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Lot 1211
A good Victorian mahogany breakfront wardrobe, with detachable moulded cornice above a pair of arched full length mirror doors hinging to left and right and opening to an interior fitted with a series of trays, two short and three long graduated drawers with recessed brass drop handles, further flanked on either side by an arched panelled door enclosing hanging space and drawer with blue patterned material lining. Length 76 ins, height 82 ins (see illustration).
Lot 1222
A Victorian mahogany inverted breakfront four door sideboard, with rear upstand well figured with applied foliate and scroll carved mouldings above the rectangular top with crossbanded edge, fitted with frieze drawers and four panelled cupboard doors, one enclosing a cellarette drawer. Width 72 ins (see illustration).
Lot 1225
An Edwardian Sheraton Revival wardrobe with dressing chest to match, the wardrobe with detachable moulded cornice above a three quarter length mirror door flanked on either side by bellflower, ribbon and foliate inlaid panels, with single drawer to base with brass drop handles. Width 50 ins, matching dressing chest width 42 ins.
Lot 1230
A Victorian walnut pier cabinet, of typical form, the rectangular top with moulded edge above an inlaid frieze with glazed door beneath enclosing velvet lined shelves and flanked by flat pilasters with ormolu mounts, with moulding below and raised on turned feet. Width 33 ins (see illustration).
Lot 1231
A Victorian ebonised and amboyna wood breakfront credenza, with amboyna wood crossbanded moulded edge above a centre glazed door enclosing adjustable shelves flanked on either side by an open aperture, with cupboard below with centre oval Wedgwood style blue Jasperware cameo, with breakfront base raised on turned feet. Width 64 ins (see illustration).
Lot 1235
An early 19th century oak and pollard oak crossbanded longcase clock by William Taylor Whitehaven, with turned finial between the swans neck pediment in turn above the arched glazed door flanked by simple turned columns enclosing the 14 inch arched painted dial with moon phase, with Arabic numerals, date aperture and subsidiary seconds dial, with basket of fruit spandrels in turn above the long arched trunk door with cluster column corners and conforming base. Height 93 ins (see illustration).
Lot 1236
A fine late Victorian/Edwardian bedroom suite, comprising wardrobe, dressing table and bedside cabinet, the wardrobe with inverted breakfront moulded dentil cornice with swag frieze beneath, with central bevelled mirrored door enclosing hanging space and flanked to the right by a full length well figured mahogany panelled door, with applied bellflower ornament and centre oval oil painted medallion with female musician, with three dummy drawers beneath and flanked to the left by a half length panelled door similarly decorated with three actual drawers beneath with brass drop handles, the whole raised on a detachable plinth base and eight turned feet. Wardrobe width 90 ins, height 89 ins, dressing table width 55 ins (see illustration).
Lot 1240
An Edwardian inlaid mahogany bureau cabinet, the top half with moulded cornice above a carved frieze "Ye Old Sedburghian" above a panelled door with Sedburgh motto "Dura Virum Nutrix", flanked on either side by open apertures, with slope front beneath with drawer aperture and cupboard below, raised on tapered legs of square section. Width 31 ins.
Lot 339
* REPIN, ILYA 1844-1930 Returning Home signed, c. 1876-77 Oil on canvas, 84 by 124.5 cm. "Authenticity has been confirmed by the expert G. Churak.Authenticity has been confirmed by the expert E. Kirillina, Director of Research of Penaty, House Museum of I. Repin.Authenticity has been confirmed by the expert V. Petrov.Exhibited: Posthumous Exhibition of I. Repin Works, Helsinki, 1930. This enigmatic picture by Ilya Repin, although mentioned in literature, has until recently been out of sight of the general public and the art market. Yet this work symbolises a significant and sudden change in the biography of Repin who was discovering new directions for his art. The picture shows the very first moment of the reunion between Repin’s elderly parents and their beloved son, who had left the paternal home 13 years before. In 1863, the 19 year-old had left Chuguyev for St Petersburg. He was ready to make the journey even by foot, driven by a desire to study at the Academy of Arts. Now, having spent almost three years in Paris and made Academician, he returned to his childhood town where his fascination with painting had started. With him is his young wife and somewhere behind her must be their two small daughters. Later their son, Yuri, would be born here. The family spent a year in Chuguyev. From there the 33 year-old Repin, full of ideas and plans, left for Moscow and then St Petersburg, where his pictures would cause major stir in Russia’s artistic circles. The Repins had returned to Russia in early July 1876 and went first to the artist’s in-laws, who lived at a dacha at Krasnoe Selo. Here, Repin immediately began painting and drawing everything and everyone he saw; notably, he executed the exceptionally beautiful study On the Turf Bench. He passionately took in everything he had missed during three long years. He was overjoyed at meeting his family and friends, getting to know everyone anew, intently studying the changes in them. It was typical for Repin to express all his emotions through painting. Painting was for him the most direct route to learning, dialogue and insight. Finally, the whole family moved to the Kharkov area and nearby Chuguyev, where they arrived on 1 October 1876. We can see in the painting what joyful commotion the appearance of these guests from the capital has caused in this small provincial town and how proudly Repin’s father comes out to meet his son and how his sick mother, remaining at the door and supported by a female helper, seems to be crying tears of joy. In the yard are many more people, curious to observe this very special event. Repin accurately depicts his parents’ house (now a museum dedicated to the artist), the yard and the next house along the yard, where he would soon set up his studio. This is where would paint the renowned work The Protodeacon, along with many other portraits and studies. Having lived in Paris before, his head was probably spinning from what he saw around him. Many types and characters interested him, and this picture of his meeting with the parents has become an extraordinary testament to this, full of lyrical feeling, the immediacy of the artist’s experience and genuine love. Elena Kirillina, Director of Research at Penaty, House Museum of I. RepinReturning Home by the renowned Russian artist Ilya Repin is not only exceptional in its artistic qualities, but also depicts an important event in the artist’s life, his long-awaited return to his parental home. Repin had not been to his native Chuguyev for almost thirteen years. First, he had studied for a lengthy period at the Imperial Academy of Arts in St Petersburg, before embarking on a three-year study trip abroad.The painting has a very personal character. The artist must have been thinking many times about the reunion with his parents and transferred his imaginations onto canvas. At the same time, Returning Home is typical for the Itinerants. Russian genre painting of the second half of the 1870s, and especially the work of Repin, is concerned with the fixation of the moment and the realistic actuality of events, preoccupations which bring Russian art so close to real life. Repin was a master of conveying the characteristics and mood of the depicted figures. The artist was concerned with the emotionality of the reunion as well as the various attitudes — simple curiosity, indifference or euphoria. This is also apparent in another well-known picture painted a few years later, They Did Not Expect Him (1884, The State Tretyakov Gallery). Returning Home occupies an important place in the artist’s oeuvre. Painted relatively early in the artist’s career, the present picture could be considered a starting point from where Repin’s work became more emotional and more nuanced in the depiction of human relations. For many years this unique painting was in a private collection, and many specialists thought it lost. Its rediscovery is without doubt an important event for Repin specialists as well as for the wider public."
Lot 208
Pair: Deputy Inspector-General of Hospitals and Fleets Leonard Lucas, Royal Navy Ashantee 1873-74, no clasp (L. Lucas, Staff Surgn. 2nd Cl. R.N. H.M.S. Argus. 73-74); South Africa 1877-79, no clasp (L. Lucas, Staff Surgn. R.N. H.M.S. “Tamar”) both medals fitted with contemporary ribbon buckles, toned, good very fine (2) £800-1000 Leonard Lucas entered the Royal Navy as a Surgeon in September 1857, gaining advancement to Staff Surgeon in July 1868 and to Fleet Surgeon in May 1879. As Surgeon of Argus he served in the Ashantee campaign and was wounded in the attack on Tacorady on 14 October 1873 (London Gazette October 1873). He went on to witness further active service as Staff Surgeon of Tamar during the war against the Zulus in South Africa, 1877-79. Placed on the Retired List as a Deputy Inspector-General in April 1881, Lucas met an unfortunate end on the main railway line between Gaerwen and Bodorgan, Anglesea, in early 1898, as recorded in The Times. ‘It was ascertained that he awoke after the train passed Bangor, and had a chat with the attendant, to whom he remarked that he would not cross the Channel as the sea was very rough, but would break the journey at Holyhead and go off by the first train to Liverpool to attend the Grand National Steeplechase. The attendant then went away, but soon missed him, and, finding the door open at the end of the carriage, pulled the communication cord, and the train was brought to a standstill. When his body was seen on the line he was wearing his gold watch and chain, and had 60 pounds in gold and notes in his pocket. It is thought that he mistook the door of the carriage for that of the lavatory, the train going at such a speed against a wind that the door blew open and he fell out.
Lot 607
A LATE 19TH CENTURY FRENCH BRASS CARRIAGE CLOCK of typical form with swing handle and bevelled glass panels to the top and each side, the enamelled dial with Roman hours and Arabic minutes, the reverse with hinged door enclosing the twin barrel movement, marked ‘Fabrique de Paris’ ‘R&C’ and ‘32’. 15cm(h); sold along with the original leather travelling case with hinged cover and sliding facia.
Lot 611
A REPRODUCTION OAK EIGHT-DAY LONG CASE CLOCK having a moulded cornice above the hood arched glazed door, the trunk’s moulded door over a plain base with moulded platform, the arch of the dial painted in gilt with floral basket, the chapter ring having Roman hours framing two subsidiary dials, two winding apertures and printed maker’s name John Todd, Glasgow, all framed by gilt painted floral spandrels, sold with weights and pendulum. 99cm(h).
Lot 612
A 19TH CENTURY OAK AND MAHOGANY 30-HOUR LONG CASE CLOCK by William Hutchinson of Sedbergh, having a moulded flat topped cornice and plain frieze over the square glazed hood door, flanked by turned columns, the arched and crossbanded trunk door above a small moulded panel and plain crossbanded base with short bracket feet, the chapter ring painted with Roman hours and framing a subsidiary date dial and maker’s name, all framed by painted floral spandrels, sold with weight and pendulum. 200cm(h).
Lot 613
AN EARLY 19TH CENTURY 30-HOUR OAK LONG CASE CLOCK, the flat-topped hood with moulded cornice and plain frieze over the square glazed hood door and turned columns, the long shaped trunk door between quarter columns, on a plain base with canted corners and short bracket feet, the painted dial with Roman hours and Arabic minutes to the chapter ring, enclosing a subsidiary seconds dial and maker’s name H Philipson of Ulverstone, all framed by foliate painted spandrels, sold with weight and pendulum. 208cm(h).
Lot 624
Workshop of Robert ‘Mouseman’ Thompson, Kilburn, North Yorkshire AN OAK CORNER CUPBOARD having a narrow plain top over an eight-panel door with circular iron external hinges and hand-forged latch, all between canted and panelled corners, one bearing the carved mouse signature. 97cm(h) x 69cm(w) x 47cm(d).
Lot 647
A 19TH CENTURY MAHOGANY CHIFFONIER having a shaped and foliate scroll carved raised back with serpentine shelf over the break-front rectangular top with plain frieze and central frieze drawer over a large cupboard door with carved scrolling pendants, flanked by panelled doors, raised on a break-front plinth base. 170cm(h) x 150cm(w) x 49cm(d).
Lot 648
A GEORGIAN OAK CORNER CUPBOARD having a moulded cornice above the large crossbanded panel door with central inlaid conch shell paterae, opening on ornate brass hinges to reveal the internal shelving, all framed by crossbanding between canted corners, raised on a shallow moulded base. 103cm(h) x 74cm(w) x 45cm(d).
Lot 695
A 19TH CENTURY CONTINENTAL MAHOGANY MARBLE-TOPPED NIGHT CUPBOARD having a square inset veined marble top within a gilt brass surround, a frieze drawer with applied gilt brass moulding and raised on four fluted columns, the lower section with shaped panelled cupboard door between fluted columns, stands on gilt enriched turned feet finishing with brass caps and ceramic castors. 92cm(h) x 39cm(w).
Lot 726
A LATE 19TH CENTURY FRENCH MAHOGANY NIGHT CUPBOARD having an inset square veined green marble top, a narrow drawer and panelled cupboard door with applied gilt metal laurel leaf garland, raised on plain turned supports linked at the base by a square under tier, on turned feet and castors. 86cm(h) x 39cm(w).
Lot 734
A LATE 17TH/EARLY 18TH CENTURY OAK LANCASHIRE DRESSER BASE having a raised back with four spice drawers interspersed with arched open shelves, the moulded rectangular top above a short central frieze drawer with arched cupboard door below, the frame with quarter columns, flanked on each side with three cockbeaded drawers, with later brass bale handles, the stile ends extending as feet. 90cm(h) x 196cm(w) x 53cm(d).
Lot 773
AN EDWARDIAN MAHOGANY NIGHT CUPBOARD having a string inlaid shield form mirror with bevelled plate on an adjustable iron pole, the raised back and crossbanded top over two short and one long crossbanded drawers the panelled and crossbanded cupboard door below, all with brass knob handles, the sides with lacquered brass towel rails, raised on string inlaid tapering square section legs, linked by a crossbanded under shelf. 160cm(h) x 59cm(w) x 33cm(d).
Lot 249
Nederlandsch bloemwerk. Door een Gezelschap geleerden. Amsterdam: J.B. Elwe, 1794. 4° (282 x 212mm). 2-page subscribers list. Engraved title with large hand-colored floral vignette by H.L. Myling after P.T. van Brussel and 53 hand-coloured engraved plates. (Occasional very light browning.) Contemporary half calf, gilt spine with green morocco gilt lettering piece, uncut (extremities lightly rubbed, corners worn, headcap splitting at joints). FIRST EDITION OF THIS IMPORTANT AND BEAUTIFUL WORK, ILLUSTRATED WITH 'DELIGHTFUL TULIPS, HYACINTHS AND AURICULAS' (Blunt). 'A SYMBOL AND REPRESENTATION OF THE ASCENDANCY OF DUTCH NURSERYMAN... AT THE END OF THE EIGHTEENTH CENTURY' (Hunt). The breeding and distribution of tulips, hyacinths and auriculas was the most lucrative area of horticulture during much of the eighteenth century, and by the closing decades the Dutch were the acknowledged leaders in this field. Arnold Arboretum, pp.512-513; Blunt & Stearn The Art of Botanical Illustration (1994) p.190; Dunthorne 215; Hunt 733; Landwehr 29; Nissen BBI 2219. View on Christie's.com
Lot 25
A JAMES I OAK LIVERY CUPBOARD EARLY 17TH CENTURY, WEST COUNTRY With lunette-carved drawer above a central cupboard door with gouged rails and rosette-filled recessed panel, the canted sides carved with dragon-like creatures and flanked by bulbous columns, the central drawer with projecting apron raised on bulbous columns and with undertier, with ivorine label in drawer Frank Partridge, Works of Art, 26 King St St James's and New York 50 in. (127 cm.) high; 51 in. (130 cm.) wide; 17½ in. (44 cm.) deep View on Christie's.com
Lot 46
A CHARLES II WALNUT STRIKING EIGHT DAY LONGCASE CLOCK JOHN EBSWORTH, LONDON. CIRCA 1680 Side glazed panels and twist columns to hood, moulded trunk door over replaced plinth; later inner frame to dial mask, scored line border to 10 in. square brass dial signed along the lower edge 'John Ebsworth/Londini Fecit', cherub mask and foliate spandrels to silvered chapter ring, matted centre with subsidiary seconds, date square and rosette engraved centre, blued steel hands, movement with five ringed and latched pillars (one lacking), anchor escapement and outside countwheel strike on bell, formerly with bolt and shutter maintatining power; later seatboard, associated case 80½ in. (204 cm.) high View on Christie's.com
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235302 item(s)/page