)
* Painted fabric. Three pieces of hand-painted fabric, English, 18th century, three matching cotton fragments, painted by hand in shades of bue, pink, purple, and black, on a natural cotton ground, two hand-painted with a cornucopia of flowers, one with additional joined piece below featuring bows and swags, some small holes (with occasional stitched consolidation) and light toning, largest 92.5 x 53 cm (36.5 x 21 ins), smallest 46.5 x 57 cm (18.25 x 22.5 ins), each stitch-mounted onto a double backing of cotton and linen, the other painted with a large oval posy of flowers tied with a bow, forming part of a large lined cushion cover, faded and lightly toned, 53 x 43 cm (21 x 17 ins), together with a hand-painted Regency bridal stole, circa 1800, silk gauze, delicately painted in shades of pink, blue, brown, green, and purple, and incorporating onlaid beads and spangles, with a heart-shaped foliate wreath at each end enclosing a pair of love birds and a quiver of arrows, above a floral swag and bows, with foliate border around edge, lined with muslin, and edged with cream satin ribbon, spotted, worn, and fragile, with losses, 359.5 x 41 cm (141.5 x 16.25 ins), with pinned paper label inscribed in early manuscript 'My dear Mother's work C. Williams' and below in another hand 'For Arthur Seymour Hope his Great Grandmother's work EHope 1877', plus another early manuscript label attached with thread 'Painted by M. F. Weinne(?) Seymour's Gt Grand Mother her Wedding Scarf', plus a set of three hand-painted decorative wall hangings, early 20th century, watercolour on silk gauze, depicting dog roses and butterflies, chrysanthemums and virginia creeper, and wisteria respectively, spotted and worn, 175 x 52 cm (69 x 20.5 ins), together with another slightly larger wall panel similar, painted in thick gouache on silk satin, depicting violets and heather, paint flaking in places, each backed and sewn onto batons (Qty: 8)
* Embroidery. An embroidered cloth, English, late 18th century, cream damask cloth of three pieces, embroidered overall with sinuous stems of large flowers and leaves, hand-stitched in silk and metal threads, in shades of pink, green, and brown, using various stitches, including couching, long and short stitch, and stem stitch, some very minor light marks and occasional pulled threads, with later border of green silk (wider at one long edge) and cotton backing, overall size 120 x 147.5 cm (47.25 x 58 ins) (Qty: 1)NOTESA well-preserved piece of early embroidery, which would form an attractive furnishing piece, for example as a wall hanging.
* Cristall (Joshua, 1767-1847). Apollo and the Muses, 1816, pen lithograph on pale cream wove paper, image size 31 x 46 cm (12.25 x 18.2 ins), with margins, sheet size 42.5 x 55.5 cm (16.75 x 21.9 ins), some minor marks and light soiling, restrengthened to edges on verso, framed and glazed (Qty: 1)
* English School. Girl with Dog, circa 1660-1700, oil on canvas, full-length portrait of a young girl seated in a landscape against a backdrop of trees with a sunset vista of a large parapeted country house beyond, wearing a blue-green silk gown with white cuffs and frilled neckline, a scarlet cloak, and a triple-strand pearl necklace, with a King Charles spaniel nestling in her lap, her left hand indicating a vase of Dutch School-style flowers, including tulips and roses, some light surface marks and unobtrusive craquelure, late 19th or early 20th century re-lining, old Christie's auction stencil number on stretcher '304VA', 105.5 x 83.5 cm (41.25 x 33 ins), period gilt frame (Qty: 1)NOTESProvenance: Believed to have been part of the collection of Sir Robert Peel, 1788-1850, Dosthill Hall, near Tamworth, Staffordshire. Tolson Family (resident at Dosthill Hall from the 1850s onwards), by descent to Rodney Tolson Gausden (1923-2015), of Sutton Coldfield.
* Embroidery. A large silk rococo bed cover, early 18th century, large bed cover, lavishly embroidered in coloured silk threads, and incorporating silk ribbon onlays, on a pieced pale blue silk ground, with wide border comprising courtly figures, including a falconer in doublet and hose carrying a bow and a figure with a dog, urns of flowers, exotic birds, including a peacock, scrolls and volutes, and palmette and drawer handle motifs, hand-stitched in padded satin stitch, long and short stitch, latticework, etc., mainly in shades of dark cream, yellow, pink, and green, silk fringed edging, backed with later gold brocade, and interlined with old linen, with velcro stitched along one edge and old rufflete tape along another, generally worn, with silk ground perished and loss to stitching and ribbon in places (some period darns), occasional light staining, one side with three pairs of original gold metallic tassels (a pair at each corner and one in centre of side), one pair near-detached, tassels lacking on opposite side, 157.5 x 203 cm (62 x 80 ins), together with an embroidered altar cloth runner, probably Spanish, late 18th/early 19th century, hand-stitched in metallic silver thread and coloured silks on a gold silk ground, depicting a central 'IHS' and sacred heart motif within flower garland and sunburst, and a basilica at each end, with three spires and rose window, silk ground perished in places (but embroidery mainly intact), backed with yellow satin, tack holes at edges, 48 x 251.50 cm (19 x 99 ins), plus two pieces of metallic embroidery, comprising a sacred cloth of silver bullion embroidery and spangles on a pale turquoise satin ground, with fringed edging, late 19th century, and a mirror/picture frame of gold metallic thread and spangles, early 20th century (repurposed base fabric with printed date 1918 on verso) (Qty: 4)
* Handkerchiefs. A collection of handkerchiefs, 19th and early 20th century, 17 whitework and lace cotton handkerchiefs, variously embellished with embroidery (including figures and buildings, names or monograms, love birds), drawn threadwork, lace inserts and borders, one with ink stamp 'M.M. Gandy', and two with Traphagen School printed fabric label attached with pin, various condition, largest 51 x 52 cm (20 x 20.5 ins), together with Victoria (Queen of Great Britain & Ireland) , A large white linen table napkin used at the Lord Mayor's Banquet at the Guildhall given in honour of Queen Victoria's Coronation , woven with the Arms of the City of London and a city scene with London Bridge, incorporating the words 'Lunden' and 'Temeswar', with an early manuscript note 'Mrs. Bradford (then Miss Dornville) was permitted to dress up as a waitress & so obtained a sight of the show & got one of the napkins as a souvenir', a few small brown marks, 80 x 67 cm (35 x 26.5 ins), plus a set of thirteen good quality starched white damask napkins, with all-over design of national shields and George V's cypher, and embroidered initials 'RA' to one corner, a few light marks, but in very good condition, 68.5 x 68.5 cm (27 x 27 ins), and a white embroidered cotton cloth, with border of flowers, leaves, and barley, and a crest at one corner with ribbon cartouche lettered 'Quand Meme', 80 x 85 cm (31.5 x 33.5 ins) (Qty: 32)
* Native American. A pair of patchwork panels, late 19th/early 20th century, a pair of hand-stitched matching panels, each depicting a vulture with outstretched wings, composed of various cotton and linen fabrics, in blue, red, black, white, beige, and green, some light soiling and fading, worn in places (with some minor losses), backed with dark blue cotton, 58 x 135 cm (23 x 53 ins) (Qty: 2)
* Fossati (Davide Antonio, 1708-1791). XXIV Tabulas Olim a Marco Ricci Bellunensi Colorib. Expressas, quae extant in aedibus Joseph Smith, et Antonii Mariae Zanetti, D.A.F. qui eas del incid. et in lucem edit, Venice, 1743, decorative engraved title, and 17 (of 24) fine engravings on laid paper after Marco Ricci, (plates numbered III-VII, X-XI, XIII-XV, XVII-XXIII), some minor soiling and pale spotting to margins only, a few light dampstains to extreme edges (generally unobtrusive), plate size 25 x 35.5 cm (9.75 x 14 ins), sheet size 36 x 51.5 cm (14.25 x 20.25 ins) (Qty: 18)NOTESCicognara 2094; Sonino, Marco Ricci (1991), pp. 243-255. 'Executed with gusto' according to Cicognara, Fossati's fine engravings illustrate the painted designs executed by Marco Ricci formerly in the renowned collection of Consul Joseph Smith (later purchased by George III in 1762), and Antonio Maria Zanetti. The series is dedicated to Count Francesco Algarotti. Marco Ricci produced many landscape paintings executed in tempera or gouache on leather, typically measuring 31 x 45 cm, 33 of which are now in the Royal Collection, previously owned by Joseph Smith, a friend and contemporary of the artist.
Kunisada I (Utagawa, 1786-1865, & Kunisada II, 1823-1880). Flourishing Fireworks at Ryogoku Bridge (Toto Ryogokubashi Kawabiraki Hanei Zu), by Kunisada I, 1858, oban tate-e colour woodblock triptych, overall size 35 x 73.5 cm (13.75 x 29 ins), together with Genji and Beauties before waterfall at Saga, by Kunisada II, 1867, oban tate-e colour woodblock triptych, overall size 35 x 73.5 cm (13.75 x 29 ins), plus Evening Stroll by Ryogoku Bridge, by Kunisada II, oban tate-e colour woodblock triptych, overall size 35 x 73.5 cm (13.75 x 29 ins), and 9 other colour woodblock triptychs, mainly by Kunisada II, depicting Beauties on a balcony playing music, Letter Writing, Beauties playing musical instruments beneath blossom, Evening scene at a festival, Tea and music making, By the river with Mount Fuji in the distance, Evening Stroll, and Group of women with Fans, all colour woodblock triptychs, a few with light dust soiling to folds, generally in good condition, one or two very minor marks to outer sheets only, original upper wrapper with remains of paper label present only, all joined concertina-style, (35 x 24.5 cm, 13.75 x 9.7 ins when folded) (Qty: 1)
* Shawls. A large printed silk crinoline shawl, circa 1860s, fine cream silk, with wide border in pink, green, and yellow, featuring floral and geometrical motifs, some small holes and marks, minor light discolouration in places and one area of colour bleeding, knotted silk fringing to short edges, 173 x 343 cm (68 x 135 ins), together with two other printed fine silk shawls, one with all-over pattern of repeating oval floral motif within sinuous foliate lattice, in pink, maroon, and yellow, and a border of palmettes in red and green, 11 cm tear along one side at extreme edge, one corner with neat repairs/insertions, the other burgundy, with wide floral border, worn, with a number of holes, plus another printed shawl and three stoles (Qty: 7)
* Piper (John). Tombs, Lancashire: David Whitehead & Sons Ltd., 1956, screen-printed rayon, with pattern of church monuments, selvedge to each side printed with designer and manufacturer, occasional light marks and a few brown spots, a few tiny blemishes to left-hand edge (some glue spots and a manufacturing flaw?), 122 x 438 cm (48 x 172.5 ins) (Qty: 1)NOTESAn unusually large piece of unused John Piper fabric.
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![* Brustolon (Giovanni Battista, 1712-1796). Canalis majoris caput qua Venetias ingreditur, [1766], etching with engraving on](https://cdn.globalauctionplatform.com/c63196c6-290a-4918-92fb-aae10104027c/a1ffdf6b-9e08-4743-9543-aae30118f863/468x382.jpg)
