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Click here to subscribeA heavy 19th century brass/bell metal jam pan (lacks handle) containing a small oval copper and brass planter, a brass clock work spit jack, small copper pan with steel handle and a pair of small hames with leather straps, together with a set of hanging wall shelves with shaped ends, 80cm wide
* Greek Vessels. A Greek terracotta ewer, probably Athens, 5th Century BC, decorated in black with an oval repeating design with handle on pedestal base, 14.5cm high together with a similar twin handle vase decorated in black with a Europe riding a bull, 16cm high each with a collection label inscribed 'Athens Early 5th Cent BC', an 18th century blue and white soft paste porcelain tea cannister, probably Worcester, decorated with a chinoiserie scene, some chips, lacking cover, 9.5cm high, an 18th century Chinese porcelain box, of circular form with cover decorated in the famille rose palette, some minor damage, 9.5cm diameter, plus a Renaissance style bronze hand-bell, 13.5cm high (Qty: 5)NOTESProvenance: Private collection, London
Cine Projector Lenses, comprising an Isco-Gottingen Kiptaron 40mm f/1.3 lens (42mm barrel), a Schneider-Kreuznach MC Xenovaron 11-30mm f/1.1 lens (32mm barrel), a Benoist Berthiot Super-Cinestar 40mm f/2.8 lens (62mm barrel), a Bell & Howell 80mm f/1.8 lens (52mm barrel), a Taylor, Taylor & Hobson 35mm f/1.6 lens (52mm adapter barrel)
18th Century oak longcase clock, the square hood with flanking pilasters above a star inlaid shaped moulded panelled door and conforming plinth base, the brass dial with silvered chapter ring, Arabic and Roman numerals and date aperture, signed William Coulton, York, 11.25ins square, the single train thirty hour movement striking on a bell, 82ins high overall
Late 19th Century French enraved brass cased carriage clock, the enamel dial with Roman numerals, signed Henri Marc a Paris, the two train movement similarly signed and No. 24077, the two train movement striking on a bell (dial at fault), 5ins high excluding the loop handleThe clock is currently ticking but we give no guarantee it will remain so.
18th Century walnut longcase clock, the moulded broken arch hood with flanking pilasters above an arched moulded and crossbanded panelled door and conforming plinth base, the gilt brass dial with silvered chapter ring, Arabic and Roman numerals, subsidiary seconds dial and date aperture, signed Edward Blowers Beckles, the two train five pillar movement striking on a bell (some alterations)
Elizabeth Rivers RHA (1903-1964)Seated Femaleoil on canvas laid on boardsigned lower left46 x 37½cm (18.1 x 14.8in)Provenance: The Bell Gallery, Belfast (label verso);Private CollectionA harmony in greens, browns and greys, this semi-abstract painting appears to represent the figure of an artist, holding a portfolio. The sitter's green jacket is enlivened with horizontal angular dagger-like shapes, orange and brown. The sitter's face is a greenish hue, crowned with black hair, and surrounded by angular, triangular shapes in yellow and orange. The gender of the sitter is unknown, but a long triangular extension of the face-a goatee beard?- suggests it is a male figure. After studying at Goldsmiths College, London, Elizabeth Rivers won a scholarship in 1926 to the Royal Academy schools, where her tutor was Walter Sickert. Five years later, she moved to Paris, enrolling in the art school run by André Lhôte. In the early 1930's, she was part of the progressive 'Twenties Group', showing at the Wertheim Gallery in London, while in the latter half of that decade she moved to Ireland. Living on the Aran Islands, she exhibited at the RHA; her book Stranger in Aran was published in 1946. Six years later, Waddington Galleries published a portfolio of wood engravings by Rivers, depicting everyday life on the Aran Islands. During and after World War II, Rivers lived in London, exhibiting at the New English Art Club and the Royal Academy. Returning to Ireland, she assisted Evie Hone with designs for stained-glass windows and in the 1950s she exhibited wood carvings, wood engravings, and paintings, Her painting Noah's Ark is the in the Irish Museum of Modern Art.
S1; Springer Stone, Open Tracery – This stone was taken from the western window of the bell chamber on the south face of the tower. It formed the base of the windows arch and was carved to complement the quatrefoil tracery design above it. Phase : 2, Classification : Gregory Stone, Height : 21.1 in / 53.6cm, Length : 27.3 in / 69.4cm, Width : 8.1 in / 20.6cm.For further auction information regarding Durham Cathedral Stone Auction please click here https://www.andersonandgarland.com/durham-catalogue-further-details
WILL EVANS oil on canvas laid to board (behind glass) - 'Belle Vue Street 1941' a fine quality and historically important view of a Swansea street with figures and trees capturing the essence of pre-war Swansea just before the destruction of large parts of the city by German bombs in February 1941, entitled verso on Glynn Vivian Art Gallery label for The Will Evans Memorial Exhibition, signed, 37 x 53cms Provenance: Mr. A Frederick James and by descent. The Late Mr. James lent the painting to the Will Evans Memorial Exhibition in 1958. Facsimile of exhibition catalogue available with annotations regarding the ownership Auctioneer's Note: the composition shows a vibrant and well-heeled street looking up to Trinity Place (also later demolished by the bombs). The Blitz took place in February 1941, the same year that the painting is dated and appears to depict a spring or summer's day. It is suggested that the painting was finished in 1941 but was started earlier - perhaps in 1940. The bombs obliterated this part of Swansea and one account of a resident at Trinity Place recalled that he had resided in a cellar on the street during the bombing and when they came out of the cellar, the bell from Trinity Church was lying at the bottom of the bell-tower while Trinity Church was in ruins. The same witness described lead from a typesetting room of a company of printers further down Belle Vue street, melting from the fires and flowing down the stairway, adding to the devastation. .
A quantity of china to include Villeroy & Boch, two quiche dishes and tulip bowl, Paragon dish, Crown saucer, Spode plain white dish, plain white china, Royal Worcester oval dish, pattern no. 1992, Wedgwood Hathaway Rose trinket dish, bell, rose bud vase etc., together with two bottle stops, one wooden cork and one Beefeater Gin with leaflet and a pottery ladle.
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