VICTORIAN WALNUT MIRROR BACKED SIDEBOARD, having mirror back with moulded cornice over a pair of fielded panels, flanking bevelled plate with bead moulded frame, the canopy supported on four Doric fluted pillars, break front base with moulded edge over a pair of foliate moulded centre doors flanked by two further blind panelled cupboards, fluted under drawer on swept base with bracket feet. 184 x 70 x 189cm.(B.P. 24% incl. VAT) CONDITION REPORT: Basically sound, there is a nasty burn mark on the top, scratches and stains generally, wear and tear commensurate with age, no other serious losses.
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LATE VICTORIAN CARVED OAK MIRROR BACKED SIDEBOARD, profusely carved with flower heads, lion mask mounts, figural columns, Green Man motifs, stylised wild cat heads. The mirror back above two drawers and two blind panelled cupboards, all raised on platform base. 153 x 60 x 185cm.(B.P. 24% incl. VAT) CONDITION REPORT: Generally okay, one or two splits at the back corners and a slight loss to back left corner, mirror is slightly loose at the bottom and showing some wear to border, split across top of sideboard, minor vertical splits to side right hand panel, some drying out and surface wear beading loss around left blind panelled door, one or two of the teeth to the lion mounts are chipped.
LATE VICTORIAN CARVED, STAINED OAK, TWO TIER BUFFET OR SIDEBOARD, having carved super structure above two lion mask mount drawers with figural columns above blind panelled cupboard door depicting topers in an interior, raised on stile type feet. 121 x 49 x 142cm.(B.P. 24% incl. VAT) CONDITION REPORT: Generally okay, surface wear and scratches although commensurate with age, one or two chippings to superstructure, vertical splits also in superstructure. The right hand figural column has lost bagpipes and hands, a little dry in places.
EARLY VICTORIAN MAHOGANY LOW GENTLEMAN'S BREAK FRONT PRESS CUPBOARD, having pair of blind panelled centre doors revealing five fitted, sliding shelves to the interior, flanked by two banks of five graduated, cock beaded drawers with turned knobs, on a platform base. 219 x 59 x 117cm.(B.P. 24% incl. VAT) CONDITION REPORT: A little grubby, requiring some cleaning and polishing, some minor scratches in places and stains, wear and tear commensurate with age, noted: short loss to cock beading on one of the lower drawers. Has been cut at back (see image). Doors are not warped.
CHINESE RED LACQUERED SIDE CABINET having plain framed top over centre frieze drawer flanked by two moulded panels, two blind panelled cupboards below on square moulded legs with scrolled feet, 79 x 57 x 86cm.(B.P. 24% incl. VAT) CONDITION REPORT: Scuffed and worn with age but appearing basically sound with no significant damage.
§ Laurence Stephen Lowry R.A. (British 1887-1976): 'The Beach Deal 1947/ Study for The Beach: The Beach Deal 1947 chromolithograph signed in pencil in the margin with Fine Art Trade Guild blindstamp, pub. Venture Prints Ltd 1973, 29cm x 52cm.): 'Deal' (study for The Beach), limited edition print signed 'L S Lowry' in blue ink, also bearing Fine Art Trade Guild blind stamp, pub. Venture Prints Limited 1973, 17cm x 25cm. (2) Please note that Artists Resale Right may be additionally payable on this lot up to a maximum of 4% on top of the hammer price (visit www.dacs.org.uk for more information). § condition report viewed through glass, not removed from the frame, may not be stuck down as not lying straight in the frame, no apparent foxing, colours appear even and unfaded, although with ink from this period some colour change may have happened.
§ Laurence Steven Lowry, (British 1887-1976), 'The Reference Library', signed print, 'FATG' and DDC blind stamp, 26.5cm x 36.5cm, Please note that Artists Resale Right may be additionally payable on this lot up to a maximum of 4% on top of the hammer price (visit www.dacs.org.uk for more information). § Very small marks around the edge. Small mark to lower right of white mount. Frame in very good condition.
AN ELIZABETH II RECTANGULAR SILVER CIGARETTE BOX, engine turned decoration, blind cartouche, on four foliate scrolled bracket feet, cedar wood lined, makers Cohen & Charles, Birmingham 1962, max width approximately 18.5cm x height 6cm x max depth 11cm, gross weight approximately 16.2ozt, 505.8 grams
World war 2 Battle of Britain aviation print.30x24 Coloured print Guardian of the realm by the artist John Young, Hawker Hurricane RAF 1940 in flight across the river Thames signed in pencil by the artist also bears a blind stamp Chelsea green editions. No 234/600. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95
AN OAK LONGCASE CLOCK, signed James Sandiford, Manchester, the eight day movement with anchor escapement striking on a bell, 12" square brass dial with silvered chapter ring and Roman and Arabic numerals, chased trellis centre with seconds dial and calendar aperture, the mahogany banded case with pagoda top and blind fret frieze on turned fruitwood columns, arched door flanked by quarter columns, canted panel base, on plinth, 87 1/2" high (Est. plus 21% premium inc. VAT)
A George III oak longcase clock, William Glover, Worcester, with eight day striking movement, dial width 30.5 cm, the case with moulded cornice, blind fretwork frieze, long trunk door and raised on bracket feet. Height 216 cm (see illustration). CONDITION REPORT: The dial and movement are very clean. The movement winds on both trains and is ticking away and striking as it should. The date seems to operate when the movement is advanced manually. The case is in generally good condition with no significant issues. The hood is in generally good order. The left hand panel has an old vertical stress fracture. The door has a slight warp at the bottom left hand corner but in our opinion this is not problematic. The plinth panel has vertical stress fractures. The backboards are original.
A George III mahogany hanging corner cupboard, with dentil cornice, blind fretwork frieze and pair of panelled cupboard doors flanked by canted angles. Width 83 cm. CONDITION REPORT: The left hand canted angle to the cornice is detached and there are some minor losses to the fretwork at this point. The cupboard is generally a little tired but there are no significant further condition issues. The doors shut as they should with no significant warping. The sides and plinth moulding are in good condition. The painted interior is very dirty but all spice drawers are present. The backboards are original. There is no evidence of any woodworm.
After Laurence Stephen Lowry RA (1887-1976) ''Group of Children'' Signed in pencil, with the blind stamp for the Fine Art Trade Guild, published by Adam Collection Ltd, from an edition of 850, a colour reproduction, 17.5cm by 19cm, mounted, (unframed) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
After Laurence Stephen Lowry RA (1887-1976) ''The Reference Library'' Signed in pencil, with the blind stamp for the Fine Art Trade Guild, from an edition of 850, a black and white reproduction, 24cm by 34.5cm See illustration Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
After Laurence Stephen Lowry RA (1887-1976) ''Great Ancoats Street'' Signed in pencil, numbered 204/850, with the blind stamp for Henry Donn Fine Art, from an edition of 850, a black and white reproduction, 26cm by 36cm See illustration Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
A Fine Burr Walnut Month Going Longcase Clock, signed Joseph Windmills, London, circa 1695, caddied pediment with three gilt brass finials, front pierced blind fret work panel, side viewing windows, nicely figured burr walnut veneers, convex cushion throat moulding, trunk door with a glazed lenticle, raised upon bun shaped feet, 12-inch square brass dial with a silvered chapter ring signed, matted dial centre with ringed winding holes, seconds dial, date aperture with a scroll decorated surround, dial plate edge with scroll engraved quarter marks, winged cherub spandrels, six pinned and latched movement pillars, anchor escapement with outside countwheel striking on a bell, 226cm high see illustrations 12.02.18, Pediment with a re-built caddy, later finials, hood with small chips to edges in parts, veneers are slightly lifting to the sides and the base in parts, some veneers with small cracks, plinth has been restored, dial chapter ring is very slightly discoloured, movement is clean, with two large brass cased weights and pendulum.
A Fine Mulberry Eight Day Longcase Clock, signed Peter Walker, Wild Street End, London, circa 1695, flat top pediment, front pierced blind fret work panel, side viewing windows, trunk door with herringbone inlaid crossbanding, trunk door with a glazed lenticle, herringbone inlaid crossbanded side panels, crossbanded plinth raised upon bun shaped feet, 10-3/4-inch square brass dial with a silvered chapter ring signed, matted dial centre with ringed winding holes, seconds dial and date aperture with scroll decorated surround, five pinned and latched pillar movement, anchor escapement, inside countwheel striking on a bell, 201cm high see illustrations 12.02.18, Case of good colour, door mouldings with small cracks, small signs of veneer replaced to the door and the left hand side of the trunk, trunk sides with veneer slightly lifting, plinth has been restored, later bun feet, with two weights and a pendulum.
A George III Mahogany Linen Press, late 18th century, the moulded cornice above a Greek Key dentil frieze and two cupboard doors enclosing hanging space, formerly fitted with trays, the base with ten graduated drawers all between blind fret cut stiles and raised on a platform base, 148cm by 50cm by 233cm
Salvador Dali (1904-1989), framed limited edition lithograph signed in pencil, with blind stamp and thumb print verso. Titled, Dematerialization of Nero's Nose, 1947. Numbered LV/C (55/100), 72.5cm x 36.5cm. Condition Report. To be used as a guide only. Modern framing, some dirty scuff marks to the surface of the paper.
A Chippendale style mahogany camel back upholstered three seat settee. With reeded acanthus cresting rail with shell motif, having blind fret carving and raised on carved paw feet c.1900-20, 2m 16cm wide. Condition Report. To be used as a guide only. In fine condition. Structurally sound, clean upholstery and the timber free from any notable defects.
Folio containing Four John Chancellor Limited Edition Unframed Prints published by Triton Publications all with gallery blind stamps - ' The Sir Winston Churchill ' no. 191/850, ' Margaret of Torquay ' no. 262/425, ' Frigate Patrol ' no. 79/850, ' In Pursuit of Virginie ' no. 21/850 TOGETHER with Two John Chancellor Signed Limited Edition Prints with gallery blind stamps - ' Half Ebb at the Blacktail ' no. 286/351 and ' Working the Big Tides ' no. 372/500
Babbage (Charles) On the Economy of Machinery and Manufactures, fourth edition, engraved title with medallion portrait of Roger Bacon, tissue guard on title, some foxing, ink stamp of Robert Montgomery of Convoy on front pastedown, original blind-stamped cloth, discoloured, gilt spine, dulled, edges uncut, sm. 8vo, 1835.
Philostratus. De vita Apollonii Tyanei a P. Beroaldo castigatus, woodcut decorative initials, early ink notes and marginalia (extensive to first and last ff.), some worming within text to last few ff., a few repairs to last f., some light staining, antique style blind-stamped calf, metal clasps, rubbed, [Adams P1068], folio, [Venice], [Bernardino de Vitali], 1502.
Theophylactus. In omnes D. Pauli epistolas enarrationes, title with large woodcut printer's device, woodcut decorative initials, some wormholes or small traces, mostly at start, some water-staining, mostly marginal, modern calf, remains of contemporary blind-stamped panelled calf mounted on covers and spine, [Not in Adams; VD 16 ZV 16922], Cologne, Melchior von Neuß & Arnold I Birckmann, 1537.
Lanquet (Thomas) [An Epitome of Cronicles], black letter, lacking title and all before preliminary leaf c4, also lacking 4S2 and all after B4 at end, Gg1 with repaired tear, B4 with upper corner defective with loss of a couple of words, title supplied in 19th century pen and ink facsimile, some early ink marginalia, later blind-stamped calf, worn, [STC 15217], 4to, Thomas Cooper, 1569; sold not subject to returnPlease note this is actually the 1560 edition STC 15218 with the wrong title supplied in manuscript. It is still lacking the leaves mentioned.
An unusual stained pine kaleidoscope Unsigned, mid to late 19th century With revolving tapered Isosceles triangle section tube incorporating eyepiece with circular glass aperture set within a tin surround at the apex and enclosing twin opposing mirrors set to the interior surfaces of the matching side panels over tin-bound rotating circular table, the base with frosted glazed window over blind panel applied with paper label inscribed Kaleidoscope, with revolving Eye-tube & triple motion of objects. Price 10, to front, the sides with slots carrying a steel spindle applied with colourful bundles of fabric to interior, the rear matching the front (lacking frosted glass panel to rear), 37cm (14.5ins) high. The standard form of kaleidoscope was invented and patented by David Brewster in 1816 who described its structure and operations in a 174-page scientific paper titled Treatise on the Kaleidoscope. His design used two lenses to produce a three-dimensional effect in creating the stereoscope. He was also a leading advocate of the flat Fresnel lens adopted by the British for lighthouses and was credited with saving thousands of lives by protecting vessels against shipwrecks. Brewster was elected a fellow of the Royal Society in 1815 and knighted in 1831. The current lot follows the basic essence Brewster s design in that it uses a pair of tall mirrors set at an acute angle to each other to create kaleidoscopic reflections of the objects, in this case bundles of fabric tied within the base. The viewed image can be animated by either revolving the spindle onto which the objects are applied, or by revolving the eye-tube.
George III mahogany longcase clock by Philip Lloyd of Bristol, the hood with swan neck pediment, blind fret frieze below, arch shaped glazed door flanked by reeded pillars with Corinthian capitals, the trunk with long door and standing on a plinth base, the arch shaped brass dial with moon phase and script 'High Water At Bristol Key', Roman and Arabic numerals, subsidiary seconds dial and calendar aperture, signed Philip Lloyd, Bristol, eight day striking movement, 226cm high Condition: We do not guarantee the movement or accuracy of clocks - Please see extra images and TELEPHONE department if you require further information
Sir Alfred James Munnings (1878-1959) - Signed lithograph - Unsaddling At Epsom, Summer Meeting, signed in pencil and inscribed 'To Maurice Codner from A.J.Munnings, also with Fine Art Trade Guild blind stamp, published by Frost & Reed 1932, 39.5cm x 51.5cm, A.R. Condition: Somewhat yellowed - ** General condition consistent with age
Augustus Samuel Boult, (Fl. 1815-1853, British) Labourers quarrying and loading sand with shire horses, circa 1840's, signed lower centre, oil on canvas, 45 x 56cmShire Horses were traditionally used by quarrymen to help with the process of extracting sand from countryside sand quarries. The horses who were bread to cope with heavy loads of quarried sand from the sand that was transported in robust carts to the network of canals and from the 1830's the growing network of railways. This painting by Augustus Boult illustrates this particular countryside activity.The Shire horse is a breed of draught horse. They are a tall breed, with mares standing 16 hands (64 inches, 163 cm) and over and stallions standing 17 hands (68 inches, 173 cm) and over. The breed has an enormous capacity for weight pulling, and Shires have held the world records for both largest overall horse and tallest horse at various times. Throughout its history, the breed has been popular for pulling brewery wagons that delivered ale to customers. This practice continues today, with the breed also being used for forestry, leisure and promotional pursuits. The breed descends from war horses brought to England by William the Conqueror in the 11th century. These were crossed with other breeds, including the Friesian, to create the Shire of today. In 1884, the organization now known as the British Shire Horse Society was created, with the American Shire Horse Association beginning in 1885. The breed was exported from Britain to the United States in large numbers during the late 19th and early 20th centuries, but popularity fell with the advent of mechanization, reaching a low point in the 1950s and 60s. Popularity began to increase again in the 1970s and after. However, population numbers are still considered to be at critical levels by both the UK-based Rare Breeds Survival Trust and the US-based American Livestock Breeds Conservancy. Shire stallions may be black, bay or gray. They may not be roan or have large amounts of white markings. Mares and geldings may be black, bay, gray or roan. In the UK stallions may not be chestnut but the color is allowed by the US registry. Stallions stand 17 hands (68 inches, 173 cm) high when mature, and they average around 17.2 hands (70 inches, 178 cm). Geldings stand at least 16.2 hands (66 inches, 168 cm) high and mares at least 16 hands (64 inches, 163 cm).[citation needed] The Shires' head is long and lean, with large eyes, set on a neck that is slightly arched and long in proportion to the body. The shoulder is deep and wide, the chest wide, the back muscular and short and the hindquarters long and wide. There is not to be too much feathering, and the hair is fine, straight and silky. Smaller horses, under 17 hands (68 inches, 173 cm), are generally preferred for working horses, while taller horses, especially those over 18.2 hands (74 inches, 188 cm), are used for show and promotional purposes. The breed is known for its easy-going temperament. The Shire has an enormous capacity for weight pulling. In 1924, at a British exhibition, a pair of horses was estimated to have pulled a starting load equal to 45 tons, although an exact estimate could not be made as they exceeded the maximum reading on the dynamometer. Working in slippery footing, the same pair of horses pulled 16.5 tons at a later exhibition. The largest horse in recorded history was probably a Shire named Mammoth, who was born in 1848. He stood 21.2 hands (86 inches, 218 cm) hands high, and his peak weight was estimated at 1,500 kilograms (3,300 lb). At over 19 hands (76 inches, 193 cm), a Shire gelding named Goliath was the Guinness Book of World Records record holder for the world's tallest horse until his death in 2001. Like its close relative, the Clydesdale, the Shire horse is descended from the Great Horse brought to England in 1066 by William the Conqueror.[dubious - discuss] Only stallions were imported, to carry knights in armour into battle-weighing up to 32 stones (450 lb or 205 kg)-and it is probable that they bred with native mares in the vicinity.[citation needed] Though oxen were used for most farm work into the 18th century, horses 'fit for the dray, the plough, or the chariot' were on sale at Smithfield Market in London as early as 1145. The English Great Horse was valued during the reign of Henry VIII, when stallions measuring less than 'fifteen handfuls' could not be kept, but the advent of gunpowder in the late 16th century brought an end to the use of heavy horses in battle. Oliver Cromwell's cavalry favoured lighter, faster mounts and the big horses began to be used for draught work instead. Stage coaches needed strong horses to draw them and the Great Horse found a new niche. During the 16th century, Dutch engineers brought Friesian horses with them when they came to England to drain the fens, and it is probable that these horses had a significant influence on what became the Shire breed.From this medieval horse came an animal called the Old English Black Horse in the 17th century. The Black Horse was improved by the followers of Robert Bakewell, of Dishley Grange in Leicestershire, resulting in a horse commonly known as the "Bakewell Black."[9] Bakewell imported six Dutch or Flanders mares, notable since breeders tended to concentrate on improving the male line. Two different types of black horse developed: the Fen or Lincolnshire type and the Leicester or Midlands type. The Fen type tended to be larger, with more bone and extra hair, while the Midlands type tended to have more endurance while being of a finer appearance. The term "Shire horse" was first used in the mid-17th century, and incomplete records begin to appear near the end of the 18th century. The "Packington Blind Horse", from Leicestershire, is one of the best-known horses of the era, with direct descendents being recorded from 1770 to 1832. This horse is usually recognized as the foundation stallion for the Shire breed, and he stood at stud from 1755 to 1770. During the 1800s, Shires were used extensively as cart horses to move goods from the docks through the cities and countryside. The rough roads created a need for large horses with extensive musculature. A bay-colored Shire, showing Clydesdale influence in colour and markingsIn 1878, the English Cart Horse Society was formed, and in 1884 changed its name to the Shire Horse Society. The Society published a stud book, with the first edition in 1878 containing 2,381 stallions and records dating back to 1770. Between 1901 and 1914, 5,000 Shires were registered each year with the British registry.The first Shires were imported to the United States in 1853, with large numbers of horses being imported in the 1880s. The American Shire Horse Association was established in 1885 to register and promote the breed. The Shire soon became popular in the United States, and almost 4,000 Shires were imported between 1900 and 1918. Approximately 6,700 Shires were registered with the US registry between 1909 and 1911. Around the time of World War II, increasing mechanization and strict regulations on the purchase of livestock feed reduced the need for and ability to keep draft horses. Thousands of Shires were slaughtered and several large breeding studs closed. The breed fell to its lowest point in the 1950s and 1960s, and in 1955 fewer than 100 horses were shown at the annual British Spring Show.Today, the British Shire Horse Society receives around 500 annual registrations. Shire horse was originally the staple breed used to draw carts to deliver ale from the brewery to the public houses. A few breweries still maintain this tradition in the UK. These include the Wadworth Brewery in Devizes Wiltshire, the Hook Norton Brewery, the Samuel Smith Brewery in Tadcaster, and Thwaites Brewery in Blackburn, which resumed horse-drawn deliveries in 2008. Several breweries have recently withdrawn their Shire horse teams, including the Tetley brewery in Leeds.
Britain.- Coburn (Alvin Langdon) The Book of Harlech, 20 mounted plates, light spotting, original boards, spine and joints worn, Harlech, D.H.Parry, 1920 § Lewis (William, publisher) Lewis's New Traveller's Guide, and Panorama of England and Wales, 42 engraved maps (lacking map and text for Rutland), some staining, original cloth, paper label on upper cover, 1835 § Barber (Thomas) Picturesque Illustrations of the Isle of Wight, engraved vignette title, plates and double-page map, original blind-stamped cloth, [1834], rubbed; and 14 others, mostly British topography, 4to & 8vo (17)
NO RESERVE British Isles.- Camden (William) Camden's Britannia, Newly Translated into English with Large Additions and Improvements... by Edmund Gibson, engraved portrait frontispiece by R. White, 7 engraved plates of coins only (of 8, lacking plate VII) and 12 double-page and/or folding maps by Robert Morden only (of 50, lacking most of the county maps), the 3 general maps (Britannia Romana, Britannia Saxonica and England) and map of Rutland all with outline hand-colouring), engraved and woodcut illustrations, one or two full-page, title with pencil signature of M.A.Cook, plate IV of coins with contemporary manuscript "A Correct Table of ?Areas of Circles for Ale and Beer" in ink on verso, occasional light soiling or browning but generally very clean, plate IV of coins with small tear repaired, one or two other small tears or marginal defects, contemporary calf ruled in blind, rebacked, corners repaired, rubbed, [Wing C359], folio, by F. Collins for A.Swale...and A & J Churchill, 1695; sold not subject to return⁂ First edition of Gibson's translation and the first with Morden's maps
NO RESERVE Holbein (Hans) Dance of Death...with a Dissertation...by Francis Douce, wood-engraved illustrations and decorations, contemporary roan, gilt, spine gilt, g.e., 1858 § Gullick (T.J.) & John Timbs. Painting Popularly Explained, fourth edition, some spotting, contemporary morocco elaborately blocked in gilt on upper cover and in blind on lower, g.e., 1876 § Jewitt (L.) Handbook of English Coins, chromolithographed title and plates, original cloth, stained, 1879 § Forster (Rev. C.) A Harmony of Primeval Alphabets, folding linen-backed lithographed sheet, loose as issued in original cloth slip-case, stained, [c.1860], rubbed, 8vo et infra (4)
Agriculture.- W[orlidge] (J[ohn]) Systema Agriculturae; the Mystery of Husbandry Discovered, fourth edition, advertisement leaf at beginning, without the engraved title and plate found in some copies, slight worming, mostly to lower margin but just touching a few catchwords, Hopetoun bookplate, contemporary panelled calf, rubbed, lower joint split, corners and spine ends worn, by Nath. Rolls, 1697 § Bréhaut (Rev. T.Collings) Cordon Training of Fruit Trees, first edition, frontispiece and 8 plates, original blind-stamped cloth, rubbed, 1860, folio & 12mo (2)
NO RESERVE Coal.- [Holland (John)] The History and Description of Fossil Fuel, the Collieries, and Coal Trade of Great Britain, second edition, half-title, wood-engraved illustrations, advertisement leaf at end, bookplate of John Trotter of Bush, original blind-stamped cloth, rubbed and faded, 8vo, London & Sheffield, 1841.
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