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Mullocks Specialist Auctioneers & Valuers
Lot 953

Scottish Club Footballers Trade Cards: A & BC Gum "Football Facts, Scottish" set of 42/42 coloured cards issued in 1969 - G/VG - scarce.

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Sworders
Lot 260

Assorted Toby jugs, to include a Royal Doulton Toby XX jug, moulded no: 8337, a Shorter & Son Toby jug and assorted others to include Martha Gunn, the Snuff Taker, crested china and miniature examples etc.

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Sworders
Lot 309

Two 19th century copper jelly moulds, of marquee form and spiral fluted form, the latter impressed B.W & Co, a copper ladle, copper planter, two Turkish copper pots and two Middle Eastern bronze plates

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Sworders
Lot 352

Five Royal Copenhagen porcelain animals, comprising calf, mouse on fruit, a mallard, a chick and a bird and two Bing & Grondahl mice

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Sworders
Lot 393

A brown tooled leather jewellery box, to contain a rolled gold pocket watch, a part paste set buckle with jet cameo converted to a brooch, assorted silver jewellery, a slide of malachite and a brooch by Buch & Deichmann of Denmark

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Sworders
Lot 486

A silver sugar basket, Nathan & Hayes, Birmingham, 1895, of pierced form, with a swing handle, blue liner

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Sworders
Lot 676

A Maple & Co strung and inlaid rosewood Pembroke table, 61cm long

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MacDougall's Arts Ltd.
Lot 221

ROERICH, NICHOLAS 1874-1947 Sangacheling, from the series Sikkim signed with a monogram Tempera on canvas, 73 by 117.5 cm. Provenance: The Roerich Museum, New York, 1924–1935. Nettie & Louis Horch, USA, from 1935. Private collection, UK. Exhibited: The Roerich Museum, New York (permanent collection), 1924–1935, No. 179. Literature: F. Grant et al., Roerich. Himalayas. A Monograph, New York, Brentano Publ., 1926, p. 199, 191, illustrated. The Roerich Museum Catalogue, New York, Roerich Museum, 1930, p. 21. A. V. Yaremenko, Nicholai Konstantinovich Roerich: His Life and Creations During the Past Forty Years, New York, Central Book Trading Co., 1931, p. 38, plate 91, illustrated. Y. Petrova, A Time to Gather. Russian Art from Foreign Private Collections, 2007, p. 125, No. 80, illustrated. List of Nicholas Roerich Paintings, 1917–1924, Autograph, The Nicholas Roerich Museum Archive, New York, No. 19. If one would attempt to divide Nicholas Roerich’s long artistic career into two main periods, the year 1924 would be a distinct and recognizable borderline. He spent the first nine months of that year living in Darjeeling, India, travelling throughout the region and painting his visions of spiritual forces shaping the material world: Himalayan landscapes, villages and monasteries. He expressed his fascination with “the roof of the World” (the Himalayas) and India’s ageless spiritual traditions by instantly acquiring a new style of painting marked by richness of colour, forcefulness of line, and freshness of perspective. His eighty canvases from this period, neatly organized into four series – His Country, Sikkim, Banners of the East (The Birth of Mysteries) and Himalayan – all bear the signs of that particular vigor and spontaneity which comes with leaving behind old shores and discovering new inspirations. If we had to define Roerich with just a painting or two, it would almost certainly come from 1924. In this large canvas from the Sikkim series, consisting of thirteen paintings in all, Roerich pays tribute to Buddhist lore by depicting one of the oldest and well-known of its monasteries (of Nyingma tradition) near the village of Pelling. In his travel diary he notes: “An interesting monastery is Sangacheling… there are no relics, but there rests a stone made sacred by the blessing of the founder; when the life of the monastery is unalloyed, the stone is firm, but each deviation makes the stone creak.” As always in his work, the artist is motivated by the spiritual significance of the subject. His meditation on the theme produces a bold composition: a small human figure balances the vast expanses of brick and stone. For Roerich, it is not outward greatness that determines whether faith endures, but rather the firmness of human spirit. Here, the rock and stupas are held together by the strength of the monk’s will. Without him, the composition collapses; if his spirit cracks, the stone breaks. The clarity of Roerich’s new vision is manifest in the sharp outlines of the rocks, stupas, and almost geometric simplicity of the figure. By contrast, a glowing, yellow light, a symbolic colour in Buddhism, permeates every inch of the canvas, alternating between flat planes of colour and rough textures of dark orange. The richness of colour and the complexity of composition do not detract from the powerful presence of the solitary figure. In fact, they emphasize the strength of his spirit, as he both harmonizes with and commands his surroundings. We are grateful to Gvido Trepša, senior researcher at the Nicholas RoerichMuseum, New York, for providing this note. Nicholas Roerich had felt strongly drawn to India from as far back as his childhood: when he passed the summer on the estate of Izvara near Gatchina, where he would spend hours gazing at a painting hanging on the wall that had as its subject the celebrated Himalayan mountain peak of Kanchenjungi, and on the occasions when he would sit listening to the conversations of the orientalists A. Pozdneev and K. Golstunskiy when they visited the Roerich family home in St Petersburg. At last, on 17 November 1923, the Macedonia steamship departed from Marseilles harbour for Bombay, with Roerich and his family aboard. They did not remain on the Indian plain for long. The destination for which they were bound was where the snow-covered peaks of the highest mountains in the world soared to the heavens – the Himalayas. After having made their way through a noisy and hot Calcutta, Roerich and his family arrived in Darjeeling. This small English resort town, the centre of the tea industry, lies in the foothills of the Eastern Himalayas. In close proximity to Darjeeling, to the north, there was the small Himalayan principality of Sikkim, nestling between Nepal and Bhutan. On fine clear days, the gigantic snowy mass of the sacred peak of Kanchenjungi could be seen to rear above it. This “snowy country, the outlines of which vary with each change of light ... this eternally turbulent restless ocean of clouds and indescribably diverse varieties of mists” inspired Roerich to create his first major cycle of works dedicated to the Himalayas. One of the masterpieces of the Sikkim series, which consists of a total of thirteen canvases, is the arge canvas now being presented at auction, Sangacheling. The lost Himalayan independent principality of Sikkim, to which access had only just been granted to Europeans, became the first stage of the expedition route. The principality presented a unique image both in terms of nature and from a cultural perspective. Arranged on a multitude of hills, from time to time one would come across evergreen jungles with luxuriant vegetation, pheasants, leopards and monkeys. Over all of this world filled with the splendours of nature there soared the seventeen snow-capped peaks of the Himalayas. The small area within which Sikkim was contained also encompassed almost every climatic zone our planet has to offer, beginning with a subtropical zone and ending with an arctic zone of eternal snows. “A diverse natural world”, Roerich wrote of Sikkim, “a stern larch tree would stand side by side with a rhododendron bush. Everything crowded together, and all these earthly riches faded into the blue mist of the mountainous distance. A bank of clouds covered a glowering haze. It was strange and strikingly unexpected to catch sight of a new cloud-filled composition after having viewed this finished piece of artwork. Above the dusk and waves of clouds there shone the blindingly bright snows of the endless, soaring, almost inaccessible peaks. These were two separate worlds, divided by mist”. The precipitous mountains of the “land of snow” precluded the use of horses, and therefore the route through this country followed by Roerich and his family had be undertaken on foot and was extremely arduous. They made a study of historical and religious monuments and, most importantly, the ancient monasteries of Sikkim – “the hundred monasteries of Sikkim. Probably considerably more in fact. Each of them sitting astride a peak”. Amongst this multitude of holy sites, along the expedition route there was to be found one of the oldest and most revered of the country’s monasteries, the monastery of Sangacheling, which was situated next to the settlement of Pelling. Founded in 1705, the monastery adhered to the Nyingma tradition, which is the most ancient of the four principal schools of Tibetan Buddhism. At this time Roeric

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Lyon & Turnbull
Lot 29

ATTRIBUTED TO GIOVANNI JEAN SCHRANZ (MALTESE 1794-1882), H.M.S TRAFALGAR AT THE ENTRANCE TO VALETTA HARBOUR, Inscribed on a contemporary label verso `To Vice Admiral Fanshaw K.C.B - A souvenir from Mr & Mrs Tagliaferro, Malta, May 186...` oil on board, 23cm x 31cm (9in x 12in). Note:Arthur Fanshawe was born in 1794 the third and youngest son of Captain Robert Fanshawe, Resident Commissioner of Plymouth Dockyard. Fanshawe joined the Navy aged 10 and was made Captain by the time he was 22. After a rapid rise through the ranks and time spent in the Eastern Mediterranean, off West Africa and in North America and the West Indies Fanshawe was made Vice-Admiral in 1857 and from 1858 to 1860 he was Commander-in-Chief of the Mediterranean Fleet in the Flagship Marlborough. In 1860 Fanshawe returned to Britain as Commander-in-Chief at Devonport. He was made Admiral in 1862 and died in 1864 aged 70 after 60 years in the Navy. The donor of the painting was probably Biagio Tagliaferro, one of the principal merchants in Malta and President of The Malta Bank, although Giacinto Tagliaferro who owned a Maritime Insurance Company remains a possibilty. We are grateful to Albert Ganado for his help in the preparation of this entry.

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Lyon & Turnbull
Lot 39

JOHN FREDERICK LEWIS (BRITISH 1805-1876), A SPANISH MULE, Watercolour with scratching out, 26cm x 46cm (10.25in x 18in). Provenance:H.C.Green, L.G.Duke, Sotheby`s 29 April 1972, Lot 103. Literature:Major-General Michael Lewis C.B.E, John Frederick Lewis R.A 1805-1876, 1978, cat. no. 254, illustrated fig.30. Note:The same or similar mule with comparable trappings but differently posed appears in two of the lithographs in Lewis`s Spain & Spanish Character, 1836, no.11, Muleteers of the Ronda and no. 18, Gaucin smugglers coming out of Gibraltar. The original watercolour for the latter is in Birmingham Museums and Art Gallery. We are grateful to Briony Llewellyn for her help in the preparation of this catalogue entry

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Lyon & Turnbull
Lot 93

MARCEL DYF (FRENCH 1889-1983), BAIE DE CORN ER PONT, Signed, oil on canvas, 46cm x 55cm (18in x 21.5in). Provenance:Frost & Reed, London

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Lyon & Turnbull
Lot 94

MARCEL DYF (FRENCH 1889-1983), CHAMPS DE BLÉ A SAULES, Signed, oil on canvas, 46cm x 55cm (18in x 21.5in). Provenance:Frost & Reed, London

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Lyon & Turnbull
Lot 113

LAWRENCE STEPHEN LOWRY R.A (BRITISH 1887-1976), BARGES ON THE CANAL, Signed and dated 1946, oil on board, 30cm x 41cm (12in x 16in). Provenance:Alex. Reid & Lefevre, London, The Seveviratne and Alexander Collection

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Lyon & Turnbull
Lot 114

† SIR STANLEY SPENCER R.A. (BRITISH 1891-1959), THE FARMER`S WIFE, SIgned and dated 1931, pencil on paper, 13.5in x 9.75in (34.5cm x 25in). Provenance:Thos. Agnew & Sons Ltd, London

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Woolley & Wallis
Lot 4

Balch (Herbert E.). Wookey Hole original cloth and boards dust-wrapper 4to 1914; Baker (Oliver) Black Jacks & Leather Bottells no. 275 of a signed edition dust-wrapper 4to [1920] (2)

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Woolley & Wallis
Lot 14

Disher (M. Willson). Clowns & Pantomimes plates original cloth gilt soiled and frayed dust-wrapper 4to [1925]; Nicholl (Allardyce) Masks Mimes and Miracles original cloth dust-wrapper 4to [1931] (2)

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Woolley & Wallis
Lot 22

Graves (Robert) & Liddell Hart. T. E. Lawrence to his Biographer no. 259 of 1000 copies signed by Graves and Hart 2 vols. original buckram slipcase [1938]

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Woolley & Wallis
Lot 25

Hunting - Ackermann (Rudolf) publisher. The Analysis of the Hunting Field hand-coloured lithographed additional title and 5 plates after Alken occasional foxing original cloth gilt slightly rubbed 1846; Surtees (R.S.) Jorrocks’s Jaunts & Jollities plates some coloured original cloth gilt large 8vo Kegan Paul [1900] - and 7 others on hunting etc. (9)

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Woolley & Wallis
Lot 114

After David Roberts R.A. At Luxor Thebes; Temple of Isis; Beit Jibrin Three all colour lithographs two by Louis Haghe with hand tinting and Published by F.G. Moon & Son London 27 x 36cm; 10½ x 14¼in and smaller (3) ++Good condition

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Woolley & Wallis
Lot 192

Anthony Devis (1729-1817) Figures in a landscape Watercolour and ink 13 x 19.5cm; 5¼ x 7¾in Provenance: J. S. Maas & Co. Christmas Exhibition 1965 No. 30 ++Faded and discoloured

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Woolley & Wallis
Lot 274

Heaton Butler & Bayne (19th/20th Century) Stained glass window cartoons of nativity scenes Two both stamped Heaton Butler & Bayne 14 Garrick Street London and numbered 469 and 10 817 Both pen and watercolour 18.25 x 15cm; 7¼ x 6in and 24.5 x 9cm 9½ x 3½in image size With a photo of a window by Earley & Co. of Dublin (3) ++1. Good condition; 2. margins slightly stained otherwise good

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Woolley & Wallis
Lot 295

‡ Tom Coates (b.1941) Horse & Rider Signed with initials Watercolour 10 x 14.5cm; 4 x 5¾in ++Good condition

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Woolley & Wallis
Lot 443

Margaret Davis (20th Century) Outside the Abbatoir Oil on canvas unframed 56 x 76cm 22 x 30in With two other oils of Caribbean scenes (3) ++1. Good condition; 2 & 3 Punctures and scrapes

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Woolley & Wallis
Lot 445

Margaret Davis (20th Century) Portrait of two young ladies Oil on canvas unframed 69 x 56cm; 27 x 22in With two further unframed portraits (3) ++1. Unfinished good condition; 2 & 3 Various

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Sworders
Lot 8

A French pottery wall charger, painted with a medieval lady, signed H Cutelin, on a gilt ground, stamped `Montereau B & CIE`

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Halls Fine Art Auctioneers
Lot 15

A Rogers & Son zebra pattern serving plate, depicting a man riding a zebra within a garden landscape with temples, within blue printed broad floral border, impressed `Rogers 14` and blue printed `8`, (at fault) 37cm wide See Coysh & Henrywood, The Dictionary of Blue Printed Wares, Volume I, page 143

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Halls Fine Art Auctioneers
Lot 16

A Rogers & Son elephant pattern, blue printed canted rectangular serving plate, circa 1835, depicting an elephant and trainer within a garden landscape with temples beyond, and within broad floral border, impressed `Rogers 18`, 48.5cm wide See Coysh & Henrywood, The Dictionary of Blue Printed Wares, Volume I, page 125

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Halls Fine Art Auctioneers
Lot 17

A blue printed ruined castle pattern meat plate, circa 1820, the canted rectangular plate printed with a scene of a ruined castle and bridge with river and cattle watering, all within broad floral border, unmarked, possibly Robert Hamilton, 47.5cm wide See Coysh & Henrywood, The Dictionary of Blue Printed Wares, Volume I, page 312

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Halls Fine Art Auctioneers
Lot 68

A collection of teawares, to include; an H & R Daniel, Shrewsbury shape teapot and cover and a matching cream jug, decorated in pattern 4246, (at fault) teapot 27cm long, cream jug 17cm long, an H & R Daniel teapot and cover circa 1835, with dragon spout and cobalt and gilt decorated, and a selection of Ridgway cobalt and gilt decorated teawares, to include a teapot and cover, a further cover, two coffee cups, three saucers and a plate (11)

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Halls Fine Art Auctioneers
Lot 89

A Thomas Webb & Sons cameo glass vase, late 19th century, the compressed ovoid body decorated with red and white flowering branches revealing a yellow ground, raised on three stilt legs and with white metal collar, circular mark, lacking cover, 10cm high

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Halls Fine Art Auctioneers
Lot 110

A `Thomson & Capper, Homeopathic` campaign style chemist box the hinged lid walnut veneered box opening to reveal a fitted interior with tooled leather to the inside of the lid the front with drawer to the base fitted with a gilt metal campaign style handles opening to reveal a four division interior, 23cm wide, 16cm high, 17cm deep

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Halls Fine Art Auctioneers
Lot 117

A Victorian oak Gothic revival country house letter box retailed by Leuchars, 38 & 39 Piccadilly, London and 2 Rue de La Paix, Paris, the box of rectangular form with pierced Gothic arched sides (at fault), 34cm wide, 17cm high, 17.5cm deep

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Halls Fine Art Auctioneers
Lot 237

A mahogany press table 19th century stamped `No.4 Manchester & London`, the rectangular top under a wooden threaded press plate over two short drawers on four plane square legs, 66cm wide, 139.5cm high, 39cm deep

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Jones & Jacob
Lot 67

A Copeland & Garret blue and white turkey dish, decorated parrot and vase of flowers, 21" wide, and another blue and white dish, decorated turkey

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Jones & Jacob
Lot 132

An Arts & Crafts copper jardinière, on splay supports and a copper coal helmet

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Jones & Jacob
Lot 140

Two 1808 Birmingham Bank one pound banknotes, Nos 4408 and 3874, a London & County Bank Aylesbury cheque, dated 1849, three other banknotes and four Roman coins

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Jones & Jacob
Lot 142

A John Hand & Sons copper cased ship`s compass and two antique bronze mortars

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Jones & Jacob
Lot 150

A Malacca sword stick with crocodile skin pommel, silver band and etched blade by James Smith & Son

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Jones & Jacob
Lot 151

An A & M bisque head baby doll with padded body

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Jones & Jacob
Lot 195

A Goldsmiths & Silversmiths silver "bleeding bowl", 7.63oz

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Jones & Jacob
Lot 257

A Walker & Hall silver part table service, comprising tablespoons and forks, dessertspoons and forks, teaspoons and coffee spoons, 68oz troy

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Jones & Jacob
Lot 268

A cut glass decanter and stopper with silver collar by Mappin & Webb

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Jones & Jacob
Lot 315

An Arts & Crafts silver teaspoon with shaped and enamelled terminal, London 1903

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Jones & Jacob
Lot 338

A rectangular marble desk weight mounted novelty silver owl with glass eyes by Sampson Mordan & Co, Chester 1906

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Jones & Jacob
Lot 341

A Roberts & Belk silver sugar castor with ovoid body and a small repoussé decorated silver pedestal dish, on oval base

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Jones & Jacob
Lot 564

An Arts & Crafts walnut armchair with `X` frame, upholstered in a floral tapestry

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Jones & Jacob
Lot 790

A number of Howard & Bush Ltd calendars and other ephemera

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Jones & Jacob
Lot 840

An early Villeroy & Boch fruit decorated part dessert service, comprising six plates, a tazza and a serving dish

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Jones & Jacob
Lot 934

An Arts & Crafts satin walnut marble top washstand with raised tile back, on turned supports

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Jones & Jacob
Lot 935

An Arts & Crafts satin walnut wardrobe enclosed mirror door, on bracket feet

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Jones & Jacob
Lot 996

A late Victorian Arts & Crafts oak dresser, the upper section fitted two lattice glazed cupboards and central mirror over two drawers and panelled doors, on shaped supports

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Jones & Jacob
Lot 1061

An Arts & Crafts style oak and mahogany flap top worktable, fitted single drawer, on cabriole supports, 15" wide

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Bourne End Auction Rooms
Lot 97

An early 20th century leather cased mandolin with interior label reading Francesco Perretti & Figli, Napoli

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Bourne End Auction Rooms
Lot 118

A Victorian Brown-Westhead & Moor cheese board having blue and white decoration, circa 1870

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Bourne End Auction Rooms
Lot 214

A Paul Stankard paperweight depicting a Paphiopedilum orchid in clear glass, with original Spink & Son invoice, signed with S signature cane

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Boldon Auction Galleries
Lot 136

A leather bound volume `A Complete Treatise of Electricity in Theory and Practice` with original experiments by Tiberius Cavallo, printed for Edward & Charles Dilly, London, dated 1777.

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Boldon Auction Galleries
Lot 211

`The Borough of South Shields` by George B. Hodgson published by Andrew Reid & Company 1903.

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Boldon Auction Galleries
Lot 314

An engraved silver salver supported on scrolled feet. Sheffield 1899, Martin Hall & Co. Ltd. Weight 26 ounces.

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Boldon Auction Galleries
Lot 316

A pair of silver candlesticks with Corinthian columns supported on acanthus square and stepped bases. London 1908, Makers Mark R & S.

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Dix, Noonan, Webb
Lot 7

Honourable East India Company Medal for the Capture of Rodrigues, Isle of Bourbon & Isle of France 1809-10, silver, fitted with loop for suspension, edge bruising and signs of wear overall, otherwise a good original striking, good fine £1000-1200

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