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Lot 3055
ANNING BELL, Robert (illustrator). - William SHAKEPEARE. The Tempest. London: 1901. 8vo (235 x 164mm.) Numerous illustrations, many full-page. (Minor spotting to fore-edge.) Near contemporary red morocco, the pastedowns with green calf onlay tooled with flowerheads contained within a wide border of shells and overlapping rectangles. - And one other leather-bound volume (2).
Lot 148
An early George III mahogany bureau bookcase in the manner of Philip Bell or Henry Kettle, the broken dentil pediment above a pair of arc d`arbelette fielded panel doors, enclosing shelves, pigeon holes and drawers, above a hinged fall fitted with eight drawers and pigeon holes above four long graduated drawers, all fitted with later brass handles on ogee bracket feet, 236cm high, 119.5cm wide, 65.6cm deep.
Lot 516
A mahogany eight day long case clock with anchor escapement and striking bell, the swan neck pediment over painted arched face depicting the seasons, Roman numerals, subsidiary date and second dials, bowfront trunk door, flanked by half barley twist columns, panelled plinth base raised on bracket feet, 211cm high
Lot 566
A George III mahogany 8-day long case clock by Alexander MacFarlane, Perth, with anchor escapement striking bell, the swan neck pediment with ,ball finial over brass face, applied chapter ring, spandrels and sea serpents, Roman and Arabic numerals, subsidiary second dial, date aperture, flanked by fluted columns, boxwood strung moulded trunk door flanked by fluted Doric quarter columns, on plinth base and bun feet, 226cm high
Lot 569
A 19th century mahogany 8-day long case clock by John Smith, Bathgate, with anchor escapement striking bell, the swan neck pediment over painted arched face, depicting the lady of the lake and the four seasons, Roman numerals, subsidiary date and second dials flanked by Doric columns, bowfront trunk door flanked by Doric columns, with plinth base raised on bracket feet, 220cm high
Lot 89
A QUANTITY OF MUNNINGS AND GILBERT RELATED EPHEMERA TO INCLUDE:- a foolscap folder `Munnings, the Artist and the man` containing a letter in pencil from Munnings to Mrs Gilbert dated Jan.30 `59; a pen and ink sketch attributed to Munnings on headed paper, 18 x 14cm; a New Year`s card signed by Munnings; The Tale of Anthony Bell, A Hunting Ballad inscribed to Gilbert in ink from Munnings and dated October 8th - 1952; miscellaneous annotated envelopes and articles relating to Munnings; together with further material to include: the indenture of Ducker Gilbert to Harriet Boyce as Apprentice Saddler 1 February 1869; various photos depicting William Ducker Gilbert contained in a black file relating to the Gilberts, and some further similar framed; a photographic print of his father Ducker Gilbert; a pen and ink view of the Saddlers `D Gilbert and Son` by Gilbert Rumbold, 22 x 35cm; Samuel Smiles - `Self Help` leather bound book awarded as Junior Certificate to W.D. Gilbert, Framlingham College, 1899; two prints inscribed to Gilbert from Munnings; and further associated articles and prints etc
Lot 493
A late 18th Century oak cased longcase clock, the hood with moulded cornice above a blind fretwork decorated frieze and square glazed door flanked by turned pillars over a plain trunk and base on bracket feet, the thirty hour movement with anchor escapement, striking on a bell, the square brass dial with pierced brass spandrels and silvered chapter ring and Roman numerals enclosing a silvered medallion inscribed "Adam Cleak Luppit"
Lot 43
A Victorian silver sugar caster Birmingham 1886, cylindrical form with wrythen decoration with central foliate band and conforming domed cover, 4¼in. (11cm.) high; together with a George V sugar caster, Birmingham 1915, probably William Neale Ltd., of urn form with pierced bell form cover, on dished pedestal foot, 6in. (15.3cm.) high, weight 4.8 tr.oz. (2)
Lot 377
An early 19th century mahogany cased eight day longcase clock the arched silvered dial signed `Bentley, Kingsbridge`, with Roman chapter ring, subsidiary seconds dial at noon, central date aperture, pierced steel hands, floral lower spandrels and Strike/Silent to arch with foliate scroll and swag engraving, the brass four pillar, bell strike movement with anchor escapement, the mahogany case with arched moulded cornice with gilt ball finials, raised on turned pillars, over a trunk with cross banded arched door, on a cross banded base, 80in. (203cm.) high, lacks feet.
Lot 378
An early 19th century oak eight day longcase clock with painted square dial with Roman numerals, Arabic outer minute track, subsidiary seconds at noon, date aperture, floral sprigged decorations and floral spandrels, bell strike movement, the case with arched cornice on turned pilasters, the trunk door with serpentine top flanked by plain pilasters, on a cross banded base with short bracket feet.
Lot 578
A Chinese carved ivory snuff bottle of tapered ovoid form, decorated with an engraved mountainous lake landscape, calligraphy verso, with bell stopper, 7.2cm. high; together with an ivory double scent bottle, carved as two noblewomen, with polychrome painted decoration, the heads forming the stoppers, 7.8cm. high, lack spoons. (2)
Lot 116
Colin Middleton RHA RUA MBE (1910-1983) Surrealist Composition with Girl, Bell and Bird Oil on board, 61 x 61cm (24 x 24") Studio stamp verso Provenance: Colin Middleton Studio Sale, Christie's, London, 4th October 1985, Cat. No. 184 (illustrated); where purchased 'Surrealist Composition with Girl, Bell and Bird' was probably painted around 1974, between Colin Middleton's two major late achievements, the Wilderness and Westerness cycles. The 1970s marked Middleton's return to an engagement with Surrealism, which he had first explored in the 1930s at a point when only a handful of artists working in Britain were committed to this movement. Middleton's early surrealist works, however, appear more emotionally inspired and more unsettling in tone, experimenting with a range of subversive Jungian imagery to explore the psychological and physical experience of a war-ravaged world. In the 1970s Middleton's surrealism seems less visceral and more self-consciously inventive, demonstrating his remarkable skill to interrelate a series of fantastical ideas to create a pictorial logic that fully engages the viewer. There is a sense of ceremony or performance in the present work. This is presented within a shallow space that still hints at a larger landscape and it appears as if the figure has emerged from the boxes beside her that form part of a drawn-in contraption that is ambiguous in its action or intention. While the bell can suggest transition amongst many other meanings, the bird is often used in Middleton's work in close conjunction with a female figure to represent their spiritual or non-physical aspects. Middleton creates a world in parallel to ours to explore ideas that transcend the physical but, as in the Wilderness Series, he sets out an intriguing puzzle without defining an answer. Dickon Hall
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