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An 18th Century Account book relating to Land at Cannon Frome with money receipts received from tenants, also details of wages paid, leather bound and a Manuscript book on Italian History by 1492 lectures, by A.L. Smith, MA, Balliol College, a list of Monumental Brasses in the Midland Counties and Notes on the Art and Artists of Holland in the 19th Century (4).
A Venice 'a berettino' ground maiolica albarello, second half of the 16th century, of double gourd form, decorated in berettino with dark blue leaves and berries on a light blue ground, inscribed with a drug label ELo.LENITIVO (lenitivo elettuario) above a polychrome armorial. 18.5cm high. Literature: See Wendy Watson, 'Italian Renaissance Ceramics - the Howard I. Janet H. Stein Collectin and the Philadelphia Museum of Art', (Philadelphia Museum, 2001), p.162, cat. 77A and B and page 208 for reverse, for a similar pair of albarelli with similar decoration but in this case also painted in white. For information about contents see Rudolph E.A Drey, 'Apothecary Jars', p210 (London 1978)
A 17th century Italian maiolica armorial albarello, dated 1638. Possibly from Pesaro or Castel Durante, of double gourd form, painted in blue, orange, yellow and green, with central inscription 'V.Madre Selva' (honeysuckle ointment) on a scroll with an escutcheon and an unidentified coat of arms above on a panel with the initials G. P. , dated 1638 above scroll, 18cm high. Note: a matching bottle also dated 1638 is in the V & A no. 1018. Literature: See Bernard Rackham, 'Catalogue of Italian Maiolica with emendations and additional bibliography' by J.V.G. Mallet, (London, 1977), cat. 1018, pl. 164, p.343, for a pair of drug bottles with a similar shield of arms and initials but in reverse (P.G) also dated 1638. See Wendy Watson, Italian Renaissance Ceramics - The Howard I. and Janet H. Stein Collection and the Philadelphia Museum of Art, (Philadelphia, 2001), p.164, cats 80 A and B and p.209, cats. 880 A & B, for a pair of albarelli of similar shape and ground decoration. See Rudolph E.A Drey, Apothecary Jars, (London 1978) p212 for contents
A LATE 18TH CENTURY LUCKNOW SCHOOL PAINTING. PALACE SCENE WITH HIGH WIRE WALKERS. Gouache heightened with gold on card. 26cm x 28cm. Note: The painting is a slightly later version of a well known composition that first occurs in the albums compiled in Lucknow for Colonel Antoine Polier, a Swiss adventurer in the service of the East India Company and subsequently in that of the Nawab Vizier of Oudh. Polier had three versions done for him. The prime version of circa1780 is in one of his sumptuous albums, which passed into the collection of William Beckford and then that of the Dukes of Hamilton, and is now in the Museum fur Indische Kunst, Berlin, Album I 5005, f. 14. This is coloured and heavily gilded in the late Mughal manner, as are the two other versions in albums given by Polier to Ozias Humphry in 1784 (now in the British Museum) and Lady Coote (now in the Aschenbach Foundation, San Francisco), published in the Ehrenfeld catalogue [Cat.No.63] Alexandria Virginia 1998. This version dates from about 1790 and shows the influence of British art on the development of the Lucknow school in its more subdued colouring and lack of gilding. All versions show a grasp of single-point perspective rare in Indian painting before the Agra-Delhi school of the early 19th century. The prime version lacks the latticed arch of the three subsequent versions through which the action is seen.
PIETER TILLEMANS (FLEMISH 1684-1734). A GREY MARE AND A FOAL IN AN EXTENSIVE HILLY LANDSCAPE. Signed, oil on canvas. 172.7cm x 151.2cm (68in x 59.5in). Provenance:John Sheppard Esq, Campsey Ash High House. Note: Along with John Wootton and James Seymour, Peter Tillemans is one of the founding artists of the British Equestrian Painting School. Born in Antwerp and the son of a diamond cutter Tillemans studied under various artists but was chiefly influenced by the Flemish school of painting of Brueghel and David Teniers the Younger as opposed to the voluptuous Baroque style of Peter Paul Rubens. Tillemans moved to England in 1708, quickly becoming a prominent figure in the art and sporting circles. In 1711 he was among the group who met in Great Queen Street, in London, to form the first Academy of Art in the country. He was extensively patronised by the British aristocracy, including the Dukes of Bolton, Devonshire, Rutland and Somerset and the Earls of Derby and Portmore; he also acted as the drawing-master to Lord Byron's family. As exemplified in the present painting, Tillemans painted a series of very large and impressive horse 'portraits', which proved so popular that a series of engravings and mezzotints were created from them. These were an important step in the development of horse portraiture in England as little work had been done on Equine anatomy until then. Tillemans in particular insisted on depicting the subjects in these series of portraits in 'different actions and postures', as noted on the inscription for the first of these series. He treats his subject with much sensitivity and attention to detail. As one of England's foremost equine artists Tillemans worked at Newmarket, producing impressive compositions such as his 1722 large panoramic view of 'George I and his court on Newmarket Heath', 'Starting point of the Beacon Course at Newmarket' and 'End of the Beacon Course'. With Wootton and Seymour he led developments in English art which "show the first marriage of the topographical tradition of landscape with a sporting element"(Ellis Waterhouse, Painting in Britain, 1530 to 1790, Baltimore, MD: Penguin, 1953, p. 215.)
AUGUSTUS EDWIN JOHN, OM, RA (1878 - 1961) - Portrait of Alick Schepeler, pencil, signed "John" bottom left and titled "Alick Schepeler" 18cms x 14cms Augustus John met Alexandra (Alick) Schepeler whilst she was a secretary at The Illustrated London News in 1906, he made many fine drawings of her in 1906-7, next to Dorelia, she became his favourite model. She fascinated him and she became his mistress. He mentions his feelings for her in his autobiography Chiaroscuro "I was at this time principally occupied in drawing and painting a subject, Alick Schepeler, to whose strange charm I had bowed. I made many drawings of Miss Schepeler…..". Dorelia was jealous of this relationship and after John’s wife Ida died in 1907; she insisted that John give her up. Alick continued her rather Bohemian life and became the mistress of W B Yeates for a time.There are portraits of Alick Schepeler in the Fitzwilliam Museum, Cambridge and Manchester City Art Gallery.PROVENANCEAlick Schepeler was friendly with a Sylvia Mason, they met at the Illustrated London News and remained good friends until Alick died. . Sylvia Mason married into the Beaufort Palmer family, she and her husband mixed with many artists from the New English Art Club this included John and also George Percy Jacomb-Hood and Robert Charles Goff. Towards the end of her life, Alick gave Sylvia a number of drawings and personal letters by John, the following two drawings have come by descent through the family.
AUGUSTUS EDWIN JOHN, OM, RA (1878 - 1961) - Portrait of a Woman wearing a hat (Alick Schepeler), pencil, unsigned, 34cms x 25cms together with a print again of Alick wearing a wide brimmed hat (2) Augustus John met Alexandra (Alick) Schepeler whilst she was a secretary at The Illustrated London News in 1906, he made many fine drawings of her in 1906-7, next to Dorelia, she became his favourite model. She fascinated him and she became his mistress. He mentions his feelings for her in his autobiography Chiaroscuro "I was at this time principally occupied in drawing and painting a subject, Alick Schepeler, to whose strange charm I had bowed. I made many drawings of Miss Schepeler…..". Dorelia was jealous of this relationship and after John’s wife Ida died in 1907; she insisted that John give her up. Alick continued her rather Bohemian life and became the mistress of W B Yeates for a time.There are portraits of Alick Schepeler in the Fitzwilliam Museum, Cambridge and Manchester City Art Gallery.PROVENANCEAlick Schepeler was friendly with a Sylvia Mason, they met at the Illustrated London News and remained good friends until Alick died. . Sylvia Mason married into the Beaufort Palmer family, she and her husband mixed with many artists from the New English Art Club this included John and also George Percy Jacomb-Hood and Robert Charles Goff. Towards the end of her life, Alick gave Sylvia a number of drawings and personal letters by John, the following two drawings have come by descent through the family.
Mary Kessel (b. 1914). Bison in a forest fire. Oil on canvas. 63cm x 75cm. Exhibited: Exhibition of works by Mary Kessel, The Leicester Galleries, February 1957, No. 24, bought by Miss M. Daunt. The Wilfrid Evill Memorial Exhibition 1965, Brighton Art Gallery, No. 81, Lent by Miss Honor Frost. Provenance: with Ernest Brown & Phillips, Ltd (The Leicester Galleries), Miss M. Daunt, Miss Honor Frost. Visit www.dnfa.com for condition reports.
Nine watercolour and pencil designs by Dodo Burgner, female figure designs and stylised portraits, one a stylised portrait with a poodle variously annotated, one signed Wolff, one signed Dodo illustrated image 26.5 x 20cm (sheet). The signature of Wolff refers to her maiden name of Dodo Wolff, she appears to be the daughter of Theodore Wolff, the art critic and editor of Ulk magazine.
An H.G.Murphy silver pepper pot the bayonet top with foliate decoration, hammered finish stamped marks, London 1935 10.5 cm. high. Literature: Paul Atterbury and John Benjamin Arts and Crafts to Art Deco the Jewellery and Silver of H.G.Murphy, ACC page 101a similar example illustrated in an original advert for A.E.Gray Pottery.

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