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Lot 481
Richard Bawden (b.1936) - a blue painted cast iron two-seater cat bench, the back and side supports of stylised cat profile design, the lower rail of the back rest titled 'Designed by Richard Bawden 1992 cast by Rayne Foundry Essex', w.100cmCondition report: Well cast and a good heavy weight.One connecting nut is loose but present.All component parts are present.Some general surface paint chips, losses and scuffs throughout. A very nice decorative item.
Lot 650
A LARGE REFORMED GOTHIC STYLE WOODEN BENCHCIRCA 187088cm high, 315cm wideCondition Report: There are marks, scratches, chips, splits, cracks, abrasions consistent with age and use.Overall the piece is weathered and sun faded.The bench is on grass and appears to sit level.The back has 'pew' book rests.The seat depth 34cm; the depth overall 78cm.There are water marks to the back of the bench.The bench has some damage to the parts that sit directly on the grass.Please refer to the additional images for a visual reference of condition.Condition Report Disclaimer
Lot 660
A LARGE ELM 'GROTTO' BENCH20TH CENTURYapproximately 106cm high, 293cm wideCondition Report: Heavy weathering consistent with outdoor use. Bench is structurally solid. A few old worm holes. Various old splits, chips and some losses. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 244
A POLLARD OAK AND HOLLY HALL BENCHAFTER DESIGNS BY GEORGE BULLOCK, IN REGENCY STYLE, SECOND HALF 20TH CENTURY 45cm high, 138cm wide, 46cm deep The design and timbers of the current bench are related to a pair supplied by George Bullock in 1817 to Great Tew Park, Oxfordshire. See Christie's, Great Tew Park, 27-29th May 1987.
Lot 523
Attributed to William Van Der Hagen (fl. 1720-1745) or Joseph Tudor (d. 1759) A Bird?s Eye View of Howth Castle,ÿ c 1738,ÿ oil on canvas, approx. 4' x 7' (122cms x 214cms), a contemporaneous copy, unframed. (1) Dating from around 1740, this bird?s eye view of Howth Demesne commemorates the extensive rebuilding of Howth Castle, a project completed in 1738 under the direction of William St. Lawrence, 27th Lord Howth. Since then, the original painting has been displayed over the chimneypiece in the Drawing Room. By Family Tradition this contemporaneous copy was removed in the 1800's by an ancestor possibly as part of a dowry. It was subsequently returned to Howth Castle in the 20th Century were it hung in the Billiard Room and the Cookery School before recently being professionally restored, and displayed for auction purposes in the Drawing Room. It is in the style of William van der Hagen, a Dutch artist who worked in Ireland in the early eighteenth century and who painted panoramic views of, among other places, Cork Harbour and Waterford, the latter commissioned by the town?s corporation in 1736. He was an artist held in high regard, and panoramic scenes by him were translated into tapestries for the Irish House of Lords in the 1730?s. Another possible artist is Joseph Tudor, (d. 1759) a follower of van der Hagen. ÿ Although some liberties have been taken with the topography, the painting is a broadly accurate representation of the Hill of Howth, with the castle surrounded by an elaborate complex of lawns, walled gardens, orchards and parterres, laid out in a French style. In the foreground is a canal with swans, and beyond that, an esplanade leading to the castle, with figures walking around a lawn. In the left foreground, the figure of a man in clerical garb, sitting on a garden bench, is believed to represent Jonathan Swift, who in the early 1730?s was a frequent visitor to the castle. In the centre of the lawn can be seen a circular pond, known as ?Black Jack?s Well?. In early nineteenth-century views of the castle, a lead figure of a blackamoor stood on a plinth at this spot. This was stolen in the 1950's and presumably melted down.ÿ Two horses with riders prance in front of the old Gateway Tower?a part of the castle that dates back to the fifteenth century. Flanked by two battlemented towers--that on the right being the medieval Keep, while that on the left a matching structure added in 1738, the central fa‡ade of the castle is asymmetrical, and evidently incorporates older windows. Other additions in 1738 include the classical doorcase, fronted by a terrace and reached by a steeply raking grand staircase. An ancient tree, known as the ?family tree? stands to one side of the esplanade. Behind it can be seen a stable yard and beyond that, a church within a walled enclosure. A formal planting of trees marks a road leading into the distance. In the left background, cattle, horses and sheep graze in fields. In the right foreground is a formal garden, arranged in geometric parterre pattern, with fish ponds and fruit trees. This is mirrored on the left by a smaller parterre with a diamond patterned lawn. These two areas are separated from the central esplanade by high straight brick walls, surmounted with urns. The painting does not show Kenelm?s Tower, which was added in Victorian times. The French-style garden in front of the house was soon altered, although the well, the family tree and canal survived through to the nineteenth century. In the distance, the Dublin mountains rise above Dublin Bay, the estuary of the Liffey busy with shipping. To the right, on the northern side of the isthmus that connects Howth peninsula to the mainland, a relatively flat landscape stretches out, beyond Sutton, to Baldoyle and the sand dunes of Portmarnock. The painting shows the Hill of Howth before the extensive planting of ornamental rhododendrons, beech hedging, and trees resulted in the castle being surrounded, as it is now, by dense foliage. The connection between the Gaisford-St. Lawrence family and the Castle goes back to the twelfth century, when an ancestor named Almerick (or Armoricus Tristram, abbreviated to Amore) was granted lands at Howth by the Norman adventurer John de Courcy. According to family tradition, as recounted in the manuscript Book of Howth, in 1177 Almerick had taken over command of de Courcy?s force when the latter was ill, and won a battle against a local Irish and Norse army. The family name was later changed to St. Lawrence, again in honour of a battle won on that saint?s day. The St. Lawrence family lived at Howth Castle for over eight hundred years, until its recent sale. This is a fascinating picture, very attractive, an enigma, and very important as a depiction of the Irish landscape, and primary evidence of the aspirations of the owners of large Irish Estates, or perhaps those who sought to advise them. Crookshank (Anne) & The Knight of Glin The Painters of Ireland c. 1660 - 1920, page 59, figure 43. Dr.ÿPeterÿMurrayÿ2021 & Julian Gaisford-St. Lawrence 2021 Important Note: In view of the cultural and historic importance of this lot , the vendors have granted an option to the Irish State to acquire same at a price equal to the hammer price realised at the auction date, should a private or trade buyer successfully bid for same.ÿThis option shall be valid for a period ofÿthree monthsÿfrom the auction date, and the Irish Stateÿ( as represented by theÿDepartment of Culture, Heritage and the Gaeltacht,ÿin conjunction with the National Museum, National Gallery and National Library of Ireland and Office of Public Works) shall have the option to acquire and purchase this lot within this time frame, at the final hammer price achieved at the auction date, plus buyer's premiums.ÿ This lot shall be retained within this jurisdiction, and collection and shipment of same shall only be permitted on the expiryand non-exercise of this option by the Irish State bodies.ÿA binding purchase contract shall still exist in relation to any private or trade buyer who successfully bids for this lot on the sale date and the full purchase price plus buyer's premiums due, shall become payable immediately following the expiry of the above option period.
Lot 382
England & Wales. Hollar (Wenceslaus), The Kingdome of England & Principality of Wales, exactly describe with every Sheere & the small Townes in every one of them, in Six Mappes, Portable for every Mans Pocket..., Useful for all Commanders for Quarteringe of Souldiers & all forts of persons that would be informed, Where the Armies be; never so Commodiously drawne before this..., Described by one that travailed throughout the whole kingdom for its purpose, Sold by Thomas Jenner, 1644, printed title, six (complete) uncoloured engraved folding maps, a few maps with old folds strengthened on verso, map 6 (South East England) torn with the loss of the lower right corner of Kent & Essex, front endpaper with a manuscript monogram 'JR', contemporary calf, with gilt title to the spine, some wear and staining, binding size 220 x 115 mmQty: (1)NOTESR. W. Shirley. Early Printed Maps of the British Isles, 1477 - 1650, no. 537. The map is often referred to as 'The Quartermaster's Map' and is based upon Christopher Saxton's wall map. It was used widely during the English Civil War, particularly by the Parliamentarians with whom the publisher Thomas Jenner's sympathies lay. Jenner was a print and map seller who set up in business at the White Bear in Cornhill in about 1618. Until the impending Civil War Jenner was not known for cartographic material. Then in 1643, he published a revised edition of the 'Direction for the English Traviller' whose plates he had acquired from his printer Matthew Simmons. Jenner had timed his move perfectly. The demand for maps to help the large numbers of people moving about the country at the time of the Civil War was on the increase. The market for the little atlas clearly proved so great that he was emboldened to do more. He engaged the services of the noted engraver Wenceslaus Hollar to etch a reduction of Christopher Saxton's great wall map of 1583, thereby enabling his customers to have a more detailed and yet still portable map of England and Wales. Its success can be measured by how often it was re-printed - as many as fifteen different states, the last being in 1800 - however, its portability probably resulted in the destruction of most examples and complete copies such as this example are rare. This is a very rare example of the 1st state, variant 1b. The monogram is believed to be that of John Rushworth. Rushworth was a solicitor and was enrolled at Lincoln's Inn in 1640. After the outbreak of the Civil War, he acted as a messenger between Parliament and its committees at Oxford and York. As secretary to Sir Thomas Fairfax, general of the New Model Army, Rushworth was off considerable importance, and thereafter he was employed by the council of state and Parliament. Following the execution of Charles I in 1649, Rushworth became personal secretary to Oliver Cromwell. He began drafting plans for the abolition of the monarchy and the House of Lords, and the establishment of an English Republic under the leadership of Cromwell. When Cromwell became Lord Protector in 1653, Rushworth was promoted to Registrar of the Court of Admiralty. At the Restoration, Rushworth made peace with Charles II and, although called to give information on the activities of the regicides, was not himself implicated. In 1667 he became secretary to the Lord Keeper and, later, agent to the colony of Massachusetts. Despite his many emoluments and an inherited estate, he fell into poverty, probably as a result of a combination of senility and alcoholism, and spent his last years in a lodging in the King’s Bench Prison, Southwark, where he died. A rare map with a remarkable historical provenance. I am grateful to Dr Robert Colley for his research into the monogram and its significance.
Lot 508
* Seymour (Robert, pseud. Shortshanks). Shaving by Steam, E. King, circa 1825, etching with contemporary hand-colouring, long explanation below the image describing the 'automated' procedure, the slight mount staining, 245 x 350 mm, mountedQty: (1)NOTESA satirical print lampooning the fascination with 'automation'. It shows a dandy, using a monocle, who ogles the ladies in the next room who are having their hair styled. Another, sitting on a chair, reads a newspaper, 'Herald'. The 'Patent Shavograph' operates from right to left upon the customers who sit on a circular bench, each with his head held firm in a wedge cut from a circular disk. The razor has just sliced off the nose of a military officer who stands gesticulating wildly, whilst attempting to stop the blood flowing from his wound. His understandably dismayed neighbour rises from his seat with a look of horror on his face, whilst another shouts 'Stop! Stop!' Four men on the left, waiting their turn for the razor to reach them, are blissfully unaware of the accident. One has his head pressed into position by a rod held by a fashionably dressed man who is also working a lever that presumably controls the whole contraption.
Lot 45
JOHN WILKES AND LORD MANSFIELD A Chinese export porcelain punchbowl, c.1765-70, painted to two sides with a portrait cartouche of Wilkes flanked by figures representing Sergeant Glyn and Earl Temple above the ribboned inscription 'Always Ready in a Good Cause', and a cartouche of Mansfield flanked by Lord Bute and the Devil above the inscription 'Justice Sins Pitie', the rim inscribed in black 'Wilkes & Liberty', broken and restored, 25.7cm dia. In February 1764 Wilkes was convicted in absentia for seditious and blasphemous libel before Lord Mansfield in King's Bench, despite the whole case being littered with contention. Glyn appeared for the defence and Temple was Wilkes' patron; Bute had served as Prime Minister until retiring in 1763. Refusing to return to England for sentence, Wilkes was outlawed. Such was the public interest in the case that engraved satires were copied onto Chinese wares. Cf. Osgoode Hall Law Journal, (volume 25 number 3) III. Wilkes and the Judges: 1763-1768 also Potted History: Henry Willett's Ceramic Chronicle of Britain, pl.491. Provenance: ex Rouse collection, sold Sotheby's, Billingshurst, 10th March 1999, lot 82.
Lot 740
AN ARTS AND CRAFTS STYLE TEAK BENCH, the slatted back with straight top rail and pierced with trefoils, similar sides, slatted seat with pierced bracket, on square section supports with rounded finials, 65 3/4" x 19 1/2" x 43 1/2" (Illustrated) (Est. plus 21% premium inc. VAT)Some rot to base of three legs, some seat slats need repinning down, joints a little loose, surface commensurate with outside use
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59213 item(s)/page