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Lot 1001
A quantity of 1970/80s garments and shoes to include an Aquascutum wool coat with fur collar, Aquascutum blue overcoat and skirt, a Harris tweed wool coat, a wool two-piece suit by Cresta, a black fitted knee length dress, a Ralph Lauren paisley skirt, a blue and cream three-piece suit by Cresta, a Mansfield original by Frank Russell, various others, three pairs of Robert Clergerie suede shoes and a brown leather handbag
Lot 33
Early Victorian Parian ware figure of HM Queen Victoria seated in an armchair with moulded Royal coat of arms on reverse and inscribed 'Mr Peavee 25 Ludgate', 18cm, on later wooden stepped plinth CONDITION REPORT Good original condition, thumb missing from one hand, crack in rear of seat. The base is an old but later replacement
Lot 81
The Duke of Newcastle - a rare early 19th century armorial carriage panel, circa 1820, painted in polychrome with Dukes coronet and full coat of arms - including collar of the Order of the Garter, probably for Henry Pelham Fiennes Pelham-Clinton, 4th Duke of Newcastle (1785 - 1851), the panel mounted in ebonised and gilt frame, 44.5cm x 51.5cm overall. Provenance: The vendor's grandfather was Mr James Eglington, who ran the Atlas Carriage Co. in Clapham Road, London, who dealt in second-hand carriages
Lot 972
Victorian carved oak casket of Shakespearian interest, the hinged stepped cover relief carved with Shakespeare's coat of arms and relief carved with oak leaves to the sides, the reverse incised 'Oak from Shakespeare's Barn at New Place, J. Marshall, Carver, Stratford on Avon, 1863', 22cm wide. N.B. A Similar casket by J. Marshall was sold by Sotheby's London 13 July 2006. Lot 102. Hammer Price £7,200. John Marshall was a registered shop owner at 21 Chapel St. between 1850s and 1880s describing himself as a 'Carver Upholsterer and House Decorator' (in an 1854 Directory), 'Curious Dealer' (1874) and a 'Dealer of Antique Furniture and Curios' (1884). The shop was next door to Nash's House. One time residence of Thomas Nash, who was Shakespeare's granddaughter's husband, the house next to that was 'New Place', Shakespeare's house, which he bought in 1597. In 1759 the new owner, The Rev. Francis Gastrell caused consternation by demolishing the New Place property, including the barn and famous mulberry tree. John Marshall was well known for using wood acquired from these sources for carved souvenirs. His Obituary reads 'Mr Marshall also had many opportunities of acquiring wood that was in different ways associated with Shakespeare, which he occasionally made into such articles as caskets, etc and many are now possessed by eminent persons in all parts of the World'
Lot 564
An Inuit type carved stone study of a figure in a parka coat lifting a seal upon his shoulder, signed indistinctly to underside and marked 81, raised on a bespoke stand, 28 cm tall approx together with a further carved stone study of a seated bird with stylised proportions with similar indistinct signature to underside, bearing sticker reading Eskimo Art, 20 cm tall approx
Lot 315
A Victorian silver sifting spoon, Chawner & Co., London, 1856, scalloped and pierced gilt bowl, scrolling handle with floral details, 50.8g; a set of four Old English pattern dessert spoons, London, 1843, 129.4g in total; a set of four Old English pattern teaspoons, London, possibly 1810, initialled, 50g in total; an Old English silver dessert spoon, London, 1834, initialled "H", 33.4g; a case Old English pattern dessert spoon, Sheffield, 1901, with coat-of-arms, 48.8g; a silver Christening fork and spoon set, Sheffield, 1923, 46.5g in total; etc
Lot 163
A collection of 19th century and other ceramics including an unusual earthenware type jug with rounded base, simple incised detail and partially glazed finish, a middle eastern type tin glazed vase with flared rim and blue and turquoise painted floral detail, a Wedgwood terracotta jug with painted coat of arms to the front and impressed marks to base, a Mocha ware tankard, a Pekin pattern bowl, a ewer with peacock and fountain detail mark to base T & R Boote etc.
Lot 57
Dawkins and Wood THE RUINS OF PALMYRA OTHERWISE TEDMOR IN THE DESERT London: The Authors, 1753 First edition. Limited to 1000 copies. 57 engraved plates. Full leather with magnificent foliated border decoration to cover boards in gold, gold gartered Stafford Coat of Arms on front cover board, banded decorated spine, slight wear to extreme edges of cover boards, marbled endpapers. Bookplate of the Marquis of Stafford. Unlike earlier antiquarian works, Wood measured and recorded proportions of columns and remnants of friezes and ceilings - a pioneering approach that influenced British and French architects throughout the 18th century.
Lot 7
Anon DARK WOOD CEYLON LETTER OPENER 1900 - 1901 Ceylon: 1901 One end of the letter opener is finely decorated with a carved portrayal the South African Republic Coat of Arms in relief. 3cm chip below scroll under coat of arms with inscription in old English script "Gen Buller relieved Ladysmith Natal 28th Feby 1900" and a similar portrayal of the OFS Coat of Arms at the other end. On the handle is the inscription 'Boer Camp 1900 Ceylon 1901 CR Prisoner of War'. The underside of the opener is blank.
Lot 94
LeRoy Neiman (American, 1921-2012) Seattle Slew Acrylic, 45 ¾” x 68 ¼” Signed, dated ’77 $90,000. – 120,000.“Of all the horses I’ve sketched from life and painted in depth, the most memorable are:…Seattle Slew, at Belmont, at the Kentucky Derby, and again at Belmont. I sketched Seattle Slew outside the barn at Belmont Park’s stable area. He was standing in conformation (and Seattle Slew has great conformation), something that means more to the horseman than it does to me; I get the sense of form, grace, and beauty from the silhouette and the movement. When I draw a person, hairstyling is important to define the subject’s character and silhouette; the same holds true for horses. Seattle Slew’s mane begins with bangs over his forehead and his tail is almost as long as that of the great horse, Whirlaway. Solid in color, Seattle Slew’s dark coat flattens out his form when he stands still, but after running, when he glistens with sweat, his muscles are highlighted and his powerful form becomes evident. I had Seattle Slew affix his signature to this drawing. His hoofprint is in the lower right corner just over my signature.” — LeRoy Neiman, Horses, Harry N. Abrams, New York, 1979. pg. 21 Seattle Slew embodies the American Dream — a $17,500 yearling purchase who became a Triple Crown winner and earner of more than $1,200,000. His story threads its way from his colorful Kentucky breeder Ben Castleman to the two young couples who owned and raced him — Mickey and Karen Taylor and Dr. Jim and Sally Hill — then finally to the stallion operations of Spendthrift and Three Chimneys farms, where he achieved renown as a major sire. Illustrated: Pg. 20-21 of Horses, by LeRoy Neiman.
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