Stanley Webb Davies (1894-1978) an oak dining room suite, comprising: a draw-leaf dining table,the central section carved with lozenge designs, the apron and legs chamfered, inscribed with 'SWD' monogram and dated '1946', and with craftsman's monogram for Brian Braithwaite,132cm wide, 228cm extended80.5cm deep75cm high,six chairs,each with a solid back splat and channelled uprights, with drop-in seat, worn, each carved with 'SWD' monogram and dated '1946', and with craftsman's monogram for Richard (Lile Dicky) Cloudsdale, 44cm wide45cm deep93cm high, seat 47cm high,a sideboard,with an arrangement of two drawers, one with a sliding cutlery tray, over a pair of panelled cupboards, with visible tenon joints, carved with 'SWD' monogram and dated '1946', with craftsmen monograms for Ernest John Oldcorn and Fred Ellison,151cm wide53cm deep87cm high (8)Stanley Webb Davies (1894-1978) was a notable British furniture maker renowned for his work within the Arts and Crafts Movement. Based in Windermere, in the English Lake District, his craftsmanship reflected the Movement's ideals, emphasising traditional techniques, high-quality materials, and integrity in design and production.Born in Darwen, Lancashire, into a family of industrialists, Davies initially followed a path that seemed far removed from craftsmanship. He studied history at New College, Oxford, graduating in 1915. During the First World War, as a conscientious objector, he refused to fight, choosing instead to join the Friends War Victims Relief team in France, building huts for refugees.After the war, Davies sought a simpler and more meaningful life. He apprenticed with Arthur Romney Green (1872-1945) at his workshop in Christchurch, Hampshire, where he learned the traditional woodworking techniques that would define his career. In 1926, with help from his father, he built his workshop, 'Gatesbield', in Windermere - designed by the architect Kenneth Cross - and worked there for the rest of his life.Davies was committed to handcrafting every piece of furniture in his workshop, rejecting industrialised methods. His designs emphasised simplicity, functionality and the natural beauty of wood. His works often featured oak and other fine woods, combined with restrained decoration, such as carved details or inlays. Each piece bore both his monogram and that of the craftsman, along with the date it was made, reflecting pride in their craftsmanship.After his death in 1978, Davies continued to inspire future generations of craftsmen, leaving behind a legacy of finely crafted furniture that is highly collectable today.The craftsmen working on this suite were Brian Braithwaite (c.1940-54), Richard (Lile Dicky) Cloudsdale (1908-1991), Ernest John Oldcorn (1894-1968) and Fred Ellison (1919-2003).Condition ReportAll pieces used.Table - some colour change to the extended leaves. Surfaces with usage and wear. Chairs - all tight - seats appear to be the original covers.
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A LARGE GROUP OF DECORATIVE ITEMS to include seven onyx table lamp bases, an Arthur Wood 'Garden' water jug, a walking stick with various Austrian souvenir badges attached, a table lamp base decorated with Japanese images, two mirrors, a brass table lamp depicting a blacksmith with his dog, two carriage clocks, a West German wooden mantel clock, a plated serving tray, a steel Bain Marie, etc (qty) (s.d/lamps untested)
A signed menu from Bradford's First Sportsman's Dinner, at the Midland Hotel on 17th April 1939, to celebrate the benefit year of Yorkshire Cricketer Arthur Wood, with some discolouration to the covers and marks inside, bearing nine signatures on the back in both pen and pencil, including Sutcliffe, Wardlow, Verity etc.
A mixed collection of pottery to include Gibson & Son ewer jug with flora and fauna decoration, two other ewer jugs including Wilton, Arthur Wood Poole vase, Thomas Forrester and Sons Phoeniz Ware vase, Royal Doulton The Gleaners jug, and a chintz toast rack **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR IN-HOUSE POSTING AND PACKING**
Arthur Wardle (1864-1949) watercolour Tiger and Python, signed lower right, with bronze medal dated 1891 and awarded by the Crystal Palace for the painting, 64 x 82cm, in moulded wood frame. The painting was a gift from the artist to the vendor's grandfather, who was a publican based in central London, the painting being one of two given
TWO BOXES AND LOOSE SUNDRY ITEMS, to include an Arthur Wood 'Astoria' lustre bowl and water jug, a rainmaker instrument, an onyx table lighter and dog, a small bag of jewellery to include a silver 'Lincoln Imp' on a chain, a Shelley lustre bird of prey, a quantity of assorted animal shaped ornaments, two fish in a 'Dyson' box, four brass horses, a number of Indian souvenirs, three resin sculptures comprising a dragon skull feature, an encounter with a wizard, and an electric water feature (2 boxes and loose) (s.d)
SIX BOXES AND LOOSE MISECELLANEOUS CERMAICS AND GLASS, to include a Villeroy & Boch hanging ornament of a teapot boxed, dinner plates, side plates and bowls, designs include 'Flora' and 'Twist Dora', a selection of Midwinter plates, bowls, jugs etc, designs include 'wild oats', 'green leaves', 'summer' etc. Royal Doulton dinner plates, side plates etc. Wedgwood plates and bowl, Royal Worcester soufflé dishes and ramakin pots, serving dishes and plates, Poole covered jar, Coalport covered jar, a selection of planters names include Sylvac 4536, 4211, Churchill, Arthur Wood, Denby, etc. twelve boxed champagne flutes, Dartington lead crystal tealight holders, daisy dessert bowls, large bowl, cake plates, Rosenthal plate, two covered jars, seven Murano style glass sweets and two bud vases, (one sweet has a Murano Italia makers sticker on), two large cut glass bowls (6 boxes + loose), (sd/af)
A COLLECTION OF ROYAL COMMEMORATIVE MUGS AND SIMILAR, comprising two 1937 Coronation of King George mugs designed by Dame Laura Knight Reg. No. 814375/6 (one by Myott & Son is visibly crazed), a large Torquay Ware tankard decorated with a kingfisher on one side and H.M.S 'Apollo' on the other (crazed), a Crown Ducal mug decorated in gold, red and black on a white ground 1937 (crazed), two Wedgwood tankards designed by Richard Guyatt for the 1947 Wedding of Queen Elizabeth, a Wedgwood souvenir mug designed by Carl Toms for the investiture of H.R.H Charles Prince of Wales, an Arthur Wood tankard titled 'Darts', a Coalport limited edition 631/2000 for the Bristol 600 exhibition with certificate of authenticity, and a Crown Ducal tankard titled 'The Singing Waiter' (nibbles to paint around rim) (11) (Condition Report: crazing to some pieces in varying degrees, most obvious damage is mentioned in description)
Arthur Boris Klein (Russian, 1893-1985) a set of prints from 'The Dirty Dogs of Paris' series. Titled 'Sus Ause Curreuse', 'Chacun son tour' and 'Hotel de la Gare', hand coloured etchings showing anthropomorphised dogs. All under dark green mount and gilt and light wood frame, under glass. Two are 45cm x 17.5cm 55cm x 27.5cm overall. The other is 46cm x 20cm, 62cm x 37cm overall.
Robinson (W. Heath, illustrator). The Works of Mr. Francis Rabelais Doctor in Physick containing five books of the lives, heroick deeds & sayings of Gargantua and his sonne Pantagruel, illustrated by W. Heath Robinson, 2 volumes, London: Grant Richards, 1904, monochrome plates and illustrations, decorative endpapers, top edge gilt, remainder rough-trimmed, original gilt-decorated light cream cloth, in fine condition, 4to, together withWhite (Gleeson). English Illustration, 'The Sixties': 1855-70, 1st edition, London: Archibald, Constable and Co. Ltd., 1906, numerous wood-engraved illustrations, after Madox Brown, Arthur Hughes, Leighton, Millais, Rossetti, Sandys and others, bookplate of George Fleming to front pastedown, top edge gilt, remainder rough-trimmed, original elaborately gilt-decorated pale cream cloth, some light marks to covers (generally a very good copy), large 8vo, plusThomson (Hugh, illustrator). The Merry Wives of Windsor by William Shakespeare, London: William Heinemann, 1910, 40 tipped-in colour plates, original gilt-decorated blue cloth in bright condition, with printed dustwrapper, lightly rubbed and minor fraying to extreme outer corners, 4to, and other illustrated works including, The Happy Hippocrite by Max Beerbohm, illustrated by George Sheringham, 1st edition, 1914, Aucassin and Nicolete, translated from the original old French by Dulcie Lawrence Smith with illustrations by Eileen Lawrence Smith, 1914 (presentation copy to Melle C. Jacquier from William Smith, Dulsie and Eileen Lawrence Smith, dated March 15th 1915), Lilliput Revels and Innocent's Island by W. B. Rands, illustrated by Griselda WedderburnQTY: (4)
Macdonald (George). The Princess and the Goblin, 1st edition, London: Strahan & Co., 1872, 30 wood-engraved illustrations by Arthur Hughes, a few small stains, small water stain to endpapers, previous owner inscription, 1872 to half-title, hinges tender, all edges gilt, original brown pictorial cloth gilt, spine ends and edges a little rubbed, a few small marks, 8vo QTY: (1)NOTE:Sadleir 1481. Rare. Also found in blue pictorial cloth. George Macdonald's fairy tale influenced J. R. R. Tolkien and C. S. Lewis. In a letter to his wife in 1871, Macdonald writes 'I know it is as good a work of the kind as I can do, and I think it will be the most complete thing I have done...'. G. K. Chesterton in his Introduction to George Macdonald and his Wife, 1924, wrote 'I for one can really testify to a book that has made a difference to my whole existence, which helped me to see things in a certain way from the start, a vision of things which even so real a revolution as a change of religious allegiance has substantially only crowned and confirmed'.
Bewick (Thomas). A General History of Quadrupeds, 6th edition, Newcastle upon Tyne: printed by Edward Walker, for T. Bewick, London: Longman, Hurst, Rees, Orme, and Brown, 1811, wood-engraved vignette illustrations throughout, occasional spotting, front endpapers with bookplates of Digby H. R. Wingfield, Francis H. D. C. Whitmore and Philips Edmondson, near contemporary half calf, 8vo, together with:Morris (Francis Orpen). A History of British Butterflies, 4th edition, London: George Bell & Sons, 1876, 72 hand-coloured and two uncoloured wood-engraved plates, upper pastedown with 20th-century bookplate, all edges gilt, contemporary black morocco with blind panel border to boards, extremities slightly rubbed, large 8vo,Sowerby (John E.). British Wild Flowers..., 1st edition, London: John E. Sowerby, 1860, 81 hand-coloured plates (including frontispiece) and 2 uncoloured plates, bound with Supplement volume published 1876, containing 10 hand-coloured plates (including frontispiece), occasional spotting, 20th-century bookplate to upper pastedown, top edge gilt, 20th-century dark green morocco, floral and geometric gilt decoration to boards with blind rule border, spine and head of boards faded to brown, 8vo, plus 4 others The Natural History of Selborne by Gilbert White, London: Henry G. Bohn, 1861, in contemporary green calf, gilt decorated spine with red morocco title label, 8vo; A Familiar History of Birds by Edward Stanley, new edition, London: Longmans, Green, and Co., 1865, contemporary brown calf, gilt decorated spine with red morocco title label, 8vo and Forty-One Years in India from Sunbaltern to Commander-in-Chief, by Field Marshal Lord Roberts of Kandahar, 2 volumes, London: Richard Bentley, 1897, armorial bookplate of Arthur V. H. Vaughan-Lee to upper pastedown, top edge gilt, contemporary brown half morocco, Dillington Park in gilt to centre of upper boards, 8voQTY: (7)
John Henry Campbell (1757-1839)A View of the Dargle, Tinnehinch and Powerscourt, County WicklowSigned and dated 1825Oil on canvas, 71.5 x 93cm (28¼ x 36½") This unusually large and ambitious work by John Henry Campbell shows the famed landscape of Tinnehinch in County Wicklow which had been admired by Arthur Young in 1776: ‘Returning to Tinnyhinch I went to Inniskerry [sic], and gained by this detour, in my return to go to the Dargle, a beautiful view which I should otherwise have lost. The road runs on the edge of a declivity from whence there is a most pleasing prospect of the river’s course through the vale and past the wood of Power’s Court, which here appear in large masses of dark shade, and the whole bounded by mountains’. Campbell shows both Tinnehinch and, in this distance, Richard Castle’s great house of Powerscourt with its flanking towers crowned by their copper domes. The Wicklow hills in the distance are framed between two repoussoir clumps of trees, while travellers, goats and cattle add variety to the foreground. Tinnehinch had long been appreciated for its scenic qualities. It was painted by Jonathan Fisher (Fota, County Cork) and twice by Thomas Roberts (private collection and Crawford Art Gallery, Cork). However after funds were voted by the Irish parliament to Henry Grattan to acquire an estate in the river valley, national and political resonances quickly adhered to the site, and this was particularly marked after the Act of Union dashed Grattan’s hopes for an independent Irish parliament. When Campbell’s daughter Cecilia Margaret exhibited a view of Tinnehinch at the Royal Hibernian Academy it was described as ‘looking towards Mr Grattan’s house’. A related watercolour by Campbell dated 1801 shows a similar disposition between the two houses and is inscribed by the artist ‘‘Tenehinch [sic] & Powerscourt from the Dargle’. Born in Herefordshire in 1757, Campbell moved to Dublin at an early age where his father, Richard, worked, and ultimately formed a partnership with the leading printing firm Graisbery’s. In 1802 Graisberry & Campbell was appointed printer to the Dublin Society, printing its county surveys, a suggestive counterpart to John Henry’s visual mapping of Ireland, and particularly Wicklow’s topography. Campbell studied at the Dublin Society Schools and initially seems to have been a versatile practitioner working as a scene painter, caricaturist as well as painting portraits. Soon however, he settled down to paint the Irish landscape in oil and more frequently watercolour. Early works include a drawing in the National Gallery of Ireland which is dated 1793 while in 1800 he exhibited a drawing, Moonlight, at William Allen’s Map and Print Warehouse, at 32 Dame Street Dublin. The following year, from an address of 13 Trinity Street, he showed two landscapes drawings at the Society of Artists in Ireland at Parliament House. He continued to exhibit in Dublin, at the Society of Artists and at the inaugural show of the Royal Hibernian Academy in 1826. Campbell painted scenes all over Ireland including Killarney and Wicklow but also Lough Erne and Dunluce Castle, County Antrim. Having connections with Dublin printers since childhood, it does not surprise that he also worked for publishers. His drawing of the new Sarah Bridge, at Islandbridge, featured in J Ferrar’s Views of Ancient and Modern Dublin (1797). Strickland writes ‘Campbell’s works are pleasing and well painted, and as an artist, he ranks high among contemporary Irish painters’.
Days with Sir Roger de Coverley : reprint from the Spectator / [Joseph Addison] ; illustrated by Hugh Thomson Addison, Joseph (1672-1719). Published by London: Macmillan & Co., 1886; The Five Nations by Rudyard Kipling. Published by Metheun, 1903; The Life and Surprising Adventures of Robinson Crusoe, of York, Mariner, with a biographical account of Defoe, illustrated with seventy characteristic wood engravings, finely executed by Harvey and Whimper. 1844; Alice's Adventures In Wonderland by Lewis Carroll. Illus. by Arthur RAckham, with a poem by Austin Dobson. Heinemann, 1933; and Children's Stories From The Northern Legends. by Belgrave & Hart. Illus. by Harry G Theaker, c.1910 (5)
William Crozier, Irish 1930-2011 - Greta, 1962; oil on canvas, signed on the reverse 'Crozier', 91.2 x 91.2 cm (ARR) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery, purchased c.2010 Exhibited: Arnolfini Gallery, Bristol ‘William Crozier. Paintings 1959/63’, 30th March-26th April 1963, no.16; Pyms Gallery, London, 'William Crozier: Early Work', 9th June-20th July 2010, cat. no.36, illus. p.63 (titled 'October, 1962') Note: a photo-record of the work is included in the Arthur Tooth & Sons archive, no.C3627. The present work marks a major turning point in the artist's career as he came to full aesthetic maturity. He had held his first solo exhibition a few years before at the Parton Gallery in 1958 and in works such as 'Greta, 1962', he combines an understanding of European gestural painting with his own individual subject matter, isolating figures against a deeply coloured landscape in a manner reminiscent of Francis Bacon. The subject of the work is unknown, but at the time Crozier frequently made paintings referencing close female friends. Crozier would exhibit a number of these works with the celebrated gallery Arthur Tooth & Sons, London, in 1962 and 1963, and they would help cement his work on an international stage. A number are now in public collections, such as 'Fallen Man II, 1961' (Glasgow Museums Resource Centre), 'Self-Portrait, 1961' (Ruth Borchard Collection) and 'White-Eyed Buzzard, 1962' (Kirklees Museums and Galleries). The interest in works by Crozier of this period has continued with the in 2011, the Imperial War museum purchasing ‘Bourlon Wood, 1961' in 2011 and the National Gallery of Ireland purchasing ‘Flanders Fields, 1961’ emphasising the importance of this period in the artist's oeuvre. With thanks to the Estate of William Crozier for their assistance in the cataloguing of this work.
Paragon tea set with six cups and saucers and six side plates together with a large collection of mixed ceramics to include Wade basketweave teapot, Royal Doulton 'The Gallant Fishers' bowl, Beswick 201 character jug, 'Little Nell's Grandfather', Carlton Ware little house biscuit barrel, classical scene teapot, basket weave lidded caddy with handle, lidded barrel jar, double handled preserve pot, Mexican tea pot with bird and butterfly design, Arthur Wood old hall teapot, Burleigh Ware 'Willow' teapot and stand, primrose teapot, Royal Doulton Pickwick papers jug and 'Old London' jug along with two Beswick miniature spaniel dogs, Jemima Puddleduck, Royal Doulton Little Nell, Sairy Gamp and Scrooge figurines
English 19th/20thC ceramics to include a set of three 19thC Mason Ironstone graduated hydra jugs in hexagonal baluster form depicting oriental scenes, 2 x vases by H. Bramman 11.5cm h, an Edwardian lustre jug and set of 7 lustre cups and saucers, a Bretby planter in relief with oriental figures 21cm h, Royal Winton teapot, Wedgwood & Co Ltd 'Eileen', Arthur Wood rose vase, jugs etc.
AN EXTENSIVE COLLECTION OF OVER TWO HUNDRED SIGNATURES, PHOTOGRAPHS AND LETTERS FROM VICTORIA CROSS RECIPIENTS. An extensive collection housed in four large folders of autographs, letters, photographs and research relating to Victoria Cross recipients. To include autographs for Johnson Beharry, Sir Redvers Buller, Captain Burgoyne, Leonard Cheshire, William Engelhart, Lord Gort, Earl Roberts and many others. A well presented collection, see the on-line catalogue for a full list of all the names included. *CR General Sir R.B. Adams, Rev Wiliam R. F. Addison, Lt Col Tom Adlam, Major Agansing Rai, Lt. Col C.G.W. Anderson, Lt Col H.M. Ervine-Andrews, Cpt R.W. Annand, Cpl B.H. Apiata, Sir J. F. Aylmer, Maj W.G. Barker, Col J.C. Barett, Maj Gen D.M.W. Beak, Com S.H. Beattie, LCpl Johnson Beharry, Cpt D.W. Belcher, Sgt W. Beesley, Col M.S. Bell, Cpt E.D. Bellew, RSM Spencer J Bent, Cpt Eugene Bennett, Sepoy Bhandari Ram, Havildar Bhanghagta Gurung, Lt F. Birks, Maj W.D. Bissett, Cpt C.G. Bonner, Lt Col A.D. Borton, LtCdr Roland R L Bourke, Sgt Oliver Brooks, Col H.G. Gore-Browne, Gen Sir Samuel J. Browne, Gnrl Sir Redvers Buller, Lt Col D. Brurges, Cpt Hugh T. Burgoyne, Pt Richard H. Burton, Mjr Robert H. Cain, Col A.S. Cameron, V. Admiral Gordon Campbell, Brg-Gen J.V. Campbell, Sgt John Carmichael, Col J.O. Carne, Lt Gen Sir Adrian Carton de Wiart, Cpt Harry Cator, Cpt G.L. Cheshire, Sir B.M. Cloutman, LCpl W.H.Coltman, Admiral Sir J.E. Commerell, W.N. Congreve, Sgt Edward Cooper, Pt J.T. Counter, Gen Sir O'Moore Creagh, Sgt J. Crichton, LCpl A.H. Cross, Flt L J.A. Cruickshank, Adm Sir V.A.C. Crutchley, Lt Sir A.R. Cutler, Lt Arthur R. Cutler, Lt Col Harry Daniels, R. Adm R.B. Davies, Maj Gen L.A.E. Price-Davies, Cpl S.J. Day, Sgt John B. Daykins, Col D.J. Dean, Gen Sir C. Dickson, Lt T. Dineson, Lt Col G.T. Dorrell, Sgt J.H.C. Drain, Lt Geoffrey H. Drummond, Cpl F.J. Edwards, Air Comm Sir H.I. Edwards, William Engelhart, B.Gen Lewis P Evans, Maj Gen H.R.B. Foote, Lt Com I.E. Fraser, Lt Gen Lord B.C. Freyberg, Cpt Cyril H. Frisby, Sgt W.C. Fuller, Cpt G Lama, Cpt P.J. Gardner, Maj B.H. Geary, Cpt R. Gee, Maj Edric F. Gifford, Field Marshal Gort, Cpt C. E. Gourley, Gen Sir H.H. Gough, PO T.W. Gould, Lt Col J.R. Graham, Lt Col J.R.N. Graham, Fred Greaves, M.F. Gregg, Lt Col R.L. Haine, F.M.W. Harvey, Samuela Harvey, Lt Col R.F.J. Hayward, Maj A.C. Herring, Sgt J.D. Hinton, Cmdr N.D. Holbrook, Sgt A.C. Hulme, Col E.T. Inkson, Lt Gen J.J.M. Innes, Cpt Ishar Singh, Maj D.A. Jamieson, L Cpl F.A. Jefferson, Maj Gen Dudley G. Johnson, Maj Gen D.G. Johnson, Pt E. Kenna, J.P. Kenneally, Lt Leonard Keysor, Subadar Khudadad Khan, Maj Cecil L. Knox, Sgt P.D. Laidlaw, Lt Col H.J. Laurent, W.Cdr R.A.B. Learoyd, Brg H.W. Le Patourel, Brg Gen Lord Wantage, Pt H.W. Lewis, Sgt J. Lister, Sgt F. Luke, Sgt Stanley R.McDougall, Cpt G.B. McKean, Sgt W. Mc Nally, M Gen D.L. MacIntyre, J.J. Magennis, Maj J.K. Mahoney, Brig C.G. Martin, Pt R.G. Masters, Lt J. Maxwell, Lt Col C.C.I. Merritt, Col C.N. Mitchell, Sgt J. Molynex, Sgt J. Moyney, Maj M. S. S. Moore, LtCol H.W. Murray, Cpt E. K. Myles, Lt Gen Sir P. Neame, A.C. Newman, G.R. Norton, James Ockenden, Keith Payne, Maj Gen G. R. pearkes, Col C.W. Peck, Cyrus W. Peck, R. Adm B.C.G. Place, Col P.A. Porteous, Gen Sir D.M. Probyn, A.H. Procter, Adm H.J. Raby, Cpt R. Limbu, Flt Lt W. Reid, Cpt H. Reynolds, Sgt J. Ripley, Field Marshal Earl Roberts, J.C. Roberts, Brg G.R.P. Roupell, Cpt C.S. Rutherford, The Earl of Gowrie, R.Adm R St Vincent Sherbrooke, Maj W.P. Sidney, Edward Smith, Cpl Ben Roberts-Smith, brg Sir John Smyth, Sgt C.E. Speakman, G.C. Steele, Pte G. Stringer, Cpt R.N. Stuart, Cpt P. V. Storkey, Henry Tandy, C.W. Train, Cpt Sir E.B.B. Towse, Lt Col V.B. Turner, Maj Umrao Singh, Cpt C.H. Upham, Cpl T.W.H. Veale, Sir C.G. Vickers, Maj Sir A.H.S. Waters, Maj Tasker Williams, Tasker Watkins, F.M.F. West, Sir G.S. White, Lt A.R. Wilkinson, H. Wilmot, Lt Col E.C.T. Wilson, Lt Col E.C.T. Wilson, H.E. Wood, G.H. Woolley, Sgt Maj P.H. Wright, Sgt Maj P.H. Wright. In four folders, sold not subject to return.
* Signatures. An assorted group of approx. 160 mostly cut signatures from the worlds of music and the arts, politics and some miscellaneous, mostly 19th and 20th century, including Richard Strauss (with date and place, Montreux, 9 November 1948), Duke Ellington, Peter Scott (with thumbnail pen and ink sketch of a goose, 8 April 1962), Arthur J. Sullivan, Jean Batten, Laurence Housman and André Maurois, Joe Beckett (boxer), Gigli, Malcolm Sargent, Noel Mewton Wood, Thomas Carlyle (short note signed with initials), Dorothy L. Sayers, Cyril Scott and Gerald Moore with three others, Joan Sutherland, Gerald Durrell, Frederick Forsyth, Felovis (Swiss juggler), Maurice Chevalier, Jack Warner, Andrés Segovia, Thomas Goble (Last Secretary to Nelson on board HMS Victory), etc., mostly clipped signatures and small album leaves plus a few documents and signed title-pagesQTY: (approx. 160)
A white wood paint decorated Tunbridge ware sewing box in the form of a cottage, red panel door below thatched canopy, six double and single trellis windows, the roof in thatch with two pairs of double trellis windows and central chimney. The sliding lid with roof void over a compartmentalised interior in original red paper, the right hand side incorporating a base drawer in original red paper and with sales ticket of 'Arthur S. Vernay of New York', 17 x 12 x 12.2cms. From the Collection of Anne Wick
Arthur Easton (British, b.1939) ‘Discussion with Fairies and Friends’impasto oil on boardsigned and dated 199855 x 60cm Good untouched condition, a little dusty but no real faults noted, plain painted wood frame with artist title inscribed verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A large Aynsley Wild Tudor' fluted dish, a Border Fine Arts Jack Russel photograph frame, an Arthur Wood style King Edward V111 Coronation jug in blue with brown speckle, a Royal Staffordshire Ceramics by Clarice Cliff jug having blossom design, a cotton hand crocheted table cover/bed cover measuring 165cm x 112cm, a celery vase and a pewter horse and foal study 'Ternder Mercies' signed by Peter C Sedlow etc.
A George V silver-mounted novelty desk or paper clip, modelled in the form of an anchor, atop a rectangular stepped wood base, the applied silver clip with central sprung hinge, Arthur Salisbury Cox, London 1934, length (of base) 13.6cm, together with a hallmarked silver pair of dwarf candlesticks, each with filled base, and a conical silver snuffer with turned wood handle, length 19cm approx (4)
Literature. A collection of ten early 20th century first editions in dust wrappers. The lot comprising 1931 The Only Penitent by T. F. Powys, 1930 Diary of a Provincial Lady by E. M. Delafield, 1938 Birth of an Old Lady and Other Stories by Edita Morris, 1925 The Enchanted Wood by Sir Francis Newbolt, 1927 Others Abide by Humbert Wolfe, 1927 Cursory Rhymes by Humbert Wolfe, 1930 "...& Co." by Jean-Richard Bloch in Gollancz yellow jacket; 1918 Through the Magic Door by Arthur Conan Doyle (Nelson reprint with Doyle's portrait to front cover), 1943 Ticky by Stella Gibbons, and 1931 Little Windows by Stacy Aumonier. All in unclipped dust wrappers, various conditions but generally smart for their age. 8vo.
A magnificent Victorian silver sculptural trophy for the 1875 Chesterfield Cup at Goodwood won by Sir Anthony de Rothschild’s racehorse Coomassie, hallmarked Emanuel Emanuel, Old Bond Street, London, 1874, modelled by the sculptor H. Owen-Hale, formed as a cast sculptural group with a ferocious depiction of fallen warriors and two knights in horseback combat during the defeat of the Saxons by King Arthur at the Battle of Mount Badon (late 5th/early 6th century), seemingly inspired by the engraving “Defeat of the Saxons by Arthur” by Charles William Sheeres (fl. 1851-1868) published in Cassel’s Illustrated History of England, Vol.1, illustration, p.25, published by Cassell, Petter & Galpin, London, Paris & New York, 1865, with shaped oblong ebonised wood base with curved ends, the sides applied with two silver plaques, one depicting the Landing of the Saxons in Britain, the other with the treacherous slaughter of the Britons by order of Hengist, the ends each applied with a shield and spears roundel, one inscribed GOODWOOD 1875, the other WON BY COOMASSIE, one of the fighting knights lacking the head of his battle axe, otherwise in fine condition, 72cm. high, 10,285gr.Provenance: Christie’s 23rd June 1999 lot 59.Goodwood House was purchased by the first Duke or Richmond in 1697. The races on top of the downs were introduced by the third Duke of Richmond and have been an annual event since 1801, public from the year after. The main meeting that has become known as Glorious Goodwood was and is still held over five days in the last week of July. The oldest race at the meeting, the Goodwood Cup, has been held since 1812, while the Stewards' Cup was first run in 1840 and the Sussex Stake the year after.The trophy being offered here is for the Chesterfield Cup, named after George Stanhope, 6th Earl of Chesterfield and was first run under this title in 1841, although the race can be traced slightly earlier to 1839 when it was run as the Harkaway Cup. As the magnificence of the trophy would suggest it was a very prestigious race at Goodwood at this time. It is still run for today but over the years has been downgraded in importance and become a handicap race, albeit a valuable one - this year’s race sponsored by Coral was worth over £50,000 to the winner.In 1875 the Chesterfield Cup was won by the three-year-old bay filly Coomassie owned by Sir Anthony de Rothschild, 1st Baronet (1810-1876), who had also bred her at the Aston Clinton estate in Buckinghamshire. Coomassie was to win the Chesterfield Cup again the following year, although sadly not witnessed by Sir Anthony who had died in the January.The sculptor of the trophy H. Owen-Hale later worked for Copeland producing high quality work in the company’s range of Parian Ware, simulating classical marble sculpture in porcelain. He is also remembered for his public sculpture, a memorial bust in marble & granite of the architect Edward Pugin erected in Ramsgate in 1879 and can still be enjoyed today opposite the old Granville Hotel and close to the Granville Theatre.The magnificent horse racing trophies of the Victorian period offered at Goodwood, Ascot and elsewhere invariably had a strong equestrian theme but rarely in a sporting context. Instead, designers took influence from historical events or imagery romanticised through literature and the arts in general. For many years the Illustrated London News published articles and engravings of these sumptuous trophies. Indeed, the present Chesterfield Cup has a write up in the edition published 31st July 1875, p.23, with the trophy engraved and illustrated.
A collection of various modern clocks including a Franklin Mint skeleton type clock, Bentima drop dial wall clock, Actim drop dial wall clock, 365 day clock under dome and three others various, a box Brownie camera, Caithness crystal limited edition goblet 390/500 for the Queen's Silver Jubilee 1977, a modern Weathermaster barometer thermometer, a boxed Pifco electric foot massager, LP box set "The Unforgettable Buddy Holly", a small quantity of 45 rpm singles, 78s and sheet music and an Arthur Wood hunt mug (being sold on behalf of The Order of St. John), together with a bag of various modern costume jewellery and watches and a collection of modern prints on an equine theme

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