155745 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnierenForester, C. S. The African Queen, first edition, London, William Heinemann, 1935. Publishers cloth, signed "C. S. Forester" to front free end paper and also inscribed "To Ingle Barr, twenty two years after first signing the book, with a second signature; C. S. Forester April 1957." Barr's bookplate to front paste down, octavo. Ingle Barr was a Californian book collector who corresponded with Forester.
American Campaigns - Tarleton (Banastre). A History of the Campaigns of 1780 and 1781 in the Southern Provinces of North America, 5 engraved maps and plans, including a large folding map of the States by W. Faden, ink signature to the title, contemporary calf, worn, joints cracked, [Sabin 94397], 4to, 1787. Loosely inserted is an autograph letter dated Dec 15th (no year, but early nineteenth century), offering the purchase of this book at £5 and stating "It belonged to Captain Maurice de Courcy who was A.D.C. to the Duke of Wellington". The book has de Courcy's signature inside the front cover.
IN THE STYLE OF JEAN BAPTISTE AUGUSTIN (French) - Portrait of a young Woman her hair simply dressed in a band, unsigned but faint inscription at the bottom of the portrait, in contemporary gilt frame, 44.5cms x 29cms on blue paper laid onto card Provenance: the family history with this picture is that the portrait is of Mell De Lacaze, a great, great Aunt - who was a pupil of Augustin c.1785
A cased set of early 20th century ivory jewellery, in a banded mahogany case, comprising a carved bracelet, two flower head brooches, and a flower head medallion and a further carved medallion By repute: given by the Government of Norway to Sonja Henie, the Norwegain World Champion ice skater who won three Olympic Gold medals in 1928, 1932 and 1936. In 1941 Henie emigrated to the United States and becoming a film star and celebrity ice skater.
ASCRIBED TO SIR JOHN EVERETT MILLAIS Portrait of a huntsman, watercolour 6" x 3" Pencil inscriptions to the reverse state "Sketch by Sir JE Millais Bart P.R.A., state 5, Johnnie gave me this Sept 97, ‘PJS’... "Given to me by father in 1900, Y E Skipwith" (‘Johnnie’ refers to John Guille Millais, John Everett Millais’ son, who wrote the accompanying books in this lot). Together with J G Millais: The Life and Letters of Sir John Everett Millais, 2 vols, inscribed by the author and dated 1900.
ASCRIBED TO JAN VAN GOYEN Figures conversing on a track with a huntsman holding a hare aloft, with two dogs at his side and trees and buildings beyond, inscribed "V. Goyen" and also with the monogram "VG" conjoined, oil on a chamfered oval oak panel, 181/4 " x 233/4". Provenance: The reverse bears a label (now detached) recording that the painting was originally the property of Edmund Sheppard of Beaconsfield, a friend of Disraeli and grandfather of Mrs Mary Elliot Hotblack, who died in Lewes in 1938. Thence by descent.. Private Collection Dorset.
CIRCLE OF SIR GODFREY KNELLER A portrait of a gentleman, probably Sir John Crewe of Utkinton, wearing a lace jabot, inscribed on the reverse, oil on canvas, 291/4 " x 241/4 ". The reverse of the canvas bears the name of "Mr Crewe" but it probably represents Sir John Crewe of Utkinton, son of John Crewe (second son of Sir Randolph Crewe) and Mary Dunne; born 1641. He married first, Mary, daughter of Thomas Wagstaff, of Catchebrook, Co. Warwick and secondly Mary, daughter of Sir Willoughby Aston, Bt. "He revered the memory of his excellent grandfather, Sir Randolph, who familiarly called him in childhood his "Jolly Jack". He was a portly gentleman as his portrait bespeaks". (Hinchliffe, Barthomley page 366).
ALEXANDER MUNRO RA: A white marble bust of Kenneth James Matheson (Second Baronet of Lochalsh) looking slightly to dexter and wearing a shirt with a lace collar and tassels, on a marble socle, 20" high. Provenance: Alexander Matheson, later Sir Alexander Matheson, and thence by descent to the vendors. Exhibited: Inverness Museum and Art Gallery from 1994 until August 2008 The Birmingham City Art Gallery, January - March 1992 - "Pre-Raphaelite Sculpture: Nature and the Imagination in British Sculpture 1848-1914". According to Rupert Gunnis in "Dictionary of British Sculptors 1660-1851": "Alexander Munro's father was a stonemason employed on the Duke of Sutherland's property in Scotland and his artistic abilities were brought to the notice of Harriet, Duchess of Sutherland, wife of the Second Duke, who assisted in his education". In 1848 she brought the young man to London and introduced him to Sir Charles Barry, who employed him on the sculpted works intended for the Houses of Parliament which were then under construction. Munro soon turned to portrait- sculpture and produced a number of busts. According to Redgrave his works were of "true genius and feeling and graceful and spirited". It is as a sculptor of children, however, that he is celebrated and Rupert Gunnis refers to a number of groups including "the Matheson children" (1861). Alexander Munro is regarded as a pre-Raphaelite sculptor. He met Rossetti at the Royal Academy, who confided in Munro about his secret signing of the pre- Raphaelite brotherhood. His work embodies the ideals of the pre-Raphaelites combining formal purism that harks back to early Italian Renaissance models with the realism of Holman Hunt and Millais. Between 1852 and 1858 he lived with another pre-Raphaelite, Arthur Hughes. Kenneth Matheson (1854-1920) was the eldest son of Alexander Matheson, who returned from a successful business career in China to become a leading Scottish landowner and MP for Inverness Burghs. In 1882 he became First Baronet of Lochalsh. Kenneth and Mary (see lot 437) were his children by his second wife, Lavinia Mary Stapleton, who died tragically by drowning in Loch Duich on her way to church in 1855. They were brought up by their Great Aunt until their father remarried in 1860, apparently the year in which this bust and lot 437 were executed. See lot 437
THOMAS SIDNEY COOPER (1803-1902). A LARGE OIL ON CANVAS, a study of a farmyard near Canterbury, with cattle, sheep and figures, signed and dated 1837 lower left, 173 x 135cm, framed and glazed. Provenance: purchased from Fradswell Hall, Staffordshire in 1976, the estate of the Hon. Sir John Percy Ashworth Deceased - 850 2k-4k Thomas Sidney Cooper was born in Canterbury in 1803 and became one of England's most prominent Victorian painters with his studies of landscapes with cattle and sheep. At the age of 12 he worked as a coach painter before becoming a scene painter. Whenever time allowed Cooper's artistic yearning led him to paint nature scenes. At the age of 20 he moved to London and after drawing for a time in the British Museum he was admitted as a student into the Royal Academy. Canterbury called for Cooper and he returned earning a living as a drawing-master. In 1827 he lived in Brussels for four years meeting Verboekhoven who influenced him greatly. On his return to London he began exhibiting and subsequently gained the nickname 'Cow Cooper'. Examples of his work can be found in the V & A, Tate and Royal Academy.
Her Majesty Queen Elizabeth The Queen Mother - a handwritten memorandum in envelope For Mr Tallon - 'Would you ask Major Griffin whether he would like to see the very nice doctor, who might be able to help ged rid of the cold - he should not come down today if he is catching' and another 'I would like a word with Reginald on the telephone' (2)
A Set of Four Important Elizabethan Revival Chairs in the manner of Anthony Salvin dating from the first half of the 19th century and assumed to be commissioned by William Crawshay the Second for Cyfarthfa Castle, Wales. Each of the architectural style chairs having a semi-circular arch of pollard oak above the top rail containing a relief carved English Mastiff surmounting a pile of canon balls. The pollard oak panel backs centred by the Crawshay family crest & coat of arms within deep cavetto moulded strap-work flanked by half column pilasters with domed anthemion carved finials. The solid oak seats having incised moulding and turned ebony roundels adorning the seat rails raised on curved X-form legs united by floral stretchers. Each screw hole concealed with a wooden plug. Accompanied by a folder of correspondences and relevant information from Cyfarthfa Castle Museum who borrowed the chairs to exhibit them in the library in April 2006.
KATE MOSS (BRITISH, B. 1974) WHO NEEDS BLOOD WHEN YOU'VE GOT LIPSTICK, 2005-6 Lipstick and blood on canvas. This work was painted by Kate Moss at the height of her affair with the singer Pete Doherty. The painting was created using lipstick and was later inscribed by Pete in his own blood. 122cm x 91.5cm (48in x 36in) Exhibited: Pete Doherty's exhibition 'The Art of Albion', Paris April-May 2008 Provenance: Bankrobber Gallery, London Bought directly from Pete Doherty's private collection and is accompanied by a receipt in his hand for the sale on a Soho House napkin.
A near matching pair of Edward VII silk trumpeter's banners with raised silk and wirework decoration of a Royal Coat of Arms surmounted by initials "ER" and winged seraphs within a scrolling foliate decorated border and tasselled edges, approx. 54 x 42.5 cm (Provenance: Thought to be from the First Life Guards Regiment Property of the Commanding Officer who was in the Regiment circa 1898-1920 and commanded the First Life Guards during the First World War)
Dame Laura Knight,DBE, RA (1877-1970) BALLERINA signed, dated March 1943 and inscribed R[oyal] O [rdnance] F[actory] Newport, pen and ink, 14 x 13.5cm, unframed Provenance: Drawn by Laura Knight for the father of the present vendor who was eNgaged in war work at the Royal Ordnance Factory in Newport, Monmouthshire. In March 1943 Knight visited the factory to paint a woman at work and the following month her picture of Ruby Loftus Screwing a Breech Ring was voted the most popular painting in the RA Exhibition. ++++
An early 19th century portrait miniature, painted on ivory of a young woman, with long ringlets and wearing a white dress with a blue sash. Framed in an oval miniature frame, within a larger ebonised frame, which is cut away on the reverse to reveal the following inscription; "The portrait of Mary Anne Bonner who died at Sea off Cape Verd August 26th 1821. To Augustus Cotgrave Bonner from his niece Mary Anne Manson September 10th 1852".
A 19th century sampler, neatly worked in silk threads to a linen ground with a fine house with a fenced lawn, two black gentlemen (who appear to be playing catch), with trees and birds. Inscribed 'Mary Ann Holland' within a lozenge cartouche flanked by heralding angels. The whole enclosed by a trailing floral border. Mounted, glazed and framed, 31 x 26cm
Backhouse (Edward) . Sketches from Nature, mostly taken in 1829, large 4to. album containing numerous pencil sketches, watercolours, pen and ink drawings, lithographs, etchings, etc. many signed by Edward Backhouse, many others signed by his nephew Edward Backhouse Mounsey who received the album in 1855, half calf, joints split. With additional engraving by E B Mounsey
First World War. An Album, containing letters, official documents, maps, photographs, etc. relating to Cyril Pease who served as an ambulance driver with the Red Cross on the Italian Front from 1915 to 1917 and then applied for a Commission in the Royal Naval Air Service; An Album, containing photographs, watercolours of the battlefield, cards, letters, map, etc. relating to Pease family members with POW, Medical and W. Yorks interest; Tatham (M.) & Miles (J.E.) The Friends Ambulance Unit 1914-19, nd., [c1919], folding maps, cloth; Shields (Hugh John Sladen) A War Diary, August 12th-October 25th, 1914, Royal Army Medical Corps, medical officer to Irish Guards, killed in action, private printing, card wraps (spine worn); Trevelyan (G.M.) Scenes from Italy's War, 1919, cloth; with six Red Cross journals (11), with a further album and quantity of related letters, photographs etc
Sir David Wilkie, RA (British, 1785 -1841) Mrs. Moore, wife of the British Consul at Beirut, in Arab Dress signed lower right "D Wilkie" oil on canvas 42 x 32cm Exhibited: Spink, London, English Oil Paintings, 16 November - 3 December 1976, No.11. Literature: The Connoisseur, November 1976, The Arts in Europe, page 252 Wilkie referred to Mrs. Moore in a letter to his sister Helen Wilkie from Beirut, dated 17 February 1841. 'We have been much pleased with Mrs Moore, the consult’s lady, who is very handsome. Mr Moore wished me to engage to paint a portrait of her for him. This I could not do, but told him that if she had a native dress, I would be happy to make two drawings of her - one for myself, as well as one for him. Accordingly, two drawings have been made for her; in the dress of a Bedouin lady; both are so much liked that they scarcely know which to retain.' Allan Cunningham, The life of Sir David Willkie, 1843, vol. 111, p. 390 A painting entitled Mrs. Moore in Arab Dress was sold at the Willkie sale, Christie’s, Thursday 28 April 1842, lot 591
Pierre Jouffroy (French, fl.1742-1767) Portrait of the Shrewsbury Children, holding a Garland of Flowers signed lower centre 'Pr. Jouffroy fecit 1779' oil on canvas 58 x 70cm Provenance: Private collection, Kent Pierre Jouffroy, who was the Court Painter at the French Court, visited England to undertake commissions between 1765 and 1767
A pair of 18th century Worcester 'Blind Earl' pattern green painted sweetmeat dishes, 1765-70. each of circular scalloped form with a branch form handle terminating in moulded flower buds, the well with moulded leaf decoration and painted in green with pears, plums, flowers and leaves (2). 16cm wide . Note: this design of dish originated at the Chelsea porcelain factory and was produced by Worcester from the 1750s. In the 19th century the pattern was named after the Earl of Coventry who lost his sight in a riding accident. He ordered a service in this pattern so that he could feel the raised decoration.
A late 18th century Scottish provincial stained elm open armchair. The Burns 'Bletherin' Bitch' chair. with shaped top rail above silver presentation plaque in the form of a thistle, over vase splat, later upholstered seat, scroll arms and square section chamfered legs united by stretchers . Note: This 'Bletherin' Bitch' chair was presented to the OURS Club of Glasgow, 29th October 1921 by Muirhead Moffat, on the occasion of their Golden Jubilee. The OURS Club was founded in 1871 and survives to this day. Its original longer name is the Glasgow Philological and Literary Club. . The words 'Bletherin' Bitch' appear in the Burns poem 'Epitaph on a noisy Polemic' which is about a Mr James Humphrey. He used to introduce himself to visitors from whom he hoped to obtain a trifle with 'Please Sir, I'm the bletherin' bitch.' Mr Humphrey, a Mauchline mason, was the original owner of the chair. . Muirhead Moffat was Glasgow's best known antiques dealer with palatial premises at 134 and 138 Douglas Street, and latterly at 134 Blythswood Street. It came into his possession originally when he exchanged the chair with the fine art dealer Craibe Angus & Son, of 81 Renfield Street, who was famous, along with Alexander Reid, for selling Impressionist paintings at the beginning of the 20th century. He was also an authority on Burns. . It was exhibited by the previous owner, Alexander Marshall, in the Burns Exhibition, 1896 at the Galleries of the Royal Glasgow Institute of Fine Arts in Sauchiehall Street, as lot 905. . This chair is sold with the original letters relating to its provenance. .
An oak three tier buffet. constructed from 17th century timber and panels, the upper lozenge carved cupboard section with a central door, door bears plaque etched 'From the Furniture of Anne of Cleves, Priory House, Lewes, purchased in 1863', below are a pair of fluted column supports and a triple panel backboard, the lower section comprising a guilloche carved drawer on fluted column front supports joined by an undertier. 113cm wide, 184cm high, 56cm deep . Anne of Cleves (1515-1557) was the fourth wife of Henry VIII. Born in Dusseldorf, she was the daughter of John III of the Duchy of Cleves - who was seen as an important potential ally. Henry was taken by a flattering portrait of her painted by Hans Holbein and entered into marriage negotiations. The first actual meeting did not go well however and within hours he declared: 'I like her not' ! By this time it was too late to get out of the marriage contract without offending the Germans and so they were wed in January 1540. Various reasons, both personal and political, led Henry to want to annul the marriage and Anne was sensible enough not to raise too many objections. It was over by July 1540 and Anne received a generous settlement, including Hever Castle and the house in Lewes which now bears her name. . Anne of Cleaves House in Lewes is a 15th century timber framed Wealden hall-house. It is currently a museum. . The bedhead for Henry VIII and Anne of Cleves is in the Burrell Collection in Glasgow.
A 19th century satinwood, tulipwood and purpleheart parquetry bureau plat. Attributed to Donald Ross. the top with a tooled green leather skiver within a crossbanded and trellis parquetry border, the corners inlaid with flowerheads, the similarly inlaid frieze enclosing two drawers, one stamped with the serial number '06174', on turned and fluted tapering legs ending in brass castors, the whole decorated with foliate cast gilt metal mounts. 114cm wide, 73cm high, 63cm deep . Note: Donald Ross's London workshop specialised in finely inlaid furniture during the second half of the 19th century. He became particularly celebrated for his use of 'dot and trellis' parquetry, strongly influenced by the work of French ebenistes, particulary Jean-Henri Reisener. Ross was also a client of, and supplier to, the firm of Edwards & Roberts who made and retailed fine furniture in the French taste from their premises in Wardour Street in London.
A rare pair of Morris and Company tin-glazed tiles, 1870 -1880, with the Peony design after Kate Faulkner, chips ,each 15cm (6") square This design was by Kate Faulkner, who was the sister of Charles, one of the partners of Morris Marshall and Faulkner. Edward Burne-Jones was a friend of and worked with William Morris. He designed glass and tiles and before his association with De Morgan he spent many hours hand painting tiles assisted by Kate. See: 'William Morris Tiles' by Richard and Hilary Myers. Page 111. There is a single tile of this pattern in the V and A.
A rare pair of Morris and Company tin-glazed tiles, 1870 -1880, with the Peony design after Kate Faulkner, chips ,each 15cm (6") square This design was by Kate Faulkner, who was the sister of Charles, one of the partners in Morris, Marshall and Faulkner. Edward Burne-Jones was a friend of and worked with William Morris. He designed glass and tiles and before his association with De Morgan he spent many hours hand painting tiles assisted by Kate. See 'William Morris Tiles' - Richard and Hilary Myers. Richard |Dennis 1996. p111. There is a single tile of this pattern in the V+A.
The following six lots are by Humphrey Waterfield (1908-1971), who was an artist and garden designer. He divided his time between his house, Hill Pasture in Broxted, Essex and Le Clos Du Peyronnet in France, both of which were well known for their gardens. In 1936 he bought some land in Broxted and commissioned Erno Goldfinger to build a Modernist house. He created a fine garden, which was described by an official of the National Trust as 'The most beautiful small garden in England'. He died in a car accident in 1971. WILLOWS BY A POOL Signed and dated '38, oil on canvas, 63.5 x 76 cm
A portfolio containing thirty ladies' costume designs for the 'Darling of the Gods' Watercolour and bodycolour on card 34.5 x 24cm The 1903 production of David Belasco and John Luther Long's 'The Darling of the Gods' was directed by Herbert Beerbohm Tree, who also played the leading role as Zakkuri. The leading lady was Miss Lena Ashwell as Yo'San. The plot is set in Japan during the period of the sword edict when the Emperor took away the swords of the Samurai.
Sir Joshua Reynolds, P.R.A. (1723-1792) PORTRAIT OF WILSON GALE-BRADDYLL (1756-1818) OF CONISHEAD PRIORY, LANCASHIRE, HALF LENGTH, IN A BURGUNDY COAT AND WHITE STOCK Oil on canvas, 30 x 25 in. (76 x 63 cm.) in a fine 18th Century carved giltwood frame Provenance: According to Graves & Cronin, by descent in the family until its sale at Christie's: Christie's, Braddyll sale, 25th February, 1865 (lot 97), bought Cox; apparently returned to the family afterwards and recorded in the possession of E.S. Braddyll in 1881; Private collection, Cumbria; thence by descent Exhibited: Royal Academy, 1788, as 'Portrait of a Gentleman', no. 189; perhaps Liverpool, 1881, no. 136 Literature: Algernon Graves and William V.Cronin, 'Sir Joshua Reynolds', 1899, vol 1, no. 110; Ellis K.Waterhouse, 'Reynolds', 1941, p.80; David Mannings, 'Sir Joshua Reynolds - A Complete Catalogue of his Paintings', Yale University Press, 2000, no. 237, p.103 (engraving only illustrated, no. 1529, p. 566) Engraved: A.N.Sanders, 1865 The sitter was born Wilson Gale, the eldest son of John and Sarah Gale of Highhead Castle, Cumberland. In 1776 he inherited Conishead Priory, together with other properties, on the death of his cousin Thomas, and assumed the additional name and arms of the Braddyll family. In the same year he married his cousin Jane Gale, daughter and heir of Matthias Gale of Catgill Hall, Cumberland. In 1779 he was appointed Sheriff of Lancashire,and from 1780 he was a Whig MP for three different constituencies, successively Lancaster Borough, Horsham and Carlisle. He became a Groom of the Bedchamber to the Prince of Wales, who in 1788 gave him a head and shoulders portrait of himself by Reynolds, which Is now in the Tate Gallery (Mannings no. 720). As a friend of the Prince of Wales he was well known for his profligacy, and Farington wrote of him in 1796 'It is not supposed that Braddyll consumed his fortunes by gaming but by inattention to his expenses and by various profuseness of living. Though he had very expensive establishments to support, he lived much at taverns as a profuse bachelor'. In Reynolds's Pocket Book for 1788 there are several appointments with Mr Braddyll in January and February, and two for May, one of which may have been with Mrs Braddyll, whose portrait he also painted (Mannings no. 238), now in the Wallace Collection, London, along with one of their son Thomas (Mannings no, 236) and a group portrait of the family (Mannings no. 239), now in the Fitzwilliam Museum, Cambridge. A payment of 50 guineas is recorded in the artist's Ledger in July 1789. In 1803 Braddyll was made a Colonel in the 3rd Royal Lancashire Militia.
Peregrine Mulvogue Feeney (1837-1914) BAMBURGH CASTLE FROM THE SHORE, FIGURES IN THE FOREGROUND Signed, Inscribed verso: ' Exhibited in Birmingham (Royal?) ...? Society of Artists', oil on canvas, 41 x 62cm Feeney is listed as a member of the Newlyn Art Colony. He was a friend of William Waterhouse, whose sister he married, and of William Logsdail, who included him as the omnibus driver in his famous picture 'The Bank and Royal Exchange'.
A George III mahogany longcase clock, with an 8 day five pillar movement striking on a bell with a 12 inch arched brass dial and chapter ring with a subsidiary seconds dial and date aperture, the arch with a boss inscribed 'Francis Perigal, London,' with Strike/Silent lever below, the hood with stop fluted canted corners above an arched trunk door flanked by stop fluted quarter pilasters, on a panel base, 86.75in (220.5cm) h; pendulum, two weights. The Perigal family of clockmakers spanned the 18th century and into the 19th century in various partnerships. Five named Francis continued the family business who produced high quality clocks and watches.
An early 19th century mahogany and brass inlaid drop dial wall clock, with a single fusee movement having shaped plates, with a 12inch convex dial inscribed 'Richd Cole, Cornhill, Ipswich', the trunk with stringing and florets with a base door, 21.5in (54.5cm) h; pendulum, winding key, door key. Richard Cole, Ipswich active 1785- 1822 succeeded by his son Richard who retired 1865.
A 2.75 inch pocket globe, by John Newton, 1783, with a cartouche printed 'A New Terrestrial Globe by J. Newton 1783,' with coloured gores to a papier mache sphere, contained in a fishskin cover case with celestial map to the interior, with a brass clasp, one missing. John Newton was working from 1783-1818. The globe bears remarkable similarities to those of Nathaniel Hill, fl. 1742-1762 who was one of the major globe makers in London of the period. His gores for pocket globes were acquired by Newton, who re-issued the globe in 1783. The Pacific is recorded as 'The Great South Sea' and Alaska as 'Unknown Parts.'
An early children's book - "The Life and Death of A. Apple-Pie who was cut into pieces and eaten by twenty-six young ladies and gentlemen", printed for A.K. Newman & Co, Leadenhall Street, London 1823, illustrated with sixteen coloured engravings of the alphabet (in paper cover), and one other early children's alphabet book decorated with twenty-six coloured engravings, published by William Tringham, No. 36 Hosier Lane, West Smithfield, London (bound in card with mottled paper cover)
Sir Cecil Beaton (Brit. 1904-1980)-Costume design for Sir Peter Teazle, in The School For Scandal (Richard Sheridan), played by Sir Laurence Olivier in 1949 at The New Theatre (now The Noel Coward Theatre), watercolour, 42 x 28.5cm Sir Cecil Beaton was an Academy Award winning costume and stage designer, as well as a fashion and portrait photographer who often photographed the British Royal family amongst other luminaries.
Eric Gill (Brit. 1882-1940)-The skaters, wood engraving, 11 x 11cm Eric Gill was closely associated with the Arts & Crafts Movement and founded his own art colony ‘The Guild of St Joseph and St Dominic (which included David Jones also featured in this sale). A typeface designer and sculptor as well as a printmaker, Gill also designed the ubiquitous Gill Sans typeface. He courted controversy through being a deeply religious man who also produced erotic art.
Late 19th Century Chinese ancestral portrait of the Empress Dowager Cixi, watercolour and body colour, 104 x 62cm. Cixi was a powerful and charismatic woman who was selected as concubine by the Xianfeng Emperor, and went on to be defacto ruler of China, through her son and then nephew, from 1861 to her death in 1908
A Spode hand painted plate by Lucien Besche (French 19th century), inscribed verso Miss Penelope Boothy after Sir Joshua Reynolds, signed on front L.Besche, 12.25in (31cm) diameter, together with an ebonised wall mounting case. * Lucien Besche was first heard of in The Potteries circa 1865-1870 where he worked for The Minton and Copeland factories. Besche was mentioned in The Art Journal of 1875 in connection with the Copeland factory who produced a frieze for a billiard room in a Glasgow mansion. Lucien Besche met another famous Copeland artist Charles Hurten at the Copeland factory and later married one of his daughters. In 1878 Spode exhibited a bone china plate painted by Lucien Besche depicting Charles Hurten.
English School, 19th century Ozanne Building at Elizabeth College and Old Court, Guernsey watercolour 10 x 18in (25.5 x 46cm). * Provenance - This painting has never appeared on the market previously, having been passed down though the same family for several generations. It was given to the vendor's family when they visited Guernsey to visit a family member circa 1900. Their grandfather was the wine merchant Henry Hitchins, as was her uncle Alfred Hitchins. In 1891 they lived in View House, Canichers. A brother Reginald Hitchins was a boarder at Old College, College Street, aged 15. F.C. Horton was Assistant Master at Elizabeth College 1872-1902. His daughter Gertrude Horton married Col. Charles Henry Macintire Hitchins (No. 1986) born 1860 who attended Elizabeth College 1875-1878. The part of Elizabeth College now known as The Ozanne Laboratory was built to replace the 'House in the Close' which was demolished circa 1753. The cost of this new construction in 1760 was approx £600. Obviously this building has been greatly altered and extended since that date, however this painting gives some idea of what it looked like at the end of the 19th century. It is possible to date this painting between the years 1846 when the construction of Victoria Tower had begun, and 1874 when the building which stood at the bottom of Candie Road was demolished. In the Guernsey census of 1851 a family named Parker were residents of Old Court, Guernsey. Very little is known about this property which was almost certainly demolished to accommodate the building of the main road (St Julian's Avenue) out of St Peter Port to the western parishes. The house appears on an 1843 map and an advertisement in The Star Newspaper dated 7th May 1856 advertises Old Court for sale - The description reads; ' OLD COURT' Late in the occupation of Mrs Parker Deceased. To be SOLD or LET, for a term of years, that new MANSION, consisting of dining, drawing, and breakfast-rooms, opening on a beautiful terrace; nine bed-rooms, dressing rooms, water-closets on each floor, kitchens, butler's pantry, other convenient offices. It is enclosed within a walled garden, well stocked with choicest fruit trees, in full bearing. The premises are situate near Elizabeth College and St James's Church. For terms apply to Mr W.Le Messurier, Notary Public, Commercial Arcade.' We would like to thank The Priaulx Library, Guernsey for their assistance with this information. Further information regarding 'Old Court' can be obtained at the bottom of the web page - http://www.priaulxlibrary.co.uk/priaulx-library-services-case-study.asp To be sold with various related photocopies of research information.
A large and interesting collection of various insignia, mainly Third Reich and Balkan, including SS patches, SS Handschar patches, and insignia of the Independent State of Croatia (NDH). This collection also includes British insignia, and may be the souvenirs of a British soldier who served in Yugoslavia. It represents an interesting cross -section of forces operating in this theatre of WWII.
Loading...
![Dame Laura Knight,DBE, RA (1877-1970) BALLERINA signed, dated March 1943 and inscribed R[oyal] O [rdnance] F[actory] Newport,](http://lot-images.atgmedia.com/SR/10086/2748787/792-65-10086_468x382.jpg)
