C.E. Swan (British c. 1894)A Polar BearOil on panelSigned and dated 94 lower right 24 x 29cm (9¼ x 11¼ in.)ProvenanceNicholas Drummond Fine ArtHarry Moore-Gwyn Fine ArtPurchased from the above by the present ownerTo be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector. Condition Report: Light surface dirt, rubbing and abrasions to the surface with one or two scattered brown spots to the surface. There are small areas of flaking (approx 1cm) to the upper and lower left corners. Light rubbing and abrasions to the faming edges. Inspection under UV reveals light scattered retouching, predominantly to the sky, this can also be seen in natural light.Condition Report Disclaimer
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English School (early 20th century)A white rabbitOil on canvas laid down to board13.5 x 19cm (5¼ x 7¼ in.)Please Note: The cataloguing should read oil on canvas laid down to board and not as stated in the printed catalogue. To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.Condition Report: The picture is on canvas laid on board and not as stated in the catalogue. There are minor abrasions to the edges but these are hidden under the frame edges. There are some very small spots of paint loss and the varnish layer is patchy and uneven, but no visible signs of damage or restoration. The frame has minor chips and abrasion and the corner joints are slightly loose. Condition Report Disclaimer
Anglo Indian School (20th century)Three jockeys on horsebackPencil, watercolour and bodycolour21.5 x 30cm (8¼ x 11¾ in.)To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Continental School (20th century)Figures in a tropical landscapeOil on canvas laid down on panel44 x 35cm (17¼ x 13¾ in.) To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
English School (20th century)The copse at sunsetOil on panel Inscribed Harold Wood/2 Spring St/London W2/The Copse at Sunset/£21.0.0 to the reverse33 x 40cm (12 x 15½ in.)To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Neville Edward (3rd Earl) Lytton (early 20th century)Knebworth ChurchOil on paper laid down on panelInscribed Knebworth Church/Neville Lytton on a label to the reverse28.5 x 19.5cm (11 x 7½ in.) Together with a study of an extensive landscape, indistinctly signed lower left (2)To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Edward Lear (British 1812-1888)Grosseto, Corsica Ink and watercolourTitled and dated 3 May 1868 5:30am lower left, numbered 165 lower right and variously annotated33.5 x 51cm (13 x 20 in.)Provenance:Pawsey & Payne Ltd., LondonEdward Lear travelled to Corsica in April 1868 with the writer John Addington Symonds and stayed until early June. While exploring the island he filled pages of his sketchbooks with views and produced over three-hundred and fifty drawings, carefully annotated with his highly-recognisable colour suggestions, locations and timings. He documented his journey in his last travel book, Journal of a Landscape Painter in Corsica, published in 1870, which includes forty engravings based on the sketches. He also worked these up as the basis for his watercolours and also a series of oil painting, several of which were painted on a monumental scale. Condition Report: The sheet has not been laid down but is attached to a windowed mount by the edges. On the reverse it has the number 39 next to the number 84 (which has been crossed out) in the artist's hand. The sheet and paint surface appear to be in excellent original condition although there are areas of foxing across the sky and distant hills. There is slight acid staining to the mount. Condition Report Disclaimer
Edward Lear (British 1812-1888)La Piana, CorsicaInk and watercolourTitled and dated 11 May 1868 5am-6am lower left, numbered 185 lower right and variously annotated35 x 53cm (13¾ x 20¾ in.)Provenance:Pawsey and Payne Ltd., LondonEdward Lear travelled to Corsica in April 1868 with the writer John Addington Symonds and stayed until early June. While exploring the island he filled pages of his sketchbooks with views and produced over three-hundred and fifty drawings, carefully annotated with his highly-recognisable colour suggestions, locations and timings. He documented his journey in his last travel book, Journal of a Landscape Painter in Corsica, published in 1870, which includes forty engravings based on the sketches. He also worked these up as the basis for his watercolours and also a series of oil painting, several of which were painted on a monumental scale. Condition Report: The sheet is not laid down, but is attached by the edges to a windowed mount. It is quite discoloured and there are several small spots of foxing and acid staining in the sky. The pigments area lightly faded, but there are no visible signs of damage or restoration. The mount is slightly acid stained. Condition Report Disclaimer
Attributed to Thomas Skynner (fl. 1840-1852)Portraits of Philip Malory and his wife, a pairPencil, pen, ink and watercolourWith inscription Philip Malory and wife/a great great uncle on the reverse of the portrait of the man15 x 10cm (5¾ x 3¾ in.) (2)Probably New England.Provenance:David Wheatcroft Antiques, MassachusettsPurchased from the above by the present ownerTo be sold without reserve The Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector. Condition Report: Man: The sheet has been hinge mounted to the card mount in two places at the upper edge. The sheet is sandwiched between a card mount which is also taped closed but this could be un-taped easily. There is some discolouration to the sheet as well as some general handling creases throughout. There are two small areas of tearing to the lower left corner (largest approx 2cm). There is evidence of previous restoration to the area right of the man's head. There is a horizontal crease running through the man's neck the length of the sheet, probably caused by folding. Small area (approx 4mm) of retouching to the blue border. Other minor creases and wear to the edge of the sheet commensurate with age. Some undulation to the sheet under the glazed frame. Unexamined out of taped closed mount. Lady: The sheet has been hinge mounted to the card mount in two places at the upper edge. The sheet is sandwiched between a card mount which is also taped closed but this could be un-taped easily. There is some discolouration to the sheet as well as some general handling creases throughout. There is a large diagonal crease running from the upper left edge to the centre of the lower left edge. A possible tear (approx 2cm) to the lower right corner. There is an area of pronounced creasing to the lady's right arm. Other minor creases and wear to the edge of the sheet commensurate with age. Some undulation to the sheet under the glazed frame. Unexamined out of taped closed mount.Condition Report Disclaimer
American School (early 19th century)Portrait of a young lady, small half-length, with a black hair bandPen, ink and watercolour, in a painted oval. Dated 1811 to the backboard7.5 x 6.5cm (2¾ x 2½ in.)Provenance:Don Walters, U.S.A.Ron Merican, U.S.A.David Wheatcroft, MassachusettsPurchased from the above by the present owner in 2006 To be sold without reserve The Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Justus Dalee (American 1793-1878)Portrait of a young girl, seated three-quarter-length, holding a red bookPen, ink and watercolour11.5 x 9cm (4½ x 3½ in.)Provenance:Austin T. Miller American Antiques, OhioPurchased from the above by the present owner in 2005Justus Dalee was born in Pittstown, Washington County, New York. He was a musician during the Anglo-America war of 1812, but is mostly remembered as an itinerant portrait painter and nearly seventy portraits of children are recorded. He travelled along the east coast primarily in Massachusetts, Connecticut and New York State.To be sold without reserve The Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
American School (early 19th century) Portrait of Julia Lee, aged 7 years oldPen, ink and watercolourIndistinctly inscribed Julia Lee 7 years old along the lower edge14 x 10cm (5½ x 3¾ in.)Probably New England, circa 1810-15. Provenance:Joan Brownstein, MassachusettsPurchased from the above by the present owner in 2015 To be sold without reserve The Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Amos Holbrook (American, early 19th century)Portrait of Aaron Gould, small half-length, in a black coat, holding a bookPen, ink and watercolourInscribed Aaron Gould Aged/24 along the upper edge11.5 x 9.5cm (4½ x 3½ in.)Most probably New Hampshire, circa 1830.Provenance:David Wheatcroft, MassachusettsPurchased from the above by the present owner in 2009 To be sold without reserve The Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.Condition Report: The sheet is not laid down. Discolouration and staining to the sheet, as visible in the catalogue and online images. extreme edges of the sheet with small tears and wear commensurate with age and handling. There is a small hole (approx 3mm) to the sheet at the lower left border edge. Condition Report Disclaimer
Attributed to Deborah Goldsmith (American 1808-1836)A portrait of a mother and child, seated in an interior & A portrait of a gentleman, seated in an interiorPencil and watercolour, a pair17.5 x 16.5cm (6¾ x 6¼ in.); and 15.5 x 13.7cm (6.1/8 x 5.3/8 in.) (2)New York State, Maryland, or Southeastern Pennsylvania, circa. 1830.Provenance:Thomas K Woodward, New York CityDavid A. Schorsch. Greenwich, ConnecticutRalph O. Esmerian. New York CityDavid Wheatcroft, MassachusettsAustin T. Miller, OhioPurchased from the above by the present owner in 2005To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector. Condition Report: Man: The work has been stuck down to the card mount using tabs. The colour is good although there are some brown spots visible to the blue background around the sitter's head. Some light, fine craquelure to the black pigment areas, predominantly in the gentleman's coat and the left edge of the table. Otherwise light wear commensurate with age. Lady: The work has been hinge mounted along the upper edge using two bits of white mounting tape. The colour is good although there are brown spots to the sky around the sitter's head. Some light, fine craquelure to the black pigment, namely in the sitter's dress. There is a small white scratch to the upper left corner (approx 2cm). Light wear and some very light scattered staining to the extreme edges, otherwise light wear commensurate with age.Condition Report Disclaimer
American School (early 19th century)The States Eagle Pen, ink and watercolourInscribed The States Eagle upper centre22.8 x 17.8cm (8¾ x 7 in.)Believed to have been painted in New England, circa 1810. Provenance:David Wheatcroft, MassachusettsPurchased from the above by the present owner in 2007In the early years of the American nation, the need for a national symbol was acutely felt. They appropriated many existing symbolic forms, but none were to become as pervasive as the eagle. It was the ancient symbol of Jupiter, king of the gods, and the young nation was eager to model many of its institutions on the Roman Republic, so the eagle, proposed by Pennsylvania scholar William Barton, seemed a natural choice.The Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
A 1:384 SCALE WATERLINE MODEL OF H.M.S. ILLUSTRIOUS AS FITTED FOR HELICOPTERS IN 2012 modelled by M. Reading with 20in. carved hull, plated and finished in grey and black below the waterline and demarked decks, with three helicopters present, fitted as appropriate with carved and metal components including water platforms, deck rails, companionways, detailed superstructure, comms masts, fitted funnels, etc., service trucks in green, inflatable life rafts in racks, much other detail, depicted cruising in calm blue sea, on wooden display base with printed legend and plexiglass cover – 8¾ x 32½ x 9in. (22.5 x 82.5 x 23cm.)Footnote: One of three 'Invincible' class carriers, Illustrious was launched at Swan Hunter by Princess Margaret in December 1978 and commissioned in June 1982. Affectionately nicknamed "Lusty", her fitting had been rushed so she could join her sister Invincible and the task force being sent the to the Falkland Islands where she rapidly deployed her Sea Harrier and Sea King aircraft and helicopters. She was formally commissioned into the RN in March 1983. After the defence review of 2010 she was converted to a helicopter only platform and it is in this latter role we see her depicted in this model. By the end of August 2014 she was the RN's oldest serving ship and decommissioned at Portsmouth. Although there were bids to have her preserved as a museum ship, they were deemed unviable and she was towed to Turkey for breaking in December 2016.Condition report: Model in good condition. Some paint chips to one side on edge of sea
Ø A RARE 1:24 SCALE EAST INDIA COMPANY BUILDER'S HALF MODEL FOR THE 16-GUN BRIG TERNATE, BUILT FOR THE BOMBAY MARINE BY BOMBAY DOCKYARD, CIRCA 1801 the 30in. hull carved from the solid and planked with teak below ebonised wale, ebony gun ports interspersed with satinwood veneers, detailed fully-carved ivory figurehead in the form of a Ternate warrior, scored main deck with fittings including windlass, ship's boat carved from the solid, hatch covers, binnacle housing, deck lights and deck rails, mounted on a wooden backboard with bowsprit piercing edge and heavy brass suspension loops behind -- 10½ x 38½in. (26.5 x 98cm.)Footnote: When the splendid 56-gun frigate Marquis Cornwallis, named for the Governor-General, was launched at Bombay in 1800, she attracted a great deal of attention and resulted in the first recognition of the Bombay Dockyard in the wider history of shipbuilding. Although some ships-of-War had been built there previously, they had all been small fry but this changed rapidly after the turn of the new century and the launch of the new Cornwallis. Almost immediately, in fact, the Bombay Council [of the Honourable East India Company] ordered a new 16-gun brig to be called Ternate. Named for the fearsome legendary warriors of Ternate, in the Maluku Islands [in modern Indonesia], she was built by Jamsetjee Bomanjee (1756-1821), probably the foremost Master Builder in the dockyard at that time. He was a born naval architect and, as the years passed, became so well regarded that in 1813 the Lords of the Admiralty sent him a presentation silver cup valued at £120 to mark their appreciation of the numerous fine ships he had built for the Royal Navy, quite separate from those completed for the Bombay Marine. Ternate herself was constructed of teak throughout, mounted 16-guns and was measured at 237 tons, although there appears to be some doubt as to her rig. Most sources refer to her as a ‘brig’, but one calls her a ‘sloop’ and a painting of her clearly sporting three masts and titled “The H.C.S. [Hon. Company’s Sloop] Ternate off Mangalore” is reproduced in The Bombay Dockyard and the Wadia Master Builders, by R.A.Wadia, Bombay, 1957, facing p. 242. It is likely therefore that she was officially rated as a ‘brig-sloop’, which would account for the apparent discrepancy. Like all the vessels of the Bombay Marine during the early 19th century, Ternate was constantly cruising the waters of the Arabian Sea and the Persian Gulf hunting down pirates or dealing with local rulers attempting to interrupt the East India Company’s trade routes to their own advantage. However, there were two incidents of particular note in which Ternate figured prominently and the first occurred in 1829. On 31st May that year, the British ship Oscar was wrecked on the Jaalan coast [modern Oman] and then boarded by some Beni-Boo-Ali Arabs who plundered her cargo valued at £80,000. Commodore Collinson in Ternate, and accompanied by the schooner Fly, made first for Muscat to rendezvous with three other ships-of-War and, after recovering a portion of the cargo consisting of valuable cashmere shawls there, sailed on to Sohar [Oman] and thence to nearby Khor Jerameh, a known harbour of refuge for local pirate craft. In the event, only a small portion of the remaining cargo was ever recovered as the tribesmen who had taken it had already disappeared into the vastness of the desert. Nevertheless, the very presence of the naval force led by Ternate proved decisive in restoring order to the region, albeit temporarily as was often the case. Three years later, in 1832, the Sheikh of Ejman [modern Ajman, in the United Arab Emirates] committed the “most daring outrages…upon the commerce of Muscat”. Ternate and her consort Tigress were despatched to resolve the situation and it was soon reported that “Entire compliance was yielded…and the boats, money, and jewels, the property of the passengers, were yielded up”. This was just the sort of exploit for which Ternate had been built although, by now, her service career was coming to an end and she is last recorded as being “sold at Public Auction (before 1840)”.Condition report: fine overall condition with some old losses including part of the cathead, deadeyes
![A VERY FINE 1:36 SCALE ADMIRALTY BOARD STYLE MODEL FOR THE SIXTH RATE 28-GUN SHIP SIREN [1773] modelled in alder wood, fruitw](https://cdn.globalauctionplatform.com/ae91f13b-8f93-4f7d-a9ee-ac630098dd45/46d10fba-9354-4421-a55b-ac63011e213c/468x382.jpg)
A VERY FINE 1:36 SCALE ADMIRALTY BOARD STYLE MODEL FOR THE SIXTH RATE 28-GUN SHIP SIREN [1773] modelled in alder wood, fruitwood and ebony, the framed hull planked and pinned, with ebony main wale, gun ports with cast brass guns in trucks with tackle, finely carved figurehead with carved decoration along bulwarks and stern, with trophies of arms, scrollwork, caryatids, glazed stern with ionic pillar supports, oxidised brass stern light, the deck with details including bitts with belaying pins, gratings, stove pipe, belfry with bell, well deck with fitted pinnace over with bottom boards, seats, gratings etc., bound cutaway masts, capstan, double helm with 12 turned spokes, compass box, swivel guns etc., mounted on cradle stand to ebonised wooden display base, overall -- 15 x 48in. (38 x 122cm.)Footnote: H.M.S. Siren was one of the five ‘Enterprise’ class frigates ordered in 1770 to counter the so-called ‘Falkland Islands Emergency’ [a potential war with Spain following the Spanish seizure of the Falklands that year, having been partially occupied by English forces since 1766]. In the event, the situation was resolved by French intervention although the new building programme was allowed to proceed. Designed by John Williams, the order for Siren went to John Henniker & Co. at Chatham where her keel was laid in April 1771. Launched on 2nd November 1773, she was leisurely completed for sea in the Chatham Navy Yard and finally commissioned in August 1775 under Captain Tobias Furneaux. Measured by her builder at 594 tons, she was 120½ feet in length with a 33½ foot beam and mounted 28 guns, mostly 9pdrs. Her commissioning coincided with the growing unrest in Britain’s North American colonies and she was despatched to join the fleet then cruising off the eastern seaboard, but her career was to prove a short one. Whilst escorting a convoy en route to Rhode Island in heavy weather, she ran aground on Point Judith, Connecticut, on 6th November 1777, closely followed by a ship and a schooner. The schooner was soon able to free herself and attempted to haul Siren off to no avail. Rebel forces ashore then brought up some cannon and their fire became increasingly accurate on the stationary frigate with the result that Captain Furneaux ordered her to be abandoned as the number of casualties increased. The ship’s pilot and her Master were subsequently blamed for their negligence and were dismissed the service.
A FINE AND RARE LARGE TUBE SCIENTIFIC BAROMETER, ATTRIBUTED TO TROUGHTON & SIMMS, LONDON, CIRCA 1850 the ¾in. curved glass tube with U-bend, largely encased with lacquered brass and with cork stopper, mounted on hinged wooden display board with inset scales with vernier and magnifier with rack-and-pinion adjustment, Fahrenheit thermometer with silvered scale – 42½in. (108cm.) highFootnote: The wide tube on this instrument allows for precise measurements to be recorded as the mercury will even to a flat surface.Condition report: Good overall condition. Mercury drained (for reasons of weight) but available. Both tubes later replacement.
A 7½IN. RADIUS BRASS OVAL PATTERN SEXTANT BY J.F. WILLIAMS, BRISTOL, CIRCA 1860 with oxidised brass frame, polished brass arc signed as per title and with inset polished silver scale divided to 140°, vernier with clamp and magnifier with fine screw adjustment, seven shades, two mirrors, wooden handle, contained in fitted keystone box with retailer's label for Edward Langford, Bristol, pasted inside lid -- 10in. (25.5cm.) wide
A SET OF PORTABLE SCALES FOR THE COUNTY OF KENT BY W.T AVERY, CIRCA 1900 constructed in lacquered brass and signed on the crossbar, contained in fitted wooden case with baseboard inside lid, brass label inscribed County of Kent to the outside, securing hooks and leather carry handle -- 19½in. (45.5cm.) wide; together with an associated set of 1, 2, 4 and 7lb bell weights with test marks from 1901, in fitted leather holdall with three fine-scale sets in wooden casesCondition report: Sold as seen. Scales in good overall condition. Weight sets all incomplete.
A FINE 1:12 SCALE MODEL FOR THE INTERNATIONAL DRAGON CLASS YACHT KITTIWAKE R.H.K.Y.C., POSSIBLY BY STEVENS MODEL DOCKYARD, CIRCA 1950 the hull carved and hollowed from the solid with weighted keel and hinged rudder, grey painted deck with varnished cabin trim and grab rails, slatted benches and footboards, pair of oars, boat hooks and rowlocks, mast with spreaders and burgee, standing and running rigging, mounted on a shaped wooden display board – 41 x 30in. (104 x 76cm.); together with a suit of contemporary linen sails, one inscribed ‘A12’ (distressed)Footnote: This is the same class as Bluebottle owned by H.M. the Queen and Prince Philip.Condition report: Fine overall condition, rigging replaced, wear commensurate with age.
Ø A 7½IN. RADIUS BRASS TULIP PATTERN SEXTANT, CIRCA 1870 unsigned, the oxidised brass frame with inset ivory scale divided to 130°, vernier with clamp and magnifier, braced index arm, seven shades, two mirrors and wooden handle, contained in fitted baize-lined keystone box with accessories -- 10in. (25.5cm.) wideCondition report: Good overall condition for age.
A 6½IN. RADIUS TRIANGLE PATTERN BRASS SEXTANT BY G. WHITBREAD, LONDON, CIRCA 1890 signed on the arc as per title and numbered 2009, silvered scale divided to 150°, vernier with fine screw adjustment and magnifier, braced index arm, seven shades and two mirrors, wooden handle, contained in fitted box with key, the fob stamped Whitbread and trade label inside lid for Christy & Wilson, Glasgow -- 9¼in. (23.5cm.) wideCondition report: Original oxidised finish largely missing.
A 1:32 SCALE PRESENTATION MODEL FOR A 'WATSON' CLASS LIFEBOAT, CIRCA 1931 the 15in. carved hull finished in white and blue with red wale and RNLI pennant to the bow, grey painted deck fitted with grab rails, deck rails, bitts, folding mast with navigation lights, fitted cockpit and other details, mounted on four plated columns to stepped wooden display base with brass plate engraved 40FT WATSON CLASS MOTOR LIFEBOAT LENGTH 41FT, BEAM 11FT8", DISPLMT 14.5T, CREW 8, DRAUGHT 3'8", TWIN SCREW, SPD 7.5KTS, BLT 1931-52 and later plexiglass cover, overall measurements -- 11½ x 21½ x 10in. (29 x 54.5 x 25.5cm.)Condition report: Good overall condition. Varnish shrunk on unpainted components
A 1:125 SCALE BUILDER'S PRESENTATION MODEL FOR M.S. MARTHA BAKKE, BUILT FOR KNUT KNUTSEN BY AKTIEBOLAGET YACHT GOTAVERKEN, SWEDEN, 1960 the 48in. fibreglass hull with bilge keels and boarding companionway, grey decks with painted fittings as appropriate, rigged mast with derricks, cranes, white superstructure with lined wooden decks, covered lifeboats in davits and other details, mounted on turned wooden columns to display base with a plexiglass cover, overall measurements -- 19½ x 55½ x 10in. (49.5 x 141 x 25.5cm.)Footnote: Whilst enjoying a career typical of the time, in 1970 this vessel was partially converted to receive containers as this new method grew in popularity. In 1983 she was sold and renamed Knut Supporter and broken up two years later.Condition report: model in good overall condition, plexiglass case now showing signs of fatigue and no longer fit for purpose.
A RARE AND HISTORICALLY INTERESTING 4IN. RADIUS POCKET SURVEYING SEXTANT BY JESSE RAMSDEN, LONDON, CIRCA 1794 signed on the T-bar Ramsden London, the arc with chamfered scale directly divided to 130°, vernier with clamp and fine screw adjustment and swivel magnifier, the index arm inscribed Lieut. Col. Twiss, threaded sighting tube arbour, two shades, index mirrors and horizon mirror with adjusting arm and switch, contained within original fitted case of issue -- 6in. (15cm.) wideFootnote: General William Twiss (1745-1827) was a military engineer and integral not only to Britain's defences at the height of the Napoleonic threat, but also to several key British possessions overseas. Attached to the Ordinance Office of the Tower of London in 1760, in 1762 he was sent to Gibraltar as overseer of the King's works, a role which lasted until 1771 when he returned to bolster the defences of Portsmouth Dockyard. In June 1776 Twiss arrived in Canada with General Sir John Burgoyne's army and, having been appointed aide-de-camp to General William Phillips, took part in the operations to clear the insurgent Americans from Quebec province. Sir Guy Carleton, commander-in-chief in Quebec, then made him controller of works for the construction of a fleet to wrest possession of Lake Champlain from the Americans, an objective accomplished with victory at the Battle of Valcour Island in October 1776. The following year, when Burgoyne opened his campaign to enter the Hudson valley, Twiss was appointed his commanding engineer, planning the siegeworks that led the Americans to abandon Fort Ticonderoga on 5 July. Captured shortly after, he was exchanged and sent back to Canada to strengthen Canada's defences. He chose the site of Fort Haldimand on Lake Ontario (1778) and supervised the construction of a temporary citadel at Quebec, work on which began in 1779. Twiss also made important improvements to the navigation of the St Lawrence River, particularly by his fortified canal at Côteau-du-Lac. On 18 December 1778 he was promoted captain-lieutenant and in 1781 he became Canada's commanding engineer. Returning to England in 1783, he was appointed Secretary to the Board and responsible for the defences of Portsmouth and Plymouth DY's, and in 1794, having been promoted lieutenant-colonel (when he doubtless acquired this high-quality sextant), he was also appointed lieutenant-governor of the Royal Military Academy at Woolwich. During the 1790s the threat of French invasion kept Twiss busy on the south coast, and he oversaw the strengthening of the eastern defences of Dover Castle with four new bastions. He subsequently made tours of the Channel Islands (1800) and Ireland (1802) in order to report upon their defences. During the heightened danger of French invasion in 1803 he again looked to the defences of Dover and, on his recommendation, the western heights overlooking the town were fortified. He also sank the grand shaft to connect the barracks on the western heights with the town below. Appointed brigadier-general on 11 February 1804, he was instrumental in helping achieve — despite the dilatoriness of the Ordnance Board — the construction between 1805 and 1808 of a chain of seventy-three Martello towers to guard landing points in Kent and Sussex. Twiss had been promoted major-general on 30 October 1805, and on 24 June 1809, he became colonel-commandant of the corps of Royal Engineers. He retired to Yorkshire in 1810 but was promoted to full general in 1825. The Museum of Royal Engineers in Gillingham has his pocket theodolite, also by Ramsden, Object No. 6303.5.3.Condition report: Fine overall condition retaining much original lacquer. Scale dulled, rubbing to vertical T-section. Front rim of lid missing.
A RUSSIAN STAR GLOBE, CIRCA 1979 the 6in. metal globe with yellow-tinted gores and calottes, with principal stars indicated in Cyrillic with horizon and ecliptics, a star type reference cartouche, pinned-in polished steel meridian set within horizon ring with detachable scale cage, contained within original pine box of issue with red and black pencils, label inside lid and instruction manual numbered in manuscript 9213, with a certificate in back stamped and signed by the ?manufacturer, the cover marked CCCP, the case with counter-numbered labels, securing latch and handle -- 10in. (25.5cm.) squareCondition report: Good overall condition. Leaflet a little foxed.
A FINE 1:120 SCALE BUILDER'S MODEL OF THE TANKER CALTEX PLYMOUTH, BUILT BY HITACHI ZOSEN FOR OVERSEAS TANK SHIP (UK) LTD, 1960 polychrome copper hull with painted decks with detailed gilt brass fittings, silvered pipework, white painted superstructure with glazed accommodation, comms mast with radar and signal flag call sign, with binnacle and telegraphs over, covered lifeboats in davits, swimming pool, funnel with emblem and other details, mounted on four gilt brass column pedestals to display base with builder's and model maker's plates, contained within glazed wooden case, overall measurements -- 28 x 15½ x 85½in. (71 x 39 x 217cm.)Footnote: A large tanker of 46,502 tons and 695 feet in length, she was renamed Texaco Plymouth 1968 and broken up 1982.Condition report: fine overall condition, forward derrick rigging loose, case probably later.
![A WELL-PRESENTED 1:75 SCALE STATIC DISPLAY MODEL OF THE AUSTRIAN HAPSBURG CLASS BATTLESHIP BABENBERG, AS LAUNCHED [1903] with](https://cdn.globalauctionplatform.com/ae91f13b-8f93-4f7d-a9ee-ac630098dd45/cc03cf19-d28b-405e-b744-ac6301212a27/468x382.jpg)
A WELL-PRESENTED 1:75 SCALE STATIC DISPLAY MODEL OF THE AUSTRIAN HAPSBURG CLASS BATTLESHIP BABENBERG, AS LAUNCHED [1903] with laminated and carved wooden 53in. hull, with white topsides, planked fruitwood decks, with painted and polished metal fittings and armament as appropriate, masts rigged with yards and gaffs, stayed funnels with ventilators and engine room lights, fitted steam launch and six others in davits, companionway, deck lights, compass platform and private commander's balcony to stern, mounted on launching blocks to wooden display base with glazed cover, overall measurements -- 24 x 62 x 17½in. (61 x 157.5 x 44.5cm.)Footnote: S.M.S. Babenburg was the last of three 'Habsburg' class battleships built at Stabilimento Tecnico Triestino, Trieste and launched by Countess Marianne von Goess in October 1902. Displacing 8,823 tons and measuring 375ft with a 65ft beam and 24.6ft draft, her two shaft four-cylinder vertical triple expansion engines powered by 16 Belleville boilers produced a healthy 19.85kts. Manned by 638 officers and crew, she sported a wide range of arms including 2 x 9in; 12 x 5.9in.; 10 x 2.6in.; 6 x 1.9in.; 2 x 1¾in. guns, and two 17.7in. torpedo tubes. Along with her sister ships Hapsberg and Árpád, she participated at the bombardment of Ancona during World War I. At the end of the war, she was given to Great Britain as a war prize but was scrapped in Italy in 1921.Condition report: Fine overall condition.
Ø A 9¼IN. RADIUS VERNIER OCTANT, CIRCA 1830 unsigned, inset ivory scale divided between 100° and 5°, braced index arm, telescope mount with pinhole sight, seven shades, two mirrors, contained in keystone box with two sighting tubes and retailer's label inside for Heath, Devonport -- 12in. (30.5cm.) high; together with a 6½in. radius curved bar brass sextant by John Bruce & Sons, Liverpool, contained in fitted box with sighting tubes; and a single draw 1½in. telescope by W. Ottway & Co. Ltd, Ealing, dated 1939, with leather-covered tube (3)Condition report: Octant: Old wear, handle detached.
A FOWLER'S 'MAGNUM' LONG SCALE CALCULATOR of typical form, the 4½in. dial signed to centre with maker's name and contained in original plush-lined leather box with set of instructions, box - 5½in. (14cm.) wide; together with another smaller long scale calculator (lacking box) -- 2½in. (6.5cm.); and a wooden telegram tariff calculator 14¼in. (36cm.) long (3)
![A FINE 1:64 SCALE MODEL OF THE 50-GUN SHIP H.M.S. ISIS [1774] modelled from NMM plans by P. Puttock, in boxwood, pear and syc](https://cdn.globalauctionplatform.com/ae91f13b-8f93-4f7d-a9ee-ac630098dd45/f5389b74-dcc4-482c-854c-ac63011e2a7a/468x382.jpg)
A FINE 1:64 SCALE MODEL OF THE 50-GUN SHIP H.M.S. ISIS [1774] modelled from NMM plans by P. Puttock, in boxwood, pear and sycamore, with framed 30in. hull planked and pinned with bamboo trenails, ebony main wale, hinged gun ports, finely carved figurehead of Isis, glazed stern and quarter galleries, partially planked and pinned decks with fittings including metal anchors with bound wooden stocks. stovepipe, belfry, well deck with two fitted boats over, gratings, shot racks with shot, hammock racks, companionways, helm, deck light, cannon in rigged carriages with wooden trucks, bound masts with yards and extended s'tun'sl booms, standing and running rigging with blocks and tackle, mounted on brass cradle supports to wooden display base with brass nameplate within a glazed case, overall measurements -- 37 x 54½ x 27in. (94 x 138.5 x 68.5cm.); together with July and August 2014 issues of 'Model Engineer' magazine describing research and construction. Provenance: Gold Medal and Earl of Mountbatten Trophy, Model Engineer Exhibition, 2013.Footnote: H.M.S. Isis was one of the four ‘Portland’ class fourth rates designed by John Williams and built by John Henniker & Co. at Chatham. Laid down in December 1772, launched on 19th November 1774 and completed in February 1776, she was measured at 1,050 tons and was 146ft in length with a 120ft beam. Principally armed with 22-24pdrs. on her lower deck and 22-12pdrs. on her upper deck, her total armament of 50-guns made her a formidable addition to the fleet when she sailed for North American waters under Captain Charles Douglas in March 1776. Her career was both long and immensely varied, and she performed valiantly across the globe. After assisting at the Relief of Quebec in May 1776, she sailed south and saw considerable action off the eastern seaboard and then in the West Indies before returning home for repairs and coppering in 1780. Recommissioned late in 1780 for a brief spell in the Channel, she sailed for India in March 1781 where, once again, she saw extensive action in Admiral Hughes’ squadron at the battles of Sadras, Providien, Negapatam, Trincomalee and Cuddalore. Having sailed home late in 1783, she was laid up and not recommissioned until 1794 which year began her next lengthy period of activity in the North Sea, including participation in the two major fleet actions of Camperdown (1797) and Copenhagen (1801). Refitted in mid-1802, she returned to North American waters in 1803 and remained there until 1808 when she was ordered home. After a final short spell in the North Sea in 1809, it was decided she was no longer seaworthy and she was decommissioned prior to being broken up at Deptford in September 1810 after what had been an exceptionally full service life for a frigate of that era.
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