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Lot 379
A 1:64 SCALE BUILDER’S MODEL FOR THE FAMED ‘NORTH ATLANTIC GREYHOUND’ MAURETANIA, BUILT FOR CUNARD BY SWAN HUNTER & WIGHAM RICHARDSON, TYNE AND WEAR, 1906, carved from laminated wood, replete with gilt and painted fittings and superstructure and finished in Cunard service livery, mounted on seven turned balustrade supports on later display base within modern two-part case supported on three ebonised plinths. Model measurements -- 42 x 153½ x 17in. (106.5 x 390 x 43cm.); Cased measurements overall -- 79 x 173½ x 24in. (200.5 x 440 x 61cm.), Provenance: Loaned by Swan Hunter to the Science Museum, London 1938-2015, Ref No. 1938-507. This model is available for viewing from mid-March, 2015 at the DoubleTree by Hilton Hotel, Chelsea, Imperial Road, Imperial Wharf, SW6 2GA - please see map inside back cover. Charles Miller Ltd is grateful for their kind assistance. It is thought that this model probably appeared in a pre-War exhibition about the famed ‘Blue Riband’ but was then dismantled for the duration of hostilities. After the War, the ageing 1864 museum buildings were largely rebuilt and the fine collection of both ship and engineering models it had inherited from the old South Kensington Museum (which in turn had inherited them from the Royal Institution of Naval Architects) returned in the 1963 installation of the Shipping Gallery. It seems likely that it was at this time that the models were removed from their original cases and placed on uniform plinths within more standard exhibition cases. The Shipping Gallery was closed in 2012, having lasted fully forty-nine years, and the models removed to various storage facilities in London and Wiltshire. The precise fate of the original ship model cases, bases and plates appears not to have been recorded and, sadly, the one which had housed this particular model has still not been located and must therefore be presumed destroyed. A companion model to this lot, which retains its original carved mahogany case, display base and builder’s plates, can be seen in the Discovery Museum, Newcastle to where it was likewise loaned by Swan Hunter in 1938. Of all the great liners that plied the North Atlantic, the first-named Mauretania was perhaps the most famous. Conceived with her sister Lusitania, the two ships were built as a British response to the increasing threat to Cunard’s domination of the transatlantic passenger trade posed by the White Star Line which, in 1901, had passed into American ownership. Mauretania, at 31,938 tons, was launched on 20th September 1906, and was ready for trials exactly a year later. Her builders, Swan Hunter, handed her over to Cunard on 7th November 1907, and she sailed from Liverpool on her maiden voyage to New York on 16 November. On the return passage, she established a new record for the eastward crossing with an average speed of 23.69 knots, amply justifying the faith that had been placed in her giant turbine engines. In May 1908 she broke the record for the westbound crossing, only losing it to her sister a few months later. In September 1909 her average speed on the westward passage reached 26.06 knots and this new record was to stand for twenty years until broken by the German liner Bremen. Both Lusitania and Mauretania were financed with Government loans and, when completed, Cunard received an annual subsidy for them in return for the promise to make the ships available to the Government in the event of a national emergency. When the Great War broke out, however, the authorities perceived at once that the two liners were far too large to be fitted-out as cruisers. At first Mauretania was laid up and then served as both a troop transport and a hospital ship. Lusitania continued the New York passenger service but fell victim to the German submarine U20, which torpedoed and sank her, with a huge loss of life, on 7 May 1915. After the Armistice in 1918, Mauretania was initially kept busy repatriating American troops until the following May, but on 27 June 1919, she cleared Southampton for New York and resumed the scheduled service with her new consort Aquitania. In July, 1921, Mauretania was severely damaged by fire in Southampton Docks and, during the subsequent repairs, her accommodation was remodelled and her coal furnaces were converted to oil. Returning to service in March, 1922, she once again justified the capital spent on her conversion by setting new speed records and regularly averaging 25.5 knots. Despite her advancing age, she was becoming an institution among the travelling public and became almost a living legend as the 1920s drew to a close. When she lost the ‘Blue Riband’ to the Bremen in July 1929, she took up the challenge to recover it immediately with her fastest-ever crossings over the measured distance. Her average speed on the homeward run of 27.2 knots just failed to catch the Bremen’s 27.9 but it was an astonishing achievement for the twenty-two year old veteran against the brand new German contender. The international economic climate sent her cruising to warmer waters after 1930, although she still did the occasional transatlantic crossing. She left New York for the last time on 26 September 1934, ironically the very same day that the Queen Mary was launched on Clydeside; Mauretania’s reign was drawing to an end. In April 1935 she was sold for scrapping and, following the auction of her interior fittings, she sailed for Rosyth and the breaker’s yard. The public mourned her as affectionately as they had honoured her in her prime. She had won for herself a place in maritime history such as no other steamship had ever done and it was not in the least surprising that even long after she had been broken up, she was still always known as ‘The Grand Old Lady of the Atlantic’.
Lot 1161
Charlie Shiels (British, 1947-2012) - 'Women in white jacket at No. 12 counter' Oil on canvas, signed, circa 1999, bears handwritten label verso presumably by artist, approx 30x24cm, inset swept ebonised frame. NB: Charlie Shiels was born in Stockport and lived in Manchester. He lectured in art and design at Stockport College of Further Education, later to become senior lecturer. Charlie had a one man exhibition at The Blyth in Manchester, The Unicorn Gallery in Chelsea, and The Woolff Gallery in Shoreditch, London. Charlie also produced commissioned work for the BBC Publications, London Underground (poster design), Corgi Books, Marks & Spencer and numerous others. (illustrated)
Lot 1162
Charlie Shiels (British, 1947-2012) - 'Hotel Ceruantes interior' Oil on canvas, signed, bears handwritten label verso, presumably by artist, approx 127x76cm, inset swept ebonised frame. NB: Charlie Shiels was born in Stockport and lived in Manchester. He lectured in art and design at Stockport College of Further Education, later to become senior lecturer. Charlie had a one man exhibition at The Blyth in Manchester, The Unicorn Gallery in Chelsea, and The Woolff Gallery in Shoreditch, London. Charlie also produced commissioned work for the BBC Publications, London Underground (poster design), Corgi Books, Marks & Spencer and numerous others. (illustrated)
Lot 1163
Charlie Shiels (British, 1947-2012) - 'Mid afternoon in Hotel Pacicio' oil on canvas Signed, bears handwritten label verso, presumably by artist, approx 127x102cm, inset swept ebonised frame. NB: Charlie Shiels was born in Stockport and lived in Manchester. He lectured in art and design at Stockport College of Further Education, later to become senior lecturer. Charlie had a one man exhibition at The Blyth in Manchester, The Unicorn Gallery in Chelsea, and The Woolff Gallery in Shoreditch, London. Charlie also produced commissioned work for the BBC Publications, London Underground (poster design), Corgi Books, Marks & Spencer and numerous others. (illustrated)
Lot 279
STONER (F), CHELSEA, BOW AND DERBY PORCELAIN FIGURES, first edition, red cloth, Ceramic Book Company, 1955; MACKENNA (F), CHELSEA PORCELAIN - THE RED ANCHOR WEARS, d.j, 1951; THE F. S. MACKENNA COLLECTION OF ENGLISH PORCELAIN, Vol I Chelsea 1972 and Vol III Plymouth and Bristol, 1975; CORONATION EXHIBITION 1953 (5)
Lot 173
UNATTRIBUTED; oil on canvas, Mary and her cousin Elizabeth with the infant Jesus and John the Baptist, 93 x 73cm, framed. CONDITION REPORT Bearing only a Chapman bros of Chelsea (picture restorers) label to the reverse. Evidence of small old repair to the reverse and two small areas of sun damage.
Lot 296
BRITISH TOKENS, 18th Century Tokens, England, Middlesex, Carter’s, Copper Halfpenny (2), 1795, obv ladies slipper, rev inscription, edge milled (DH 275, 276); Chelsea, Copper Halfpenny (2), 1795, obv sailor with a wooden leg, rev figure of Hope, edge milled and edge plain (DH 277, 277b). Generally extremely fine, DH275 with original colour, DH 276 with a small flan clip at 3 o’clock. (4)
Lot 265
Tatyana Alekseevna Mavrina (Russian, 1902-1996) Path through the Dandelions signed lower right with initials and dated "30/V/76" watercolour and gouache on paper 16½ x 23cm (6 x 9in) Provenance: It is believed that the present watercolour may have been offered at Bonhams Chelsea in July 1992. The text at the top of the watercolour translates as " Land cress (Barbarea) and dandelions". The text to the lower centre has been loosely translated as "The village to the concrete" / "Dirt road to the concrete" / "To the concrete path". Tatyana Alekseevna Mavrina was educated in Moscow from 1921-1929 at the Moscow Higher Art - Vhuteine. She was a painter, graphic designer and illustrator, with her illustrations being published in over 200 books. We are grateful to Dr Anthony Parton and Mr Ildar Galeyev for their assistance with this catalogue entry.
Lot 220
§ Roland Batchelor, RWS (British, 1889-1990) Fish Quay, Ostend watercolour 13 x 18cm (5 x 7in) Provenance: The Phoenix Gallery, Lavenham, Suffolk. Born in Chelsea, Roland Batchelor studied under the Punch artist George Morrow at Putney. Much of his artistic inspiration came from his visits to France. He exhibited regularly at the Royal Academy, the Royal Institute of Painters in Watercolours and the Royal Society of Watercolour Painters. Fine.
Lot 382
§ Ian Welsh (British, 1944-2014) Composition acrylic and lacquer on glass 122 x 92cm (48 x 36in) Provenance: From the collection of Peter Inskip, MBE, Trinity House, Cardington, Bedfordshire. Ian Welsh trained at Regent Street Polytechnic under such teachers as Dennis Creffield, Norman Blamey and Leon Kossoff, which stood him in good stead for Chelsea School of Art where he was taught by Patrick Caulfield and John Hoyland among others. From sculpture he moved back to painting and printmaking, inventing his own methods of using new materials such as synthetic acrylic lacquer. His lacquer paintings of transparency and reflection, specifically of ice and water, led to another development of technique in which he drew with air, using the compressor of his spray gun to move the paint around on the board.
Lot 297
Julian Trevelyan, RA (British, 1910-1988) Harbour signed within the print "Julian Trevelyan '46" and "SP9" a lithographic print in colours, a School Print, printed in England at the Baynard Press for School Prints Ltd., London 48 x 75cm (19 x 29in) Julian Trevelyan taught at Chelsea (1950-55) and at the Royal College of Art (1955-63), becoming Head of Etching. Besides some mural work, he was a prolific printmaker and illustrator, and he became a Royal Academician in 1987. "Harbour" was the first lithograph that Trevelyan made.
Lot 254
§ Walter Durac Barnett (British, 1876-1961) Laying electric cables, Ledbury Road; and Laying asphalt, Shepherds Bush both signed lower right "Barnett" and the first inscribed lower left with title pastel (a pair) 22 x 28cm (9 x 11in) Walter Durac Barnett was born in Leeds where he attended the School of Art, and later Wrexham and Lambeth Schools of Art, the latter under Innes Fripp,1896 - 1900, where he won a medal and scholarship. During World War I he served in The Artists' Rifles. He exhibited at the Royal Academy, the Goupil Gallery and in the provinces and he was a member of the Artists of Chelsea. Cartwright Hall Art Gallery, Bradford, holds his work. Condition appears fine.
Lot 212
§ Julian Trevelyan, RA (British, 1910-1988) The Stork signed lower right "Trevelyan" oil on canvas 49 x 60cm (19 x 23in) Provenance: Gimpel Fils, 50 South Molton Street, London, W1; Private collection, Suffolk. Julian Trevelyan was a painter and engraver, working in Surrealism and Expressionism. After serving in World War II, Julian settled in London, and taught at the Chelsea School of Art. Craquelure overall and dirty and the canvas is sagging a little.
Lot 561
ARSENAL Forty four programmes for away Friendlies v. Aberdeen 80/1 & 83/4, Aldershot 83/4, Ayr 87/8, Barnet 82/3 & 87/8, Birmingham 88/9, Bob Wilson XI 84/5, Bohemians 89/90, Brighton 84/5, 85/6 & 87/8, Celtic 84/5 & 87/8, Charlton 83/4, Chelsea 82/3 & 85/6, Colchester 85/6, Derry 87/8, Gillingham 82/3, Glentoran 81/2 white copy, Gloucester City 87/8, Hearts 83/4, Kent XI 80/1, Leicester 88/9, Makita 1988 & 1989, Millwall 87/8, Morton 87/8, Orient 80/1, Portsmouth 81/2, 83/4 & 85/6, Rangers 80/1 & 89/90, Reading 85/6, St. Mirren 80/1, Shamrock Rovers 86/7, Shrewsbury 88/9, Southend 86/7, Tottenham 85/6 & 87/8, Waterford 86/7, Windsor 83/4 & 85/6 and Yeovil 88/9. Good
Lot 393
CHELSEA Seventeen Chelsea home single card programmes including large format paper programme v Fulham 20/2/60, Metropolitan League Professional Cup, the others are all 60s and include South East Counties, Youth Cup and Combination games including, Youth Cup Semi v Arsenal 10/4/65, London Youth Cup v QPR 6/2/67, Youth Cup v Crystal Palace 26/2/68 and v Arsenal 27/12/67, SECL games v Fulham 16/12/61, Arsenal 7/1/62 (Cup), Watford 26/8/61 (ink marks), Southern Junior Floodlight Cup games v Portsmouth 2/5/62 (Final) and v Luton 18/10/61, plus Combination games v Fulham 65/6, Gillingham 66/7, Swindon 66/7, Arsenal 66/7, Peterborough and Leicester 67/8 (both Combination Cup), plus London FA Cup Semi v Leyton Orient 2/11/64. Most have scores, scorers etc, some folds. Fair-generally good
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