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66972 Los(e)/Seite
Los 56
Dedicated and signed 'à l'ami Colville/J.J. Tissot' bottom right; also illegibly inscribed in pencil (by another hand) 'Antoine [illeg.] (Colville) / Porzellanmaler [?]ab. 1793 Ruffey sur Seille/Jura/1867' on the middle stretcher bar verso, oil on canvas19 1/2 x 22 1/4 in. (49.5 x 56.5cm)Executed circa 1864.Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenanceThe Artist.A gift from the above.Collection of Antoine Colville.Collection of Mr. and Mrs. John Marqusee, New York, New York.A gift from the above.Private Collection, Philadelphia, Pennsylvania.Exhibited"James Jacques Joseph Tissot, 1836-1902: A Retrospective Exhibition," Museum of Art, Rhode Island School of Design, Providence, February 28-March 29, 1968; and Art Gallery of Ontario, Toronto, April 6-May 5, 1968 (traveling exhibition), no. 5LiteratureDavid S. Brooke, Michael Wentworth et al., James Jacques Joseph Tissot, 1836-1902: A Retrospective Exhibition, an exhibition catalogue, Rhode Island Museum of Art Rhode Island School of Design, Providence, 1968 (illustrated).Michael Wentworth, James Tissot, Clarendon Press and Oxford University Press, New York and Oxford respectively, 1984, pl. 22 (illustrated).NoteWe wish to thank Ms. Krystyna Matyjaszkiewicz for confirming the authenticity of the present lot, and for her assistance in preparing the below catalogue entry.During the early years of his career, James Tissot (1836-1902)—christened Jacques Joseph but known as James from childhood and using that name professionally as an artist—painted compositions of figures in historical dress, as well as undertaking portrait commissions. At first he used costumes based on German 16th century fashions, which were considered to be “medieval”. After a visit to Italy, including Venice, Tissot extended his costume range to include Italian and French-inspired late 16th century garments. Such costumes appeared frequently on the Paris stage at that time in both operas and plays, such as Les Huguenots and Hamlet. History pictures depicting the same era, when Henri IV was king of France, had also been popularised in the 19th century by artists whom Tissot admired, notably Jean-Auguste-Dominique Ingres (1780-1867). Tissot either borrowed “Huguenot-style” theatrical dress or had similar garments made up by dressmakers, as a number of pieces are worn by models posed in different ways for various historical-dress compositions, including Sur la Plage.The young woman in the centre wears a black gown with sleeves that are puffed and “paned” or slashed at the top, and close-fitting below. White edging emphasises the paned sleeves and high neckline, with a tall collar ending in a small white ruff. The paned sleeves reveal a pale-grey silk lining below. She wears a matching black velvet cap with white feathers. A black chalk drawing by Tissot of a bare-headed model wearing the same dress is known (currently unlocated) and the same costume appears full-length in Promenade on the Ramparts, 1864 (Cantor Arts Centre, Stanford University, California), Tentative d’Enlèvement [The Attempted Abduction], 1865, and Le Rendez-vous, about 1867 (both unlocated). Both male costumes also feature in Promenade on the Ramparts, where the boy in pink jerkin and black puffed-sleeve jacket has grey hose and black shoes rather than the over-the-knee boots he wears in Sur la Plage, and the man has different trunk hose with grey rather than buff-coloured jerkin.The white and grey horses, and a dark-coloured animal beside the man that might be intended as a mule or donkey rather than a horse, are lightly sketched in. The dog is sketched with more confidence than the other animals, and dogs of various types appear in many of his works but horses are rarer. Although the painting was not sufficiently complete for exhibition, it was probably liked, and may have been requested by Tissot’s friend, Antoine Colville (1793-1867), to whom it was dedicated by the artist. Colville painted miniatures and was also employed to decorate ceramics. He was born in the Jura, west of France, near to where the family of Tissot’s father had lived after emigration from Italy, and their origins may have linked the two artists.Tissot’s paintings often provide hints of stories, leaving the viewer to imagine what may have occurred or is about to happen. Given the historical costumes, the figures on the beach here could be Huguenots escaping from persecution and waiting to escape France by boat. In escaping they haven’t been able to take much with them, as no baggage is evident. Alternatively they might be waiting for someone about to arrive by sea. The rocky cliffs and narrow stretch of sand suggest precariousness. Both adults are looking out to sea but the boy is looking directly at the viewer (and the artist), sullen and less than happy about having to sit and wait.Frame: 25 12 x 28 x 2 1/2 in.The relined canvas in overall very good condition. Examination under UV light reveals scattered areas of old greenish varnish, indicative of a clean. We also notice two small areas of restoration: one to the right of the male figure, in the rocky background; and another on the central horse's mane and neck (pinpoint sized). For more information, please see Specialist's images. To have access to such images, please email Raphael Chatroux at rchatroux@freemansauction.com.
Los 141
A SCOTTISH GEORGE IV MAHOGANY LONGCASE CLOCK, BY FENWICK OF TILLICOULTRY,the box hood with spiral turned columns, arched glazing enclosing a signed brass dial with Roman and Arabic numerals, waisted trunk body and plinth base, with weights and pendulum, 212cm highCondition Report: Case is good With weights and pendulum, brass disk needs to be rescrewed on for pendulum see images Slip of rim moulding missing from front doorOriginal clear glass within hoodSome small veneer losses and timber split to plinth base Movement untested See images
Los 1185
A George III oak thirty hour longcase clock, Higginbotham Macclesfd, mid 18th c, with engraved dial, date sector and pierced steel hand, in crossbanded case, pendulum, 189cm h Requires restoration - dial movement in our opinion probably original to case, lacks glass from door, trunk door partly detached and chipped, base with old later added skirting
Los 1367
A Scottish mahogany eight day longcase clock, Robert Currer, Falkirk, 19th century, the breakarched and painted dial with twin subsidiary dial and painted with figures emblematic of the four quarters of the globe, the arch with the scene of the death of stag after Landseer, the case with swan neck pediment and brass mounts, turned pillars, the trunk with cushion moulded cornice and bow centred richly figured door flanked by pilasters, on panelled base, pendulum and weight, 222cm high
Los 200
Pre WW1 military trunk marked ‘York Reg’ two shell cases one WW1 trench art marked with ‘Arras’ the other WW2 25Pr dated 1942, post WW2 books and a compendium of the war magazine dated 1939, with six military chain and webbing strap fastenings by Parsons 5.00 to 5.50 and another military box.The chest belonged to L. Colton who enlisted in 1882
Los 304
A Charles I General pardon issued to Richard Gardiner of Nortoft in the parish of Guilsborough in Northamptonshire; 10 February 1626 Relates to high and petty treason, rebellions, insurrections and conspiracies before 27 March 1625 [the accession of Charles I], homicides, felonies, robberies and accessories to the same, escapes and all other feloniesWritten in a Chancery hand with ornamental strapwork to the capitals; C of Carolus ornamented with foliage; lacks great sealRichard Gardiner was a beneficiary of the will of his uncle Richard Gardiner of Nortoft in Guilsborough of 9 July 1622, proved at London on 8 October 1623, being left a trunk containing a cloak, a pair of hose and doublet, two pairs of stockings and one shirt, and an unspecified debt owed to the deceased on a bond.
Los 1265
A GEORGIAN FLAME MAHOGANY EIGHT DAY LONGCASE CLOCK, the hood with a swan neck pediment, barley turned pillars, flanking a glazed door enclosing a painted 13 inch dial, moonphase movement to the arch, roman numerals, subsidiary date aperture and seconds dial, signed W Jones of Birmingham, bell striking movement, on a wide trunk, and bracket feet, height 238cm, with two weights and pendulum (condition:-some minor veneer loss)
Los 1267
A GEORGIAN FLAME MAHOGANY AND CROSSBANDED 30 HOUR LONGCASE CLOCK, the hood with a swan neck pediment, three finials, turned pillars flanking a glazed door, enclosing a painted 13 inch dial, with a seascape scene to the arch, Roman numerals, seconds and date dials, signed D Bates of Huddersfield, on a shaped trunk, and a geometric panel trunk, on bracket feet, height 244cm, with one weight, pendulum and trunk key (condition:-missing back bracket feet, some veneer repairs around glazed door, replacement pillars, some beading/veneer missing around the base)
Los 10
The Life And Adventures Of Martin Chuzzlewit. By Charles Dickens. With Illustrations By Phiz. London: Chapman And Hall, 186, Strand, MDCCCXLIV [1844], first edition, first issue in book form, in fine morocco binding by Tout, 8 Vo., 624 pages, with five raised bands, elaborate gilt tooling and six compartments on the spine and “London 1844” at the heel of the spine, gilt tooling inside the triple gilt fillet borders on front and back covers, wide black and gilt margins on the patterned endpapers, the top edge is gilt, the half title is present and reads “The Life And Adventures Of Martin Chuzzlewit”, with forty illustrations by Phiz (the pen name for H. K. Browne), including the vignette title page, and all the points of issue are present to make this a first edition, first issue: the reward notice on the sign post on the vignette title page reads “100£” rather than “£100” (Eckel page 73) and there are seven studs on the front of the trunk near the bottom of the sign post on the vignette title page (per Walter Smith); the 14-line errata page follows the list of plates and all the uncorrected points are present. The plates are lightly foxed as expected because some plates were taken from the monthly parts that didn’t sell when the parts first came out (see Eckel page 73, “the bound volume usually presents foxed plates”) and the text is clean, with light rubbing at a front joint, loose gutters, and stab holes on the ”Mr. Moddle” plate on page 384, which indicate this particular plate came from the monthly parts which didn’t sell, and the book measures measures 8 7/8 x 6 1/8 in. wide. The short title for Dickens’ sixth novel is “Martin Chuzzlewit” and was first issued in twenty monthly parts bound as nineteen from January 1843 to July 1844, and the book form was first issued in 1844, after the monthly installments were completed; there were three different bindings for the novel in book form (per Eckel), and the price was one guinea for the cloth volume, 24 shillings and six pence for the half-bound morocco volume, and 26 shillings and six pence for the morocco gilt one. Hablot K. Browne (1815 - 1822) was an English artist and illustrator who illustrated many of Dickens’ novels after 1836. Browne met Dickens in the spring of 1836, when Dickens was looking for someone to illustrate the Pickwick Papers. He had illustrated a small pamphlet for Dickens previously and the original illustrator for Pickwick had committed suicide after drawing only seven plates for Pickwick, the next two plates for Pickwick were done by Robert Buss, but Dickens wasn’t satisfied with the work of Buss, and Browne came along and remained the main illustrator for Dickens’ works after that. Browne's first two plates for Pickwick were signed "Nemo", but the third was signed "Phiz", a pseudonym which was retained in future. When asked to explain why he chose this name, he answered that the change from "Nemo" to "Phiz" was made to harmonize better with Dickens' “Boz”. An exceptionally attractive first edition with all the points conforming to the first issue of a bound volume of Martin Chuzzlewit. See The First Editions Of Charles Dickens, Their Points and Values, John C. Eckel 1932 and Walter E. Smith, Charles Dickens in the Original Cloth: A Bibliographical Catalogue of the First Appearance of His Writings in Book Form in England, With Facsimiles of the Bindings, Title-Pages, and Other Relevant Data. Part One: The Novels and Sketches by Boz, Los Angeles: Heritage Bookshop 1982 for references.
Los 1039
John Sculcoates Branson of Hull - Oak cased 8-day longcase clock c1790, with an inlaid perogda pediment and three ball and spire finials, breakarch hood door beneath flanked by reeded pilasters and brass capitals, long trunk with conforming door on a rectangular plinth raised on a base with bracket feet, early painted dial with raised gesso spandrels, swag cartouche and makers name to the arch, with pierced steel hands, Roman numerals,five minute arabics, seconds dial and calendar aperture, dial pinned via a false plate to a rack striking movement with a recoil anchor escapement. With weights, pendulum and key.Dimensions: Height: 240cm Length/Width: 44cm Depth/Diameter: 24cm
Los 1040
Thomas Huxley of Northiam - 8-day oak cased longcase clock c1790, with a wavy topped carved pediment above a break arch hood door with attached pillars, long trunk and conforming door with a break arch top on a square plinth with applied skirting, early painted dial with makers name in a swag cartouche to the break arch, floral spandrels, matching steel hands, Roman numerals and five minute Arabic's, with a seconds dial and calendar semi-circular aperture with date ring behind, rack striking movement with a recoil anchor escapement, striking the hours on a gong. With weights and pendulum.Thomas Huxley is recorded as working in Boreham Street, Northiam (Sussex) late 18th century.Dimensions: Height: 210cm Length/Width: 46cm Depth/Diameter: 25cm
Los 1041
English - mid-19th century 8-day mahogany longcase clock, with a swans neck pediment and wooden urn finial, break arch hood door flanked by ring turned pilasters, trunk with a round topped door and reeded columns on a conforming plinth with a raised panel, unsigned fully painted dial with Roman numerals and minute markers, subsidiary seconds and date dials with matching brass hands, eight day rack striking movement striking the hours on a bell. With weights and pendulum.Dimensions: Height: 230cm Length/Width: 57cm Depth/Diameter: 24cm
Los 1042
Leyburn of Driffield - late 18th century 8-day oak and mahogany longcase clock, with an inlaid pagoda pediment, reeded pilasters and break-arch hood door, trunk with canted corners conforming long break arch door, on a plain plinth with bracket feet, painted dial with a lunar disc to the arch, Roman numerals and five minute Arabic's, subsidiary seconds hand and semi-circular calendar aperture with date disc behind, matching stamped brass hands and floral spandrels, recoil anchor escapement with a rack striking movement, striking the hours on a bell. With pendulum & weights.Dimensions: Height: 220cm Length/Width: 44cm Depth/Diameter: 22cmCondition Report:Movement may require and benefit from servicing and attention.
Los 1043
Etherington of Driffield - Rare three-train late 18th century 30-hour longcase clock in an oak case, flat topped hood with dentil moulding and blind fret, break arch hood door with attached pillars, trunk with a conforming door on a deep stepped plinth with shaped base, dial with a fully painted arch and scroll spandrels in raised gesso, an unusual and rare dial having separate dials for the hours and minutes, dial inscribed "Etherington, Dryfield", with a recoil anchor escapement, striking the hours and quarters on three bells. No weights or pendulum.John Etherington is recorded as working in Driffield (Yorkshire) 1775-d.1790.Dimensions: Height: 220cm Length/Width: 48cm Depth/Diameter: 20cm
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66972 Los(e)/Seite