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Click here to subscribeA PRATTWARE ETRUSCAN STYLE OVAL DISH with handles with blue and gilt border to the central image of the blind fiddler after Wilkie, together with two Victorian pink lustre cups and saucers and matching jug; a further lustred jug; a tea cup with painted decoration of two parrots with two saucers.
A silver flying trophy cup and cover by Asprey & Co. Ltd, London 1936, the spherical body engraved as a globe with two wing-shaped handles, the cover with an orb and eagle finial, on a tapering stem and a round base, 31.5cm (12.5in) high, 593g (19 oz); on an ebonised socle with an inscribed silver plaque 'Blind Flying Challenge Cup, Presented by Lady Hay Drummond-Hay, President of the Women's International Association of Aeronautics, 1936' and 'Jean Batten, 1937-8', 39cm (15.5in) high overall Jean Gardner Batten (1909 - 1982) was one of the illustrious and glamorous aviatrix heroines of the 1930's, her flying adventures making her as famous as Emilia Lockhart and Amy Johnson, and a national hero in her native New Zealand. Born in Rotorua, New Zealand in 1909, she was inspired by the pioneering flights of Charles Lindberg's Atlantic crossing (1927) and the Australian Charles Kingsford Smith's Pacific crossing (1928). Determined to become a pilot, Batten moved to London in 1930 to take flying lessons, qualifying for both her private 'A' license and commercial pilot's license in 1931. That year, Amy Johnson set the record for flying from England to Australia in 20 days, and Batten embarked on a course to beat that record. In 1933 Batten made two attempts at Johnson's record in a De Havilland Gypsy Moth DH60 biplane. Both attempts failed, the first with a crash landing in Karachi, the second with a similar fate near Rome. On 8th May 1934, Batten made her third attempt, and succeeded in flying the 10,500 miles from London to Darwin in 14 days and 22 hours, smashing Johnson's record by 6 days. Her return flight to England made her the first ever pilot to fly the round trip of England-Australia-England. Back in England, Batten obtained a new aircraft, a Percival Gull monoplane, which was more technically advanced than the Gypsy Moth with brakes, landing flaps and a greater fuel range. This enabled her to set a new record for the England to Brazil route, when she flew the 5000 miles in 2 days and 13 hours, becoming the first woman pilot to do so. In 1936 she embarked on her most famous journey, the first ever attempt at flying from England to New Zealand, and completed this epic 14,000 mile trip in just 11 days and 45 minutes, with her new aircraft giving her the range to fly across the Tasman Sea. On 16th October 1936, Batten landed at Magare airport in Auckland in front of a crowd of 8000 people, and the record for the she set would remain unbroken for 44 years. Heralded as a national hero, the Maoris honoured Batten with the title 'Hine - o - te - Rangi', or 'Daughter of the Skies'. 1937 saw the last of her record attempts when she set a new record for the flight from Australia to England in 5 days and 18 hours, making her the first pilot to hold the solo record for this journey in both directions. After this voyage she retired from public view and became an increasingly reclusive figure, which along with the ruthless methods with which she had used the men in her life, earning her the epithet 'Garbo of the Skies'. Jean Batten's accomplishments are put into context by the fact that she flew without radio, and used her own navigational skills, a map, watch and simple compass to achieve her records. She was world famous during the 1930's and showered with honours including being the only non-royal to receive Brazil's Officer Of The Order Of The Southern Cross. She gained the Chevalier de Legion d'Honeur in France and a CBE in Britain. From the United States she won the Women's International Association Of Aeronautics Challenge cup three years running, and it is the third of those cups offered here. Jean Batten is further remembered for posterity in New Zealand with Auckland airport's international terminal bearing her name, and a pavilion to her achievements in Auckland's Museum of Transportation and Technology. The presenter of the cup, Lady Grace Hay-Drummond-Hay (nee Grace Marquerite Letheridge 1895-1948), was not a pilot her
Oak eight day longcase clock, the 12" brass square dial signed Thomas Bullock, Bath, with subsidiary seconds dial and calendar aperture, the long door crossbanded with mahogany and inlaid with an ebony and boxwood star, surmounted by a stepped pediment with foliate blind fret carved panels, 78" high
A mahogany Chippendale revival breakfront display cabinet, circa 1910, carved and applied with foliate and Vitruvian scrolls and blind fretwork with shells, swags and leafage, the four glazed doors enclosing glass shelves above panelled doors, shaped apron, claw-and-ball feet, 200cm high, 182cm wide, 41cm deep
A Regency rosewood needlework table, circa 1820, the rectangular top with D-shaped leaves above two shallow cockbeaded and gadrooned drawers with turned handles, blind drawers opposing, the semi-circular sliding workbox on a U-shaped support, gadrooned pillar, incurved rectangular platform and bun feet, fitted castors, 44cm wide (closed)
An early George III mahogany tallboy-secretaire, circa 1760, with moulded fluted cornice above a frieze of corbelled arches, the three short and three long cockbeaded upper drawers flanked by cluster columns, the secretaire with blind drawer front above three long drawers, brass loop handles, on bracket feet, 200cm high, 115cm wide
A George III mahogany and ebony strung writing table, circa 1800, the rectangular hinged top with a leather inset enclosing a baize lined adjustable writing slope, one side with a slide and blind drawer, the other with a drawer, the square tapering legs with a concave undertier and brass castors, 74cm high, 57cm x 42cm
A Regency rosewood and satinwood banded sofa table, circa 1810, the rounded rectangular top above two frieze drawers and blind opposing drawers flanked by florets, on a square section column and concave platform, the leaf carved sabre legs with brass paw socket castors, 72cm high, 150cm wide, 68cm deep. Provenance: Formerly on display at Chiddingstone Castle near Edenbridge, Kent
A George III mahogany standing corner cabinet, late 18th century, of splay front form, the green painted interior with three shelves enclosed by a door with interlaced oval glazing bars, the base with a blind door, outlined with harlequin stringing beneath a satinwood banded frieze and moulded cornice inlaid with a dentil band, 201cm high, 84cm wide (faults)
David Gentleman b.1930- 'Ickworth', published by CCA Galleries, London; lithograph printed in colours, signed in pencil and numbered 299/350 in pencil, bears publishers' blind stamp, 48x61cm: together with one other colour lithograph by the same hand titled 'King's, Cambridge', signed and numbered 184/200 in pencil: Martin Renton Ware b.1949- 'Red Glass', 'Green Bottle', 'Yellow Flower' and 'Pink Flowers'; etchings printed in colours, a suite of four, each signed, dated and numbered 2/200, 5/200, 42/200 and 42/200 in pencil, respectively, (6)
After Fernand Leger 1881-1955- Portrait in profile; lithograph printed in colours, signed within the plate and with stamp, and numbered 264/500, bears blind stamp for 'Musee Biot', 58x43cm: After Fernand Leger- Circus; reproduction printed in colours, bears blind stamp for 'Musee Biot', 41x47cm., (2)
After Sir William Russell Flint RA PPRWS 1880-1969- 'Gossip after Market, Perigord'; colour reproduction print, signed in pencil, bears Fine Art Trade Guild blind stamp, 52.5x68.5cm: together with two other colour reproduction prints after the same hand, one titled 'retreat from the Sun', published by Frost & Reed Ltd, 1962 and the other 'Eve and Jasmine', published by Frost & Reed Limited, 1958, both signed in pencil, (3)
Murray Bishop, Australian b 1919- 'Rainbow Rocks, Northern Territory, Aust.'; oil on canvas board, signed, bears artist's own label attached to the reverse, 44.5x65cm: After Helen Bradley 1900-1979- Promenading in the park; reproduction prints in colours, a pair, both signed in pencil and bearing Fine Art Trade Guild blind stamp, 32x26cm., ea., (3) (may be subject to Droit de Suite)
Peter Howson b.1958- 'Bandit Checkpoint', 1994; lithograph printed in colours, signed, dated 94 and numbered 1/100 in pencil, bears blind stamp, 88x96cm: John Keane b.1958- 'The Accident'; mixed technique print in colours, signed, dated 1988 and inscribed 'A/P' in crayon, titled within the plate, bears blind stamp, 89.5x72.5cm., (2) (may be subject to Droit de Suite)
An Edwardian ebonised blind fret worked bijouterie bookcase cabinet, the upper section with a moulded cornice above a pair of glazed doors enclosing shelves, the lower section with a glazed rising top above glazed sides, standing on square section tapering legs with pierced brackets and spade feet united with shaped stretchers supporting a solid undertier with a wavy gallery, 68cm wide, 46cm deep, 162cm high
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