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66972 Los(e)/Seite
Los 77
ANTIQUE OAK LONGCASE CLOCK by George Bucke, Bungay, 12ins square brass dial having pierced spandrels, the dial set with Roman numerals, subsidiary seconds dial and date aperture before a twin weight pendulum driven bell strike movement (pendulum and weights included), single glazed door hood with three quarter pillar decoration above a shaped top long trunk door and a stepped trunk base, 206cms H overall, 47.5cms W
Los 79
CIRCA 1800 OAK LONGCASE CLOCK by Gabriel Smith, Chester, arched top moon phase dial set with Roman numerals, subsidiary seconds dial and date aperture with painted rolling moon detail before a twin weight pendulum driven bell strike movement (pendulum and weights included) to a single glazed door arched top hood with broken pediment and brass ball finial, ribbed pillars and glazed side views over a shaped top trunk door and stepped trunk base, 114cms H overall, 56cms W
Los 219
OHARA KOSON (1877-1945) MEIJI ERA, C.1910 A Japanese woodblock print entitled 'Eagle with spread Wings on a Tree Trunk', the colourful bird of prey caught in a storm, the background depicted en grisaille, signed and with a red seal mark, otanzaku ban, 34.5cm x 19cm. Provenance: from the private collection of a British artist, formed in the 1990s. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
Los 327
A LARGE JAPANESE HIRADO BLUE AND WHITE VASE MEIJI ERA, 19TH OR 20TH CENTURY The baluster body with a wide flared rim, decorated in underglaze blue with a large pine tree with a gnarly trunk; together with a dish decorated with irises, painted in underglaze blue and with details highlighted in yellow enamels, a two-character signature to the front with a red seal mark underneath, and a four-character mark to the reverse, 38cm and 24.2cm respectively. (2) Provenance: from the collection of Dr Oliver Impey (1936-2005), and Dr Jane (Mellanby) Impey (1938-2021), of Cumnor Place, Oxford.
Los 60
A 19th century Victorian leather and brass bound articulated travel puzzle jewellery / deed box trunk. Of square form bound in leather with brass corner columns, brass pierced and ornate bindings to the top with large central handle and lock with push button double action opening the four hidden drawers
Los 380
SEVEN BOXES OF CERAMICS, TEA WARES AND DRINKING GLASSES, to include a Hampton Ivory - Swinnerton's hand painted pitcher marked 1893 on the base, a Torbay Pottery black artist's easel dish (chipped), Price Brothers Cottage Ware teapot, a Wade 'Lyons Tetley' teapot, a Sadler 'Ye Daintee Ladyee' Teapot Reg 824571, a Sylvac -1958 green Squirrel pitcher (chipped), a boxed Old Hall stainless steel tea spoon, a 1950's Salter kitchen scales, a stoneware foot warmer, a Hornsea Pottery Fauna tree trunk vase, Villeroy & Boch 'Mice' salt and pepper pots, a Nature Craft 'Little Mother' figurine, Sylvac bunny and terriers, a 1930's ceramic bird flower frog, chamber pot, a shell art owl, china tea wares, boxed drinking glasses, etc (s.d)(7 boxes + loose)
Los 876
The original "Trunk Bike".Japanese market 'twist-and-go' two-stroke commuter. Rare in the UKDesigned to fit in the boot of Japanese market Honda Today/City carsThis Shetland White example is presented in mostly original conditionShowing minimal use and is in running orderNot UK-registered but complete with a NOVA and Honda dating letterSpecificationMake: HONDAModel: NCZ50 MOTOCOMPOYear: 1982Registration Number: UNREGISTEREDEngine Number: AB12E 1026446Click here for more details and images
Los 1
LOUIS VUITTON Adventskalender, Koll.: 2021. Trunk-Design aus Holz in silberfarben mit goldfarbenen Details. Innenraum in Blau mit Monogram Blüten in Silber- und goldfarben, 24 Türchen. Zusätzliches Paket in Blau mit Miniaturausgabe des Adventskalnders mit Monogram-Blüten Ornament in Bicolor. Ungeöffnet.| LOUIS VUITTON advent calendar, coll.: 2021. Trunk design in wood in silver color with gold details. Interior in blue with Monogram flowers in silver and gold color, 24 doors. Unopened.
Los 1040
An 18th century chain driven 30-hr longcase clock in an oak case by James Pepper of Biggleswade c 1760, with a caddy top pediment and three (later) spun brass finials, blind fret to the front and square hood door with attached pilasters, slim trunk with a full length flat topped door on a rectangular plinth with applied skirting, 11� brass dial with chapter ring, Roman numerals, minute track and five minute Arabic's, matted dial centre with decorative engraving and urn pattern spandrels, square date aperture with engraved date ring behind, countwheel striking movement, striking the hours on a cast bell. With pendulum and weight.The Pepper family of Biggleswade were a prolific family of Bedfordshire clockmakers working from c1720-1889 Dimensions: Height: 225cm Length/Width: 44cm Depth/Diameter: 22cmCondition Report:Intermediate date wheel missing.
Los 1073
Henry John Boddington (1811-1865)"Lane scene near Iver"Signed and titled to label verso, oil on panel, 21cm by 34cm Provenance: Richard Green, LondonCovered in a relatively thick layer of surface dirt and discoloured varnish. Areas of which have deteriorated and have a slight opaque quality highlighting the grain and application of the paint. Slight frame rubbing to edges. The panel appears sound. Sporadic areas of retouching most notably to the trunk and branches to the tree in the right-hand foreground and a swaive extending through the figure group to the dark patch underneath the flock of sheep. Most likely to disguise and infill old cracquelure / flaked paint. Retouch to lower left-hand corner, upper right corner and top edge.
Los 1112
John Atkinson Grimshaw (1836-1893)"Silvery Moonlight"Signed and dated 1882, originally signed, inscribed and dated verso, oil on canvas, 40cm by 60cm Provenance: Richard Green, LondonNG Bailey Group of Companies, Denton Hall, Ilkley Atkinson Grimshaw is an artist whose fame in his lifetime as a painter of moonlit urban scenes and landscapes died with him in 1893. Indeed, he barely made it into the history books until the reputations of Victorian painters began to be restored in the early 1960s. Grimshaw was born and lived in Leeds, hence the city art gallery’s large collection of his paintings. In the 1970s, as a student working in Leeds Art Gallery, I lived in Headingley in a flat in a big house behind a high stone wall, surrounded by trees. As far as I was concerned, I lived in a Grimshaw painting, and the figure of girl walking along a moonlit road could be me. The melancholy of Grimshaw’s paintings appealed to me, just as it has done for so many others. Later, I learnt that Grimshaw’s shadowy lanes are generic views accumulated from his knowledge and observations of the city’s streets; that his life was troubled by grief and financial worries and that the subject we see here was hugely popular with art buyers. It was, therefore, one that was much repeated by Grimshaw, who, having become burdened with debt in later life, had to paint constantly to make a good enough living to support his large family, and to sustain his rather opulent taste in furniture, textiles and Chinese porcelain for Knostrop Hall, his richly decorated home.These silvery moonlit scenes varied little in composition, the shiny wet road curving from the right across to the left or centre of the canvas; sometimes we see the sparkling road turn the corner, at others we do not, but always we see the high stone walls, the wintry trees and a gate that firmly closes us out of the grounds of a large, sombre looking house, a few squares of light glowing in its windows.In 1882, when Silvery Moonlight was painted, Grimshaw was working in London in a bid for success on the London art scene. He hired a studio in Chelsea and took with him his live-in model, Agnes Leefe, whom he introduced into his Leeds household in 1879, much to his wife Frances’s fury. Grimshaw made many night-time paintings of London street-scenes, not only of the heart of the city but also of Hampstead, one of them a view of Heath Street (Tate), with the ubiquitous figure of a woman in black holding an umbrella, also painted in 1882. Silvery Moonlight may well have been painted with Hampstead in mind, with its tall city houses extravagantly lit up on every floor, compared to the subdued lights of Yorkshire homes, where a servant girl often walks along the dark lane or a courting couple hide themselves in the darkness. In this painting we have a horse-drawn cart, its owner walking ahead.Grimshaw always provides a human presence under the moonlight, but they are never the wealthy owners of the illuminated houses; these are the lower-class workers who serve them, romanticised by the artist in a dreamlike setting of his own invention, one that has been much-loved by collectors and gallery viewers for generations.Jane Sellars MBE (2022)We are grateful to Jane Sellars MBE for her assistance in catalguing this lot. Relined, cleaned and revarnished to a good standard whereby the impasto and finer brushwork appears to remain intact. There is very little to discern under a UV light accepting some extremely fine and delicate retouches along upper edge essentially contained to right-hand side. Further very fine retouches essentially to lower 50% of left-hand side edge. There is possibly very fine and sporadic retouches to the trunk of the tree positioned left-hand side and possible delicate retouch to old upper stretcher shadow. Some very light surface dirt and discoloured varnish and or essentially fine abrasion or slight rubbing mark to upper edge. The inability to visibly identify any further restoration under a UV light does not entirely preclude the possibility, this cannot be evidenced by eye or UV light survey. In essentially very good state of preservation. For more information please contact the department.
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66972 Los(e)/Seite