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Click here to subscribeArts & Crafts walnut collector's cabinet, a single door with acanthus carved panel enclosing three drawers. Height 35cm, width 38cm, depth 22.5cm.Condition report: There has been a repair to the bottom skirting. There is some light scratching and wear that in no way diminishes the cabinet. The drawers move smoothly, the lock works and the door closes properly. The precision and proportions of this cabinet make this a satisfying object to admire.
* ROBERT SARGENT AUSTIN RA PRWS PRE (BRITISH 1895-1973) THE BALLET DRESS watercolour on paper, signed; titled verso 52.5cm x 59cm Mounted, framed and under glass Note: Robert Austin's watercolours very rarely appear at auction, anywhere. Note 2 : Robert Sargent Austin’s talent was first recognised publicly, as a precocious eight year old, when he successfully submitted work to the Royal Drawing Society in his hometown of Leicester. His friends would later say that art became to him as essential as breathing, and this early success marked the beginning of a daily drive to draw, paint and etch that would mould him into the artistic force that he became. Natural talent led to his enrolment at the Leicester Municipal School of Art in 1909, from where he won a scholarship to the Royal College of Art in 1914. In London, serious, patient, comprehensive study of life drawing was the first discipline taught and can be singled out as the experience that most influenced his uncompromising attitude to learning and practising art. The First World War interrupted his progress; he served as a gunner in the Royal Artillery from 1915-1919, however the delay meant that he became a pupil of the famous etcher, Sir Frank Short, when he resumed his studies. Robert Sargent Austin’s career was notable for the ease with which he perfected different artistic techniques, and his etchings under Sir Frank Short were so proficient that he won a scholarship to the British School in Rome in 1921. In Rome he befriended and worked with Charles Murray (see lot 114). This was an unrivalled opportunity to be immersed in Italian artistic culture and if his methodology was formed at the Royal College of Art, then his style was most influenced by this period of discovery. Through extensive travel around the country and careful study of the landscape and paintings, particularly the prints of the Old Masters, he found a source of influence that perfectly suited his own exacting practice of art. Additionally this also convinced him that line engraving was more suited to his temperament than etching. Mastering this new technique with ease he returned to England in 1926, a married man since 1923, and took up the post of Professor of Engraving at the Royal College of Art. He held this post until 1944 and the teaching of art quickly became as important to him as its practice. Pupils remember him as tough, frightening and often brutally honest, but found him an inspirational, dedicated teacher who would devote himself to students that showed enthusiasm. He was interested only in the execution of art; when he was given his new college name-plate he hung it over his lavatory door at home, highlighting a lifelong disinterest in the aggrandisement of ‘Art’ and its multifarious pretensions. A former pupil remembers him saying “We can talk about Art later, let’s find out how to draw first.’ He was promoted to the role of Head of Graphic Design at the Royal College of Art in 1948, but turned down the position of Principal as he wanted to remain an artist not an administrator. Robert Sargent Austin’s purchase of a studio at Burnham Overy Staithe, Norfolk, in 1935 and the lives of his three children most influenced the content of his output. The Norfolk wildlife fascinated him (he particularly adored birds) and the landscape he found there stirred him to paint; his family remember him rising before dawn most days to capture the summer light at its purest between five and seven. The activities of his growing children, both in Norfolk and London, were his other constant source of artistic subject matter as the selection in this show demonstrates. During the Second World War he was appointed official war artist to the Royal College of Art at Ambleside and his art became temporarily dominated by the Woolwich Arsenal, nurses, fighter pilots and other workers, particularly women, whom he felt were under represented in the War effort. The Imperial War Museum now holds thirty four of these pieces. The 1940s and 50s were dominated by a series of prestigious appointments and commissions in recognition of his prodigious talent. He was elected to the Royal Academy in 1948, made President of the Royal Watercolour Society in 1956 and asked to design the Bank of England’s new bank notes in the same year. In 1962 he was also elected President of the Royal Society of Painter-Etchers. Essentially a humble man, he remained devoted to art for its own sake, uninterested in selling it or even receiving approval from others. Despite this, his pictures are now held in the collections of the Tate Gallery, The Victoria and Albert Museum, The Fitzwilliam Museum, The British Museum and The Ashmolean Museum and a huge retrospective of his work was held at the latter in 1980.
Levellers.- Lilburne (John) The Resolved Mans Resolution, to Maintain with the Last Drop of His Heart Blood, His Civill Liberties and Freedomes..., first edition, caption title, E1 with short tear running into text, [Wing L2174], [1647] bound after The Exceptions of John Lilburne Gent. Prisoner at the Bar, to a Bill of Indictment, [Wing L2108], for Richard Moon, at the Seven-stars in Pauls Church-yard, near the great north-door, 1653 and The Triall of Mr. John Lilburn, Prisoner in Newgate, [Wing T2201], 1653 and The Triall, of Lieut. Collonell John Lilburne, By an extraordinary or special Commission, of Oyear and Terminer at the Guild-Hall of London, lacking portrait and initial imprimatur f., [Wing W338], by Hen. Hils in St. Thomas's Southwark, [1649] and The Tryal of Sir Henry Vane, with initial blank and final errata ff. (errata detached), [Sabin 98500; Wing T2216], 1662, together 5 works in 1 vol., contemporary calf, rebacked, covers detached, extremities worn, spine with central vertical split, later endpapers, small 4to.⁂ A good group of pamphlets by or about Lilburne, the first especially rare, we can trace no copy at auction since 1964.
A VICTORIAN MAHOGANY SERPENTINE MIRROR BACKED SIDEBOARD, THE LOWER PART ENCLOSED BY PANELLED DOORS, THE UPPER PART WITH TRIPLE BEVELLED PLATE, 222CM H; 105 X 58CM Loss to carving on lower left hand door, an old repair to lower right hand corbel, some minor chips, cracks and splits consistent with age
RAILWAY INTEREST. A RARE MAHOGANY AND MAHOGANY STAINED NIGHTWATCHMAN'S WALL TIMEPIECE FOR THE LONDON, MIDLAND AND SCOTTISH RAILWAY CO, JOHN SMITH & SONS DERBY, SECOND HALF 19TH C, THE FUSEE MOVEMENT WITH SQUARE FRONT PLATE AND TAPERED BACKPLATE, ROTATING DIAL INSCRIBED JOHN SMITH & SONS MIDLAND CLOCK WORKS DERBY IMPROVED TELL TALE, 44.5CM H, MAKER'S ROUND ENAMEL TRADE LABEL AND OVAL EMBOSSED BRASS LMS NUMBER PLATE STAMPED 10991, HOBBS & CO BRASS LEVER DOOR LOCK, PENDULUM AND TWO KEYSPROVENANCE: (REPUTEDLY) BURTON ON TRENT RAILWAY STATIONCOMPARATIVE LITERATURE: LYMAN (I. P.) - RAILWAY CLOCKS, 2004, Fig. 4.131 AND 4.132, AN IDENTICAL EXAMPLE SUPPLIED TO THE MIDLAND RAILWAY WITH LM & SR PLATE NUMBER 12419, FROM AN ORIGINAL UNKNOWN LOCATION A good example of this rare model in apparently complete and working order, dial plate much worn and showing brass, but most of the inscription legible
CHANNEL ISLANDS INTEREST. A MAHOGANY EIGHT DAY LONGCASE CLOCK, EDWARD CARREL ST. AUBINS JERSEY, THE PAINTED, BREAKARCHED DIAL WITH TWIN SUBSIDIARY DIALS, GILT SHELL SPANDRELS AND LUNAR WORK, CASE WITH SWAN NECK PEDIMENT AND BRASS FINIAL, MOULDED DOOR AND SLIGHTLY BOWED BASE, 214CM H, PENDULUM AND TWO IRON WEIGHTS The case of pleasing dry colour requiring some cosmetic restoration, in particular to base. Dial with wear evident from illustration, but unrestored, the three brass finials damaged
A GILT BRASS MOUNTED AND EBONISED BRACKET CLOCK, LATE 19TH C, THE BREAKARCHED DIAL WITH MATTED CENTRE, SIGNED FOR THE RETAILER BARNETT & SCOTT HULL, HAVING SILVERED CHAPTER RING, PIERCED HANDS AND THREE SUBSIDIARY DIALS TO THE ARCH, COMPRISING REGULATION, CHIME / SILENT AND CHIME ON EIGHT BELLS / CHIME ON FOUR GONGS, THE TRIPLE CHAIN FUSEE MOVEMENT WITH CARILLON, SUBSTANTIAL PLATES AND BRACKETS, FELTED HAMMERS AND PENDULUM STAY, THE PEDIMENTED, GALLERIED CASE SURMOUNTED BY A CUPOLA AND FRIEZE, FINIALS AND MASK SPRANDRELS, FLUTED PILLARS AND SUBSTANTIAL ACANTHUS HANDLES ABOVE EBONISED FRETS, ON OUTSET SCROLLING FOLIATE FEET, THE DOOR WITH CONTEMPORARY ENGRAVED BRASS TABLET INSCRIBED -PRESENTED TOGETHER WITH AN ILLUMINATED ADDRESS TO COUNCILLOR RICHARD GILLET BY THE HUMBER PILOTS MUTUAL PROTECTION SOCIETY JULY 1890, 78CM H; 49 X 37CMGood original condition, the gilt brass mount discoloured with age and slight wear, mainly on gilding on cupola. Side frets slightly damaged and loose, the original fabric backing frayed, movement complete and in working order. Would benefit from a clean. The stamped metal grille to back door slightly pushed in but not damaged. An excellent example of the type
A VICTORIAN MAHOGANY KNEEHOLE DESK OR DRESSING TABLE, LATE 19TH C IN GEORGE II STYLE, FITTED WITH DRAWERS WITH PIERCED BRASS HANDLES, THE SHAPED APRON INCORPORTING A FURTHER DRAWER, PANELLED DOOR TO KNEEHOLE, ON BRACKET FEET, 80CM H; 56 X 78CM Small chip to veneer on lower part of front - edge of kneehole. Each drawer retaining the original brass lock. Cupboard door locked, no key
Wells (H.G.) The Door in the Wall and Other Stories, Grant Richards, [January, 1915], numbered limited edition of sixty copies for the UK, large quarto, signed by both the author and the illustrator, Alvin Langdon Coburg. Ten mounted photogravures from plates prepared by the artist, original cloth-backed boards
Ephemera An interesting collection of ephemera relating to Captain Arthur Rickards of the 1st Dragoon Guards (following Eton and Christchurch, Oxford), includes a large quantity of 19th and early 20th century letters, addressed to the Captain at his North Berwick, Acton and Carlton Club addresses, many from dignitarys of the time, several from Lord Minto, others from Kensington Palace, Lord Beresford, The Privy Council, e.g., 'Dear Rickards, This is my new abode & office: the door is in Downing St. - please come and see me. I am glad to hear you are so much better. As an old soldier you must be dying to be at the Boers! ... (31 Oct 1899), also includes cropped signatures, a Licence for Armorial Bearings, Garages, Dogs and Male Servants (1916), receipts, two engraved bookseller's bill heads, empty envelopes, photographs and an interesting hand-made folding item, possibly a game of chance, composed of a pen, ink and watercolour figure, in eastern dress, behind a table with numbered bottles and smaller items, surrounded by numbered panels, twelve linen-backed sections (qty)
John Bold Bold (Edna) How and Why, Etcetera, no date, inserted are three photographs (two of John Bold, one of a painting), a press cutting and a ms. note, original quarter cloth (laminated); idem, The Sun at My Door, no date, inscribed 'Regards E.', photo of an painting with ms. note from the author loosely inserted, original quarter style cloth (laminated) idem, John Bold Drawings and Paintings, no date (c1970), inscribed 'regards Edna', four photographs of John Bold loosely inserted, original quarter cloth (3)
THREE GEORGIAN MAHOGANY TRAY-TOP BEDSIDE COMMODES 18TH/ EARLY 19TH CENTURY the first with a pair of moulded doors and pull-out commode seat, 56cm wide, 79cm high, 46cm deep; the second with a tambour door and drawer, 48cm wide, 75cm high, 43cm deep; and the third with a pair of doors and a drawer, 41cm wide, 77cm high, 35cm deep
LATE GEORGE III MAHOGANY LONGCASE CLOCK, JAMES MCCABE, LONDON EARLY 19TH CENTURY the white enamel Roman numeral dial with two winding holes and signed James McCabe/ Royal Exchange/ LONDON; in a moulded arch case with brass finial and canted stop-fluted angles with brass insert, above an arched moulded door flanked by stop fluted angles with further brass inserts, on a moulded plinth base with a shaped apron and bracket forefeet; the eight-day twin train movement striking a bell(50cm wide, 232cm high, 26cm deep)
CABINETMAKER'S SAMPLE MINIATURE MAHOGANY LONGCASE CLOCK EARLY 19TH CENTURY the swan neck pediment above an arched 5 1/4 in. brass dial with Roman numeral chapter and basket engraving to the arch, flanked by bobbin moulded corners, above a shaped trunk door flanked by futher bobbin moulding, on a plinth base raised on bracket feet; the eight day twin train movement striking a bell(104cm high, 27cm wide, 14cm deep)
SCOTTISH MAHOGANY LONGCASE CLOCK, JOHN SMITH, PITTENWEEM EARLY 19TH CENTURY of neat size, the signed painted dial with Arabic chapter, subsidiary calendar and seconds dials and two winding holes, the arch painted with a bird and flowers, in a swan neck case with brass eagle finial above a crossbanded door flanked by quarter columns, on plinth base with bracket feet; the eight day twin train movement striking a bell(42cm wide, 209cm high, 22cm deep)
NAPOLEON III BRASS, TORTOISESHELL, AND EBONISED BOULLE MARQUETRY SIDE CABINET LATE 19TH CENTURY arc en arbelette form, with a black slate insert top, above a cupboard door with an oval panel flanked by gilt bronze terms, the whole covered in foliate and scroll marquetry, raised on a shaped ebonised plinth base(128cm wide, 111cm high, 40.5cm wide)Footnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
VICTORIAN BURR WALNUT, WALNUT, EBONISED AND MARQUETRY SIDE CABINET MID 19TH CENTURY of breakfront outline, the white marble top with outset rounded corners above a central door with an oval reserve with a musical trophy, opening to adjustable shelves, flanked and divided by ebonised columns and further panels with torches, on a plinth base; with gilt metal mounts throughout(136cm wide, 98cm high, 43cm deep)
GEORGIAN OAK LONGCASE CLOCK, JOHN BOWN, PORTSEA 18TH CENTURY the signed brass dial with a silvered Roman numeral chapter, date aperture and subsidiary seconds dial, in a case with a dentil moulded cornice, above a shaped trunk door and plinth base; the eight-day twin train movement striking a bell(56cm wide, 190cm high, 29cm deep)
SCOTTISH OAK LONGCASE CLOCK, J. & W. MITCHELL, GLASGOW 19TH CENTURY the circular Roman numeral enamel dial with two winding holes and a subsidiary seconds dial, in an straight oak case with moulded trunk door and conforming plinth base; the eight day twin-train movement striking a bell(48cm wide, 185cm high, 25cm deep)
GEORGE III BLACK LACQUERED LONGCASE CLOCK, ROBERT CLIDSDALE, EDINBURGH 18TH CENTURY the arch brass dial with a silvered chapter ring marked with Roman and Arabic numbers, with a matted centre with two winding holes, date aperture, subsidiary seconds dial, and Strike/Silent dial to the arch, the name plate signed 'Robt Clidsdale/ Edinburgh', in an arch moulded hood and corner columns, above an arch moulded trunk door with prints of George III and Queen Charlotte, on a plinth base decorated with Chinoiserie; the eight day twin train movement striking a bell(49cm wide, 222cm high, 23cm deep)
Four late 19th Century novelty sewing companions, comprising an example in red silk and plush in the form of a house with painted figures, door and windows, the interior with oval mirror and five bone tools, 11.5cms, another in red paper as a handbag with falling sides with eight white metal tools and accessories, 14cms, a brown plush example as a trunk, 10.5cms, and another. (4) From a European Collection
A Lincolnshire stripped pine dresser base, the raised back with a semi circular shelf and a longer rectangular shelf, each on turned supports, the base with a moulded edge above two frieze drawers and four shorter drawers around a central panelled door decorated with a stylised bust, on block feet, 147cm wide.
A quantity of metalware, to include a pair of continental embossed metal plaques, a spit fire shaped door knocker, two shell cases, a Rolls Royce themed Spirit of Ecstasy spirit bottle stopper, inlaid card case, brass Christmas 1914 tin, and a white coloured metal bracelet with stamped decoration of astrological signs.
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![Wells (H.G.) The Door in the Wall and Other Stories, Grant Richards, [January, 1915], numbered limited edition of sixty copie](https://cdn.globalauctionplatform.com/5965b0c8-046f-4845-ad8e-ac4400bf696f/1ea424a4-5957-4c61-89dc-ac6b008fe92d/468x382.jpg)
