* ROSS MUIR (SCOTTISH b. 1981), OH JESSICA artist's proof giclee print on paper, signed, titled and inscribed A/Pframed and under glassimage size 97cm x 80cm, overall size 112cm x 95cmNote 1: Certificate of authenticity is included in this lot Note 2: Glasgow artist Ross Muir hit the headlines in 2018 when his original painting of the Dutch impressionist Vincent van Gogh, entitled “Square Gogh”, went viral within a matter of days. Muir’s wide-spread success on social media saw many galleries interested in his work. In October 2019, Muir had his first ever solo exhibition in Glasgow’s City Centre. The exhibition was a huge success and was sold-out before even opening the doors. A second solo show in Glasgow was scheduled for 2020 but the pandemic put everything on hold. Throughout the first national lockdown, Muir turned his creativity to the streets, with posters of his signature Vincent Van Gogh portrait – featuring the words ‘Jist Gogh Hame’ – appearing all over the city of Glasgow. As a message that was both witty and incredibly relevant, Muir’s artwork resonated with its onlookers and soon garnered international attention through social media. In 2020, Muir’s work was recognised by the official Van Gogh Museum in the Netherlands, with the institution proudly posting Muir’s artwork on their Instagram account to announce the temporary closing of the gallery. In 2021 Maddox Gallery (London) "signed" Muir and he joined a roster of artists which includes The Conner Brothers, Bradley Theodore and Joseph Klibansky, alongside established names like RETNA, the photographer David Yarrow, and world-renowned figures such as Banksy, KAWS, Jean-Michel Basquiat and Keith Haring. The influential Maddox Gallery staged Ross Muir's first London show in May 2022.
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* KELLY-ANNE CAIRNS (SCOTTISH b. 1975), FAIR oil on board, signed, titled and dated 1999 verso framedimage size 190cm x 120cm, overall size 198cm x 132cmNote: Kelley-Anne Cairns studied painting at Gray's School of Art, Aberdeen. After graduating in 1999 with a BA (Hons) she was awarded the John Kinross Travel Scholarship to Florence. She was accepted for the BP Portrait Award exhibition in 1999 and has continued to paint with much success ever since. She exhibits regularly in London, Edinburgh and Glasgow selling her work worldwide. The author J.K.Rowling is among her many private collectors. Her main sources of inspiration are aged frescos of Italian Renaissance painters and the design and texture of fabrics, which are a personal love. She has been described as "accomplished and powerful" and "a modern Klimt", The Herald. Kelly-Anne describes her work as portraying the human form and emotions. "I manipulate the figure and its surroundings by exploring the contrasts between the angular shapes surrounding the figure and the soft contours of the body."
* STEVEN HIGGINSON, ELAINE WITH BLACK BERET oil on canvas, titled label verso unframed (as intended) overall size 31cm x 31cm Note: Scottish portrait painter Steven Higginson’s distinctive use of light and shadow and honest approach to realist art has won him international acclaim, an engaged global audience of over 50k social media followers, and hundreds of delighted clients. His paintings feature in private collections around the world, spanning America, Europe and beyond. Steven’s portraits were part of the BP Portrait Award in 2019 and 2020, during which his work was exhibited in the National Portrait Galleries in London and Edinburgh. Steven was also awarded The Aiden Threlfall Traveling Scholarship from the Goldsmith’s Company in London after graduating from Duncan of Jordanstone, Dundee, in 2004. He used the scholarship to travel Europe, studying the work of the Old Masters, which has remained a core influence in his work to this day.
* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), ANGEL #29 mixed media monoprint on paper, signed, titled, numbered 1/1 and dated '92mounted, framed and under glassimage size 61cm x 46cm, overall size 89cm x 72cm Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow. The Fine Art Society, Edinburgh staged "John Byrne: In The Studio" in December 2024.Condition is good overall, with no visible or known issues.
* PATRICK CAULFIELD CBE RA (BRITISH 1936 - 2005), WE WANTED TO BLEED THE SILENCE screenprint on paper, from the 1973 edition of 200, published by Petersberg Press and Waddington mounted, framed and under glass image size 40cm x 35cm, overall size 58cm x 52cm Label verso: Open Eye Gallery, Edinburgh. Note: British painter and printmaker, born in London, where he studied at Chelsea School of Art, 1956–9, and the *Royal College of Art, 1959–63. In 1963 he began teaching at Chelsea School of Art and in 1965 he had his first one-man exhibition at the Robert Fraser Gallery, London. His work has been linked with *Pop art, although when introducing his work in 1964 he invoked, not the currently fashionable mass media theorists, but the Catholic poet and mystic Gerard Manley Hopkins. However, his work shared with artists such as Peter *Blake and David *Hockney a sense that the imagery was ‘in quotation marks’, so undermining the division between abstract and figurative art. The flat colour and black outlines of his painting (in his early work the impersonal surface was achieved by the use of gloss paint on board) were sometimes compared to Roy *Lichtenstein, although the American painter's work was unknown to him when Caulfield first established his style.The principal sources of his work lay in *Cubism. He looked to *Léger and especially *Gris, to whom he paid tribute in an early imaginary portrait and more subtly in Santa Margherita Ligure (1964). In this work he draws on the way in which Gris combined interior and exterior within the same plane. Discussing his painting in the 1964 *New Generation catalogue, David Thompson argued that Caulfield was interested in ‘devalued’ motifs, the way in which a painting by Delacroix or a device from Cubism or early abstraction could become ‘vulgarized’. When these early pictures are seen in the light of Caulfield's painting over the subsequent 40 years this seems to be putting things in reverse. What Caulfield was actually doing was using a highly accessible and apparently simple pictorial language, not out of irony, but to achieve effects of the utmost refinement. Although on the surface his style changed comparatively little, the uses to which he put it were extraordinarily varied. Some commentators have detected in his later work a strong sense of melancholy and mortality communicated through the pristine surfaces. He took up *screenprinting in 1964 and the following year won a prize for graphics at the Paris *Biennale. Subsequently print was an important part of his output. He also made designs for the Royal Ballet. An exhibition was devoted to his work at the Tate Gallery, London, in 1981 and another at the Hayward Gallery in 1999, but he never achieved the international reputation many of his admirers believed that he deserved.
* DAME ELISABETH FRINK RA (BRITISH 1930 - 1993), THE GREY RIDER (WISEMAN 39) limited edition lithograph on paper, signed and numbered 130/500framed and under glassimage size 57cm x 77cm, overall size 63cm x 82cm Note: British sculptor and graphic artist. Some of her early work—influenced by Giacometti—was angular and menacing. During the 1960s her figures—typically horses and riders or male nudes—became smoother, but she retained a feeling of the bizarre in the polished goggles that feature particularly in her over-life-size heads. She worked mainly in bronze and had numerous public commissions, for example Horse and Rider (1975) in Piccadilly, London, made for Trafalgar House Investments Ltd. Later in her career she also did numerous portrait busts of distinguished sitters. In addition to sculpture she made prints and drawings.Condition is good overall, with no visible or known issues.
* JENNIFER MCRAE RSA (SCOTTISH b. 1955), DAYDREAM HEAD oil on board, signed, titled versomounted, framed and under glassimage size 21cm x 14cm, overall size 51cm x 41ccmNote: McRae studied at Gray's School of Art, Aberdeen from 1987 to 93. Since 1988 her work has appeared in group and solo exhibitions in Britain and America, and she has won numerous awards including the BP Travelling Scholarship in 1999. Best known for her distinctive portraits, she has had work commissioned from the National Portrait Gallery, London and the Scottish National Portrait Gallery. The artist wrote an explanation of her Inspiration for this work and some of the symbolism, in a letter to the owner “As a single parent I also wanted to convey the unease created at the time from the one to one situation and the imbalance any outside relationship can sometimes cause, which explains why we sit a little vulnerably upon a large three-cornered triangle. The pair of shoes in the top left corner signifies something I remember from my child-hood, where my own mother once stressed that she would often sacrifice her own wardrobe to keep me well-shod. (I hasten to add my parents are now enjoying the rewards of a good income now we have all left home) and the reference is to be taken with a definite tongue in cheek! In fact it is a matter poking fun at the seriousness of the situation. The time elements (through the clock and the title) is to convey the precious hours alone and undisturbed before Christmas, my daughter, would burst in and everything would change and the key is her weapon for this intrusion. The cat-box is a beautiful and strange creature I purchased primarily to put into a painting (it is made of wood) and it does in fact open along its middle. Inside I keep my cash, so it’s significant that Christmas clutches it so determinedly! When I saw it in a shop window I knew it would be a wonderful object to use. Anyway, those are all the surface clues explained but there are always the underlying emotions and thoughts that created them in the first place which are best left unexplained. A painting must always be enigmatic in essence.”
* DONALD MACDONALD (SCOTTISH b. 1976), WRAP 7 conte on paper, initialled mounted, framed and under glass image size 67cm x 58cm, overall size 95cm x 84cm Note: Donald Macdonald was born on the Isle of Lewis in 1976 and after a short time in the Scottish Infantry he moved to Aberdeen and gained a BA Hons degree in Fine Art. After living and painting in Denmark and Glasgow for several years he returned home to the Isle of Lewis where he is now based. His work is held in various private collections around the UK, in Denmark, Hong Kong, Israel and the USA and in 2009 he was one of only three Scottish artists to feature in the BP Portrait Prize Award Exhibition. He was also the Scottish representative for the Mead Johnson International Exhibition in Evansville, USA. In 2013 he exhibited a commissioned painting in the Imperial War Museum in Manchester and later won a place in the 7th Figurativas painting and sculpture exhibition, held in the European Museum of Modern Art, Barcelona. In 2017 he won the Public Choice Award at the Art Gemini Prize and more recently he has been invited to show at the Columbia Threadneedle Prize (2018), The Lynn Painter Stainers Prize (2019), The Scottish Portrait Awards (2019), The Westmorland Landscape Prize (2019) and The Royal Scottish Academy (2019 & 2020).
* HUGH GERARD BYARS (SCOTTISH b. 1957), PORTRAIT OF A MAN oil on canvas, signedframedimage size 20cm x 14cm, overall size 32cm x 25cmQty: 3Note: Byars trained at The Glasgow School of Art and then at The Royal College of Art in London. In 2001 he received a major award from the Pollock-Krasner Foundation (USA). Nineteen examples of his work are recorded within notable public collections including City of London Corporation, The Peoples Palace (Glasgow), MOMA (Wales), The Fleming Collection (London), Guildhall Art Gallery, Cheltenham Art Gallery and Glasgow Museums and Art Galleries. Hugh lives and works in Glasgow. He is a contemporary of Howson and of the same school as Campbell and Currie, and like them concentrates on the human form, and scenes from his local city. He often takes his inspiration from the derelicts and dossers in his native Glasgow. These are his Partick people who he paints with sympathy, graphic simplicity and powerful humanity. Hugh is one of the ''New Glasgow Boys'' school of painters.
* DONALD MACDONALD (SCOTTISH b. 1976), WRAP 9 charcoal on paper, initialledmounted, framed and under glassimage size 59cm x 64cm, overall size 86cm x 91cm Note: Donald Macdonald was born on the Isle of Lewis in 1976 and after a short time in the Scottish Infantry he moved to Aberdeen and gained a BA Hons degree in Fine Art. After living and painting in Denmark and Glasgow for several years he returned home to the Isle of Lewis where he is now based. His work is held in various private collections around the UK, in Denmark, Hong Kong, Israel and the USA and in 2009 he was one of only three Scottish artists to feature in the BP Portrait Prize Award Exhibition. He was also the Scottish representative for the Mead Johnson International Exhibition in Evansville, USA. In 2013 he exhibited a commissioned painting in the Imperial War Museum in Manchester and later won a place in the 7th Figurativas painting and sculpture exhibition, held in the European Museum of Modern Art, Barcelona. In 2017 he won the Public Choice Award at the Art Gemini Prize and more recently he has been invited to show at the Columbia Threadneedle Prize (2018), The Lynn Painter Stainers Prize (2019), The Scottish Portrait Awards (2019), The Westmorland Landscape Prize (2019) and The Royal Scottish Academy (2019 & 2020).
* PETER HOWSON OBE (SCOTTISH b. 1958), PORTRAIT STUDY OF DICK ADVOCAAT charcoal on paper, signedmounted, framed and under glassimage size 32cm x 23cm, overall size 48cm x 39cm Note: the major retrospective “When the Apple Ripens: Peter Howson at 65" of the work of the artist at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh (27th May - 1st October 2023) brought together over 100 major works from his early years until the present time. The staging of this exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), STUDY FOR OVER THE BRIDGE - HELL FOR LEATHER pencil on paper, signed, titled label versomounted, framed and under glass image size 21cm x 28cm, overall size 43cm x 50cm Label verso: Roger Billcliffe Fine Art, Glasgow.Note: Alexander Goudie was born in 1933 at Paisley and, as a child, showed prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject-matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.
* STEPHEN CONROY (SCOTTISH b. 1964), STUDY - ABSTRACT PAINTING pastel on paper, titled and dated 1992 label versomounted, framed and under glassimage size 61cm x 31cm, overall size 91cm x 68cm Artist's label versoLabels verso: Marlborough Fine Art, London.Note: Born in 1964, Stephen Conroy studied at the Glasgow School of Art between 1982-7. He quickly gained recognition and achieved considerable success before beginning his postgraduate study. In 1986 his degree show sold out and he also won the first prize for painting at the Royal Academy’s British Institute Fund Awards. Conroy was the youngest artist included in the notable Vigorous Imagination exhibition Edinburgh in 1987. Two years later he also held a solo exhibition at Marlborough Fine Art in London. His work appears in a number of public collections around Britain and abroad, including the Metropolitan Museum of Art in New York and the National Portrait Gallery in London and Edinburgh.
* ETHEL WALKER (SCOTTISH b. 1941), THE JAPANESE VASE gouache on paper, signed, titled label versomounted, framed and under glassimage size 54cm x 48cm, overall size 78cm x 71cmNote: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).
* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), THE LOVERS bronze sculpture on marble base, signed42cm high (including base), 31cm wideNote: Alexander Goudie was born in 1933 at Paisley and, as a child, showed prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject-matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.
* JOHN BYRNE RSA (SCOTTISH 1940 - 2023) SMOKESCREEN unique hand-coloured etching, signed and titledmounted, framed and under glassimage size 27cm x 33cm, overall size 58cm x 64cm Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow. The Fine Art Society, Edinburgh staged "John Byrne: In The Studio" in December 2024.
* KEN CURRIE (SCOTTISH b. 1960), TWO LINOCUTS FOR 'WAR' 'WHERE BOOKS ARE BURNT, PEOPLE ARE BURNT IN THE END' and 'HOWL WITH THE WOLVES (AFTER DUCHAV)'two linocut prints on paper, both signed, titled and dated '83both mounted, framed and under glassimage size 31cm x 31cm each, overall size 48cm x 48cm each Qty: 2Note: Ken Currie is renowned for his unsettling portrayal of the human figure. The artist's rich, luminous paintings depict mysterious rites, rituals, and quasi-medical practices, offering a meditation on violence in its many guises. Currie studied at the Glasgow School of Art from 1978-1983 and rose to attention within a generation of painters known as the "New Glasgow Boys" in the 1980s. In 1987, Currie completed a powerful series of large scale History paintings for the People’s Palace in Glasgow, commemorating the massacre of the Calton Weavers. Through the 90's deeply affected by humanitarian events in Eastern Europe Currie's works evolved, his focus shifting to confront ideas of mortality and corruption, both physical and moral. Over the last 10 years Currie's work has addressed the horrors of the contemporary world, without shying away from their brutality or grotesque nature. In 2009 Currie was commissioned to paint the theoretical scientist Peter Higgs following his receipt of the Nobel Prize, the painting now hangs at The University of Edinburgh. Ken Currie has exhibited widely internationally, including a 2013 solo exhibition at the Scottish National Portrait Gallery which also commissioned his painting Three Oncologists. Currie's work is held in many major public collections including Tate, London; Scottish National Gallery of Modern Art, Edinburgh; New York Public Library; Imperial War Museum, London; Campbelltown Arts Centre, New South Wales; Yale Center for British Art, New Haven; Gulbenkian Foundation, Lisbon; and the British Council, London.
B J Davis (20th Century British) Portrait of the racehorse 'Mtoto' at Newmarketsigned and titledoil on canvas39.5cm x 49cmMtoto (1983-2011) was a British Thoroughbred racehorse, owned by Sheikh Ahmed bin Rashid Al Maktoum. In a career which lasted from 1985 until 1988, he ran ten times and won seven races.Frame size: 48.5cm x 58.5cm
A large collection of decorative ceramics and glassware, to include a crown Dresden portrait plate of Marie Antoinette, a Wedgwood Marigold pattern plate, a Doulton Silicon ware planter, a large Kutani vase, a German porcelain candlestick, a Halcyon Days trinket box and others, Portmeirion etc.
A pair of early 19th century hand-coloured portrait prints, one depicting Margaret Beaufort and Margaret de la Pole, Countess of Pembroke, in decorative frames, 15.5 x 13cm (2)The daughter of Margaret Beauchamp and the Duke of Somerset John Beaufort, Margaret Beaufort was born at Bletsoe Castle in Bedfordshire. Following her marriage to Edmund Tudor, she gave birth to Henry Tudor, who was to become Henry VII.The Beaufort portrait does have a piece of the paper missing from the neck area. Otherwise, there are some abrasian marks to the paper, close to the book and around the edges. There is a white marking found in the bottom setion of the composition. The colour pigment of the print has retained well. The other portrait is in better condition with no visible signs of markings or damage, apart from some discolouration to the paper. The frames have some damage, espcially at the corners, with a couple of metal fixing corners loose Frame size: 23m x 20.5cm
A Portrait of the Artist as a Young Man (1977), British Quad, 40 x 30 inches, rolled, Academy Cinema London, Peter Strausfeld artwork, printed by Ward & Foxlow Limited Director Joseph Strick Stars Bosco Hogan, John Gielgud Condition Report: Excellent condition, light creasing, very light foxing to top left edge
Five French base metal relief stone mounted compacts, including a rectangular Dance Compact c1895 with pink and turquoise mounts and carry chain, 5cm x 4cm, green and turquoise bejewelled square portrait mounted compact, 4cm c1895, 1920s Dance Compact of tear form with green and blue jewels, carry chain and tassel, 12cm max x 5cm max, demi lune central relief portrait mounted example surrounded by enamelled flowers, with bale, 4.5cm x 4cm and a circular blue and red decorated example, 3cm diameter (5)
Two Frida Kahlo demi lune celluloid double mirrors, 7cm x 6cm, Orlane floral moulded plastic oval 10.5cm x 9cm, Dermetics horned deer starburst decorated circular plastic example, 7cm diameter, 1940s Revell Plastics octagonal dog portrait 10cm, and an art deco marbled celluloid rectangular triple vanity by AM Cassandre (af) 7.5cm x 5.5cm (6)
A vintage Hingeco On the Town heart shaped silver plated compact, 6.5cm x 7cm, deco black and gilt saddle bag shape 6cm x 6.5cm, oval Pozzoni's Boodle Box 10cm x 3.5cm, rectangular portrait mounted black with mirror verso, 8cm x 5.5cm, Mondaine Vintage Lady domed vanity 7cm x 4.5cm, Mary Dunhill black barrel lipstick with faux pearl top 6cm, barrel lipstick with black spherical orb with colourless stones (af) 6cm, mother of pearl and abalone mounted rectangular glass scent with dip stick, 6cm, two saddle bags with Persian and Eastern scenes 8.5cm x 9cm, painted dancing silhouette on green ground decorated carryall vanity of shaped rectangular design with chain carry handle, 8cm x 5cm, square deco powder with guilloche enamel, gilt flower and black borders, 5.5cm with matching barrel lipstick on chain 5.5cm (12)
Continental compacts, including a 1920s German mini rectangular carryall, 9.5cm x 8cm in pouch, hexagonal German Chinese figures decorated 6cm, boxed green and black tooled and gilt highlighted leather Simson Kamra style compact 9.5cm x 5cm and lighter 3.5cm x 4.5cm, 1930s French kid leather horseshoe shaped purse style 5.5cm x 4cm, houpalix trefoil purse with basket and gem flowers, 7.5cm x 7cm and a square horse portrait example, 7.5cm (6)
Of Royal Interest, two circular King George VI portrait compacts, Gwenda 5.5cm and Rachel 4.5cm diameter, a circular Portrait Coronation Souvenir King George VI and Queen Elizabeth 7.5cm diameter, circular embossed portrait example 4.5cm diameter and a similar lozenge Beautibox example with same portrait and tassel, 8cm x 7cm and a silver Jubilee portrait 1910-1935, 5.5cm diameter and a circular portrait Coronation of King Edward VIII, Lylax 4.5cm diameter (7)
Continental circular gilt metal compacts, circular seated female portrait central panel surrounded by turquoise and cobalt blue swags, deep scroll side marked Made it Italy, 5.5cm diameter, similar example with oval portrait surrounded by turquoise enamel and frame marked Made it Italy in base, 5cm diameter, c1934 French art moderne example marked 607 in base, 6cm diameter and a green and gilt metal star rectangular hinged mirror lipstick, marked made in Italy 6.5cm x 1.5cm (4)
Of Royal Interest, five circular portrait compacts Queen Elizabeth II, as a child 4.5cm diameter, on horseback in military dress Stratton 7.5cm diameter and another 10cm diameter, holding large bouquet Gwenda 8cm diameter, in tiara 9cm diameter together with a square portrait ASB souvenir Royal Wedding November 1947, 7.5cm and a circular Duke of Edinburgh Prince Phillip portrait compact, 8cm diameter (7)
French compacts, including a self compacting art deco SGDG Nilde chrome rectangular compact c1929 5.5cm x 5cm, circular Roger et Gallet bird enamelled example 5cm, rectangular floral cross stitch panelled lid, 5cm x 4cm, circular Aux Parfums de France Abbeville with female portrait, 4cm diameter, circular black enamelled gilt deco Montrea Poudre, 5cm diameter, circular Japanese style black and chrome stylised woman with parasol before mountain, 5.5cm diameter, Rouge a Levres Fixe Recharge in card box, 5cm, square gilt metal square design to lid, 4.5cm and a circular La Reverie Felix Boissard Paris c1914, 4cm diameter (9)
* Clothing. A collection of shawls and garments belonging to Lady Ottoline Morrell (1873-1938), comprising: a finely hand-embroidered cream Chinese stole with knotted tassel fringing to short ends; 2 finely-woven silk stoles, one of ikat design; a pair of tan suede ladies' gloves hand-embroidered in blue and brown silks with floral and foliate sprays, tied with turquoise silk ribbon, and lined with turquoise silk; an Ottoman waistcoat heavily embroidered overall in silver and gold metalwork, lined with red silk; a child's embroidered cap with red tassel, from Dalmatia; 2 Balkan embroidered linen tunics, one a child's; a peasant child's linen dress with salmon pink embroidery, and a blue-embroidered tunic similar; and a silk-lined jacket with long sleeves, of floral striped fabric woven with metallised threads, together with an embroidered Turkish towel, various sizes and conditionQTY: (12)NOTE:Provenance: Lady Ottoline Morrell (1873-1938); thence by descent.Lady Ottoline and her husband, Philip, travelled extensively on the Continent, always bringing souvenirs back with them. Ottoline, unconventional in so much of her life, was idiosyncratic in her style of dress. She loved beautiful clothes and dressed in her own unique style, sometimes dressing in a Grecian style, at other times like a Cossack or an Oriental princess. Siegfried Sassoon seemed a little disconcerted when he wrote of their first meeting, at Garsington in 1916, that Ottoline was attired in voluminous pale pink Turkish trousers. This little collection of garments shows her eclectic taste and her appreciation of fine silks, rich embroideries, and skilful needlework. The child's peasant dress is similar to that worn by her daughter, Julian, in a charming photograph of the two of them together held by the National Portrait Gallery (NPG P478).
* Nightdress. A nightgown belonging to Lady Ottoline Morrell (1873-1938), handmade fine cream cotton lawn full-length nightgown, the neckline, tucked bodice, and long tucked flared sleeves with wide lace trims and insertions and drawn threadwork, side opening on the left of bodice with 6 tiny pearlescent buttons, tucked frill to hem, front of gown with monogram 'OM' hand-stitched in cream thread, some discolouration, tears, and repairs, with loss to a section of hem, sleeves 59 cm (23.25 ins), length 160 cm (63 ins), together with:A handkerchief belonging to Lady Ottoline Morrell, fine cotton lawn handkerchief, some marks, with monogram 'OM' hand-stitched in cream thread, and wide border of hand-made needlelace on net, several small holes in net, 44 x 43 cm (17.25 x 17 ins), together with 5 handkerchiefs belonging to Lady Ottoline's mother: 4 with embroidered coronet and initial 'B' (3 lace-trimmed) and the other (also lace-trimmed) with monogram 'AMB', plus a long length of hand-made cream lace edging taken from a cloth, one join, 12 x 329 cm (4.75 x 129.5 ins), all contained in a hand-stitched cream damask cloth bag (plus 2 other cloth bags similar) QTY: (4)NOTE:Provenance: Lady Ottoline Morrell (1873-1938); thence by descent.Renowned hostess and patron of the arts, Lady Ottoline Morrell was statuesque and striking in appearance: six foot tall, with a mass of red hair, she was highly original in the extravagant clothes she wore. Although this demure long nightgown is traditional enough in itself, there is nothing conventional in the way it may have been worn, for Lady Ottoline was known for wafting around the gardens of Garsington Manor, where she lived with her husband, Philip, in her nightdress. In fact the National Portrait Gallery has holds several photographs of Ottoline in her nightgown, with her long hair flowing loose, in the garden at Peppard Cottage, which she and Philip rented before buying Garsington (NPG Ax140001, NPG Ax140181, NPG Ax140182, NPG Ax140183, NPG Ax140184, NPG Ax140269).Lady Ottoline's mother, Augusta Mary Cavendish-Bentinck, née Browne, 1st Baroness Bolsover (1834-1893), was given a title at the personal request of Disraeli to Queen Victoria.
* Historical Fan. Lord Howe's Decisive Victory over the Grand French Fleet, June the first 1794, Published as the Act Directs by B. Coker, No. 118 Fleet Street. August the 12th 1794, folding paper fan, the front of the lilac leaf with oval stipple engraving of Britannia holding a Union Jack, a lion at her feet, and her left hand resting on an oval portrait of Lord Howe, with a trumpeting angel above, and a fleet of large sailing ships in the background, titled above, and with imprint below, within a border of small spangles (a few missing), rubbed and spotted, some tears, repairs, and slight losses to lower edge, bone sticks, 25.5 cm (10 ins)QTY: (1)NOTE:Rare: not in the Schreiber Collection, and we have been unable to trace another example. The Fitzwilliam has two fans published by B. Coker, 'A Rebus' and 'The New Quadrille Fan for 1817' (both Lennox Boyd Estate), and the British Museum holds several trade cards for B. Coker, Fan Maker and Repairer, but fans by Coker rarely come onto the market.
Ellen Welby - Mintons Art Pottery Studio - A large late 19th Century wall charger, decorated with a profile portrait of a young woman with braided hair and ruff collar before a fruiting lemon tree and frieze of Bacchanalian putti, signed to the lower margin, impressed marks to reverse, diameter 48.5cm.
Albert Wainwright (1898-1943) - A hand painted wooden box of rectangular form, decorated with a portrait of a female smelling a flower and another figure with a decorative headdress, all in an oval panel, the sides decorated with repeat patterned banded decoration, signed with monogram to the base, 11.5cm x 9cm, together with a similar box, hand carved and painted with a stylised peacock, partial scratch monogram to the base, 14cm x 9.5cm. (2)
George Cartlidge - Thomas Hardy & J H Barratt & Co - A portrait tile, circa 1924, sepia Emaux Ombrants profile portrait of Thomas Hardy on relief moulded ground, initialled lower right and impressed marks to reverse, 22.5cm x 15cm, framed. NB - Literature: Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 82.
A mixed lot to include; three late 20th century stained glass window copies in frames, one depicting Shakespeare; a bankers style lamp (Missing light part); a wooden figure of a monkey; an Arts & Crafts style three division letter rack (but mid to late 20th C); two novelty spelter figures of males, both with pails in hand or on head modelled to be candle holders; a late 20th century Indian mask of a deity; a late 19th / early 20th century silver plated Continental bowl with bird handles and of circular shape; a 20th century silver plated presentation twin ahndled bowl engraved "The Royal Bank 200 years in Glasgow; a Sonnette key panel and a framed and glazed print of a portrait of a man. (Q)
A Vienna porcelain part tea service consisting of six cups and saucers; six plates; twin handled serving plate and a small comport, all hand painted with classical female scenes, all titled to reverse and marked, some signed by Schuler, with gilt and cobalt blue grounds. Together with a hand painted Vienna porcelain twin handled bowl, with central portrait after Gainsborough's lady with gilt surround. (Minor wear, loss to gilding and wear.)
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