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283287 Los(e)/Seite
Los 360
A Minton's Pottery Beer jug designed by Henry Stacy Marks, printed with portrait roundels and bands of stylised flowers and foliage, in colours on a white ground, a large tile plaque possibly Burmantoft's Faience, a small washbasin and jug in the manner of Dr Christopher Dresser, a larger jug, two vases and two brass pouring vessels, impressed marks, 22cm. high (jug) (9) Provenance The Douglas Johnson collection.
Los 366
A pair of Copeland octagonal cabinet plates by CFH, painted with orchids in colours, inside a turquoise band, a pair of Minton's portrait plates, a Cauldron plate decorated with highland cattle by D Birbeck and a collection of plates, printed factory mark, painted signature, 20.5cm diam. (a lot) Provenance The Douglas Johnson collection.
Los 386
James Elliott (Elliott of Newquay) Cornish Coastline with steam ship, watercolour on paper, framed, another watercolour of a coastal harbour scene, a watercolour of a rural village and a portrait of a lady by Walter Seymour, dated 1878, and a print of Hallowell by J C Armytage, all framed, main signed Elliott Newquay, 34 x 25cm (image), (5) Provenance The Douglas Johnson collection.
Los 412
Vladimir Tretchikoff (1913-2006) Balinese Girl, print, framed, Lady From Orient, Lady of Ndebele, Dying Swan three colour prints by Tretchikoff, Maya With a Boat a Collection Domaine Picasso limited edition colour print (105-500), and two portrait prints by J H Lynch, signed in the print top left 60 x 50cm (image of Balinese Girl), (7)
Los 597
Pictures and Prints - English School (early 20th century), Girl with Dolls, pastel, 49cm x 40cm; Francis Geake, Fingal Bridge, signed, watercolour; English School, Portrait of a Gentleman, signed, watercolour; Victorian prints in gilt oval frames; Continental School, Riverside Village, oil on canvas, 60cm x 130cm, etc, (10)
Los 190
* The County Fan. Compiled and Published June 30, 1794, by Sarah Ashton, No. 28 Little Britain, double-sided folding paper fan, the leaf engraved with an oval portrait of King Alfred the Great on obverse, with historical and topographical notes on the counties of England and Wales on both obverse and verso, occasional light fox spots, mounted on wooden sticks, 25.5 cm (10 ins)QTY: (1)NOTE:A scarce early fan in very good condition. Not in the Schreiber Collection.Sarah Ashton was a prominent publisher of fan leaves in the late 18th century, working from her premises in Little Britain, near St. Martin's Court, Covent Garden. In 1770 she was admitted into The Worshipful Company of Fan Makers. Other female fan makers of the time are represented in the records of the guild, but no examples of their work survives. Both the V&A and the British Museum have a number of fans and fan leaves by Sarah Ashton amongst their holdings, but this one does not appear.
Los 192
* Vienna. The Concordia Ball, February 1907, large wooden brisé fan, with very wide sticks (eleven inner and two guards), each of 12 sticks colour-printed with a signed portrait, verso printed ''Gesellschaft für graphische Industrie Wien -6/2'', engraved 'Concordia Ball February 1907' to upper guard and 'Sofien Säle' to lower guard stick, a trifle rubbed at extreme edges in places, but generally in good condition, 28 cm (11 ins) QTY: (1)NOTE:This scarce fan was issued for the occasion of the Concordia Ball on February 4th 1907, held at the Sofiensaal concert hall in Vienna. The fan is a result of a collaborative project between artists which was the subject of some attention in the contemporary press. The painters who took part are as follows (left to right): John Quincy Adams, Heinrich von Angeli, Arthur Ferraris, Paul (Paja) Joannovits, Isidor Kaufmann, Josef Kinzl, Carl von Merode, Kasimir Pochwalski, Alois Hans Schram, Eduard Veith, Raimund von Wichera and Charles Wilda. The Concordia Ball - which still takes place today - has been a social occasion in Vienna since the first was held in 1863, and in the 19th century and early 20th century it was considered an integral part of the Viennese social calendar.
Los 204
* Romney (George, 1734-1802). Young Woman Seated, pencil sketch on laid paper, with partial Strasburg Lily watermark to lower right corner, some marks and light discolouration, sheet size 275 x 190 mm (10 3/4 x 7 1/2 ins), inscribed in pencil (probably early 20th century) to lower margin verso 'Lady Hamilton by George Romney', and with small brown ink numeral 550 (crossed out and with 271 added in pencil above), glued along top margin only to later Whatman's Water Colour Sketching Board, early to mid 20th-century mount with ink and gilt-ruled border, with neat manuscript caption to lower edge 'Sketch by G. Romney. Lady Hamilton. Study for his portrait of her as Saint Cecilia', early 20th-century oak frame, glazed (46.5 x 38.5 cm)QTY: (1)NOTE:Provenance: Private Collection, Nottinghamshire, UK.This informal sketch, very likely done from life, has been authenticated by Alex Kidson, author of the catalogue raisonné of the works of George Romney, by email communication to the former owner in 2018, when the work was submitted through the Romney Society's 'Do I own a Romney?' online form.Kidson's reply includes the comments: 'In my opinion, this is an authentic Romney drawing. It only faintly resembles a composition of 'Lady Hamilton as Saint Cecilia', in which the arms meet only at the tips of the fingers and the gaze is more upwards than sideways. The subject would appear to be a homely middle-aged woman and not a girl of twenty as Lady Hamilton was when she modelled for the Saint Cecilia... it is a nice drawing...'. (a copy of the email is attached to the back of the frame).
Los 206
* Dutch School. Portrait of a gentleman, 1692, oil on canvas, head and shoulders portrait of a gentleman, wearing a red coat, grey silk cloak, and lace necktie, indistinctly signed to left-hand side, followed by 'pinxitt : 1692', re-lined, and some signs of restoration and filling-in, 60.8 x 57.5 cm (24 x 22 5/8 ins), plain gilt frame (78 x 75.5 cm)QTY: (1)
Los 208
* Russell (John, 1745-1806). Portrait of a lady, traditionally identified as Miss Boddington, 1791, pastel, three-quarter length portrait of a lady seated, half-profile to left, her right arm resting on a table beside a silver ink well, an open book in her left hand, wearing a white gown and grey-spotted white shawl, and an elaborate lace-trimmed bonnet, her head apparel and dress adorned with matching pale blue silk bows, against scarlet drapery revealing a distant vista of parkland, signed and dated upper left 'J. Russell R.A. / 1791', 90.5 x 69.7 cm (35 5/8 x 27 1/2 ins), gilt frame, glazed (107.5 x 87.3 cm) QTY: (1)NOTE:Provenance: Believed to be by descent until Mr and Mrs Michael Truell, Somerset, by circa 1957, hence by family descent to the present owner.Literature: N. Jeffares, Dictionary of Pastellists Before 1800, on-line edition: J.64.1192.An impressive work by Britain's foremost pastellist, demonstrating Russell's extraordinary facility for the challenging medium of pastels. The artist is known for his mastery of texture, sympathetic treatment of his subjects, and grasp of complex composition. By the time this work was painted the artist had already been working for three years as Crayon Painter to King George III, an appointment which completed his meteoric rise to fame.
Los 217
* English School. Portrait of a Boy, thought to be Thomas Bowman (1823-1906), circa 1830, oil on canvas, a portrait of a young boy, wearing a dark blue skeleton suit and a white blouse with frilled collar, craquelure, few tiny areas of paint loss, 35.5 x 30.3 cm (14 x 12 ins), gilt framed (47 x 42 cm), verso with typewritten provenance labelQTY: (1)NOTE:Provenance: 'A youth of the Bowman family. Ex collection Major Bowman, The Manor House, Alysham [i.e. Aylsham], Norfolk' (label).Most likely a portrait of Thomas Bowman, born at Hilgay in Norfolk to John Bowman (1778-1832) and Mary Heydt (1781-1848).
Los 245
* Richmond (George, 1809-1896). A Sleeping Wayfarer, 1830, watercolour heightened with white and body colour over pencil, with pen and brown-black ink on grey paper, depicting a robed male figure seated on the ground and leaning on a rock beside trees, monogrammed lower left and dated lower right in sepia ink, sheet size 13.2 x 11.4 cm (5 1/4 x 4 1/2 ins), window-mounted into thick archival cream paper, board mount with wash border, framed and glazed (35 x 31.5 cm)QTY: (1)NOTE:Provenance: George Richmond; Canon T.K. Richmond; R.T. Richmond; Mrs Miriam Hartley; Sotheby's, 24 March 1977, lot 35; P. & D. Colnaghi and Co. Ltd; the present owner.Literature: Fitzwilliam Museum, Cambridge, Samuel Palmer and ‘The Ancients’, selected and catalogued by Raymond Lister, 9 October -16 December 1984, catalogue number 105.A rare work from the early period of George Richmond's career, executed just before the artist's elopement with Julia Tatham forced him to turn to the more mundane, but lucrative, occupation of portraiture. As a portrait artist Richmond was highly successful, counting some of the most notable names of the time amongst his sitters. As a young man, however, his work had been unconventional and ahead of its time. Richmond was taught by his artist father, before enrolling at the Royal Academy at the age of 15. It was here that he became a lifelong friend of Samuel Palmer, as well as forming close associations with Edward Calvert, Thomas Sidney Cooper, and Frederick Tatham (brother of Julia), amongst others. At the age of 16 Richmond was introduced to William Blake. Their meeting had a profound effect on the young artist, and he became an ardent admirer and follower of Blake. In around 1824 Richmond, along with Palmer, Calvert, Tatham, and others, formed the Blake-influenced group known as 'The Ancients'. The group was the first English manifestation of the formalised artistic 'brotherhood', pre-dating the formation of the Pre-Raphaelite Brotherhood by more than two decades. 'The Ancients' espoused many of the ideals which the PRB would come to uphold, such as distancing themselves from the academic art establishment, pursuing equality and lauding communal living, nostalgia for an idealised rural past, and eschewment of mundane subject matter in favour of the elevated and spiritual. They also promoted the wearing of special revivalist costume, although in practise only Samuel Palmer seems to have worn it often. Furthermore, the similarity between the pictured wayfarer and two portraits of Samuel Palmer in the National Gallery (NPG 2154 and NPG 2223) provokes speculation that he was perhaps the sitter for this work.
Los 252
* Victoria, Princess Royal (Victoria Adelaide Mary Louise, 1840-1901). Pencil drawing of a girl in Eastern Mediterranean attire, pencil sketch on watermarked laid paper, with circular embossed Windsor Castle stamp at head, full-length portrait of a girl wearing a headdress, long tunic dress with gathered skirt, wide pantaloons, and turkish slippers, signed in sepia ink 'V. pss. R.' lower right, sheet size 32.1 x 20 cm (12 5/8 x 7 7/8 ins), laid down on modern cream backing card, mount aperture 28.6 x 19.8 cm, framed and glazed (44.5 x 37 cm)QTY: (1)NOTE:Provenance: Dominic Winter Auctioneers 11th May 2016, lot 361 (label on frame verso).Princess Victoria was the eldest daughter of Queen Victoria and Prince Albert, and was created Princess Royal in 1841. She married Prince Frederick William of Prussia in 1857, when she was only seventeen. In 1888, when her husband succeeded to the throne, she became the Queen of Prussia, and after her husband's death in the same year, she became widely known as Empress Frederich. She was the mother of German Emperor Wilhelm II. Princess Victoria was an accomplished amateur artist and the Royal Collection holds a large number of her drawings and paintings, but works by her rarely come onto the market.
Los 257
* Leech (John, 1817-1864). Portrait of a Gentleman, watercolour and ink, depicting side profile of a well dressed gentleman, stick in hand, wearing a top hat, signed to lower left, 17.5 x 10 cm (6 7/8 x 4 ins), framed and glazed (28.5 x 19.5 cm), together with:Group of Figure Studies, pencil on three sheets of paper, all illustrations to unidentified stories, 17.7 x 15 cm (7 x 5 7/8 ins) and smaller, together with three autograph letters by the artist, dated Aug 17th 1844, January 17 1852 and May 2 1861, all mounted together in one frame, plusCleaver (Reginald Thomas, 1870 - 1954). A Popular Belgian Holiday Resort: Blankenberghe in the Season, pencil heightened with bodycolour, depicting a main scene of beachgoers, studies of the following to upper and lower right: At the Gap in the Groin - High Tide Sunday, On the ''Front'' on Sunday. A Study from a Hotel Window, Balloons are ''Off'' Today, The Way Up to the Sea, and The Police on Double Duty, signed lower right, mount aperture 33.5 x 55.7 cm (13 1/4 x 21 7/8 ins), framed and glazed (56.5 x 78 cm), and seven other pencil, ink and watercolours comprising: John Leech, The Handley Cross Fancy Ball, Henry Gillard Glindoni, a small study, George du Maurier, Street vendor promoting 'Irving as Hamlet', (signed), F. H. Townsend, Punch as a conductor, (signed), W Tarlington, 'Moseley - Sunday Morning May 4th 1873 Time 12.30 Bona-Fide Travellers requiring 'Refreshment', (signed), Melton Prior, King Edward VII and German Emperor riding in a sleigh, (signed), and John Percival Gülich, Dancing in the Ring Easter Bank Holiday Hampstead, (signed),QTY: (10)
Los 264
* Rossetti (Dante Gabriel, 1828-1882). Portrait of Dante Gabriel Rossetti, by J.B.B.N., circa 1870's, pen and black ink drawing on paper, depicting Rossetti in medieval garb, holding a book in one hand and a palette and brushes in the other, standing in front of a backdrop featuring Oxford buildings and an apple tree with a female-headed serpent, bearing caption to lower portion 'Love is an house the householder whereof is either Life in Death or Death in Love', signed with initials lower left: J.B.B.N. fecit, 187 x 91 mm (7 3/8 x 3 1/2 ins), mounted on grey-green card, with initials D.G.R. (surrounded by a laurel wreath) in ink to lower margin, overall sheet size 300 x 250 mm (12 x 9 3/4 ins)QTY: (1)NOTE:The identity of the artist of this work has not been established. This drawing however was illustrated in the memoirs of Thomas Forder Plowman (1844-1919), entitled In the Days of Victoria: Some Memories of Men and Things, published by John Lane in 1918, facing page 252. The caption for the printed illustration reads: 'An Oxford Pre-Raphaelite Portrait of D. G. Rossetti. Reproduced, by permission of Mr. H. Giles, from a drawing'. Rossetti wrote a sonnet entitled Death-in-Love, first published in his 1876 collection The House of Life.
Los 272
* Tucker (Arthur, 1864-1929). Kyleakin on the Isle of Skye, watercolour, depicting Kyleakin harbour with boats moored, and ruined Castle Moil, signed lower left, mount aperture 20.6 x 34 cm (8 1/8 x 13 3/8 ins), framed and glazed (52 x 66 cm), together with: Kilburne (George Goodwin II, 1863-1938). Watercress Picking, 1897, watercolour heightened with bodycolour, signed lower left and dated, mount aperture 34.8 x 50 cm (13 5/8 x 19 6/8 ins), framed and glazed (40 x 55 cm), plus:Wells (Denys George, 1881-1973). Portrait of Ethel Wells, 1908, watercolour, depicting a full length portrait of the artist's wife Ethel, signed, mount aperture 33.3 x 23 cm ( 13 1/8 x 9 ins), framed and glazed (51 x 38.5 cm)Wright (John Massey, 1777-1866). Scene from the Vicar of Wakefield, watercolour, depicting four figures gathered around a chair, a man leaning on the chair with a hand over his face, a young woman being comforted by an older lady sitting on the chair, mount aperture 26.5 x 34 cm (10 3/8 x 13 3/8 ins) framed and glazed (45.5 x 51.5 cm), plus a duplicate unframed copy, and six other watercolours comprising:James Billingsley, Dale End, Birmingham, Charles Walter Radclyffe, Sketch at Thorneycrofts Farm, Hagley Road, Edgbaston, Birmingham, 1860, (signed), H.J.W?, Portrait of a bespectacled gentleman, 1884, T.W. Downing, Old Recruiting House, Frank Spenlove Spenlove, The Yellow Door, Beckenham, (signed), plus a caricature drawingQTY: (11)NOTE:Denys George Wells studied at the Slade School of Fine Art between 1897 and 1903 under Henry Tonks (1862-1937) and Philip Wilson Steer (1860-1942).
Los 282
Palmer (Samuel, 1805-1881, & Others). A Selection of Etchings by the Etching Club, London: Joseph Cundall & Thomas Bosworth, 1865, 12 original etchings by Samuel Palmer, J. E. Millais, Thomas Creswick, Frederick Tayler, Richard Ansdell, William Holman Hunt, Richard Redgrave, John C. Horsley, George B. O'Neill, C. W. Cope, James C. Hook and Seymour Haden, including Palmer's The Weary Ploughman, 1858, (Lister E8, viii/viii), etching on chine appliqué, the eighth state (of 8), a strong, dark impression, numbered 4 to centre of lower blank margin, Millais's Happy Spring-time (Goldman 33), Holman Hunt's A Day in the Country (Bronkhurst Appendix B21), Seymour Haden's A Study in Kensington Gardens (Schneiderman 31, iii/iii), all printed on chine appliqué, tissue-guard to each plate, pale waterstain to outer margin of plates 1-5, 9 & 12, spotting to title and contents leaf, yellow chalk-glazed endpapers, with 19th-century bookplate of Cyril Flower to front pastedown, neat presentation inscription to front endpaper 'Cyril Flower from R.C.J.', original publisher's maroon morocco-backed cloth gilt, rubbed and scuffed with some marks, and a little wear to extremities, large folio (sheet size 45 x 32 cm)QTY: (1)NOTE:Provenance: Cyril Flower, 1st Baron Battersea (1843-1907), Liberal politician and patron of the arts.The other etchings are: Thomas Creswick, A Roughish Road by a Lochside, Frederick Tayler, A Day's Hunting in the Fens, Richard Ansdell, The Park, Richard Redgrave, Summer Woods, John C. Horsley, The Duenna's Return, George B. O'Neill, The Portrait, C.W. Cope, The Spring Flood, and James C. Hook, Gathering Eggs from the Cliff.
Los 289
* Strang (William, 1859-1921). Portrait of Thomas Hardy, No.2, 1894, etching on pale cream wove paper, signed in the ground and dated '93, signed in pencil to lower right margin, plate size 22.4 x 15 cm (8 3/4 x 5 7/8 ins), with margins, mount aperture 26.7 x 18.6 cm (10 1/2 x 7 38 ins), likely tipped onto backboard, framed and glazed (38 x 31 cm), verso with label of G. Maury, Le Havre, together with: Women at the Cross, 1898, drypoint etching on cream wove paper, signed in pencil to lower right margin, a few foxing spots (mainly to margins), plate size 25.2 x 30.2 cm (9 7/8 x 11 7/8 ins), with margins, mount aperture 29 x 33.5 cm, tipped onto backboard, framed and glazed (45 x 48.5 cm), verso with G. Maury label, plus another 8 etchings by Strang, and one by Ian Strang (1886-1952) of Cannon Street Station (1923), all tipped to their backing boards, possibly all titled in pencil to lower margin (hidden behind mounts), 4 with some discolouration, and with 2 photographs, one of William Strang, the other a contemporary photographic reproduction of a 1910 family painting 'Portrait Group' by William Strang, the mount signed by each member of the family depicted, most framed and glazed (39.5 x 49.5 cm and smaller), (none examined out of frames)QTY: (13)NOTE:First two items: Strang catalogue (1906) 227 & 340 respectively. The other titles with their catalogue numbers are: The Trinket Seller (31), Portrait of J.B. Clark (46), Portrait of W. Strang (97), The Carpenter's Shop (43), The Castaways (147), Portrait of R.B. Cunninghame-Graham (343), The Mill Ford (273), The Monument (277).
Los 295
* Zorn (Anders, 1860-1920). Self Portrait, 1916, etching, a fine, bright impression of the third (final) state, signed in pencil, on laid paper with a Figure of Fortuna Standing upon a Globe watermark, with wide margins, pale overall discolouration, generally in very good condition, platemark 7.6 x 11.8 cm (7 x 4 3/4 ins), sheet size 37.2 x 28.7 cm (14 5/8 x 11 1/4 ins)QTY: (1)NOTE:Hjert 164; Asplund 270.
Los 344
* Nicholson (William, 1872-1949). Portrait of Sir Edward Mortimer Mountain, 1918, oil on canvas, signed and dated lower left 'Nicholson / 1918', inscribed to verso of canvas 'Monday 2.30', 76.5 x 72 cm (30 1/8 x 28 3/8 ins), contemporary ornate gilded frame (89.5 x 84 cm)QTY: (1)NOTE:Provenance: commissioned by Eagle Star and British Dominion Insurance Co. Ltd.; transferred to Zurich financial services.Patricia Reed, William Nicholson Catalogue Raisonné of the Oil Paintings, 382 (illustrated).Sir Edward Mortimer Mountain (1872-1948), underwriter and Insurance company manager, played a pivotal role in the history of the insurance industry through the foundation of Eagle Star, an amalgamation of three life-assurance offices, which was the first company to allow 'all-in' comprehensive policy for householders in 1916. The minutes of a meeting of the company's Board on 6 December 1917 state: 'it was carried unanimously that as a mark of appreciation for the special services rendered by Mr Mountian in bringing about the amalgamation of the Eagle, Star, Sceptre and other Companies with this Company, the sum of 500 guineas be set aside for the purchase of a portrait of Mr Mountain to be presented to him, and further, that a copy of same be made for the use of the Company.' (Patricia Reed, William Nicholson Catalogue Raisonné of the Oil Paintings, Modern Art Press/Yale University Press, 2011, p324).Mountain was knighted in the New Year's Honours List of 1918 and on 18 February of that year, WN wrote to his son: 'I am painting a knight who looks like a postboy: makes £30,000 a year out of insurance - very psychic - owns all of Lorna Doone Country' (TGA 8717/1/1652). This was a reference to Mountain's country house, Orr Manor in Somerset. WN had earlier described the sitter as 'a new knight', having the 'face of an ostler' (TGA 8717/1/1/1651). Only one portrait of Mountain by WN is known, and it seems likely that the sitter, who had a large art collection, decided to present the original portrait to the company. Described as 'a small man with great authority and exuberance', he was created a baronet in 1922 (ODNB).Mountain's wartime reputation had been enhanced by his refusal to insure the RMS Titanic on her maiden voyage in 1912.
Los 346
* Continental School. Portrait of a female conductor, 1930, oil on canvas, half-length portrait, half-profile to right, of a lady with bobbed ginger hair wearing a black dress trimmed to neck, waist, and cuffs with red ribbon, and a pearl necklace, holding a baton aloft with her right hand, and turning a music score with her left, against palm leaves in an atrium, with conversing figures standing and sitting on the right, and a lady and gentleman looking down from a stone balcony above an archway on the left, signed with monogram (or initial A?) and dated lower left, unframed, 84 x 76.4 cm (33 x 30 ins)QTY: (1)
Los 352
AR * Gurschner (Herbert, 1901-1975). Portrait of Algernon Blackwood, 1938, oil on canvas, signed 'Gurschner' lower left, unframed, 89 x 66 cm (35 x 26 ins)QTY: (1)NOTE:Provenance: Estate of the artist, thence by descent to the present owner; Bonhams London, 22 June 2010, lot 38; Dominic Winter, 7 March 2019, lot 205.Illustrated: Bystander, London, 9 November 1938.Algernon Henry Blackwood (1869–1951) was an English writer of supernatural fiction whose work is informed by an eclectic framework of ideas, ranging from Eastern mysticism, theosophy, and psychical research to psychoanalysis. When a young man Blackwood was greatly affected by his reading of Patanjali's Yoga Aphorisms and the Bhagavad Gita and was converted to Eastern wisdom. He took a great interest in the theosophy of Madame Blavatsky, whose claims of an extrasensory spirit realm became a central preoccupation. After the First World War (during which he acted as an undercover agent in Switzerland for British military intelligence) he travelled extensively and associated with P. D. Ouspensky and Georgi Gurdjieff. Altogether, Blackwood published over forty books and penned more stories and novels in the realm of the psychological, mystical and supernatural than any other contemporary.
Los 353
AR * Cooper (Alfred Egerton, 1883-1974). Portrait of Sir Edward Mortimer Mountain, 'Fishing the River Tay on the Stanley Beat', 1948, oil on canvas, signed with initials lower right 'AEG", dated and titled 'Fishing the River Tay on the Stanley Beat' to verso of canvas, 120 x 765 cm (40 1/8 x 30 1/8 ins), in an ornate, gilded frame (123.7 x 98.5 cm)QTY: (1)
Los 375
* Wainwright (William John, 1855-1931). Portrait of an Actress, 1912, watercolour on board, depicting a female dressed in period costume holding a scroll in one hand, standing in a doorway with pillars to one side and curtains to the other, behind her flags and tents, signed and dated, sheet size 36.7 x 27 cm (14 3/8 x 10 5/8 ins), framed and glazed (54.5 x 44 cm), together with Linton (James Dromgole, 1840-1916). Portrait of a girl, 1880, watercolour, depicting a young lady standing in costume, holding a pocket watch on a chain in one hand, signed and dated '80', sheet size 19.8 x 14.6 cm (7 7/8 x 5 3/4 ins), inscription to mount 'To Mrs Lane [?] from James D Linton Sept 80', framed (30 x 23.6 cm)QTY: (2)
Los 377
* Wood (Lawson, 1878-1957). A Warning for Aviators, 1913, monochrome pen and wash, heightened with bodycolour, depicting a young boy talking to an older gentleman seated on a bench, the younger boy raising his arm towards an aircraft flying past, signed lower left and dated '13', 33.8 x 24 cm (13 1/4 x 9 1/2 ins), contemporary ink inscription on verso with title and 'Boy, "I say father - if the last day has to come and destroy the Earth, suppose a fellow was up in his aeroplane at the time - what would he come down upon?"', mounted, framed and glazed (47.5 x 37.4 cm), together with:Thackeray (Lance, 1867-1916). Savage Club House Dinner, 1911, pencil, depicting a menu card design for the Savage Club House Dinner Saturday June 17-1911 'Lance Thackeray in the Chair', signed lower left, on the opposite page a study of a female's head and shoulders, also signed to lower margin, vertical fold crease in the middle, 26.5 x 39 cm (10 1/2 x 15 1/4 ins), mounted, framed and glazed (29 x 41.6 cm), plusMay (Phil, 1864-1903). Me, pencil, depicting a self portrait of Phil May, from the collection of V.W. Newman, sheet size 17.8 x 10.5 cm (7 x 4 1/8 ins), mounted (40.6 x 30.5 cm), The Folio Society Collectors' Corner label to verso, and five other pencil illustrations including: Edward Tennyson Reed, A Christmas Greeting, (monogrammed), Tom Browne, Types of 'Savages', (signed), Dudley Hardy, A Ship's Rescue, (signed), E.M Platts, an original cover illustration for Winson & Newton Ltd for their Catalogue of Artists' Colours and Materials, (signed) and Harry Rountree, For the Pot, oil on board, marked, on verso a cartoon entitled Yus I Dunt Think, (signed), a label 'For The Pot' Harry Rountree £10-10-0, 5. Piazza Studios St Ives, on versoQTY: (8)
Los 379
* Spare (Austin Osman, 1888-1956). When All Things Are Conventional, gouache and pen, depicting a fantastical scene with three figures standing in the foreground, one holding The Book of Lies looking down at it, a skull at the figures feet, other figures in the background, mongrammed upper right, title to lower, sheet size 36.5 x 27 cm (14 3/8 x 10 5/8 ins), manuscript to verso including contemporary '5064' in black ink, framed and glazed (50 x 40.5 cm), together with:Dunlop (Ronald Ossory, 1894-1973). Portrait of an Artist holding a palette and brush, pencil on paper, signed lower left, mount aperture 23.5 x 17.5 cm (9 1/4 x 6 7/8 ins), framed and glazed (37 x 29.5 cm), plusSteer (Philip Wilson, 1860-1942). Umbrella Mending, pencil on paper, depicting a gentleman sitting down leaning over an open umbrella, sheet size 11.3 x 17.2 cm (4 3/8 x 6 3/4 ins), studies of a goose to verso, framed and glazed (16.6 x 21.5 cm), withGere (Charles March, 1869-1957). Danway House Sapperton, 1922, ink on linen, inscribed 'To Bernard Sleigh from C. M. Gere 8/11/22', mount aperture 21 x 17.8 cm (8 1/4 x 7 ins), framed and glazed (32.5 x 27.7 cm), and Naked Women and Child, pencil, unknown artist, depicting two naked females sitting one with a child on her knee, mount aperture 12.2 x 11.5 cm (4 3/4 x 4 1/2 ins), ink inscription to verso 'The Earl of Stradbroke Henham Hall, Wangford, Suffolk', framed and glazed (25 x 23.5 cm)QTY: (5)
Los 388
AR * Topolski (Feliks, 1907-1989). Portrait of George Bernard Shaw, 1943, pencil on pale cream wove paper, signed and dated in brown ink lower left, with pencil inscription to upper right by the artist 'do you believe in miracles? Life is full of them, Science is merely trying to explain miracles... Jean Tunney, very American, a course man who never says yes, but says yeh', 250 x 190 mm (10 x 7 1/2 ins), mount aperture, period frame, glazedQTY: (1)NOTE:An unlikely friendship developed between George Bernard Shaw and the boxed Jean Tunney, following the latter's defeat of heavyweight champion Jack Dempsey, Shaw held a luncheon at his London home for the boxer and his wife, attended by literary figures of the day including H. G. Wells, in December 1928. the following spring Shaw was invited to the Island of Brioni off the Italian coast to join Tunney where they witnessed a miracle. Tunney's wife Polly was struck with an appendicitis and was close to death when Tunney kneeled down to pray. Two german doctors, both by the name of Meyer suddenly appeared on the Island, one an appendix surgeon. They operated immediately and her life was saved. Shaw was deeply impressed by the apparent power of prayer, something which affected his religious beliefs thereafter.See Jay Tunney, The Playwright, and the Prize Fighter: Bernard Shaw and Jean Tunney, Shaw, volume 23, 2003, pages 149-154.
Los 389
AR * John (Augustus, 1878-1961). Self Portrait, circa 1950s, pen and black ink on letter-headed note paper (Fryern Court, Fording Bridge, Hants), drawn to verso of an autographed letter to Tristan [de Vere Cole (1935-), illegitimate son of Augustus John and Mavis de Vere Cole, the letter reads: 'Dear Tristan, what would you like me to send you for Whitsun? I dreamt of you the other night and you had 3 eyes! One two many. How are you getting on? How is Muska? I hope you are learning a lot and painting some fine pictures. Gove my love to everybody and don't forget Dodo and Augustus...', signed Augustus Atford?, light creases where previously folded, minor loss to upper outer corner of the sheet, sheet size 205 x 130 mm (8 1/8 x 5 1/8 ins), framed and double-glazedQTY: (1)NOTE:Provenance: ?Tristan de Vere Cole, the last illegitimate son of Augustus John was largely brought up by Augustus and Dorothy 'Dorelia' John during his early years at Fryern Court, Fording Bridge in Hampshire, where the Johns had lived since 1927. As a boy, Tristan sat for Augustus John as a model.
Los 411
AR * Scott (William, 1913-1989). Portrait of a Girl, (1948), colour lithograph, signed and numbered 23/60 in pencil to lower right, very faint mount stain to blank margins, mount aperture 45 x 34 cm (17 3/4 x 13 3/8 ins), framed and glazed (64.5 x 52 cm), verso with label of Ryman & Co. Fine art Dealers, Oxford, (not examined out of frame)QTY: (1)NOTE:Commissioned by the Victoria and Albert Museum for an exhibition celebrating 150 years of lithography, the girl is apparently the artist's wife Mary.
Los 349
Two French aide memoire cases, late 19th/early 20th century, one in white metal and brass, inset with miniature timepiece, the interior with photographic portrait and note book, 5.5cm high; the other in tortoiseshell, the lid inset with a timepiece, 9cm wide; together with two automaton music box cases, one in tortoiseshell, the other in cloisonne enamel, both lacking movements (4)Please refer to department for condition report
Los 108
A Victorian gilt-mounted double mourning brooch, late 19th century, with two circular glazed compartments, bordered with plaited hair, one with a lock of hair, 4.4cm wide; together with a gold-cased mourning locket, early 19th century, lacking portrait miniature, the reverse with plaited hair, 4.9cm diameter (2)Please refer to department for condition report
Los 324
A collection of wax and plaster bust length portrait reliefs, 19th century and later, to include depictions of J. S. Bach, William Pitt the Younger, and Marie Antoinette, together with a profile of a gentleman in 17th century Continental dress stamped T. W., a profile of a gentleman in Georgian / Regency dress, and a plaster shallow relief of a male head, variously framed (6)Please refer to department for condition report
Los 393
A collection of items pertaining to the military career of Private Charles Lawson McCulloch (3658) of the Highland Light Infantry, comprising death plaque with oak mount and accompanying framed scroll and letter (loose); 1914-15 Star; portrait photograph; inscribed bible; and another bible inscribed to a family member; together with an interesting sketch book containing drawings and inscriptions by various hands and a Victory Medal to 14191 Pte. R, McGavin S. Gds. Condition Report:Available upon request
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283287 Los(e)/Seite