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534325 Los(e)/Seite
Los 370
POSTCARDS - ASSORTED Approximately 275 cards, including real photographic views of County Buildings, Forfar; Clifton Suspension Bridge; The Fighting Cocks, St. Albans; The Priory, Chilton Polden (by Whitby, Light & Lane, Bridgwater); Jephson Gardens, Leamington Spa; and a military football team portrait; with views of The Gorge, Hurst Hill; Tettenhall Road, Wolverhampton; Church Road, Tettenhall; Fountain Garden and Civic Centre, Southampton; Chapel Ash, Wolverhampton; and others, including greetings and comic, (album and loose).
Los 10
*Attributed to John Cleveley (c.1712-1777). Marine Landscape of Naval ships approaching Greenwich Dockyard, mid/late 18th century, oil on canvas showing Naval ships at sail on the Thames at Greenwich with rowing boats in the foreground, relined, some crazing to paint surface, areas of discreet retouching and light overall toning, 66 x 91.5cm (26 x 36ins), 19th century gilt moulded frame (1)NB: The vessel ship firing the salute on the far left of the image is saluting King Charles who is in the small boat on the right of the image with the canopy and oars. The King is travelling from his Royal barge to his Royal yacht.
Los 114
*Goya (Francisco de, 1746-1828). Self Portrait, (Plate 1 from Los Caprichos), 2nd edition of circa 1855, etching with aquatint on off-white wove paper, probably the 5th edition, published by the Calcografia de Real Academia, Madrid, between 1881 and 1886, some light marks and minor soiling, mainly to margins, plate size 21.5 x 15.4 cm (8.4 x 6 ins), sheet size 32.7 x 24.2 cm (12.8 x 9.5 ins), hinge-mounted Harris 36, III, 2. Delteil 38 iv/iv. (1)
Los 117
*@Gurschner (Herbert, 1901-1975). Tyrolean Figures, 1924, colour woodcut on light brown paper, signed and dated in pencil 'H. Gurschner Tirol '24', and inscribed 'Handdruck', image size 11 x 105 cm (4.3 x 4.1 ins), sheet size 25.3 x 21 cm (10 x 8.25 ins), pale mount stain, old card mount (1)
Los 123
*Kernoff (Harry Aaron, 1900-1974). Leprechaun, 1935, woodcut on wove paper, signed, titled and dated in pencil, short closed tear to lower left blank margin, image size 19.9 x 14.9 cm (7.8 x 5.8 ins), sheet size 27.7 x 23 cm (10.9 x 9 ins), together with Head of Casement, 1935, woodcut, signed, dated and titled in pencil, light mount stain, image size 21 x 15 cm (8.3 x 6 ins), and Breacadh an Lae, 1931, woodcut, signed and dated in ink lower right, light stain to lower left blank margin, image size 25 x 19 cm (9.8 x 7.5 ins), sheet size 31 x 25.5 cm (12.25 x 10 ins) (3)
Los 145
*@Tunnicliffe (Charles Frederick, 1901-1979). Cattle Market, Waters Green, Cheshire, circa 1935, etching on cream laid paper, from the published edition of 75 impressions, signed in pencil, and numbered 34/75 to lower margin, a few light spots, plate size 20.8 x 27.7 (8.2 x 10.9 ins), with margins, framed and glazed (1)
Los 369
*Ancient Egypt. 19/20th Dynasty, light blue faience female worker Shabti of Ast (Isis), the mummiform figure modelled wearing tripartite wig, wide collar necklace and bracelet, arms crossed across chest holding a pair of hoes, the front with vertical text in black (illuminating the Osiris, lady of the house, Ast (Isis), true-of-voice), broken at the waist, 13.5cm high Provenance: Purchased from Bron Collector Antiquities, London 2012. (1)
Los 397
*Ancient Egypt. 19th Dynasty, light turquoise faience mummiform worker Shabti of Ta-hen-Djehouty (mother of Nesikhonsu and wife of Pinjem II), modelled wearing tripartite wig coloured in black with inscised band at lower of front lappets, moulded facial details, holding a pair of hoes highlighted in black, bag on back with cross hatching, vertical inscription to the front translating as 'the Osiris, Ta-hen-Djehuty, the justified', 11cm high Provenance: Grebaut's excavation of Deir-el-Bahri Cache 2, 1891; private collection, London, formed in the 1970s and 1980s; Christie's, April 2006, lot 254 (part). (1)
Los 4
*Circle of Simone Cantarini il Pesarese (1612-1648). Mother and Child, circa 1620-30, red chalk on laid paper, 15.2 x 9.4 cm (6 x 3.7 ins), remains of light blue backing paper to verso, later gilt frame, glazed, with printed label of Chapman Brothers, Picture Restorers, 241 King's Road, Chelsea to verso (1)
Los 400
*Bag. A Proven‡al printed cotton bag, fabric circa 1870s (but probably later construction), hand-sewn gathered pouch bag, fabricated on metal frame from yellow cotton printed in Provence with red and green flower sprigs, matching limp handles and large covered button closure, gathered braid trim and closure loop for button, metal frame showing at corners, minor area of light soiling on front, and small mark on back, lined in pale green silk (marked and some small holes), with inside pocket, outer fabric and lining both a little torn at hinges, 30 x 46cm (12 x 18ins) (1)
Los 403
*Chinese. A large Chinese dragon tablecloth, late 19th century, fine white linen cloth, with elaborate drawn threadwork and two large five-clawed dragons embroidered in white silk thread, some faint stains, 126 x 132cm (53.5 x 52ins), together with a smaller Chinese dragon tablecloth similar, with large five-clawed dragon in centre, some light marks and minor splitting in places, 88 x 88cm (34.5 x 34.5ins), plus a quantity of household linen, comprising cloths, napkins, doilies, lace, runners, etc., including a large embroidered cream table cloth with tape lace inserts and border, plus two fur tippets, various sizes and condition A magnificent piece of handworked linen. The dragon was a symbol of power, strength, and good luck, and historically the five-clawed dragon was reserved for use by the Emperor and his sons. (a carton)
Los 404
*Chinese robe. An embroidered silk robe, early 20th century, blue silk robe with matching lining, figured with large circular motifs, wide embroidered edging and braid, wide sleeves with additional embroidered border depicting peacocks, weeping willows, blossom trees, bamboo, etc., in bright colours on a cream silk ground, some light soiling, one seam with a few stitches missing, a few very small holes (a couple with tiny patches on verso), sleeves 58.5cm (23ins), length 136.5cm (53.75ins) (1)
Los 413
*Dress. A lady's bodice, circa 1840s, printed wool challice bodice, with wavy pattern of white lines and pink, green, and yellow floral sprays, on a mottled purple ground, fitted and boned, with v-shaped waist, long narrow curved sleeves with scalloped overlay and rosette to each shoulder, cuffs fastened with 3 hooks and sewn loops, front and sleeves edged with fringed trim, rear fastened with 11 hooks and eyes, and with rosette to waist, calico lining with contemporary indistinct name in sepia ink, and stitched initials 'PA', rosette lacking to boat neck, sleeves with some light staining in places, lining somewhat spotted, bust 72cm (28.5ins), sleeves 48cm (19ins), length 33cm (13ins), together with a later fitted coat of the same fabric, with hand and machine-stitching, small collar, long slim slightly curved sleeves with pleated cuffs, 12 hand-sewn buttonholes, buttons sometime removed, hem with double border of pleats, one pocket, lined to waist in calico, with stitched initials 'PA' to neck, bust 76cm (30ins), sleeves 44.5cm (17.5ins), length 122cm (48ins), plus a Victorian skirt in fine sprigged cotton, close-gathered at rear with short train Two attractive matching garments in remarkably well-preserved condition, the coat eminently wearable. (3)
Los 415
*Embroidered cloth. A keepsake patchwork tablecloth, Welsh, circa 1899, alternating pale pink and pale blue linen squares, each embroidered in matching silk thread with a name, initials, emblem, greeting, or epithet, including tennis rackets, a fan, cricket bat and stumps, a heron, musical notation, an anchor, etc., and some place names, e.g. 'Tanygraig', 'Pen-y-graig', 'Rhymney', 'Zoar Chapel Baptist Bazaar', two squares with embroidered date '1899', backed with pale blue linen (and with some additional embroideried contributions on verso), edged with pale pink frill, some light discolouration in a few places, some minor holes and loss to a few squares and frill at one edge, 241 x 207cm (95 x 81.5ins) (1)
Los 434
*Infant's clothes. A collection of handmade late Victorian garments belonging to Celandine Kennington, comprising: a hand-stitched wide-collared cream cape of fine rib cotton lined with silk, collar, front of cape, and lower hem trimmed with a triple layer of lace, wide satin ribbon ties at neck, collar with a few tiny holes and some light discolouration, length 52cm (20.5ins); a long cape similar, some staining and holes, length 96.5cm (38ins); a christening gown of net lace over satin, length 94cm (37ins); two whitework babies' bonnets; and a pale blue ribbon sash Provenance: Celandine Kennington (1886-1975) and thence by descent. Celandine was the wife of Eric Kennington, illustrator of T.E. Lawrence's 'Seven Pillars of Wisdom'. Eric and his wife had a close relationship with Lawrence. Indeed, Celandine, during times of depression, had leaned on Lawrence emotionally and felt herself greatly helped by him, so much so that she said he had saved her life. When Richard Aldington's scandalous book about Lawrence was published in 1955, the Kenningtons were staunch in support of their friend. Celandine even contributed an article to the journal 'Housewife' in which she counteracted what she called "Aldington's drab dirt", and particularly the accusation that Lawrence hated women. (6)
Los 435
*Japanese kimono. A Japanese kimono, late 19th/early 20th century, dark cream heavy satin kimono, with all-over design of chrysanthemums stitched in ivory silk thread picked out in metal threads, sleeves with stitched tassel detail, lined with ivory silk, padded hem, occasional light marks and hem a little soiled, length 153cm (60ins), together with another embroidered kimono similar, ivory silk, embroidered with all-over design of chrysanthemums stitched in ivory silk thread in pink, green, and cream, lined in ivory silk, occasional marks, including some brown staining to front, length 153cm (60ins) (2)
Los 436
*Morris (William). A large piece of 'Bird' fabric, Morris & Co., circa 1870s-1880s, Jacquard-woven woollen double cloth, with horizontal banded pattern of two pairs of mirrored birds with stylised floral and foliate motifs, in dark and light blue, green, orange, red, and pale yellow, a number of small and some larger holes, length 269cm (106ins), width between selvedges 133cm (52.25ins) Morris designed this pattern for the walls of the drawing room at his London family home, Kelmscott House, in Hammersmith, registering the design in 1878. It continued to be made after Morris & Company established textile production at Merton Abbey in 1881, and it was produced in three colourways. Morris himself referred to this type of fabric as "woven wool tapestry"; though technically not a tapestry weave, the effect of this heavy wool fabric when used as a wall covering would have been akin to that of a tapestry. (1)
Los 437
*Quilts. A large Marcella bedcover, circa 1880s, thick heavy cotton, machine-stitched with all-over pattern, comprising central roundel with star, flower tendrils, and scallops, within a lattice square with floral urns at each corner, and wide floral and foliate borders, incorporating tassels, pineapples, floral urns, and dogs, initials 'JG' in each corner, edging on two opposing sides (frayed), join along one side (95cm/37ins in from side edge), largely discoloured, some repairs to edges (including 35.5cm/14ins repair to one edge), approximately 322.5 x 350.5cm (127 x 138ins), together with A large yo-yo quilt, circa 1920s, white cotton with all-over design of predominantly white yo-yos and occasional blue yo-yos in a diamond pattern (most faded), generally dusty and some small light stains, backed with white cotton, 241 x 208cm (95 x 82ins), plus another white cotton yo-yo quilt, each puff padded, 195 x 195cm (77 x 77ins), generally in good condition (3)
Los 438
*Quilt. A patchwork quilted coverlet, English, early 19th century, large hand-stitched bedcover, backed with white cotton, composed of white cotton squares and rectangles alternating with printed cotton squares, latter predominantly in shades of brown, green, and pink, with touches of orange and blue, hand-quilted overall in white cotton, wide border fabric printed with alternating stripes of marbling and floral tendrils, some light toning and age discolouration, and a few small holes, approximately 248 x 248cm (98 x 98ins) (1)
Los 439
*Quilt. A Welsh quilt, circa 1930s, reversible quilt of printed cotton with pink boteh motif on a green and white ground, printed cotton backing with pink boteh motif on a cream ground, hand-quilted overall in dark thread, forming various patterns, e.g. hearts, leaves, spirals, etc., hand-sewn edge, 177 x 190cm (69.75 x 74.75ins), together with A Welsh quilt, circa 1930s, reversible quilt of printed cotton with an abstract pattern of teal blue clustered circles, and puce and orange fronds, on a cream ground, backed in plain teal cotton, hand-quilted in teal thread, forming various patterns, including tear drops, four-petalled flowers, leaves, spirals, etc., hand-sewn edge, some minor fading and light soiling to reverse (mostly at edges), 158 x 201.5cm (62.25 x 79.25ins), plus another Welsh quilt, white cotton, hand-quilted overall in white, with machine-stitched edge, small hole at one edge, 183 x 222cm (72 x 87.5ins), plus another hand-stitched quilt composed of large irregular pieces of printed paisley fabric (4)
Los 440
*Quilt. A Welsh quilt, circa 1930s, reversible quilt of printed cotton with pattern of flowers, including roses and peonies, in shades of pink, mauve, blue, brown, and green, backed in pink cotton (some minor fading and faint discolouration), hand-quilted overall in white thread, forming a variety of patterns, including spirals, interlocking lunettes, fans, leaves, etc., hand-stitched edge, 189 x 198cm (74.5 x 78ins), together with another reversible quilt, composed of cream cotton with a wide floral border of lilies in deep pink and cream, backed with a similar printed cotton of lily flowers in paler shades of pink and cream, hand-quilted overall in pale pink thread, machine-stitched border, some light discolouration and minor marks, slightly edge-frayed in places and a few small holes, 201 x 232cm (79.25 x 91.25ins), plus another Welsh quilt, white cotton, hand-quilted overall in white, hand-stitched edge, edge-frayed, some faint stains and minor marks, 166 x 195cm (65.5 x 76.75ins), plus a patchwork quilt of pink and white squares incorporating a leaf pattern (4)
Los 441
*Quilt. A gold quilt, French, early 20th century, gold cotton sateen (some minor marks and one small hole), backed in cream cotton sateen (some overall light discolouration), hand-quilted overall in cream thread, with a variety of patterns, including lattice panels, circular motifs, drawer handles, and trefoil leaves, hand-stitched edge, 203 x 203cm (80 x 80ins), together with A patchwork quilt, English, early-mid 20th century, yellow and white cotton machine-stitched patchwork quilt, with lozenge and scalloped wheel design, backed with white cotton, hand-quilted overall in white thread, a few small marks, edges split and slightly frayed, 188 x 193cm (74 x 76ins), plus another 20th century patchwork quilt in yellow and white, with embroidered and appliqued pansy design (3)
Los 442
*Quilt. An embroidered quilt, probably English, early-mid 18th century, fine white linen, backed with a looser hand-woven white linen, elborately close-quilted by hand overall in dark cream silk thread, with a design of interlocking circles, with additional embroidery in the same thread using chain stitch, comprising a central circle enclosing large stylised flower and leaf stems on a lattice ground, surrounded by further similar floral and foliate decoration with entwining tendrils, date 'Decr. 1734' in chain stitch to one edge in slightly darker silk (later, but perhaps oversewing original date?), worn, with some loss and stitched repairs, original pencil design often visible where stitches gone, some light toning and staining, approximately 207 x 238cm (81.5 x 93.5ins) (1)
Los 450
*Shawls. A large Norwich shawl, circa 1830s/40s, square cream shawl with all-over woven pattern of floral motifs, in shades of pink, green, blue, and yellow, some small marks and holes, hand-knotted cream silk tassel edging (some minor breakage and loss), dimensions excluding edging 147 x 147cm (58 x 58ins), together with two other large square Norwich shawls, circa 1860s-80s, both printed, one with all-over pattern of tendrils and foliage, the other with all-over large boteh pattern, both with minor wear and light marks, each with tasselled edging (3)
Los 50
*Yu-Yun (1864-1938). Pine Trees and Cranes, & Two Birds and Flowers, a pair of watercolour and gouache paintings on light brown silk, each signed, dated and with artist's stamp, the first titled 'Long Life' and the second titled 'colourful lively prospect', each 19 x 29.7 cm (35.5 x 11.75 ins), matching gilt frames, glazed Provenance: Brought back to England by a missionary couple from Macao (information supplied by the current owner). (2)
Los 54
*Mughal School. Court scene with Princess and attendants giving gifts to assembled females, with dancing girls beneath, 18th century, pen, ink and watercolour on paper, heightened in gold within decorative borders, 39 x 34 cm (15.25 x 13.25 ins), a little light soiling to image and a couple of small areas of borders rubbed, framed and glazed (1)
Los 62
*Cumberland (George, 1754-1848). A collection of 12 watercolour views of Bristol and its surroundings, including the artist's home in Culver Street, Bristol, the River Avon, Lawrence Weston, Leigh Woods, etc. twelve watercolours on paper, most likely previously mounted in an album, ten of which are inscribed by George Cumberland to verso, including one signed and one initialled, 15.5 x 25 cm (6.2 x 10 ins) and slightly smaller, plus two small unsigned watercolour studies of a pair of hunting dogs, and a bird of prey, probably from the same album, 13.5 x 17 cm and similar, all now contained in clear plastic sleeves in a ring binder The inscriptions are as follows: 'Copy from Mr Townley's Possession, G Cumberland', 'Flower Garden, Autumn Afternoon at Lawrence Weston near Bristol, upper little Garden of Old Jenkins's Cottage, G.C.', 'Windmill Hill and Princes Buildings from the Avon bank Ashton side, afternoon', 'Cottage Tea House - Mrs Hall, Leigh Wood gate', 'Tea House, Leigh Wood gate', 'near Mr Gutch's Villa, with a view of St George's Church near Bristol', 'Boat builders sheds Bristol', 'Boat Builders Sheds from Quay', and 'Old Piggots way from the barn at Weston with the old fashioned garden which you will remember'. The two uninscribed watercolours depict Cumberland's house in Culver Street (identified from comparisons with other Cumberland drawings held at Bristol Museum & Art Gallery) and an Entrance to a Tunnel Walk. These watercolour views, probably dating from the 1810's and early 1820's, throw new light on Cumberland's life and art following his move to Bristol in 1807. A number of other small-scale views by Cumberland, some featuring similar locations (including Mrs Sarah Hall's Tea House at Leigh Woods Gate, Culver Street and Lawrence Weston) are now in the collection of Bristol Museum and Art Gallery, where there is also a sketch by George Towneley (or Townley) of Cumberland sketching in the woods, dated July 1811. A close friend and contemporary of William Blake, George Cumberland was a writer, collector, connoisseur and amateur watercolourist, and early member of the Bristol School of artists. He purchased a large number of Blake's illuminated books (including The Book of Thel, America, Europe, The Song of Los, Visions of the Daughters of Albion and Songs of Innocence and Experience), commissioned Blake to produce engravings up to the very end of his life in 1827, and introduced him to many important contacts, including Townley, and John Linnell (through his son George Cumberland junior). In 1803 Cumberland moved to Weston-super-Mare, Somerset, before settling at 1 Culver Street, Bristol, in 1807, where he lived until his death. Blake and Cumberland maintained an interest in each other's work, particularly in the technicalities of printing. Both also disavowed the established academic style of painting of the time (each having encountered it at the Royal Academy schools). Cumberland believed that painting should be done directly from nature - his small landscape studies deliberately avoid the tradition of the picturesque, and bear a similarity in style to those of his friend John Linnell. An important group of similarly inscribed watercolours by Cumberland, formerly contained in an album, were offered at auction in 27 lots by Christie's London in their sale Fine British Watercolours and Drawings on Tuesday 11 July 1989 (lots 22-48). 'From his address at 10, Culver Street (recorded in the Bristol Directory of 1814) Cumberland also went on numerous sketching trips, recording the appearance of Bristol and its environs accompanying professional artists on their trips to likely sketching spots in Leigh Woods or at Stapleton'. Cumberland describes one such trip to Leigh Woods in a letter to his son George of June 1818: 'I rose at 5 o'clock and set off alone for a walk to avoid the great heat I crossed the ferry, wound up the happy valley reading Dante's Paradiso, and setting down at each shady tree it was then 7 o'clock and the rabbits ran about me like tame ones' (extracted from the introduction to the catalogue section). Further background information compiled by the present owner is included with the album. (14)
Los 1223
A Louis XVI Bouillotte three light candelabra coaching lamp on a round base with a terracotta coloured shade, raised on a central adjustable column having a ring carrying handle to the top, raised on a camagna urn case in the same colourway, twin handled lionheads masks with gilt detailing. 62cm high 40cm diameter.
Los 191
Forty Seven (47) Pieces Vintage Blue Glass Dessert Set With Silver Overlay. Includes: 4 plates 8-1/2", 9 bowls 2-1/4" with 11 saucers, 12 sherbet glasses 3-3/4", 11 parfait glasses 6-1/4". Marked STERLING. Monogrammed. Condition: light wear or in good condition. Estimate: $200.00 - $400.00 Domestic Shipping: Third party
Los 48
Two (2) Piece Lot: Mid Century Lucite Stand and Lucite Upholstered Bench. Stand measures 16-1/4" x 13" x 12", bench measures 20" x 18-1/2" x 13-1/2". Condition: Bench has some crazing lower, light scuffs to top otherwise good condition Estimate: $100.00 - $200.00 Domestic Shipping: Third party
Los 180
Two (2) one pound .999 Silver Rounds. In plastic cases. Total weight approx. 24 troy ounces or 746.483 grams. Condition: Good condition with light toning to edges.These Coins ARE NOT Professionally Graded, We DO NOT Grade Coins, Please View Photos and/or Information to Make your Own Value Judgment as to the Condition of these Coins. Estimate: $300.00 - $400.00 Domestic Shipping: $38.00
Los 75
Vintage Italian Salavetti 18 Karat Yellow Gold, Round Brilliant Cut Diamond and Carved Ebony Dragon Hinged Bangle Bracelet. Signed, stamped 750 and Italian hallmark. Measures 1-1/2" W, 2-1/8" interior diam. Approx. weight: 50.9 grams. Condition: Light surface wear from normal use. Estimate: $1500.00 - $2000.00 Domestic Shipping: $30.00
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534325 Los(e)/Seite