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Click here to subscribeFigur der Leda, Nymphenburg, 20. Jh. Modell Franz Anton Bustelli 1795/ 60. Porzellan, weiß. An Schleifen, Spitzenhaarschmuck rest., Finger der rechten Hand best. Blindprägemarke. H. 19 cm Figure of Leda, Nymphenburg, 20th century. Model Franz Anton Bustelli 1795/ 60. Porcelain, white. On bows, rest of lace hair ornaments, fingers of the right hand damaged. Blind embossing mark
SIX LARGE FURNISHING COLOUR LITHOGRAPHS, including pair after T S Cooper of sheep and cattle, 38 x 63cms; pair after B W Leader of a ruined abbey landscape and 'Wild Waters', blind stamped, 39 x 61cms; and a Condition Report: Leaders with worm holes, Alpines with vertical brown stains, Coopers scratched and slightly stained, all with surface dirt, mounts dirty/stained/foxed.
A Regency mahogany carver chair, the bowed top rail with black line string detail and stuffed seat (legs cut down), an Edwardian inlaid rosewood side table, a Victorian walnut framed nursing chair, a blind fret-work decorated three-tier hanging shelf, a light oak twin pedestal desk and a mahogany Sutherland table (6)
A collection of Marvel and Pacific Comics, approx 35 single issues. To include Coyote no. 3, 4, 11 and 12, Vanguard Illustrated issues 1-6 1983, Demon Dreams issue 1 and 2, Six from Sirius issue 4, Airboy issue 1 and 5, Flamingo issue 1, A case of Blind Fear featuring Sherlock Holmes issue 3, War Danger issue 1, Mystery Incorporated Book One, Scarlet Kiss issue 1 and many others
A George III mahogany bureau bookcase enclosed by a pair of panelled doors below a fluted a blind fret cornice over an interior fitted with drawers and pigeon holes centred by a cupboard, above two short and three long drawers flanked pillar reeded cants on ogee bracket feet, height 223cm x depth 55cm x width 106cm, S/D
Victorian burr walnut and inlaid davenport, circa 1860, the leather inset sloping top with an opening stationery compartment, and fitted inside with two small drawers and two false drawers, usual configuration of four drawers to one side opposing blind drawers, all raised on squat bun feet with concealed pot castors, width 55cm, height 86cm, depth 54cm
Victorian mahogany salon cabinet, circa 1890, shaped triple mirrored back carved with cornucopia and with two small shelves, over a bow fronted base with two astragal glazed cupboard doors and two blind fretwork small drawers, flanking an open cupboard, with an open shaped shelf beneath, French cabriole legs, width 120cm, height 198cm, depth 41cm
Regency mahogany Pembroke table, circa 1820, the top crossbanded with satinwood and with a single frieze drawer opposing a similar blind drawer, both furnished with pressed brass knobs, raised on tapered square section legs with boxwood line inlays, raised on brass castors, width 83cm, depth 49cm, height 75cm
A GEORGE III MAHOGANY SECRETAIRE BOOKCASE, the upper part with a dentil moulded cornice above blind fretted frieze and two Gothic astragal glazed doors enclosing adjustable shelving, the secretaire enclosing an arrangement of six short drawers, one long drawer and pigeon holes, four graduated long drawers below, shaped aprons, bracket feet, 113cm wide x 225cm high x 57cm deep
An impressive George III eight-day musical longcase clock with moonphaseRichard Bullock, Ellesmere, circa 1775The substantial seven pillar triple-train bell striking movement with T-shaped plates, anchor escapement regulated by seconds pendulum and playing a choice of seven tunes every three hours on a graduated nest of ten bells with twenty hammers via a 11.25 inch pinned cylinder mounted transversely across the upper edge of the backplate, the 13 inch brass break-arch dial with subsidiary tune selection dial annotated EASTER HYMN/MARCH IN PTOLOMY/BANK OF FLOWERS/BEILLISLE MARCH/ROAST BEEF/NANCY DAWSON/HARVEST HOME to the symmetrical foliate scroll engraved dial centre incorporating oval reserve signed Rich'd Bullock, Elles mere, No. 539 around the calendar aperture to lower margin, within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll pierced blued steel hands and crested female mask and scroll cast spandrels to lower angles opposing subsidiary STRIKE/NOT STRIKE and CHIME/NOT selection dials to the upper, beneath arch with rolling moonphase incorporating conforming mask-centred mounts to lunettes and unusual Classical capriccio landscape painted decoration opposing starry sky with a comet to the concentric age-of-the-moon annotated lunar disc, in a case possibly by Gillows of Lancaster with carved lobed finials over dentil cavetto moulded swan-neck pediment incorporating leafy pendant scroll and blind-fretwork infill over ogee bolection moulded break-arch glazed hinged dial aperture enclosing gilt leaf carved mask around the dial, flanked by free-standing Gothic cluster columns and the sides with rectangular sound frets and conforming columns set against bargeboards at the rear, the trunk with dentil cavetto throat and blind fretwork frieze over ogee lancet triple arch-topped flame-figured door flanked by cluster columns to angles, the plinth base with stepped ogee top mouldings over shaped chevron-line panel bordered fascia flanked by moulded canted angles over ogee bracket feet, 241cm (95ins) high excluding top finial; 254cm (100ins) high overall. Provenance: The beneficiary of the Estate of a private collector, East Midlands. Research undertaken by Brian Loomes places the earliest record of the Bullock family of clockmakers in Ellesmere, Shropshire through the Baptism of Sarah Bullock daughter of Edmund Bullock, clockmaker on 8th July 1708. Loomes further notes a baptism of an Edmund Bullock at nearby Wrockwardine in 1686, which most likely records the year of his birth. Of Edmunds work several turret clocks are known (including an example made for Chirk in 1712), numerous longcase clocks many of which are numbered, a sundial dated 1726 and at least one table clock. Edmund Bullock's son, Richard, was born in 1718/19 along with his twin sister, Hannah. Richard followed his father in becoming a clockmaker, although his exact dates appear to be unrecorded it can be safely assumed that he was working, probably alongside his father, by around 1740. Richard also numbered his clocks and maybe continued the series first established by his Edmund although there are no records to confirm this. The current lot is a particularly impressive example and would have been a very expensive commission most likely placed by a very wealthy local land owner. The mechanism is rare in that it has survived unaltered, which is unusual for a musical clock of this complexity. The quality of the case certainly befits that of the movement and exhibits details which may support an attribution to Gillows of Lancaster; namely the ogee-moulded frame to the hood door, fine quality carving to the pediment and sparing/restrained use of parquetry stringing. Condition Report: Movement is complete and appears all original with no visible alterations or missing items and replacement limited to some historic re-pinioning (undertaken at time of past servicing to counter wear in the relevant pinions). The hammers and bells generally sound cleanly on the bells and testing through manual operation of the mechanism suggests that the pin/hammer tail engagement is generally very good. The tune selection feature is present and functional however the return spring that holds the lateral position to the barrel is a bit weak for its purpose. Although the trains will run/operate the mechanism is generally in dirty/neglected condition so will need a gentle clean/service before putting to use.The dial is generally in good original condition albeit with some discolouration, tarnishing and wear to the finishes. All functions (calendar, strike/time selection, moonphase, tune selection and seconds) are operational. The moon disc has some slight flaking to the painted decoration otherwise is in very good original condition.The movement retains its original seatboard. The seatboard however does not stretch to the full width of the cheeks hence much of the support is reliant on blocks applied to the inside of the cheek uprights; such blocks are present but appear fairly recent. The upper surface of the cheeks however appear undisturbed. Due to the seatboard appearing a little narrow for the case we cannot offer any assurances that the movement and dial are original to the case.The case is generally in good condition with faults mainly limited to age related bumps, scuffs, wear, a few very small repairs and slight shrinkage. The finish is a little flat hence case would benefit from a good polish. The hood has carved gilded wood dial surround applied to the inside edge of the mask. This is an unusual (and visually striking) detail may not be original which adds weight to the probability that the movement and dial are not original to the case (as this detail serves to 'adjust' the dimensions of the mask to accommodate the current movement and dial). Notable other faults to the case include a length of slender dentil moulding missing from the throat to the left hand side, a vertical shrinkage crack to the left hand side of the trunk. The moulded skirt and ogee bracket feet are replacements probably dating to the early 20th century.Clock is complete with pendulum, three weights, case key and winder. Condition Report Disclaimer
A George III brass mounted mahogany musical table clock with fired enamel dialsHare, London, late 18th centuryThe compact five pillar triple chain fusee movement with plates measuring 5.5 by 4.5 inches fitted with transverse arrangement of 3.25 inch pinned barrel and twelve hammers for playing a choice of six tunes on a graduated nest of nine bells after the hour has sounded on a further separate bell, with verge escapement regulated by short bob pendulum and signed Hare, London within a delicate floral engraved cartouche to backplate, the 5.75 inch circular convex white fired enamel Roman numeral dial signed HARE, LONDON to centre, with Arabic five minutes to outer track and pierced gilt brass hands beneath separate small 1.5 inch circular enamel subsidiary tune selection dial radially inscribed BELLISLEDON, MILL MILLONE, ANONYMOUS, WHITE COCKADE, CORN GIGS and TWEED SIDE, in a brass mounted mahogany break-arch 'triple pad top' case with hinged brass carrying handle and fillet edged raised panels to top over cavetto moulded arch and full-height front door fitted with separate cast brass moulded convex-glazed bezels for both the dial and subsidiary above within an arrangement of scroll pierced brass blind fret infill panels and flanked by moulded brass inserts to angles, the sides with brass arcade-bordered arched apertures and the rear with full-width door inset with brass fillet bordered fishcale frets and flanked by moulded inserts to angles, on brass ans mahogany stepped ogee mounded skirt base with ogee bracket feet, (case with probable alterations and adaptations), 37cm (14.5ins) high excluding handle. The current lot is most likely by Alexander Hare who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1776 and working in London 1781-1824.Condition Report: The movement appears complete and is in relatively clean working condition with no noticeable evidence of alteration or significant replacements. Although the musical mechanism is operational the alignment of many of the hammers with regards to the tails engaging with the barrel pins and the heads striking the bells requires attention causing the tunes to have 'gaps'.The dial has repaired enamel chips to the edge between the I and II numerals, at nine o'clock and at six-o'clock as well as some touched-in wear to much of the edges of the enamel. The lower part of the dial has a series of light hairline cracks and there are also a few more beyond the minute ring at 2 o'clock. The winding holes also have some light edge chipping. The tune selection dial appears free form visible damage.The case presents in good decorative order however exhibits details in its construction and detailing which are unusual. The top mouldings are as finely cut as the base mouldings hence are most likely all later replacements. Indeed the dovetail joints of the case can just be seen below the lower edge of these mouldings at the sides suggesting that the original mouldings would have been taller. The form of the set-mask around the dial is unusual as is the way in which it is fitted in the case, this may cause some to suspect that the case has been adapted to take the movement and dial however we cannot see any direct evidence to confirm that this has happened. There is no evidence of the dials having brass bezels fitted to close the gap where they project forward from the mask. The front door is of fairly heavy construction but does not appear to be an obvious replacement. Many of the veneers show very little figuring hence may well be fruitwood stained and polished to resemble mahogany, therefore it is most probable that when made the clock was most likely ebonised; if this is the case then the veneers which are mahogany will replacements. The lower section of the skirt (between the bottom brass moulding and the feet) is a replacement. With the above in mind we have catalogued the clock cautiously as we cannot rule-out the possibility of the case being adapted to take the movement and dial. On this basis we would recommend that prospective purchasers satisfy themselves as to the likely originality of the case or bid in the knowledge that no assurances have been made.Clock does not have a case key or winder. Condition Report Disclaimer
A Victorian oak architectural wall timepieceVulliamy, London, circa 1846-47The four columnar pillar single chain fusee movement with half deadbeat escapement regulated by 14 inch pendulum with heavy brass bob stamped with serial number 1721 and T-bar suspension, the backplate inscribed VULLIAMY, LONDON, No.1721, the 12 inch circular silvered brass Roman numeral dial signed VULLIAMY, LONDON to centre and with steel spade hands, the architectural case with triangular ogee moulded pediment over full-height rectangular door incorporating moulded silvered brass fillet insert to the inside of the circular glazed aperture and carved foliate strapwork scroll blind fretwork panel infill to the upper quadrants and conforming apron panel, the base with shallow ogee moulded skirt over a pair of scroll outline brackets with pendulum access flap to the baseboard between fronting pendant backboard set to against the wall at the rear, 78.5cm (30.75ins) high. Provenance: The property of a private collector, Hertfordshire; purchased at Bonhams, New Bond Street, sale of Fine Clocks 12th December 2006 (lot 126) for £1,875. Benjamin Lewis Vulliamy is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1780 to Benjamin Vulliamy and gaining his freedom of the Clockmakers' Company in 1809. He worked from 52 Pall Mall, served as Warden 1821-5 and was appointed Master five times. He was the last of the celebrated dynasty of Royal clockmakers which started with his grandfather, Justin, forming a partnership with George II's clockmaker, Benjamin Gray. Benjamin Lewis Vulliamy was perhaps one of the most influential horologists of his time publishing many works and undertaking numerous high profile public commissions as well as holding the Royal Warrant. He supplied many clocks to the Royal family including the turret clock for Windsor Castle in 1829 (replacing an earlier movement by Joseph Knibb); however his horological legacy is perhaps somewhat slightly blighted by his tendency to undertake controversial alterations to earlier important clocks by makers such as Tompion. The Vulliamys started numbering most of their clocks from 1788 until 1854. Two of the original Vulliamy work books still survive in the library of the British Horological Institute at Upton Hall, these often can provide valuable information regarding the manufacture and provenance of many clocks made by the workshop. Unfortunately the records are incomplete hence only note clocks with serial numbers 296-469 and 746-1067. There is also a third surviving Vulliamy workbook, relating only to repairs and servicing dating to the period 1846-53. Interestingly this volume records at least sixty five clocks being in the possession of the government 'Office of Works' and another forty being in the possession of Queen Victoria at Buckingham Palace.Roger Smith in his article entitled Vulliamy Clock Numbering, A Postscript, published in Antiquarian Horology Vol. 21 No. 5 (September 1994), used surviving data in the records of the British Horological Institute at Upton Hall and known documented examples to compile a graph from which unrecorded clocks can be fairly accurately dated. According to this chart number 1721 would date to around 1846-7; this date is further corroborated by the recent discovery of Vulliamy number 1630 (see Bruun Rasmussen, Copenhagen, sale of Selected furniture, clocks and carpets, 15th December 2020 lot 2051/8078) which is dated 1844.Condition Report: The movement is in relatively clean working condition with no visible evidence of alteration or significant replacements. The original pendulum is present and is complete with its T-bar suspension block. The movement is secured in to the case with two hand screws through the seatboard, there are holes/threaded bracket for a third screw which is no longer present (and not really required!). The dial is in good original condition but has overall moderate discolouration/tarnishing to the silvering.The case is generally in sound original condition and is free from serious defects. There is some historic opening/movement to the joints to the superstructure as well as noticeable wear to the edges of the pediment mouldings. The base backboard has been drilled to assist with the wall mounting and overall the case has been repolished taking-on a light honey-coloured hue contrasting with the frets which are stained darker. Case otherwise is very presentable with faults limited to age related bumps, scuffs and shrinkage.In addition to the pendulum the timepiece has a case key but no winder. Condition Report Disclaimer
A fine French porcelain inset ormolu 'Japonaise' mantel clock garniture The porcelain front panel signed for C. Kiffert, circa 1880The circular eight-day gong striking movement with recoil escapement for regulation by disc bob pendulum incorporating Brocot type rate adjustment to the suspension, the backplate stamped with serial number 5797 to upper left hand margin, the rectangular mid blue ground simulated cloisonné porcelain dial panel painted with bird and butterfly amongst chrysanthemum blooms to centre within pseudo Japanese character gilt cartouche numeral chapter ring and with fine pierced and engraved brass hands, the surround populated with additional insects and birds within flowering foliage incorporating shaped ornithological panels with the lower one signed C. Kiffert to left hand margin, the case with fine porcelain surmount modelled as a zoomorphic dragon carp set on a rectangular four-legged plinth over shaped stepped platform decorated with incised geometric patterns and with galleried bollard finials to corners, with cavetto top mouldings centred with a geometric decorated pendant panel flanked by stylised scroll-pierced projecting corbels to the front, over line-incised frame around the dial panel terminating with smaller conforming apron panel to the lower margin, the sides with arcaded panels inset with further matching porcelain panels each painted with a fan and geometric panel within a simulated cloisonné field decorated with birds and butterflies within delicate flowering foliage, the rear with hinged circular cover for the movement within geometric line decorated panel infill flanked by further pieced projecting corbels, on elaborate waisted cavetto moulded base bordered with geometric incised half-round band to upper margin and applied with scroll pierced projections matching the upper corbels to sides, over swollen skirt inset with further bird and flower painted porcelain panel flanked by geometric blind fretwork infill to front apron and incorporating elephant mask feet, the porcelain panels and case each inscribed with serial number 32495 to rear, 51cm (20ins) high; the matching side pieces each modelled in ormolu mounted porcelain as a square section tapered shoulder vase painted with birds, insects and panels on a simulated cloisonné ground with elephant mask handles over elaborate waisted base incorporating blind fretwork to apron and scroll feet, each 17cm (10.5ins) high, (3). The current lot can be directly compared to another garniture of almost identical pattern (with the exception of having additional candelabra extensions to the side pieces) which was sold at Christies, London The Opulent Eye - 19th Century Furniture, Sculpture & Works of Art 6th March 2014 (lot 197) for a premium inclusive £35,000.The full identity of the painter of the porcelain panels of the current lot, C. Kiffert, appears not to be recorded, however this signature is sometimes seen on large impressive porcelain vases often executed in the style of Sevres. One such example was sold at Christies, London 19th Century Furniture, Sculpture, Works of Art & Ceramics 27th September 2007 (lot 63) for a premium inclusive £18,500. The painted porcelain surmount adorning the present clock is unusually modelled as a carp with a dragon's head. This form comes from the legend of Koi-no-Takinobori which has its roots in ancient China wherein carp swim, against all odds, up a waterfall known as the 'Dragon Gate' at the headwaters of China's Yellow River. The gods are very impressed by the feat, and reward the few successful carp by turning them into powerful dragons. The story symbolizes the virtues of courage, effort, and perseverance, which correspond to the nearly impossible struggle of humans to attain Buddhist enlightenment.Condition Report: Movement appears complete and all original with no visible alteration or significant replacements. Although the mechanism will run and strike it is in dirty/neglected condition hence requires a clean/service. The dial panel is free from visible chips or cracks other than some very slight nibbling around the winding holes. The numerals may have been re-touched/strengthened and there is a slight firing blemish near the VIII numeral otherwise panel is in good albeit slightly dirty condition with minimal wear to the gilding. The side panels are free from visible damage or restoration and have minimal gilt wear however are a little dirty. The dragon fish figural surmount has had some chipping to the whiskers touched-in with red pigment - this will require attention to bring the figure back to fine condition. The securing studs for the platform holding the surmount are presently incomplete hence it can be lifted straight-off the case. The gilding to the brass is original and generally in sound albeit very dirty condition but has some noticeable rubbing to high spots. Both side pieces are generally in good original condition although one has cracking and related small shallow chips to the base part of the ceramic. Otherwise faults are limited to very light gilt wear.The clock has a pendulum but no winding key. Condition Report Disclaimer
A George II oak longcase clock, the blind fret carved frieze over a brass dial with urn spandrels, and engraved matted centre, subsidiary seconds dial and date aperture, inscribed Hampson Wrexham 967, over a crossbanded case with plinth base, the eight day movement striking on a bell, dial 31 cm square, total height 208 cm
Toby for Fulgurex Swiss SBB 1' B B 1' Gotthard-type Electric locomotive No 12336, painted green with pantographs and electric roof detail, sprung buffers and running lights, fitted with two motors and hinged coupling rods to blind axles.Condition Report: Dimensions:Length 35cm Width 7cmHeight 10.5cmCondition Report Disclaimer
*Paula Rego RA (Portuguese-British, b.1935)'Three Blind Mice I', from Nursery Rhymesetching and aquatint, 1989, signed in pencil and inscribed 'A/P', an artist's proof aside from the edition of 50, there were 14 artist's proofs, printed by Culford Press, London, published by the artist and Marlborough Graphics, London, on wove plate 22.5 x 21.5cmProvenance: The Germaine Greer collection.*Artist's Resale Right may apply to this lot.Condition report: A very light wave to the paper, barely noticeable. Thunderbugs under the glass. Not seen outside of glazed frame.
*Paula Rego RA (Portuguese-British, b.1935)'Three Blind Mice II', from Nursery Rhymesetching and aquatint, 1989, signed and inscribed 'A/P' in pencil, an artist's proof aside from the edition of 50, there were 14 artist's proofs, printed by Culford Press, London, published by the artist and Marlborough Graphics, London, on wove plate 21 x 22.5cmProvenance: The Germaine Greer collection.*Artist's Resale Right may apply to this lot.Condition report: A few thunderbugs under the glass. Not seen outside of glazed frame.
*Dame Elizabeth Blackadder RA RSA (b.1931)'Lily'etching, 1999, HC, with blind stampsheet 25 x 20cm, unframedThe print was made to accompany the special edition of Duncan Macmillan's book. It was included with the book in a slipcase in an edition of 100; this print is annotated 'HC' by the artist and was printed aside from the edition.*Artist's Resale Right may apply to this lot.Condition report: In original condition.
*Francis Bacon (1909-1992)'Study from the Human Body'lithograph in colours 1981, on wove, signed in pencil l.r., numbered XXIV/XXV, printed by Arts Litho, Paris with their blind stamp, published by Éditions de la Difference, Parissheet 44.5 x 33cmLiterature: Bruni Sabatier, 'Francis Bacon, The Graphic Work no.28'.*Artist's Resale Right may apply to this lot.Condition report: The paper has a very light wave at the edges, very minor. Some dirt under the glass to the left of the figure that appears to have transferred onto the paper. Otherwise good condition. Not seen outside of glazed frame.
*Pure Evil (b.1968)Sylvette David 'I have loved the stars too fondly to be fearful of the night'Screenprint with glow-in-the-dark ink, signed, doodled and numbered 24/40 in pencil, with Print Club London blind stamp70 x 50cm*Artist's Resale Right may apply to this lot.Condition report: An area of half moon creases near the top edge, and a few scattered elsewhere
*Laurence Stephen Lowry RA (1887-1976)'Sailing Boats'offset lithograph in colours, signed in pencil l.r., published by Venture Prints Ltd., Bristol, with the Fine Art Trade Guild blind stamp29 x 34cm*Artist's Resale Right may apply to this lot.Condition report: Published in 1975, from an edition of 850Some yellow staining from acidic mount. Secured verso by tape at the top of the sheet. A few flecks of dark grey foxing in the margins. A small brown stain in the lower area.
*Laurence Stephen Lowry RA (1887-1976)'Woman with Beard'offset lithograph in colours, with the Fine Art Trade Guild blind stamp, signed in pencil l.r.image 61 x 50cm*Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. Some light cockling, light foxing to margin.
*Laurence Stephen Lowry RA (1887-1976)'Industrial Scene'offset lithograph in colours, signed in pencil l.r., published by Venture Prints Ltd., 1974, with the Fine Art Trade Guild blind stampimage 34 x 24cmProvenance: The Royal Academy of Arts, London, print no.298*Artist's Resale Right may apply to this lot.Condition report: A very light wave to the paper in the top area, barely noticeable. Some light staining from the acidic mount. Appears to have been taped into the mount, so we have not been able to view the full sheet without the mount.
*Laurence Stephen Lowry RA (1887-1976)'Meeting Point'offset lithograph in colours, with the Fine Art Trade Guild blind stamp, signed in pencil l.r.48 x 70.5cm*Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. May be a little fading, but appears to be in generaaly good order.
*Laurence Stephen Lowry RA (1887-1976)'Group of Children'offset lithograph in colours, signed in pencil l.r., edition of 850, with the Fine Art Trade Guild blind stampimage 18 x 19.3cm*Artist's Resale Right may apply to this lot.Condition report: A border of brown discolouration from the mount. Secured to back mount by piece of brown tape at each top corner. A few specks of foxing in the margins, very small and faint. One small indent to the paper lower left.
*Laurence Stephen Lowry RA (1887-1976)'Britain at Play'offset lithograph in colours, signed in pencil l.r., with the Fine Art Trade Guild blind stampimage 46.5 x 61cm*Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. Overall some fading, yellows and browns not as strong. More of a red and blue to image.
*Laurence Stephen Lowry RA (1887-1976) ‘Huddersfield’ offset lithograph in colours, signed in pencil, with the Fine Art Trade Guild blind stampimage 45 x 56.5cm*Artist's Resale Right may apply to this lot.Condition report: A very light wave to the paper near the top edge, although not very obvious. Some discolouration of the paper showing the outline of the mount. Appears to be attached to the mount by a strip of tape along the top edge. A few small flecks of dirt in the margins.
*Edward Bawden RA (1903-1989)'Dunkirk'lithograph in colours, 1985, signed and inscribed in pencil with blind stamp for the Stanley Jones Archivesheet 55 x 76cm, unframedCommissioned by the Hurtwood Press for their unrealised book 'Edward Bawden: War Artist' in an edition of 75. This is a proof from the Stanley Jones Archive.*Artist's Resale Right may apply to this lot. Condition report: in generally good order
Moschino - 'Love Moschino' black leather bag with gilt chain and leather strap handles, red lining, blind stamped with Moschino Love Moschino and gilt letters to front flap, with original dust bag, a Luella black handbag with silver coloured metal fittings, with the leather heart logo and a similar Luella brown leather handbag with brass coloured metal fittings and leather heart logo, both with original dust bags and an Anya Hindmarch gold leather, large tote bag (4)Condition ReportSigns of use and wear throughout. Some staining to the inside of the Luella bag, the gold bag some marks to the outside
SCOTLAND - SURVEYING AND GEOLOGYIllustrated manuscript survey of the North coast of Scotland undertaken by Captain Henry Charles Otter, R.N., in 1844, describing in detail the coast from Thurso to Cape Wrath, via Sandside, the Kyle of Tongue, Loch Eriboll and the Kyle of Durness, advising on the harbours, prevailing winds, safe anchorages ('...no landing for boats except in the finest weather...') and treacherous rocks to avoid ('...give...a sufficient berth to prevent the sea... from filling the boat & at the same time to keep clear of the Black Rocks...'), geological formations ('...a conical hill 630 feet high, the upper portion of which is Gneiss intersected with veins of quartz, half way down, conglomerate, and the sea cliffs are composed of old red sandstone...'), the landscape ('...a dreary waste of hills and steep ravines covered with short heather and coarse grass...'), local flora ('...that beautiful Alga the 'Bonnemaisonia Asparagoides'...'), wildlife ('...wild fowl in great numbers... Seals also are numerous but they have been much disturbed lately...'), fishing ('...It abounds in Trout and Pike!...'), the local economy ('...vessels as large as 150 tons burden, laden with coal, tar, butter, salt etc sometimes come in here...'), ferries ('...The ferry belongs to the Duke of Sutherland, and is kept by a man who pays no rent, but is required to keep 4 men in pay & the boat in repair...'), notable coastal residences such as Bighouse ('...now in the possession of the Duke of Sutherland... no pretence to architectural beauty...'), local customs ('...the unsuspecting geese gather round... and are easily knocked down by sticks...'), history ('...It is famous for having been the place to which... the Danes... drove down the cattle... before taking them off to their ships... The above account was given to Mr Anderson of Rispond by Sir Walter Scott...'), and much else, ending with 'Sailing Directions for the Kyle of Tongue'; bound with four fine pencil and watercolour full-page illustrations on paper backed on linen, inscribed in ink and pencil, including 'Captn Slater's Monu[ment]', 'Entrance of Loch Eriboll', and 'Kyle of Durness looking up to Fionabhen and the Gualin', one pull-out depicting landscape profiles of Thurso, Entrance of Kyle of Tongue, Loch Eriboll and Entrance of the Kyle of Durness, two additional leaves with nine specimens of seaweed on cards slotted in, 67 numbered pages, plus 7 leaves of additional material, inscription on inside front board in ink 'Given by Captain Otter./ Sutherland', maroon calf gilt with blind-stamping, titled in gilt 'Description of the North Coast of Scotland. 1844' on front board and in ink on spine, marbled ends, 4to (242 x 195mm.), Thurso to Cape Wrath, 1844; with a 16 page report on the East Coast of Sutherland, signed 'Henry C. Otter/ Commander'; and four autograph letters to the Duke of Sutherland ('My dear Lord Duke') from Henry Otter advising the Duke on matters such as the local fishing industry, mentioning his disagreement with 'Mr Stevenson' over the site for a harbour at Loch Robie ('...he may find more shelter in some winds by constructing his Harbour in the Bay...'), plans for a harbour at Scullamie and his coastal surveying work for the Hydrographical Office, 22 pages, folio and 8vo, Eastlands Southsea, HMS Comet and Tobermory, 28 February 1848 to 18 August [1849] (6)Footnotes:'...THE VIEW OF BEN LOAGHAL FROM HENCE IS BEAUTIFUL, ITS POINTED PEAKS AND SALIENT SPURS CATCHING THE SETTING SUN, AND THROWING THEIR DARK SHADES INTO THE DEEP RAVINES, GIVE IT A DIFFERENT ASPECT EVERY HOUR...': A coastal survey presented to George Granville Sutherland-Leveson-Gower, 2nd Duke of Sutherland by Commander Henry Charles Otter, R.N.Henry Charles Otter (1808-1876), then commander of the cutter Sparrow, was appointed to undertake surveys of the Western coast of Scotland after the unfortunate death of Commander M.A. Slater who fell over the cliffs at Holburn Head in the course of his duties in 1842, and to whom an obelisk was erected, as described in our survey: '...near a frightful overhanging cliff 250 feet high is a small monument... from whence the late Captain Slater is supposed to have fallen... To this indefatigable officer we are indebted for the survey of the greater part of the East Coast of Scotland...'. Otter was to continue this work until 1863, and built up a reputation for taking a keen philanthropic interest in the people of the area, and for his evangelistic preaching (he and his sailors painted bible texts on the rocks at Lorn and the inscription 'God is Love' on the rocks near Tobermory Pier, which can still be seen) and, rather appropriately considering his name, for his swimming and diving abilities, having saved several of his crew from drowning over the years. In 1858, commanding the survey ship Porcupine he piloted the first transatlantic telegraphy cable in its final stages into Trinity Bay, Newfoundland, and his tidal work around the Scottish isles played a pivotal role in the later cabling of that area.As shown by the letters and report included here, the 2nd Duke of Sutherland was actively involved in the mapping and surveying of the area and sought hydrographic data to assist with his plans for developing local coastal trade and the fishing industry. This is also confirmed by correspondence held in the UK Hydrographic Office from James Loch, MP for the Wick Burghs and factor to the Duke of Sutherland (see David L. Walker, 'Admiralty Charts in the Sutherland Papers', CAIRT: the newsletter of the Scottish Maps Forum, issue 34, January 2019, pp.6-8). The fine illustrations in our manuscript attest to Otter's abilities as surveyor and mapmaker, and the Sutherland Papers in the National Library of Scotland include several manuscript charts made and amended by Commanders Slater and Otter (Dep.313/3167/58; 3624/10; 3631/1; 3631/2; 3631/3; 3631/4 and 3631/6).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Two pewter Jersey lidless half-noggin measuresOne, circa 1800, with plain body bearing a crown over 'GR' Jersey verification mark and Woolmer type-C handle, capacity 2.2 fl.oz., height 6.8cm (2⅝in), the other early 20th century, the plain body with simple foot and incised ring at rim, bearing Jersey verification mark of crown over 'GR' over 'J', the handle with blind hinge lug, capacity 2.2 fl.oz., height 7.4cm (2⅞in), (2)For further information on this lot please visit Bonhams.com
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