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Lot 180
A 19th century Chinese lacquered tea caddy, of shaped form, 26.5 cm wide, and a Chinese porcelain group (a.f.), 20 cm high (2) Condition report Report by RB: The Tea Caddy: The exterior is rubbed, especially to the top, the interior containing two pewter canisters and lids. The blanc de chien group in a boat. There appears to be a figure missing from the back, the bow is incomplete, the oar handle is missing, along with various other small sections along with various chips.
Lot 718
A 19th century ebonised tilt top table, veneered in amboyna, and inlaid with ivory, on a rope twist and acanthus leaf carved column, concave sided platform base and hairy paw feet, 121 cm wide See illustration Condition report Report by RB Overall very attractive, with a slight bow, which is not entirely surprising due to the size of the top. Some of the ivory veneer has been repaired at some point, and you can see a couple of splits to the back, which have been filled, repaired and strengthened. The base is actually quite attractive, although you probably won't see it in the photograph, with a good rope twist and leaf carved column. General wear and tear to the legs, commensurate with age and vacuum cleaners. 121 x 139 cm.
Lot 235
Edward VI, coinage in the name of Henry VIII, Groat, 2.02g, Durham House, m.m. bow (on reverse only?), Roman lettering on both sides, obv., bust 6, square pellet stops, rev., redde/cviqve/qvod:s/vvm.est., saltire stops, crescent in forks (N. 1873; S. 2405; Whitton p. 310; Stewartby p. 528), with a heavy metal flaw across the width of the coin on both sides apparently caused by imperfect preparation of the coinage alloy, otherwise good very fine, interesting. Ex H.W. Taffs and R. Carlyon-Britton Collections.
Lot 236
Edward VI, coinage in the name of Henry VIII, Groat, 2.36g, Durham House, m.m. bow on both sides, Roman lettering on both sides, obv., bust 6, square pellet stops with saltire either side of m.m., rev., redde/cviqve/qvod.s/vm.est., saltire stops, crescent in forks (N. 1873; S. 2405; Whitton p. 310; Stewartby p. 528), on an irregular and somewhat flecked flan, generally very fine and with a clear portrait for issue. Ex B. Roth and R. Carlyon-Britton (Oct. 1921, lot 198) Collections.
Lot 525
A pretty 1950s sanforized cotton full-length gown by 'Cresta' in a batik style floral print in blue and white. The fitted bodice is held by two straps and at the waist is a plain blue ruched cotton sash with a large bow at the side. Two underskirts to give a full look. Garment will need a dry clean. Approximate size 10/12
Lot 529
An early 1900s silk and lace negligee. A beautiful garment of cream fine cotton muslin and lace which fastens at the front of the bodice with tiny mother of pearl buttons. The gown falls from the empire line to a longer train at the back and has a silk satin bow detail at the bust. The garment is full lined with very fine pale pink silk. There is a small area of fabric stress at the back of the neck and at the front bodice seam, otherwise this garment is in lovely condition for its age and delicacy.
Lot 332
George Lance (1802-1864) Still Life of Fruit on a Ledge including grapes, plums, melons, pineapples and peaches, oil on canvas, 61 x 76cm Lance was born at the old manor-house in Little Easton in Essex. His father was William Lance who had previously served in a regiment of light horse and was at the time of Lance's birth an adjutant in the Essex yeomanry; afterwards he became the inspector of the Bow Street horse-patrol. His mother, Louisa Lucy (née) Constable, with whom his father had eloped from boarding-school, was the daughter of Colonel Constable of Beverley in Yorkshire.Although Lance showed a predilection for art at a very early age, his friends placed him, when under the age of fourteen, in a factory in Leeds. However, the uncongenial work injured his health and he returned to London. Wandering one day into the British Museum, he casually started a conversation with Charles Landseer, who happened to be drawing there. On learning that Landseer was a pupil of Benjamin Haydon, he went early next morning to that painter's residence, and asked to become a pupil. Haydon replied that if his drawings promised future success he would instruct him for nothing. Not many days later Lance, still under fourteen, entered Haydon's studio, and remained there seven years, at the same time studying in the schools of the Royal Academy. While designing a picture inspired by Homer's 'Iliad', he decided, before putting on the colours, to paint some fruit and vegetables, in order to improve his execution. His work attracted the notice of Sir George Beaumont, who purchased it, and this success led him to paint another fruit-piece, which he sold to the Earl of Shaftesbury. He then painted two fruit-pieces for the Duke of Bedford as decorations for a summer-house at Woburn Abbey, and his work proved so profitable that he decided to devote himself to the painting of still-life. He began to exhibit in 1824, when he sent to the British Institution 'A Fruit Boy,' and to the Society of British Artists 'The Mischievous Boy' and two fruit-pieces. In 1828 appeared his first contribution to the exhibitions of the Royal Academy, 'Still Life,' with the quotation from Samuel Butler's poem "Hudibras": "Goose, rabbit, pheasant, pigeons, all With good brown jug for beer not small!" Although it was chiefly as a painter of fruit and flowers that Lance gained his reputation, he sometimes produced historical and genre works, and his picture of 'Melanchthon's First Misgivings of the Church of Rome' won the prize at the Liverpool Academy in 1836. His works appeared most frequently at the exhibitions of the British Institution, to which he contributed in all 135 pictures. Provenance: Bradford Art Gallery, 1949
Lot 2261
A George III mahogany toilet mirror, circa 1810, the adjustable oval mirror with parquetry stringing, secured on shaped supports, the serpentine fronted base fitted with three drawers, standing on bracket feet, together with an early 19th Century toilet mirror, the bow-fronted base with three drawers, (2)
Lot 737
An Edwardian silver Art Nouveau ladies jewellery bow hallmarked for William Hutton & Sons Ltd Birmingham 1903, Retailed by JW Benson Ltd, London. Profusely decorated with cherubs to all sides. Original silk lining with retailers name to lid. Hallmarked clearly to base. 12cm long x 5cm tall x 10cm deep. 327g gross weight
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