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Lot 624
A late 18th century Windsor armchair: pierced yewwood splat and with yewwood bow above a shaped elm saddle seat and cabriole front legs united by a crinoline stretcher (several historic reparations and additions Condition Report: Several repairs to the back, underside and splat. Wear and patina commensurate with age and use.
Lot 628
A 19th century mahogany sideboard of small and pleasing proportions: central large bow-fronted drawer (stamped 'Gillows - Lancaster') flanked by two small drawers to the left and a single drawer (as two) to the right; raised on square tapering legs (122 cm wide x 53.5 cm deepest x 77.5 cm wide)
Lot 437
Stefan Dakon - Goldschieder - A 1930s Art Deco statue 'Bubi' modelled as a stylish modern lady with bob haircut dressed in a pussy bow blouse, short blue shorts and blue heeled shoes, stood with her hands in her pockets, model 6210, impressed and printed marks, height 33cm. NB - It is believed that this is modelled on Louise Brooks who, in the 1920s, wore the sharp bob haircut.
Lot 851
A necklaceGoldCylindrical mesh chain of central element with bow and volutes decoration set with 12 brilliant cut diamonds totalling (ca. 0.72ct) various rose cut diamonds and one suspended oval cabochon cut emerald (ca. 12x9 mm)Ant hallmark 800/1000 (1938-1984) and same date maker's markLength: 42 cm21 g
Lot 343
William Alfred Dellamotte (1775-1863)'Study near Marlow', signed and inscribed with title and dated 1806 verso, oil on board, 31 x 21.5 unframed Footnote: For a similar composition by the artist please see 'The Drover's Lane near Bisham Abbey, Berkshire' at the Dorset MuseumThe board has a slight convex bow. The left edge appears to have been cut, and is uneven. Corners are slightly bumped and worn, and there is a small hole/indent to the board in the lower left area. Unframed. Ingrained dirt and discolouration to the varnish. Not examined under UV light.
Lot 152
* Clothing. A court train, late 19th/early 20th century, long train of cream satin, expertly hand-stitched with metalwork, bugle beads, seed beads, and sequins, in a central design to lower edge of 3 ostrich feathers arranged in fleur-de-lys style, gathered together with a bow, a floral wreath below, flanked on either side by 4 further feathers held with a bow, the decoration on left side continuing to top of train with feather, wreath, and ribbon border, some minor loss of embellishments, satin just beginning to break in a few small areas towards edge, lined with cream silk (perishing), ruched netting to sides and lower edge, centre of top edge gathered and with ribbon tie, side pieces at top with metal fasteners to attach to dress straps, length 348 cm (137 ins), width 158.75 cm (62.5 ins)QTY: (1)NOTE:A magnificent embellished train, undoubtedly made for a lady to wear at a formal court occasion.
Lot 169
* Ottoman. A 19th century Turkish towel or runner, with wide polychrome and silver metal thread hand-embroidered border at each end, depicting stylised flower stems held by a bow, on a cream ground, 1 long selvedge, remaining edges finely stitched by hand, some discolouration and loss of stitching, a few tiny holes, 45 x 258 cm (17.75 x 101.5 ins), together with 5 other items, including 4 Ottoman Empire embroidered towels similarQTY: (6)
Lot 177
* Sampler. A darning sampler by Mary Ann Franklin, early 19th century, stitched in polychrome threads on a cream linen ground with a central large rose stem tied with a bow, worked in running stitch, stem stitch, and buttonhole stitch, surrounded by 12 samples of darning, all even-armed crosses, showing a variety of darning stitches, worked in black cross-stitch above rose with 'Mary Ann Franklin' and below 'Aged 10 Years', somewhat toned and faded, 29 x 30.5 cm (11.5 x 12 ins), framed and glazed (36.8 x 38.2 cm), together with 5 other framed embroidered items, including an early 19th century cross-stitch sampler by Mary Reason, toned and with loss to stitching, a late 18th/early 19th century embroidered picture with stumpwork of Christ and the Samaritan Woman at the Well, and a collection of 8 needlework slips in coloured wools, stitch-mounted together on a cream twilled ground, various sizes and condition, all framed and glazedQTY: (6)
Lot 198
* Enigma fan. Un Boquet Fatasque, Published by Sarah Ashton, No.28 Little Britain, April 25th, 1791, folding paper fan, the engraved leaf with central 'bouquet' of text on narrow leaves, tied with a bow, flanked by a number of cartouches containing puzzles and riddles, hand-coloured details and outlines, verso with further puzzle in the form of an anagram illustrated by a cherub holding aloft a flaming beacon, toned and foxed, some splitting to folds, a few archive tape repairs on verso, and some discolouration where sometime glued, mounted on wooden sticks, 25.5 cm (10 ins)QTY: (1)NOTE:Rare: not in the Schreiber Collection, and we have not traced another sold at auction or in institutions.Sarah Ashton was a prominent publisher of fan leaves in the late 18th century, working from her premises in Little Britain, near St. Martin's Court, Covent Garden. In 1770 she was admitted into The Worshipful Company of Fan Makers. Other female fan makers of the time are represented in the records of the guild, but no examples of their work survives. Both the V&A and the British Museum have a number of fans and fan leaves by Sarah Ashton amongst their holdings, but this one does not appear.
Lot 229
* Sunderland (Thomas, 1744-1828). View Looking up the West Bow from the Cowgate, Edinburgh, pen and black ink with grey wash and brown ink on grey wove paper, with old pencil title to verso, inlaid to modern cream mounting paper, tipped onto backing card, gallery label to verso of Wessex House, Odiham, Hampshire, giving name of artist, dates and title, sheet size 26.5 x 17.8 cm (10 1/2 x 7 ins)QTY: (1)
Lot 90
* Vinaigrette. A William IV silver vinaigrette by Joseph Wilmore, Birmingham circa 1830, of oblong form the lid with a vacant cartouche and engraved with foliate scrolls, the interior gilded and with fine filagree work grille, 27 mm long, together with another vinaigrette, George III period by Joseph Wilmore, Birmingham 1823, of oblong form the lid engraved with vacant cartouche and stylised flower heads, the interior gilded with the grille pierced with a stag, hunting horn and bow and arrow, 35 mm long QTY: (2)
Lot 535
A Regency mahogany bow front sideboard, with three ebony strung drawers, raised on square tapered legs and spade feet, 90cm high, 138cm wide, 68cm deep Gouge to left hand door, splits to left and right side panel, top with scratches, gouges and stains, front with scratches, gouges, stains and small splits to wood, pieces of veneer missing from edge of central drawer.
Lot 162A
A 'rice pearl' collarette, designed as twenty woven strands of pearls, with a gold coloured bow-shaped clasp, 32mm wide, overall length 41cm, together with a cultured pearl necklace with gold coloured clasp, stamped '14K', 45cm long, a cultured pearl amethyst necklace with gold coloured spacers, length approx. 80cm, a sodalite bead necklace with gold coloured spherical clasp, 37cm long, an amber beaded necklace, approx. 105cm long, a cultured pearl and coral beaded necklace, 60cm long, a cultured peal and turquoise beaded necklace, 52cm long, a faceted amber coloured bead necklace, approx. 70cm long, a jadeite coloured carved pendant on chain, pendant 30mm long, chain 42cm long, and a silver coloured pendant, 55mm long (10)
Lot 386
A Chinese demi lune hall/altar table, late 19th/early 20th century, the bow front table top above a frieze carved with trailing foliate detail, raised upon front legs of tapering section and plain rear legs united by a curved peripheral cross stretcher, 85cm H x 88cm W x 44cm DCondition reportGeneral wear to the top including multiple burn marks, extensive rubbing wear to the front cross stretchers along with evidence of damp to the two front feet.Small split at the top of the rear LH leg with further minor chips and scratches, please see additional images
Lot 599
A plush toy fox dressed as a huntsman, probably by Casa Roma of Lincolnshire, modelled seated as if riding a horse, dressed in pink hunting jacket and leather effect boots, approximately 66cm high, together with a mohair teddy bear, the neck, arms and legs with card disk joints, the head with glass eyes and embroidered nose and mouth, working growler, 40cm high (2) CONDITION REPORT:Fox - nose appears to be absent with partial disk behind visible through tear in fur. Fur is dirty and somewhat matted in places. There is a small open area behind the ear. Ears show failing repairs. Jacket collar is incomplete and shows failing repairs. Jacket is missing some buttons. Tail shows small open areas and failing repairs. Jodhpurs show a repair to the knee and staining throughout. Body appears to be stuffed with paper.Bear - wear and losses to fur commensurate with age and love. Nose and mouth appear to be later stitched. Later replaced paw pads to feet and probably also to hands. Later bow.
Lot 832
A set of four walnut Hepplewhite style dining chairs, late 19th/early 20th century, the arched rail back having an open work splat centred with the 'Prince of Wales' feathers, above a bow front padded drop-in seat covered in green moire fabric, raised upon front legs of tapering square section culminating in spade feet, 92cm high (4)
Lot 371
THOMAS FRYE (c.1710-1762)Portrait of Thomas Fane, 8th Earl of Westmorland, of Brympton D’Evercy in Somerset (1701-1771), three-quarter lengthOil on unlined canvas, and contained in its fine original carved and gilded frame, 127 x 102cm (50 x 40¼”)Provenance: By descent at Brympton D’Evercy, Somerset, to Lady Georgiana Fane (1801-1874); her nephew the Hon. Spencer Ponsonby-Fane (d. 1915), younger son of the 4th Earl of Bessborough, and thence in the Clive-Ponsonby-Fane collection until the contents were largely dispersed in 1956; Private CollectionThomas Frye, from Edenderry, County Offaly, was the most extraordinarily inventive of Irish Georgian artists, and arguably the most underappreciated – at home at least. His achievements are better appreciated internationally, indeed Martin Postle argues that he is one of the ‘most intriguing and original artists to have emerged in Britain during the eighteenth century’. His activities straddled the dividing lines between the fine, graphic and applied arts – just at the moment when specialisation was becoming the norm. As his epitaph noted he was the ‘inventor and first manufacturer of porcelain in England’ at his factory in Bow, east of London, while, as Josiah Wedgwood put it, in 1769 he was ‘famous for doing heads in mezzotinto’, and his prints (‘dazzlingly innovative’, in Toby Barnard’s phrase) are among the most sought-after of all mezzotints. However, he was first and foremost a portrait painter, and he had enjoyed great success in the profession since winning a commission to paint a full-length state portrait of Fredrick, Prince of Wales for the Saddlers’s Company in the City of London in November 1736. As his epitaph noted: ‘No one was more happy in delineating the human countenance, He had the correctness of Van Dyke, & the colouring of Rubens’. Even Ellis Waterhouse who is generally grudging in his praise of Irish artists noted that Frye was ‘one of the most original and least standardised portrait painters of his generation’.Frye’s career in London exemplifies the period’s incipient globalization – of materials and motifs. He attempted to emulate Chinese porcelain technology with, it seems, clay imported from North America, while his pioneering production of mezzotint scraping imitated, quite openly, the work of the Venetian painter and printmaker Giovanni Battista Piazzetta. Reciprocally, Frye was directly influential on artists of rather greater reputation than his own. John Singleton Copley, as a young man in Boston (where Bow porcelain was advertised as being for sale), copied Frye’s mezzotint heads, while some of Wright of Derby’s most famous – and paradoxically innovative – works have been shown to quote almost verbatim from the same series.The portrait depicts Thomas Fane (1701-1771), the second son of Henry Fane of Brympton d'Evercy in Somerset (fig. 1), a manor house often described as the prettiest in England. In 1757 Fane succeeded his unmarried elder brother Francis to their father's Brympton estate and in 1762 inherited the title of Earl of Westmoreland, and the seat at Apethorpe Hall, in Northamptonshire from John Fane, 7th Earl of Westmorland, his father's childless second-cousin – and one of Marlborough’s most distinguished officers.It was for the sitter’s grandson, John, the 10th Earl, Lord Lieutenant of Ireland between 1789 and 1794, that Westmorland Street in Dublin was named. In another historical twist, in 1762 Thomas’s daughter Mary, married Charles Blair, a wealthy owner of plantations in Jamaica, who was the great-great grandfather of Eric Arthur Blair, better known to history as George Orwell, making Frye’s sitter here Orwell’s great-great-great grandfather.An instructive comparison can be made between the present portrait, which dates from about 1740 and a later portrait of the same sitter by Sir Joshua Reynolds (fig. 2), especially interesting as we know that Frye was on very cordial terms with the younger artist. Reynolds’s full length dates from 1761 and hence shows the sitter as noticeably older but recognisably the same, genial and rather bluff individual. Perhaps helping to date the work, and certainly indicative of Frye’s studio practice, the hands, particularly that resting on his hip, are almost identically positioned in his 1739 portrait of Sir Charles Kemeys-Tynte (fig. 3) (National Gallery of Ireland). No doubt a shared preparatory drawing was reused, rather than the artist trying his sitters’ patience by depicting their hands individually.Condition Report: Good overall conditionCleaned and restoredSpots of overpainting, nothing too concerning Presentable, carved wood frameReady to hangWith three repair patches verso, please see image on our website showing the back of the painting
Lot 533
NATHANIEL HONE (1718-1784)Portrait of the Rev. William Sclater (1709-1778)Oil on canvas, 76 x 64cmProvenance: By descent from the sitter in the Sclater-Booth family, later Barons Basing This, one of the most engaging of all of Nathaniel Hone’s portraits, shows Rev. William Sclater (1709-1778), the Rector of St Mary-le-Bow, London. The portrait was reproduced in mezzotint by John Raphael Smith in 1777, the year it was painted, and it was almost certainly included in that summer’s exhibition at the Royal Academy. Hone’s exhibits drew a mixed critical reaction the Morning Chronicle for Monday 28 April 1777 addressed the issue of his palette, for which the artist was occasionally faulted, commenting that ‘Mr NATHANIEL HONE is a very good portrait painter but, as has been remarked of Mr Gainsborough, would be still better if the colouring of his faces was more natural’. Despite this reservation, the critic singled out his ‘portrait of a clergyman’ almost certainly the present work as ‘a very good picture’. This refined essay in black and white, offset by the sober red of the chair and light falling on his spectacles, refutes the critic’s attack on Hone for the hotness of his colours. Hone plays with the pictorial space with subtle, but still noticeable, virtuosity. Sclater’s knuckles project to, indeed seemingly almost beyond, the picture plane, Smith’s mezzotint responds even further to this element of the portrait by introducing an illusionistic play of light on the frame as the sitter seems to emerge from the painting’s space. Hone shows a genial, rather likeable, character with a noticeable sparkle in his eye and barely restrained smile, as it the sitter and artist had enjoyed the portrait process.Rev. William Sclater was born at Loughton, Essex, and was educated at Winchester and Oxford. He succeeded his father as Rector of Loughton in 1735, a position he held until his death. In 1750 he became lecturer at Christ Church, Newgate Street, and in 1769 was appointed Chaplain to the Lord Mayor, William Beckford, at whose marriage in 1756 he had officiated. In 1771 he was given the plum job as Rector of the famous city church of St. Mary-le-Bow on Cheapside. Rev. Sclater was killed not long after sitting for Hone ‘by the fall of a bag of caraway-seeds out of the slings as it was being hoisted into a grocer’s warehouse’. William Laffan, 2022
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