An Art Deco satinwood two-piece bedroom suite, by Laszlo Hoenig, comprising: a wardrobe with a pair of panelled doors fitted with bakelite handles, on metal backing opening to reveal fitted interior of hanging space, shelves and drawers, 48in.wide; together with a matching dressing table with circular mirror, rectangular mirrored and plate glass top above a central kneehole, flanked by two drawers, on rounded rectangular legs, 53in. wide; both pieces bear Hoenig trade labels.
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An Edwardian silver helmet shape cream jug swag engraved with reeded bracket handle makers barnard Bros. London 1902, a George iII oval silver mustard pot with blue glass liner maker John Mewborn london 1800 5.5oz 182g together with an Edwardian paperweight of a silver polar bear cub on a green onyx ice flow. Makers Samson Morden & Co., Chester 1908 (3)
‘The Wildlife Bowl.’ A Limited edition silver bowl by Tessiers of london, No 15/2,000, issued in 1976 and facsimile signatures of leading wildlife artists, with five works of art as applied plaques to the sides, depicting some of the threatened species of wild animals in different parts of the world, comprising; Arabian Opyx by Keith shackelton, Polar Bear by Robert bateman, Cheetah by Peter Scott, Indian rhinoceros by David Shepherd and Tiger by Raymond Ching, standing on a moulded foot. 10.25in (25.25cm) diameter. Maker H. & L. Parsons, London 1976. 44oz (1,436gm).
Dame Elisabeth Frink, Childhood, 1992. Cast bronze figure of a seated terrier, Ht. 11½in. (29 cm.). With the artist’s incised signature ‘Frink’ and the foundry stamp of Morris Singer. Note: the dimensions given in the catalogue are incorrect (as is the conversion from Imperial to Metric). The history of this sculpture is a little complex and still contains one or two unanswered questions. It was sculpted by Elisabeth Frink in aid of the Hospital for Sick Children, Great Ormond Street, London, in 1992. It was intended to be cast in an edition of 50 with 6 additional artist’s proofs, the main edition being cast by the Morris Singer Foundry and the six proofs by the independent foundry of Ken Cook in Gloucestershire, who cast many of Frink’s smaller pieces. However, it seems that only about 30 of the commercial edition were actually cast (the exact number does not appear to have been firmly established) as well as the full complement of artist’s proofs. There also appears to have been some inconsistency over the numbering of the edition. Excluding the artist’s proofs, only some of the thirty or so casts from the main edition seem to have been numbered and those that were tend to bear numbers at the higher end of the intended sequence, i.e. in the 30s and 40s. The majority of casts from the early part of the sequence do not bear numbers. Because the initial marketing of this edition had not been well handled (only about six casts were sold in the period 1992-5), in 1996, Great Ormond Street commissioned the Stockbridge Gallery of Courcoux and Courcoux, who had had previous connections with Frink, to take over the marketing of the edition; the hospital also authorised them to have 13 pieces cast at the Singer Foundry which, also on their instructions, were numbered 38-50 inclusive (although exactly why this particular sequence was chosen is not clear). This part of the edition, as well as the six Cook cast artist’s proofs, were all sold by the Gallery in the following years. The present lot is one of the earlier, unnumbered, casts in the sequence. Literature: an example of this edition appears in the second volume of the Elisabeth Frink Catalogue Raisonné by Edward Lucie-Smith, Elisabeth Frink Sculpture and Drawings from 1984, no. SC73. Note that both the title of the piece (‘Dog’) and the dimensions are incorrect in the relevant entry of this work. Please note that the estimate printed in the catalogue is incorrect; it should read
Joseph Alfred Terry, RBA (British, 1872-1939) Harvesters Returning Home at the End of the Day signed lower right "Joseph A Terry, 1906" oil on canvas 28 x 34cm Joseph Terry was a member of the famous York family of chocolatiers, who were Quakers and philanthropists. He began his studies in art at the York School of Art and in the early 1890s travelled to study at the Academies Julian and Colorossi in Paris where he won the Colorossi Silver Medal in 1895, the year after Peploe won it. On his return to England he settled at The Firs in Sleights, becoming a member of the Staithes Art Club in 1906. Joseph Terry worked equally well in both watercolours and oils and could turn his hand to any subject. His work demonstrates a great tactile pleasure in the application of paint and tends to be very strong and vibrant. In total contrast to this, he also painted some charming and romantic Italianate scenes in predominately pastel colours, similar to the watercolours painted at times by Frank Wasley which he usually entitled 'Idylls'. His studio sale was held in 1986 when Christies South Kensington sold 367 lots of his watercolours and oils. Most of his works which appear on the market are from this sale and bear a stamp giving their provenance.
A good late 19th century silver gilt and cloisonne enamelled presentation Vodka set by Janaty Sazikov, comprising a decanter and stopper, six vodka cups and a shaped circular tray. Each piece enamelled in a bright foliate design, in shades of blue, green, red and white, and with applied rope twist decoration. The tray and decanter bear the Moscow town marks and assay masters mark for Lev Oleks. The cups bear the Moscow town mark and the asset masters mark for A. Romanov. Each piece bears the maker's mark for the well-known Moscow firm of Janaty Sazikov. Diameter of tray 11 3/4 ins., the height of the decanter 9 1/2 ins. (See illustration) NOTE: The tray is engraved in Russian for "Edmond Edmundovitch Emson from colleagues in the Baltic Shipping Company and the Ziboda Engineers, 1873-1903". Engraved in each of the spaces on the tray for the vodka cups are the dates, the number of ships engines and boilers, and the cost in rouples of these items for which Edmond Emson was the engineer for.
A rare Sunderland purple lustre jug, painted with two blue flags, one inscribed no impressment, the other no Monopoly flanking the inscription W B Stewart Freeman Blue Ever true Now in Wilks a Champion view All unite Nobly fight Nor till death desert your right, 18cm h, c1820 Literature: Two jugs in the Collection of Sunderland Museum attributed to the 'Garrison' Pottery of Dixon & Co bear inscriptions in the same distinctive style of lettering seen on the present example; see Baker (JC), Sunderland Pottery, Sunderland 1984, Nos 78 & 85. The practice of impressment, whereby seafaers were 'press-ganged' into naval service was abandoned after about 1815. ++Rim restored some slight wear to the lustre around the rim and on the handle
Aberdeen - a rare set of four Scottish provincial communion beakers by James Abercrombie of Aberdeen, circa 1740-1750, marked to base JA, ABD, JA, of tapered cylindrical form with simple moulded rim and a applied moulded reeded foot rim (4) diameter of rim 10cm, diameter of foot 7.8cm , 16.5cm high combined weight 49oz Provenance: Property of a North East Gentleman, The Aberdeen maker John Abercrombie first appears in the Hammermen records with his admission as a watchmaker Burgess on 29th September 1726. He went on to rise through the rankings to become Deacon no less than five times between 1734 and 1751. Due to the strict rules of the Hammermen's Association, as a watchmaker he would not have been allowed to make silver or gold plate, so it seems likely that he employed a journeyman to make his watch cases and any other items of plate. It was a common practice of the period that items would be produced in a related workshop but carry the retailer's mark. The advancing Jacobite armies in Scotland in the 18th century play a strong role in the history of Scottish silver and plate. An arriving Jacobite troop would often demand the use of homes, and land for billets. They collected any money or valuables to help the cause and also tried to recruit new soldiers for the army, a practice that alienated a great number of the local people, and caused the larger towns and cities of Scotland to take preemptive actions to protect their property and wealth. The formation of militias across Scotland saw the skilled workers and tradesmen of Scotland taking up arms to protect their towns. James Abercrombie showed his loyalist feelings by enlisting as an ensign for the newly formed Aberdeen Volunteers on the 10th April 1746. The disappearance of early Scottish silver and plate during the Jacobite occupation is well recorded. As a case in point, in 1732 a full inventory of the church plate held by St Nicholas Church, Aberdeen, lists: Two silver cups presented by 'Paull Inglis, maerchant burgess of Aberdeine' in 1629. A great silver cup gifted in 1642 by the 'Provost Ballies and Counsel', Two cups procured in 1650, A silver cup 'mortified be the deceist William Troup' in 1667, A silver cup procured by the Town Council in 1676, Two silver basins procured in 1682, Eight silver chalices (quharof two gilt), Four silver cups, Four silver porringers for receiving alms, Two large silver-hafted knives, for carving the holy bread. None of these pieces can be found in the next inventory of church plate within Aberdeen, by Reverend Thomas Burns for his seminal work 'Old Scottish Communion plate' in 1898. It appears that they disappeared during the five month occupation of the city by the Jacobite army, when they "extorted taxations, levy money, quartering money, and what else they thought proper, the inhabitants being under the necessity of convening and deliberating had to satisfy the demands made on the town". Such taxes and demands would have been hard to bear and the value of silver contained within these wares would surely have satisfied the demands of the Jacobites for some time. This devastation led to the commissioning of a substantial amount of new sacramental plate after the '45 rebellion, from 1750 onwards production picks up greatly. It is very likely that the communion beakers being offered in this lot were made by Abercrombie to replace the set removed from St. Nicolas's Church in Aberdeen. The form and date of these tapered beakers form is typical of Aberdeenshire and the North east. The beaker form travels as far West as Inverness but is only seen south of Aberdeen in unusual circumstances. A form strongly influenced by trade links between the North east ports and continental Europe, this beaker form of drinking vessel is standard across the Continent. The fact that these beakers are completely without inscription or engraving is slightly unusual. In the majority, communion cups of this period either bear an inscription or crest representing the generosity of the donating family. It has been suggested that the ceakers may have been commissioned by the church (or paid for by subscription from the congregation) rather than donated by a single individual or family. The cost of engraving has always been a large part of the cost of commissions and the decision to leave these plain could be a more commercial choice rather than taste for simple design. Marked work of any type is rare by Abercrombie, mainly consisting of a small amount of flatware. Two other examples of holloware have been attributed to his hand: Pair of communion beakers from St Clement's Aberdeen, marked to the base JA, ABD, Q. with presentation inscription "Given to the church of footdee / By voluntary contribution of the congregation / The Rev. D john Thomson minister / 1798" [Now in the collection of Aberdeen Art Gallery and Museum] A newly ascribed officers cross belt plate for the Peterhead Militia, marked to the reverse with makers mark struck twice. This had previously been ascribed to John Argo of Banff but the maker's marks match that of the communion beakers on offer here [In the collection of the National Museum of Scotland]. Scottish provincial communion cups or beakers are rare within the market place. At present, these are the only Aberdeen examples to be offered at auction. All other examples are held within the Kirk session or institutional collections. References: 'The Goldsmiths of Aberdeen , 1450 - 1850' Dr James, page 66 'The History of the Aberdeen Volunteers' Ronald Sinclair 'Compendium of Scottish silver' R & J Dietert 'Old Scottish Communion Plate' Rev. T Burns 'View of the Diocese of Aberdeen' Spalding Club 'Aberdeen Burgh Records' Burgh Records Society
An early Victorian golfing medal by James Nasmyth, Edinburgh 1839-1840, of shield shaped outline with gilt scrolling leaf and flower head border, with integral suspension loop, the central panel engraved to the obverse 'KINGSBARNS / Golf Club' above two crossed clubs with the motto 'FAR and SURE' within a foliate banner below, the reverse engraved 'Presented by the Bachelors of the Society Gained by Mr William Clark 1840. John Clark 1841.1842', contained within a fitted maroon leather case 7.6cm high including suspension ring, 1.3oz Note: This 'gold' medal for Kingsbarns Golfing Society is one of three early medals known for the society, the other two examples are in the Harry B Wood collection. All three medals were made by the same firm of Edinburgh goldsmiths who were at the time one of the few makers who specialised in medals among other areas of the trade. The nomenclature as a 'gold' medal is only due to its nature as first prize and not as the metal of manufacture, solid gold medals of this time are not recorded and the laurel leaf border in gilt or gold would have sufficed to denote first place. The Kingsbarns Golfing Society's history is one not well recorded or known, the fullest detailed information is written by Mr. W Dalrymple of Leven, Fife and was printed in 'Golf Illustrated' 1908, a transcription covering the Society and prizes are printed in part below: 'There is a considerable mystery even in the date of the birth of this venerable Fife golf club, which formally wound up its own affairs and went to sleep so long ago in 1851, before the majority of modern clubs has sprung into being at all. The first minute is dated May 2nd. 1835, but one of August 3rd 1849 points to a belief in a far earlier origin. The earlier of the two medals depicted with this article points to 1823 whilst a minute of the neighbouring Crail Golfing Society of September 4th 1793 speaks of the Kingsbarns as in full life with recognised uniform of its own. The very first minute, May 2nd 1835 corroborates this existence of an already flourishing society, and deals with the probable expense of a silver frame for the "the punch bowl". On June 1st 1839 another medal is ordered: on May 2nd, 1840 a 'gold' one is presented by the Bachelors of the Society' - This is the earliest record of the existence of the medal offered here, and until this point was thought lost. 'On December 10th 1844 we find that a terrible catastrophe has befallen these hapless golfers: Duncan the tenant farmer has carried out his threat of ploughing up the links, but the society, with the providential aid of the trustees and the Cambo estate seem to have been able to pull through somehow. But the end is approaching all too swiftly. Their trusted secretary of 32 years resigns in 1846, and by August 3rd 1849, it is formally decided to suspend operations of the Society. The following is not without pathos "in retracing the past, none can fail to bear upon their remembrance the many happy meetings that have been held, only one of the original members has his name remaining on the roll - The Chaplain. Many of its members have passed the Bourne "where [sic]" no traveller returned. Much kindly intercourse has been maintained and not a few deeds of charity done. In case of its revival at any future time under more favourable auspices, it was resolved that the meetings forthwith be adjourned sine die, that the box containing the records and medals (which shall be called in from the different holders) remain in the house of Captain Corstorphine of Pittourie at Kingsbarns, and that a committee be appointed to inspect the books, ascertain the state of the debts, and notify the different members the sums due by each, and the persons to whom they are indebted. References: 'Golf Illustrated' 30th October 1908, 'Golfing Curios and the Like' Harry B Wood, 1910 plate XXVII
Anthony Benjamin 1931-2002- Untitled abstract composition; screenprint in colours, signed, numbered 38/60 and dated 70, bears blind stamp 'Gorner & Millard', 104x73.7cm: Derek Wilkinson 1929-2001- "Memories"; photo-etching printed in colours, signed, titled, numbered 18/20 and dated 69 in pencil, 64x47.8cm: David Freed b.1936- "Edge II"; mixed technique etching printed in colours, signed, titled and numbered 26/55 in pencil, 88x59.5cm., all bear labels for 'Gorner & Millard, 60 Kenway Road, London SW6' attached to the reverse of the frames, (3)
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