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Lot 528
A sealed Theca with 6 relics and a document: Ex Sepulchro B.M.V., Ex Domo S. Jospehi. Ex Ossibus S. Linini, S. Apolloni, S. Antonii Pat. B. Joannis Berhcmans Confessoris. Document opgemaakt door Henricus Franciscus Bracq op 22 Augustus 1867.The Theca has a relic for the saint or saints: Beata Maria Virginis (B.M.V.), S. Josephi, S. Linini, S. Appolini, Saint Antoni Patavini, Joannis Berchmans. The theca has a document that has been made under the supervision of Bishop: Henricus-Franciscus Bracq and is dated 22/08/1867.Important information: You purchase the theca and the document, and the relics will be gifted.Dimensions:(H:1,5 x D:3,8 cm)
Lot 312
A GEORGE III MAHOGANY BUREAU BOOKCASE WITH ASTRAGAL GLAZED PANEL DOORSand fall front writing bureau, above two short and two long graduated drawers on ogee bracket feet. 94cm wide; 220cm highCondition Report: Overall good conditionTop later - 19th century Interior of bureau missing lock from inner door, missing a piece at fretwork missing top left, see additional images Some light scratches throughout Bottom drawer sticks on runners
Lot 575
A Victorian oak bookcase cabinet, the upper section with foliate carved pediment over two pairs of twin arch panelled doors enclosind adjustable shelving, the base with two fielded panelled doors, each panel decorated with different musical instruments, pianos, spinnet, harpsichord, etc, flanked by further panels to the sides, similarly decorated, opening to reveal three long drawers and recess flanked by an adjustable shelf section, raised on a bracket foot base (Provenance: Made for Charles Taphouse of Oxford Music and Instrument Shop who once owned the instruments to the right door, now held in the Bate Collection in Oxford), 164 cm wide x 45 cm deep x 203.5 cm high
Lot 104
JOHN WILLIAM GODWARD (BRITISH 1861-1922)A BIRTHDAY PRESENTOil on canvasSigned and dated 'J. W. Godward 97' (lower left)46 x 56cm (18 x 22 in.)Provenance: Messrs. Thomas McLean, London 21 September 1897Private Collection, UKLiterature:McLean letter to Godward (21 Sept 1897) Mio-Turner CollectionSwanson, Vern Grosvenor, The Eclipse of Classicism¸ 1997, p.195Swanson, Vern Grosvenor, The Eclipse of Classicism¸ 2018, p.275John William Godward (1861-1922) was one of the last of the classical painters of the Victorian age. Slightly younger than his better-known counter parts: Sir Frederic Leighton (1830-1896), Lawrence Alma-Tadema (1836-1912), and John Poynter (1836-1919) he was working in the dawn of a new, modernist era at the end of the 19th century, one which had little place for the Classical ideals of Antiquity which had dominated art for the last 500 years. His career has been described by Swanson as the 'Eclipse of Classicism'. The author goes on to expand that Godward's career 'offers the clearest example of the demise of classical Greco-Roman subject painting' (Swanson, p.8). As a reclusive genius, and someone who almost certainly had Asperger's Syndrome, little is known about Godward's private life. This is partly due to his strict family upbringing and somewhat overbearing mother, Sarah Eboral, who outlived her son by 13 years, dying at the age of 100 in 1932. When Godward moved to Italy with one of his models in 1912, his family broke contact with the artist, destroyed many papers, and removed his image from family pictures. Indeed, only one photo of the artist is thought to exist. Although little is known about the young artist's schooling, as the eldest of five children, by all accounts Godward came from a respectable bourgeois family and ideal Victorian home. It is therefore likely that his family would have been able to afford to send him a private school, as was common for middle class children at that time. What is certain, is that there was pressure for all the Godward children to follow their father's lead into the family profession of insurance, investing and banking. Although his siblings all seem to have succeeded in this expectation, John William did not. Between 1879 and 1881, it is believed Godward studied under the architect William Hoff Wontner (1814 - 1881). This apprenticeship seems the likely source for Godward's ability to render perspective and architectural elements, as well as being able to realistically depict marble and porphyry. It was around this time that Swanson believes Godward turned his aspirations to becoming a fine artist. Whether Godward received any formal art training is purely a matter of speculation as there are no records, but given his family's insistence that he follow in his father's footsteps into the work of business, it seems unlikely that he would have had access to any instructional study. We do know however that by 1881, Wontner had died, and his son William Clarke had taken over the family business. By 1885, Wontner and Godward had become best friends, and the former had taken a post at St. John's Wood Art School. It is perhaps not too much of a leap then, to assume that at least some instruction was taken from his friend. It is most likely that Goward's exposure to specifically Graeco-Roman subject painting came through seeing contemporary work at the Royal Academy or Royal Society of British Artists. In 1887, his own debut work, A Yellow Turban, (No. 721) was accepted into the Royal Academy Summer Exhibition. He continued to exhibit with the Royal Academy until 1905. It was also during 1887, that Godward exhibited for the first time at the RBA, with a painting called Poppaea (No. 401). Three years later, he was officially elected as a member of the organisation. In 1888, Godward exhibited his oil, Ianthe (No. 941), at the Royal Academy. Upon seeing the painting, he was approached by the infamous art dealer Arthur Tooth who asked whether he might include it in his own Winter Show of that year. In addition to Ianthe, Godward produced nine further paintings for Tooth's show. His relationship with Tooth ultimately failed to extend beyond the exhibition however, as he decided to proceed with another dealer and Tooth's next-door neighbour, Thomas Miller McLean (1832-1909). Throughout his career Messers. Thomas McLean would deal hundreds of oils for the artist with great success.The present lot is no exception, and together with another work from the previous year, Winding the Skein (Sawnson, p.69, illustrated), is one of only a handful of works from this period to include more than one figure. Here, in a marble walled garden, we see the skill in which the artist depicts the red and grey tones in the smooth creamy stone set against a planter of poppies and blooming oleanders. Classical motifs are arranged throughout the work, including a small bronze statue of Venus, a white marble carving of Pan pulling a thorn from a hoofed Satyr, a variation of the sculpture in the Pio-Clementine Museum, and to the right of the work, a bronze vase atop a round marble table with lion monopodia leg. Centre stage are two figures dressed in beautiful turquoise and purple tunics. One woman seated on a tiger skin, a common motif in Godward's work, is presented with a birthday gift by her attendant: a beautiful Portland cameo glass vase. The first decade of the new century was one of the best for Godward as an artist. Imperial interest grew as prosperity throughout the British Empire rose. However, by 1911, the art scene in Britain had changed significantly, and this would shortly be echoed throughout the whole of society with the start of the Great War. The founding of the Camden Town Group in 1911, followed by the death of Alma Tadema in 1912, and the emergence of the Vorticist movement just before the start of World War I in 1913-14, as well as the Great War itself, marked the beginning of the end of the Classicist painters. It was amongst this backdrop that Godward moved to Rome, perhaps believing that he could escape the new dawn on the horizon which was already a reality in London. In Italy he found a seductive blend of ancient, medieval, and classical cultures. Unsurprisingly, little is documented of Godward's time in Italy, however by 1916, the new way of painting which he had so hoped to escape in London had made its way to the Continent. Nonetheless, Godward stayed in Rome until 1921. He spent most of his time working out of a studio at the Villa Strohl-Fern despite the villa's one hundred or so studios being filled with younger, more modern looking artists. He returned to England briefly in 1919, to attend his nephew's funeral and again in 1920 to attend his brother's wedding. Returning to Rome, his mood was low. The following year his health deteriorated, affected by Spanish influenza and depression. As a result, he only produced five paintings. This reduced to two in 1921. London was much more hostile to his art than Rome had been, and his depression and ill health did not improve once home. He became a recluse, and failing to feed himself properly, soon became malnourished and fell ill to a peptic ulcer. Rather than continue in his misery, and see his art suffer further at his inability to paint, the artist committed suicide on 13 December 1922, aged 62.
Lot 130
ALBERT GOODWIN (BRITISH 1845-1932)TOMBS OF THE MAMMELUKS, CAIROPen and ink, pastel and watercolour, heightened with whiteSigned (lower right) and inscribed as titled (lower left) 25 x 35cm (9¾ x 13¾ in.)UnframedProvenance:Davis Green, and by descentDavis Green (1880-1931) was a keen collector of works by Albert Goodwin as well as Alfred East and other artists. Many pictures were hung at his home in Wolverhampton, but most of the present collection of Goodwins were kept in an album, never to see the light of day until this auction, so hence their remarkably fresh condition. Davis Green was a successful businessman who, along with his brother Walford (former Conservative MP for Wednesbury 1895-1906), owned the engineering company Lockerbie and Wilkinson in Birmingham. Their most well known product was the penny in the door public toilet door lock that led to the phrase "spend a penny". The very successful business made it possible for him to indulge his passion for collecting art as well as furniture and rugs from the East. Albert Goodwin (1845 -1932) was a British landscape painter best known for his watercolours. As a pupil of Ford Madox Brown (1821-1893), and Arthur Hughes (1832 -1915), and a friend of John Ruskin (1819-1900), his works show the influence of both J.M.W Turner (1775-1851) and the Pre-Raphaelite Brotherhood.In 1860, at just 15 years of age, Goodwin exhibited his first painting at the Royal Academy. Aged 31, he became an associate member of the Royal Watercolour Society (RWS) in 1876. As well as travelling around Europe with the art critic John Ruskin, Goodwin spent much of his career abroad including trips to India, the Middle East as well as to Canada with his nephew, the artist (Paul) Sidney Goodwin (1875-1944) in 1890.Working well into his eighties, Goodwin was a prolific artist and produced over 800 paintings. The wide variety of landscapes that he produced reflect his love of landscape and travel. The style in which the artist worked clearly reflects his admiration for Turner by whom he was strongly influenced.The group of works offered here includes a large cross section of landscapes from the UK, Europe, India and the Middle East , from northern scenes of Bambrough and Whitby, to the Southern coasts of Dorset and Somerset, along the Mediterranean coastlines of Monaco and Amalfi, Goodwin's landscapes record an important insight into late Victorian social history.The Maidstone Museum and Art Gallery have the largest public collection of Goodwin's work.Condition Report: The sheet has been laid down at the four corners with adhesive. There is a vertical folding crease running down the far left edge. One or two small pin holes to the upper margins. Some light surface dirt and scratching throughout the sheet. There is an area of skinning to the middle right edge (approx. 5cm). Colours appear good and there is little discolouration to the sheet.Condition Report Disclaimer
Lot 1050
A 19th Century Victorian aesthetic movement black lacquered hall cabinet. With a pierced mirror back with a pigeon hole to central atop a bank of two door cupboards with floral and foliate decoration. Flanked by a set of three shelves all raised on stumped turned circular legs. Measures approx. 98cm x 120cm x 47cm.
Lot 596
A retro vintage 20th Century circa 1960s British design teak wood sideboard credenza by Avalon Furniture. Having an offset bank of three drawers, all having circular shaped handles with singular door cupboard underneath and two smaller cupboard front sections to the left, with handle-less, push door mechanisms. Measures approx;
Lot 689
Two vintage retro mid 20th century sideboard / cupboards. A high board, sideboard by Nathan Furniture, Squares Range / squares pattern. The unit comprising of a series of shelves, cupboards and drawers, all raised upon a plinth base. The second being a sliding glass door cabinet with dual internal shelving, raised on plinth base. Largest measures 85 x 122 x 38cm.
Lot 1070
An early 20th century Edwardian circa 1900s walnut arts and craft double wardrobe. Of rectangular form with carved panel central cupboard door flanked by bevelled edge mirror doors atop a twin drawers base with hanging metal pulls raised on bracket feet. Comes apart for ease of transport. Measures approx.
Lot 2434
Mademoiselle Clara 19th / 20thC miniature shop / dolls house / display diorama model or apprentice piece containing a Grodnertal doll, with hinged and glazed front door, shop window, sliding side wall and glazed panels to the roof. The interior shop window stocked with miniature dresses, hats, bags and a French drawstring purse, the shop itself stocked with named boxes of aprons, ribbons, handkerchiefs, dresses, children's dresses, bonnets, flowers, collars, all containing multiples of the aforementioned and of interest to embroidery / lace, needlework collectors, W38.5 x D40.5 x H30cm
Lot 2433
19thC miniature blacksmiths forge / dolls house / display model, diorama or apprentice piece dated 1888, the forge having glazing to three sides and roof, hinged door, weighted working bellows, working vice, anvil, movable ash pan, miniature tools on display and carved wooden cat, W36 x D27 x H36cm
Lot 6
Chinese Export School. Album of Chinese rice paper paintings depicting views in St Helena associated with Napoleon, circa 1830's-40's, 5 fine paintings in watercolour and bodycolour on rice (pith) paper, each with handwritten title below the image: St. Helena, Longwood, Napoleon's Tomb, Napoleon lying in State, and Bonaparte's Tomb, from the North West, image size 10 x 16 cm, sheet size 14 x 20 cm (5 1/2 x 8 ins), small loss to the first and third paintings (St. Helena, and Napoleon's Tomb), otherwise generally in very good condition, each loose-mounted within blue paper border on separate album leaf, smal red maker's inkstamp to front pastedown, contemporary printed advertisement loosely inserted at front for the 'St. Helena Bazaar for the sale of Europe, India, & China Goods (first door over the bridge)', on folded paper sheet watermarked R BARNARD 1830, contemporary Chinese binding of patterned red silk over boards, minor rubbing and fraying to extremities, ties missing, small oblong 4to (18.5 x 24 cm)QTY: (1)NOTE:Unusual album of five views in St. Helena by a Chinese artist, whose name is possibly stamped on the inside front cover. The Napoleonic subjects suggest that the work was issued as a tourist souvenir for travellers who stopped off at St. Helena to see the places and monuments associated with Napoleon.
Lot 652
AR * Attwell (Mabel Lucie, 1879-1964). Five original illustrations for Troublesome Topsy and Her Friends by May Baldin, Tabitha Smallways Schoolgirl by Raymond Jacberns and That Troublesome Dog by Arthur Raymond Jacberns, watercolour and pencil, depicting various scenes including: I am monitor for cloak-rooms this week and I have to see that rules are kept and they suprised Mrs Brown by coming in at the kitchen door, etc., four signed, image size from 23.5 x 15.5 cm to 27 x 17 cm, all in matching mounts and frames, largest 46 x 37 cm, together with copies of Tabitha Smallways Schoolgirl by Raymond Jacberns, London: W. & R. Chambers Ltd, 1922 and Troublesome Topsy and her Friends by May Baldwin, London: W. & R. Chambers Ltd, 1913, both 8voQTY: (5)
Lot 901
Heaney (Seamus). Death of a Naturalist, 1st edition, Faber & Faber, 1966, original cloth in dust jacket, slightly rubbed and marked, spine partly faded and with small paper surface loss, chipped at head of spine and small closed tear to upper margin of lower panel, 8vo, together with Door into the Dark, 1st edition, Faber & Faber, 1969, original cloth in dust jacket, minor dust-soiling, 8voQTY: (2)NOTE:Provenance: from the library of Rosemary Goad, the first female director of Faber and Faber.The author's first two published collections of poems.
Lot 908
Heaney (Seamus, 1939-2013). Door into the Dark, 1st edition, Faber & Faber, 1969, author's signed presentation copy in black fibre pen to front endpaper, 'To Charles Monteith - who helped to open the door. With gratitude and good wishes, Seamus, 19th May 1969', also signed on the title in the same pen, original cloth in dust jacket, a little rubbed and a few minor marks, 8vo, together with:Heaney (Seamus), Wintering Out, 1st edition, Faber & Faber, 1972, author's signed presentation inscription in black fibre pen to title, 'Seamus Heaney for Charles Monteith on publication day. "Our poesy is as a gum which ouzes / From whence tis nourished... " with much gratitude for much nourishment - and refreshment! 20th November 1972', original printed wrappers, minor spotting and spine slightly toned, 8voQTY: (2)NOTE:Provenance: from the library of Rosemary Goad, the first female director of Faber and Faber.Charles Monteith was the legendary poetry editor at Faber who first drew the firm's attention to the poet's work and was instrumental in getting him published there.
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