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66972 Los(e)/Seite
Los 373
Sidney (Sid) Pollard (1914-1994) of Thirsk: An English Oak Small Longcase Clock, arched pediment with three turned finials, brass dial with silver chapter ring, signed Tempus Fugit MADE IN GERMANY, double weight driven movement, glazed trunk door, panelled base, unmarked,178cm highMeasurements 178cm high, 40cm wide, 25.5cm deep
Los 335
Wren Cabinet Makers: Bob Hunter (Thirlby): An English Oak Match Holder, with tree trunk holder and strike to underside, with carved wren,12.5cm by 4.5cm, 5cm highWren Cabinet Makers: Bob Hunter (Thirlby): An English Oak Pin Tray, with carved wren,13cm longWren Cabinet Makers: Bob Hunter (Thirlby): An English Oak Napkin Ring, with carved wren on a tree trunk,6.5cmWren Cabinet Makers: Bob Hunter (Thirlby): An English Oak Loving Spoon, with recessed carved wren,46cm long (4)
Los 611
Maud Lewis (1903-1970) Canadian The bride Signed, oil on beaverboard, 23cm by 30cmWe are grateful to Alan Deacon and Ian Muncaster for their assistance in authenticating this work. Maud Lewis (1903-1970) was a Canadian folk artist and remains one of Canada’s best-loved artistic figures. Living in poverty for most of her adult life, she painted joyous, nostalgic and vibrant pictures of rural life in her Nova Scotia home. Maud Lewis, nee Dowley, was born into a middleclass family in Yarmouth, Nova Scotia. Her father was a blacksmith and owned a harness shop, but despite relative affluence Maud’s childhood was not easy. She suffered from Juvenile rheumatoid arthritis, resulting in severely sloping shoulders, curvature of the spine and a recessed chin; Lewis spent much of her life in pain. Her mother, however, had an artistic nature, and taught Maud to paint Christmas cards which they would sell. After her parents died in the mid-1930s, Maud had no resources and went to live with her aunt in Digby, Nova Scotia. After seeing an advert for a live-in housekeeper 40-year-old bachelor Everett Lewis had placed, Maud turned up on his doorstep in nearby Marshalltown. Whilst apparently the pair did not hit it off immediately, a few days later Maud returned to his house and stated that she would not be his housekeeper but would be his wife. The pair married in 1938, and Maud moved into the tiny 4.2m x 3.8m house, with one-room and sleeping loft, where they would live for the rest of their lives, with no running water or electricity. Everett was a fish peddler, and Maud began accompanying him on his rounds, selling the Christmas cards she painted. Soon, Everett gave Maud her first set of oil paints, and they began selling her paintings too, all for very modest prices. Due to her ailments, Maud could not find employment, and indeed Everett even took over all domestic duties whilst Maud turned their little house into her studio and painted industriously – including every surface in their home. When Everett gained more stable employment, Maud put up a sign and sold her paintings from their home, which was on the side of the highway. Neighbours and tourists soon began flocking to purchase her colourful work but determined not to raise prices and put off buyers, the pair continued to live in poverty. Working on a small scale due to her limited mobility, Maud painted on cheap materials, such as a pulpboard used in the building trade known as beaverboard, and later ready-cut Masonite. After painting the board with a white ground, she would draw on an outline and then apply paint straight from the tube without mixing or blending. Maud focussed on a set range of subjects, mostly derived from memories of childhood and her surroundings in Nova Scotia before the onset of modernity; cats, deer and oxen, landscapes and depictions of harbour scenes, horse-drawn carts and sleighs. Nostalgic, yet optimistic, her works a happy simplicity with a touch of humour. Her most popular subjects were painted again and again, with minor variations, such as the present example Sandy Cove. This was one of only a select few subjects she painted across three decades. Sandy Cove is located on a long peninsular in the Bay of Fundy, not far from the Lewis’ home in Marshalltown. The other work up for sale, The Bride, is a more unusual subject for the artist, with far fewer variations known. Coming to the attention of a journalist, Maud became the subject of a radio documentary and subsequently a newspaper article in the mid-1960s. Her work captured the attention of the nation, and she achieved widespread recognition. However, with only limited ability to paint, she struggled to keep up with orders, and resolutely refused to charge more for her paintings, despite the likes of a staff member at the Whitehouse during Nixon’s presidency requesting more of Lewis's works to add to his collection. Today, her work is represented in museums and galleries around the world, with a large collection being found in the Art Gallery of Nova Scotia. Following her death from pneumonia in 1970s and Everett’s death in 1979, a permanent memorial was erected on the site of their home. Having captured the nations hearts, Maud’s life would become the subject of books, plays, and three films. Covered in a layer of surface dirt. Tiny loss to the left of the bottom edge within a lily pad and a slight indentation to the right of this to the lily pad centre of bottom edge. Slight scratch/indent approx 2cm within the green of the tree upper left corner. Minor scratch between the man's legs and a minor scratch within the rope he is pulling. Tiny white areas in places, for example to the right of the second tree trunk upper right corner, above the dog's nose to the blue, by design? See images.
Los 28
A Victorian doll's house/trunk in the form of a two house street, with a pillared facade, twenty glazed windows and hinged roof revealing the interior with original wallpaper, 28 1/4" x 17" x 11 1/2" (Est. plus 24% premium inc. VAT)Condition Report: A lovely and obvious age. One piece of external fencing missing. some age cracks present, but structurally sound. Wall paper stained and with some losses.
Los 7186
Dixon of Hexham - 19th century oak and mahogany 30-hour longcase clock, with a flat top and break arch hood door beneath, trunk with canted corners and a pointed top door, on a rectangular plinth with a shaped base, painted dial with floral spandrels and a Father Time automaton to the arch, with Roman numerals, seconds and date dials and brass hands, dial pinned via a false plate to a chain driven countwheel striking movement, striking the hours on a bell. With pendulum and weight.Dimensions: Height: 210cm Length/Width: 48cm Depth/Diameter: 23cm
Los 7187
Whitehead of Wetherby - 30hr oak cased longcase clock c1790 with a swans necked pediment and brass parterre, break arch hood door and trunk with quarter columns and long trunk door, on a stepped plinth with a raised panel and bracket feet, early painted dial with Roman numerals and five-minute Arabic's, floral decoration to the arch and spandrels, dial pinned directly to a rope driven movement with a countwheel strike. With weight and pendulum.Dimensions: Height: 220cm Length/Width: 50cm Depth/Diameter: 25cm
Los 7189
Charles Woodward of Newburn - late 18th century 8-day oak longcase, hood with a flat top and break arch hood door flanked by reeded pilaster with Corinthian capitals, long trunk door with a break arch top on a square plinth with narrow moulding to the base, brass dial with a silvered boss to the arch and cast spandrels, engraved dial centre with calendar aperture and matching steel hands, dial pinned to a rack striking movement, striking the hours on a bell. With pendulum and weights.Dimensions: Height: 206cm Length/Width: 56cm Depth/Diameter: 24cm
Los 7190
Late 18th century - 8-day Scottish mahogany longcase clock, with a broken arch pediment and blind fretwork beneath, break arch hood door with attached pilasters and brass capitals, trunk with a long door and break-arch top, rectangular plinth raised on plain bracket feet, brass dial with a matted dial centre, cast spandrels, pierced steel hands, recessed silvered seconds dial and square date aperture, the names of John Law of Beith & Robert Thomson of Borrowstonnes (Bo'ness) engraved separately on a silvered boss and cartouche ring in the dial arch, dial pinned directly to a rack striking two train weight driven movement, striking the hours on a bell. With weights and pendulum.Dimensions: Height: 220cm Length/Width: 47cm Depth/Diameter: 24cm
Los 7191
8-day - profusely carved oak longcase, with a flat top and square hood door beneath, door flanked by barley twist columns with brass capitals, trunk with reeded quarter columns and wavy topped door, on a carved plinth raised on bracket feet, brass dial with an engraved and matted dial centre, penny moon and date aperture, chapter ring inscribed “John Stancliffe” with Roman numerals and five-minute Arabic's, rack striking movement with a recoil anchor escapement. With pendulum and weights.Dimensions: Height: 202cm Length/Width: 48cm Depth/Diameter: 24cm
Los 7188
Taylor of Liverpool - mid 19th century 8-day Oak and Mahogany longcase clock with a swans necked pediment and brass ball finial, with a square hood door beneath flanked by turned pilasters, trunk with a short crossbanded door and raised panel on a square plinth raised on bracket feet, painted dial with matching geometric spandrels including depictions of conche shells, Roman numerals, makers name, axe moon disc and calendar aperture, dial pinned via a false plate to a rack striking movement, striking the hours on a bell. With weights and pendulum.Dimensions: Height: 210cm Length/Width: 48cm Depth/Diameter: 23cmCondition Report:Pendulum suspension broken.
Los 301
Two 'N' Gauge North American Outline Steam Locomotives, Tested Runners(400g)Bachmann 51461 Baldwin 4-6-0 Loco Baltimore and Ohio #2020 with double bogie tender w/lights & instructions, spare motor, case tarnished FairBachmann label states 'DCC' but no decoder identified and tested on DC layoutAtlas 2180 2-8-2 Mikado GTW Grand Trunk Western #3709 with tender Black with lights - Locos - Fair
Los 311
Two 'N' Gauge North American Outline Steam Locomotives, Tested Runners(200g)Atlas 2180 2-8-2 Loco Mikado GTW #3709 'Great Trunk Western' painted out, Rivarossi/Atlas Case FairTrix 4-6-2 AT&SF Steam Locomotive with tender #3420, Tested Runner but rear bogie of tender not attached but included (Poor) - Locomotives - Fair/PoorCase - Fair
Los 441
A 19th Century Mahogany Longcase Clock, by Samuel Adcock, the 12ins arched painted dial with Roman numerals, subsidiary seconds dial and date aperture, with see-saw automaton to arch, to the eight day two train movement striking on a bell, contained in case inlaid with cross bandings, with arched and moulded cresting and fluted columns to hood, arched trunk door, on plinth base with later shaped apron, 92ins highTrunk not including the plinth or hood back board - 40ins high x 14.5wide. Hood to top of finial mount 28ins height x 21ins wide
Los 188
An adorable koala (119472) seated with outstretched arms and a baby elephant (151489) boasting a raised trunk and ears, both with captivating black crystal eyes. Swarovski backstamp. Dimensions of the largest item: 1.75"L x 1.25"W x 1.5"H. Artist: Adi StockerIssued: 1989-2006Dimensions: See DescriptionManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Los 592
Chalice, Jean Petitjean (1712 /± 1752), Namur, Belgium ca. 1740, silver. A very beautiful chalice with cherubs on the base and stem. Also decorated with ears of corn and grape branches. The edge of the base contains an inscription: Don de Mlle Lebrun (means: Gift from Miss Lebrun). The trunk is slightly weighted. The cup was later replaced by another silversmith and is gold-plated on the inside. Foot and stem data: Belgium, Namur, Jean Petitjean (active from 1712 to approximately 1752), circa 1740, hallmarks: maker's mark (IPI crowned above a heart with arrow), standing lion city hallmark, Belgian rehallmarks including Januskop 2 quality hallmark and Minerva. Cup details: Belgium, Mechelen, Pierre Festraets, circa 1875, hallmarks: Minerva, maker's mark, Janus head 2 quality hallmark - light signs of wear. 494 grams, 800/1000. Dimensions H 26.5 cm, Diam 14.5 cm.
Los 575
Chalice, Willem F. Hermans, Eindhoven 1848, silver. A very beautiful chalice with a gold-plated cup with a separate silver piece with ears of wheat and grape vines on top. The trunk is decorated with cherubs and the base has a block-shaped part with the four evangelists on each side, namely Matthew with the angel, Mark with the lion, Luke with the bull and John with the eagle. The round part of the foot also features cherubs and four curled elements. The trunk is lightly filled. Netherlands, Eindhoven, Willem F. Hermans (1835-1867), 1848, hallmarks: lion 2, Minerva, maker's mark (WH above an ox head), year letter O, sword - light signs of wear. 758 grams, 833/1000. Dimensions L 15.5 cm, W 15.5 cm, H 26.7 cm.
Los 1033
A Fleischmann & Bloedel bisque head Eden Bébé doll, the bisque head with fixed blue glass eyes, marked 'EDEN PARIS D', 25cmH, together with a small linen bound trunk with carry handles, 29x17x16cmH deep, the fitted interior with lift out tray, with various doll clothing, accessories and miniatures
Los 281
A 1920s Innovation wardrobe steamer trunk. With applied metal label, fitted with drawers and hanging space, height 103cm.One of the hinges is intact the centre hinge has sheared and the lower hinge is lacking its pin, the interior is in need of cleaning and smells a little musty, but is still practical for storage etc.
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66972 Los(e)/Seite