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Click here to subscribeAn early 18th century and later marquetry walnut cabinet of small proportions, the foliate inlaid door enclosing an arrangement of oak-lined drawers above three frieze drawers, height 75cm, width 50.5cm, depth 28cm (alterations).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An Edwardian mahogany and satinwood crossbanded bijouterie display cabinet, the hinged lid above a glazed door, height 102cm, width 48cm, depth 34cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A George III figured mahogany two-door wall cabinet, height 52cm, width 61cm, depth 20cm. Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
.W. Klein - Bramin Mobler, Denmark - A rosewood veneered sideboard, fitted with a central bank of four drawers flanked by a sliding door cupboard to either side, all with square shaped recessed handles and raised to tapered legs, labelled Bramin Mobler, height 79cm, width 225cm and depth 45cm, S/DNB - Article 10 Transaction licence in place.
Robert Heritage - Archie Shine Ltd - A walnut veneered 'Hamilton' sideboard, with a shallow ledge back above a double door cupboard and four ribbed panel fronted drawers, with tapered brass handles and raised to tapered legs, bearing A Shine Product label to the rear, height 79cm, width 229cm and depth 50cm, S/D. Provenance - Purchased as a wedding present for the previous owners in 1957.
Beaver & Tapley - A group of teak veneered modular furniture units to comprise two double door cabinets 84cm x 52cm x 64cm, two chests of three drawers 84cm x 52cm x 64cm, a drinks cabinet 84cm x 40cm x 41cm, a glass fronted cabinet 84cm x 28cm x 56cm and a taller glass fronted cabinet 56cm x 28cm x 112cm, together with two similar floor standing open fronted bookcases 138cm x 33cm x 28cm. (9)
William Lawrence Furniture - A teak sideboard fitted with an arrangement of three drawers, a single cupboard and a double door cupboard, the double doors later adapted, raised to tapered legs, height 73cm, width 197cm and depth 43cm, together with an extending circular dining table, diameter 114cm when closed and 149cm when extended, and a set of four panel back dining chairs with vinyl upholstered seats, S/D. (6) NB - The chairs in this lot are offered for sale as works of art. They may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling.
Tom Robertson - McIntosh of Kirkcaldy - A teak Dunvegan sideboard, fitted with a central double door cupboard flanked by a drinks cabinet with pull-out serving slide to one side and a bank of three drawers to the other, raised to tapered legs, bears label, height 76cm, width 201cm and depth 48cm, S/D.
John Halifax of Barnsley 8 day longcase clock with 12" brass arch dial with subsidiary seconds and sad mouth calendar urn spandrels and flower and swags in the arch. Eight day two train movement striking on a bell. Contain in a dark oak case which has been carved with female mask in the base and door panels. swan neck pediment to hood with reeded columns either side of the door.Dimensions 85" x 18" x 10"Condition New seat-board some of the seat-board structure missing columns to hood loose. Brass arch could be a later addition. All A/F for restoration
John Goden of Wingham (Kent) 30 hour longcase clock striking on a bell with 11" brass dial with 30 hour single train bird cage or posted movement, rope winding. Contained in a oak case with plain columns to the hood door.NOTE John Godden is recorded as working in Wingham, Kent in 1750Dimensions 81" x 18" x 10" Condition report .Movement not tested the case looks to have been refinished at sometime. No glass in hood door. Minor scuffs and marks.
Joseph Austin London, 8 day Longcase clock . With 12" brass arch dial Strike silent to arch. subsidiary seconds and calendar ,crown and cherubs spandrels. Dolphin spandrels either side of the strike silent. Two train 8 day movement striking on a bell. Contained in a oak case with round top trunk door. Reeded columns to the hood door glazed sidesNote A Joseph Austin is recorded as working in London in 1740.Dimensions 89" to top of finial x 18" x 9 1/2" Condition report. Finial loose on hood, replacement seat-board, pendulum, winding key and trunk door key present. Movement not tested.
Cornelis Springer (1817-1891), Ville fantaisiste, 1849-1869, huile sur toile, signée et datée, 65,5x55,5 cmProvenance: Gisèle Waterschoot van der Gracht (1912-2013), Amsterdam, c. 1948 Collection Geert van Mesdag (1929-2021), puis restée dans la famille jusqu'à ce jour Bibliographie: W. Laanstra, H.C. de Bruijm, Dr J.H.A. Ringeling, Cornelis Springer (1817-1891), Utrecht, 1984, p. 69, no. 49-6, ill. Etiquette au verso avec cachets de cire: Ondergetekende verklaart dat deze schilderij door hem is vervaardigd in het jaar 1849 en grotendeels overschilderd in het jaar 1869, Amsterdam, C. Springer Traduction: Le soussigné déclare que cette peinture a été faite par lui en l'an 1849 et retravaillée en l'an 1869, Amsterdam, C. Springer Cornelis Springer est considéré aujourd'hui comme l'un des peintres architecturaux néerlandais les plus importants et les plus influents du XIXe siècle. Issu d'une famille d'architectes d'Amsterdam, son père lui enseigne très tôt les principes de la perspective et du dessin pratiqué dans sa profession, compétences qui seront déterminantes dans le développement ultérieur de l'artiste qui se consacre aux paysages urbains. Après une formation artistique sous la tutelle du célèbre peintre architectural Kasparus Karsen, Springer s'oriente autour de 1850 vers des vues réalistes très détaillées, plus particulièrement d'Amsterdam, sa ville natale, mais aussi Haarlem, Enkhuizen, Zwolle, Kampen et Monnickendam. Ces peintures sont reconnues par les historiens comme un témoignage précieux d'une époque révolue.Le présent tableau peint en 1849 est une 'uvre s'inscrivant à l'apogée de la carrière de l'artiste, et clôture sa première période consacrée aux vues idéalisées de ville pour s'orienter vers des représentations photographiques réalistes. Voyageant beaucoup en Hollande, en Allemagne et en Belgique, Springer produit de nombreux croquis très détaillés servant de base à ses compositions. A cette époque l'artiste est déjà tellement renommé qu'il ne travaille plus que sur commande pour des collectionneurs et des marchands privés: une liste d'attente de deux ans pour obtenir une de ses 'uvres témoigne de sa grande popularité.Springer entraîne le spectateur dans une rue ensoleillée, où des citadins sont engagés dans leurs activités quotidiennes, certains baignés de lumière et d'autres adoucis dans l'ombre. Les bâtiments tout comme les personnages sont réalisés avec une grande virtuosité et sont d'une précision millimétrique. La lumière sublime la perfection architecturale et sa douceur nous transporte dans une atmosphère chaude et lumineuse.Cette 'uvre est inédite sur le marché et se trouve conservée à l'abri des regards du public depuis plus de 70 ans, ce qui en fait une 'uvre d'autant plus rare et exceptionnelle.
An Empire Burr Elm and Ormolu-Mounted Mantel ClockCirca 1810the dial signed Le Roy, Palais Royal.Height 14 1/2 x width 7 1/2 x depth 6 3/4 inches. This lot is located in Chicago.The clock has an overall attractive appearance with a finely figured veneer. The works are unsigned. Some patch repairs to the plinth. The molded cornice with visible marks where it may have been affixed. The back door with pencil inscription No. 115. With indistinct description. Missing central star mount and further mounts to the side. The pin for the central mount still visible. The door is a differenct color and possibly an old replacement. Patch replacements to the back edge of the plinth and an old repair to the rear plinth.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A George III Satinwood, Tulipwood and Amaranth Marquetry Fall-Front SecretaireAttributed to Thomas Chippendale, Circa 1775Height 49 3/8 x width 31 1/8 x depth 16 inches.Provenance:Mallett Ltd., London (with memorandum)Note:This secretaire, with its elegant, restrained Neoclassical marquetry occupies a rare, if not unique position in Chippendale" oeuvre. Not only is it directly based on a French secretaire a abattant, a form seldom seen in English furniture, it is one of a pair which were presumably supplied to an unknown patron. Although French furniture designs had been an enduring source of inspiration for English cabinet-makers, so much so their drawings became known as the 'French Taste', few were copied directly and were almost always the work of French trained emigires such as Pierre Langlois (1718-1767) or Christopher Furlohg (1740-1787).This secretaire and its pair are part of a distinct group of closely related secretaires attributed to Thomas Chippendale. Unlike most of his 'French' furniture, they are the rare occasion where a distinctly French form is kept intact and used as a backdrop for Chippendale" creativity and ingenuity. Their prototype were the two secretaires supplied to Edwin Lascelles for two rooms in the State Apartments at Harewood House, Yorkshire from 1772-1773 and are the richest examples of this form. One, now in the collection of Temple Newsam, Leeds, was part of a suite of black lacquer and japanned furniture for the State Bedroom. It appears on Chippendale" 12 November 1773 invoice as 'a Lady" Secretary veneer'd with your own Japann with additions of Carved Ornaments…the front of the secretary to rise with balance weights.' The second, inlaid with marquetry against a satinwood ground, was supplied to the State Dressing Room and remains at Harewood (J. Sellers, ed., The Art of Thomas Chippendale, Master Furniture Maker, Leeds, 2000, p. 30).Chippendale" mention of the secretary" balance weight mechanism is particularly relevant as it was his own invention and allowed for the seamless rising and falling of the fall front. Hidden within the construction of the case, it allowed the writing surface to appear as if it was suspended in the air with no distracting brackets. This secretaire as well as the others in the group have this unique feature. Other constructional hallmarks of Chippendale" workshop are the hardware used on the drawers whose construction bears the typical finely executed details such as the mitered corners to the undersides, the triangular stoppers to the interior of the carcass for the drawers and the distinctive red wash visible in areas on the case.In addition to the present lot" pair, which was sold anonymously at Sotheby", London, 16 December 1990, lot 345 (£35,200 including premium), the other secretaires of this group display only minor variations. They have the same richly figured satinwood ground, Neoclassical marquetry central medallions punctuated by rosettes in the incurved corners, a single lower door and apparently identical interiors. They comprise: (1) A virtually identical example with square tapering legs from Lady Frye, Oare House, Wiltshire sold Christie", London, 21 April 1966, lot 68 and most recently sold from the collection of Zeinab and Pierre Marcie Riviere, Christie", Paris, 8 June 2016, lot 185 ($50,065 including premium).(2) Another with ebonized pilasters and square tapering legs supplied to William Windham (1708-1789) for Earsham Hall, Norfolk (Ronald Phillips, The Legacy of Thomas Chippendale, Exhibition Catalogue, 2018, no. 19, pp. 89-93). (3) One with marquetry fan medallions and identical legs to the present lot sold anonymously (Property of a Lady) at Christie", New York, 20 January 1996, lot 335 ($34,500 including premium).Overall well-conserved, original condition, with noticeable sun-fading and an orangey color. Typical cracking and infill to the veneers; some minor areas of lifting veneer / repaired fraying veneer. The top with a narrow shrinkage crack. The front of the fall-front with some darkened overpainting from repair to lifting veneers. A veneer repair in the bottom right corner of the fall-front. Faint traces of the original green heightening to the urns, a bit more visible on the lower urn. A shrinkage crack emerging now in the lower cabinet door running right below the medallion. The rosettes have lost much of their penwork and color heightening. Repairs to some of the stringing on the outside of the writing surface. The interior with a later tooled leather writing surface, and one or two of the small drawer liners with replaced parts of their lining. The proper left front foot probably re-stuck, with replaced molding around its top. The proper right front top corner molding has been re-glued. The lock has probably been taken out and put back but is original. The pulls are original. Pine backboards. Pointed drawer stops on the inside. With one key.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A George III Gilt Bronze Mounted Ebonized Fruitwood Bracket ClockDial Signed William Edwards, London, Circa 1765the twin train movement with strike/silent dial and date aperture.Height 19 1/4 inches x width 11 1/2 x depth 8 inches.This lot is located in Chicago.Provenance:Malcolm Franklin, Inc., Chicago, 12 June 1973 (with invoice)Some rubbing to the ebonization. The door formerly with an eschutcheon. Tarnishing to metal work. Scattered loss to the ebonization and cracking to the case as to be expected. Missing left side molding to top. The backplate with 18th century scrolled engraving to the works.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Pair of George III Gilt Ormolu-Mounted Chinese Lacquer Corner Cabinets Attributed to Pierre Langlois, Circa 1765one with an ink label inscribed Whitburn Hall, 1957.Height 34 3/4 x width 34 x depth 25 1/2 inches; length of each side 24 inches.This lot is located in Chicago.Provenance: (First example)Difford's Antiques, Edinburgh (labeled)Hotspur Ltd., London, 2002 (with invoice) (Second example)Private Collection;Sotheby", New York, 21 October 2005, Important English Furniture & Decorations from a Private Collection, Lot 4 (with copy of invoice)Note:This striking pair of corner cabinets incorporating Chinese lacquer panels are perhaps the only currently known examples that can be attributed to the renowned cabinet-maker Pierre Langlois (1718-1767). They are part of an elite group of furniture in the French or 'modern' style which were commissioned by some of the era" foremost patrons and connoisseurs, including Sir Horace Walpole and the Duke of Bedford.Unlike his contemporaries, Langlois, the child of French emigres, learned his trade in Paris where it is thought he worked under Jean Francois Oeben. Langlois' French training resulted in an oeuvre which was very distinctive from English cabinet-makers. His forms show both the familiarity and the technical skill required to closely emulate contemporary French prototypes. A related pair of encoignures by the Parisian ebeniste Jacques Dubois (P. Kjellberg, Les Mobiliers Francais du XVIII Siecle, Paris, 1989, p. 270) also demonstrates the expertise required to shave panels from a Chinese screen and transform them into curved doors. Yet, Langlois' workshop was not a faithful recreation of a Parisian atelier. His cabinet work had French styled paneled backboards made out of softwood but the exterior carcasses were almost always stained black which was unique to his workshop. The corner cabinets' black lacquer tops are another departure from French examples which featured marble. Although Langlois' mounts were clearly derived from French prototypes, they were almost certainly the work of his son-in-law, the French emigre metalworker Dominique Jean (d. 1807); the large-scale beaded border seen below the tops is also found on other Langlois furniture, including three richly mounted commodes, one in the King's Bedchamber at Windsor Castle (RCIN 21235) and a pair also in the Royal Collection (RCIN 2549).These corner cabinets are part of a select group of furniture produced by Langlois that incorporate Chinese lacquer panels and are among his richest, most technically advanced work. Two pairs of commodes from around 1765 incorporate Chinese lacquer which is remarkably similar and could suggest they were all cut from the same Chinese screen. One pair was supplied to Sir Matthew Fetherstonhaugh (1714-1774) for Uppark, Sussex (NT 13647.1 and NT 13647.2) also have lacquer tops; the other pair are at Powis Castle, Wales and feature marble tops (NT 181049). A further single commode commissioned by Sir Horace Walpole for Strawberry Hill is now at the Fine Arts Museum of San Francisco (1985.58).Whitburn Hall, County Durham, was acquired by Sir Hedworth Williamson, 6th Bt. before his death in 1810 and the house was subsequently enlarged and refurbished by his successors throughout the 19th century. The pair of corner cabinets were likely acquired by the 9th Bt., also Sir Hedworth Williamson (d. 1942), who inherited a massive fortune and was an active collector. He purchased the magnificent rococo paneling from Chesterfield House, London, which he installed at Whitburn in 1937.With two keys. Sturdy, well-preserved, un-altered condition. Mounts all present and appear to retain their original gilt surface. Typical lifting and flaking to the lacquer which would benefit from conservation. The right-side door of one cabinet has a larger crack that should be handled with caution. The decoration vivid and well-preserved throughout, retaining fine details. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A George III Mahogany Secretary Bookcase Circa 1775with mahogany-lined drawers and mahogany backboards. Height 101 x width 50 x depth 24 3/4 inches.This lot is located in Chicago.Provenance:Hotspur Ltd., London, 12 February 1992 (with invoice)The drawer linings all made from solid mahogany. The upper case lacking original shelves; lined in silk, electrified, and with modern glass shelves. With two keys, one for the drawers and astragal; the other key for the prospect door in the writing surface. Overall in well-conserved, ready-to-place condition, except for slight areas of residue and discoloration to the finish where packing tape was mistakenly applied. An age crack in one side of the lower case. Small repairs to the corners at the top of the lower case. The pediment with a later central "seat" where a finial might have been (it could also have been designed without a finial originally). Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Georgian mahogany bow fronted serving sideboard, inlaid decoration, single drawer, flanked by a cellerette cupboard and one other cupboard door, on square tapering legs and spade feet, (with a key that doesn't appear to open or close the drawers or cupboard doors, one door locked), Location:
λ JONATHAN WARRENDER (BRITISH B. 1954)CHEQUERS Oil on canvas Signed with initials and dated 1982 (lower right) 39 x 32.5cm (15¼ x 12¾ in.)Provenance:Commissioned direct from the artist in 1982 Baroness Margaret Thatcher, Chequers Residence, Private CollectionThence by descent to the Estate of Baroness Margaret Thatcher Peter Harrington, London Purchased from the above by the present owner In Spring of 1982 the artist Jonathan Warrender was invited by Margaret Thatcher to lunch at the Prime Minister's country retreat, Chequers, located in Buckinghamshire. Conflict had begun just a few weeks earlier between Argentina and the United Kingdom in the Falklands which lasted for 74 days ending on 14 June, the war cabinet for which was sternly led by the 'Iron Lady' herself. It was during these tumultuous times that Warrender was to meet Thatcher.Thatcher had admired a painting by Warrender hanging in close friend Lord Hector Laing's Dunphail residence and he suggested that he would like to gift Thatcher a painting of Chequers for her personal collection. Warrender spent his childhood in Somerset amongst the undulating Mendip hills, captivated by the vast landscape and the patterns that sprawled across the pastures. In 1966, his family moved to Scotland where he resides today with his wife and children in Ayrshire. Warrender studied at Camberwell School of Art but he found it difficult to find his path during a period when abstraction was all the rage. He focused on his meticulous eye for detail and fascination with perspective. After studying at Camberwell School of Art, Warrender was introduced to a circle of Sotheby's clients by a dear friend and fellow artist Andrew Festing. He used his skill in producing infinite detail to create copies for these clients who were looking to sell important works of art. In 1980 Sir Iain Tennant commissioned Warrender to paint his residence in Morayshire, Innes House. This event catapulted his career working on commissions in both the UK and abroad. Warrender's style became extremely recognisable as he used a 'bird's eye view' perspective to depict the estates and their landscapes. His attention to detail is mesmerising capturing the texture of every brick and the light catching every blade of grass. On Saturday 17th April 1982, Warrender found himself in the back of Lord Laing's Bentley whirling through the country lanes to Chequers, to attend lunch with Margaret Thatcher. The surreal commission commenced. Warrender recalls arriving at the house and being immediately struck by the gardens and landscape surrounding the iconic house. 'Bluebells were getting ready to chime in the woods and the leafy buds on the lime trees in the Park were the size of [a] mouse's ear.' Jonathan Warrender Memoir, February 2013, Archive Thatcher MSSThe artist recollects the intimate setting, sat closely together on a round table with Thatcher, her husband Denis, Lord Laing and his wife Marion. 'As we sat down I remember having to overcome a hot moment of panic due to my extreme proximity to the Prime Minister.' Jonathan Warrender Memoir February 2013, Archive Thatcher MSSAfter lunch Thatcher invited Warrender to accompany her in the gardens to locate a view from which to paint the house. They settled on a viewpoint under a tulip tree just opposite the front door. As the whirlwind afternoon drew to a close Warrender remembers Thatcher proclaiming 'And now I must see what is happening in those bloody islands.' Jonathan Warrender Memoir February 2013, Archive Thatcher MSS Warrender started in the May and spent three weeks painting at Chequers which was coming to life as the summer months took hold. 'What an irony it was for me, that at the same time as Mrs Thatcher handed the historians a pen, she handed me a brush.' Jonathan Warrender Memoir February 2013, Archive Thatcher MSSCondition Report: Not relined. Inspection under UV reveals some minor areas of flaring to the left edge and to details in the cloud however this is most likely brushwork added by the artist. In overall good original condition. Condition Report Disclaimer
λ JONATHAN WARRENDER (BRITISH B. 1954)CHEQUERS Oil on canvas Signed with initials and dated 1982 (lower right) 25 x 39.5cm (9¾ x 15½ in.)Provenance:Commissioned direct from the artist in 1982 Baroness Margaret Thatcher, Chequers Residence, Private CollectionThence by descent to the Estate of Baroness Margaret Thatcher Peter Harrington, London Purchased from the above by the present owner In Spring of 1982 the artist Jonathan Warrender was invited by Margaret Thatcher to lunch at the Prime Minister's country retreat, Chequers, located in Buckinghamshire. Conflict had begun just a few weeks earlier between Argentina and the United Kingdom in the Falklands which lasted for 74 days ending on 14 June, the war cabinet for which was sternly led by the 'Iron Lady' herself. It was during these tumultuous times that Warrender was to meet Thatcher.Thatcher had admired a painting by Warrender hanging in close friend Lord Hector Laing's Dunphail residence and he suggested that he would like to gift Thatcher a painting of Chequers for her personal collection. Warrender spent his childhood in Somerset amongst the undulating Mendip hills, captivated by the vast landscape and the patterns that sprawled across the pastures. In 1966, his family moved to Scotland where he resides today with his wife and children in Ayrshire. Warrender studied at Camberwell School of Art but he found it difficult to find his path during a period when abstraction was all the rage. He focused on his meticulous eye for detail and fascination with perspective. After studying at Camberwell School of Art, Warrender was introduced to a circle of Sotheby's clients by a dear friend and fellow artist Andrew Festing. He used his skill in producing infinite detail to create copies for these clients who were looking to sell important works of art. In 1980 Sir Iain Tennant commissioned Warrender to paint his residence in Morayshire, Innes House. This event catapulted his career working on commissions in both the UK and abroad. Warrender's style became extremely recognisable as he used a 'bird's eye view' perspective to depict the estates and their landscapes. His attention to detail is mesmerising capturing the texture of every brick and the light catching every blade of grass. On Saturday 17th April 1982, Warrender found himself in the back of Lord Laing's Bentley whirling through the country lanes to Chequers, to attend lunch with Margaret Thatcher. The surreal commission commenced. Warrender recalls arriving at the house and being immediately struck by the gardens and landscape surrounding the iconic house. 'Bluebells were getting ready to chime in the woods and the leafy buds on the lime trees in the Park were the size of [a] mouse's ear.' Jonathan Warrender Memoir, February 2013, Archive Thatcher MSSThe artist recollects the intimate setting, sat closely together on a round table with Thatcher, her husband Denis, Lord Laing and his wife Marion. 'As we sat down I remember having to overcome a hot moment of panic due to my extreme proximity to the Prime Minister.' Jonathan Warrender Memoir February 2013, Archive Thatcher MSSAfter lunch Thatcher invited Warrender to accompany her in the gardens to locate a view from which to paint the house. They settled on a viewpoint under a tulip tree just opposite the front door. As the whirlwind afternoon drew to a close Warrender remembers Thatcher proclaiming 'And now I must see what is happening in those bloody islands.' Jonathan Warrender Memoir February 2013, Archive Thatcher MSS Warrender started in the May and spent three weeks painting at Chequers which was coming to life as the summer months took hold. 'What an irony it was for me, that at the same time as Mrs Thatcher handed the historians a pen, she handed me a brush.' Jonathan Warrender Memoir February 2013, Archive Thatcher MSSCondition Report: Not relined. The canvas is protruding at the centre of each edge where framing spacers were once pressed between stretcher and canvas, verso. These have now been removed. The work may benefit from re-stretching. Some diagonal cracking across the sky. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
An Oak Furniture Land light oak and grey painted lounge suite, comprising a pair of display cabinets, with a single door enclosing two shelves, 79cm high, 61cm wide, 41cm deep, television cabinet, with a recess and single frieze drawer, raised on a plinth base, 63cm high, 96cm wide, 50cm deep, and a cupboard bookcase, with two central shelves flanked by a pair of cupboard doors, raised on a plinth base, 60cm high, 135cm wide, 44cm deep. (4)
The important ‘Nyasaland’ campaign group of four awarded to Lieutenant A. G. Sherwell, 1st King’s African Rifles, who was employed as Assistant Resident in the Colonial Legal Service and played a prominent role in putting down the Chilembwe Rebellion of 1915. He was subsequently appointed Assistant Advocate General in Khartoum in 1928, and then President of the District Court, Palestine, where he served as a judge in Haifa and Jerusalem Africa General Service 1902-56, 1 clasp, Nyasaland 1915 (Lieut: A. G. Sherwell. Depot Coy 1/K.A.R.); British War and Victory Medals (Lieut. A. G. Sherwell.); Coronation 1937, unnamed as issued, mounted as originally worn, with riband bar, nearly extremely fine (4) £800-£1,200 --- Arnold Guy Sherwell was born in London in 1891, and was the son of J. W. Sherwell, who was the Clerk to the Guild of Saddle Makers, City of London. Sherwell was educated at St. Edward’s School, Oxford and Brasenose College, Oxford. He was a useful boxer during his time at the latter, and graduated in August 1914 to become a barrister (Inner Temple) on the South Eastern Circuit and Central Criminal Court. Sherwell was appointed an assistant resident with the Colonial Legal Service in Nyasaland in late 1914. He was present, and active in this role during the Chilembwe Rebellion of 1915. John Chilembwe was a Baptist pastor who preached resistance to colonialism, and incited a rebellion in January of that year. The plan to create a widespread rebelling largely failed, and devolved mainly on to Chilembwe’s congregation of around 200 men. The planned attack on European estates was largely one on the Bruce estates, where William Jervis Livingstone was killed and beheaded and two other European employees killed. Three African men were also killed by the rebels; a European-run mission was set on fire, a missionary was severely wounded and a girl died in the fire. Apart from this girl, all the dead and injured were men, as Chilembwe had ordered that women should not be harmed. On 24 January, which was a Sunday, Chilembwe conducted a service in the P.I.M. church with Livingstone’s impaled head prominently displayed. However, by 26 January he realised that the uprising had failed to gain local support. After avoiding attempts to capture him and apparently trying to escape into Mozambique, he was tracked down and killed by an askari military patrol on 3 February. As with all such things, there are at least two sides to the story: ‘It is said that after his farewell, Chilembwe tore apart a white cloth and wrote words of surrender on it. The night before, he had handed in a letter to Isaac Chambo addressed to the Resident at Chiradzulu. This day he gave him the white cloth shaped into a flag and instructed him to lead the women and children to the resident and sue for peace. He assured the women that the Europeans would not kill them. He had treated white women and children kindly. Isaac Chambo left for the Chiradzulu boma, the white flag raised high on a pole. Following were fifty-two women and twenty-four children, including Mrs Chilembwe and her two children as well as four other youths. Before they had gone far security forces approached them, fully armed. They were under the command of A. G. Sherwell, to whom Chambo handed Chilembwe’s letter. Sherwell asked where Chilembwe himself was. Chambo said he did not know; that the letter and the flag had been sent to him through a third party. The lieutenant was undeceived. He ordered the soldiers to bind Chambo with ropes against a tree. And Chambo was warned if he did not say where Chilembwe was, he would be shot. Chambo again said he had not seen Chilembwe for several days. Another young man was also tied to a tree. Soldiers were detailed to shoot but at that time another white officer arrived. He ordered the two men to be freed. The soldiers and captives then went back to Michezime village where Chilembwe had been left sitting. As they drew near the village Sherwell put up his telescope and approached it more cautiously. He was afraid in case any army of his own followers protected Chilembwe. Just at that very moment Chilembwe and his nephew saw the security forces. They entered the house by the front door and left by the back door, closing it behind them. The army surrounded the house, thinking Chilembwe had locked himself inside. But Chilembwe had escaped into the bush.’ (The Church History of Providence Industrial Mission by P. Makondesa refers) Sherwell himself chose to write the following letter to the editors of the St. Edward’s School Chronicle, which was published in July 1922: ‘It is always a pleasure to see the Chronicle, and it is interesting to me as an ex-acting magistrate of Nyasaland to read Dudley Smith’s letter. I know Nyasaland pretty well ‘all ways and in every way.’.... I know Smith’s country well as it was not so far from his place that the Chilembwe Rebellion occurred in 1915, in which I had the diversion of rounding up the rebels and capturing the corpse of the rebel (some police patrol in my charge met and shot him in flight) and his unfortunate wife. I say ‘unfortunate’ in that she was a puppet of his, and forced to ape the European against her inclination, and her instincts and upbringing. My own experience is that the planters are unjustifiably down on the Government on most occasions. Usually the local D.C. or A.D.C. has a great deal to contend with in regards to the funds at his disposal for Public Works etc. After all it has been the planter who exploited the country and the native, and in regard to the returns obtained by such exploitation the planter pays very little to the local treasury or the native for their assistance. I think one cannot have a better testimonial to the Colonial Government than the fact that ‘everyone seems agin it.’ It almost merits criticism! I spent 21 months alone, except for natives. I think this also speaks to the credit of the native administration. My district was 4,500 square miles roughly and the native population was about 40,000 to the one European. I apologise for rambling on like this, but the letter brings back interesting and happy memories, as I had about the last piece of real pioneer work to do after this country ceased to be a Protectorate. The scarcely improved it, for the time being, and rather applied in somewhat summary many a very intensive education to the locals which can scarcely be without its dangers, and these may mature in ugly form where many years pass, as is evidenced by the recent happenings in Kenya Colony...’ Sherwell lectured at the LSE, prior to being appointed Assistant Advocate General in Khartoum in 1928. He was appointed a government advocate in 1929, and then President of the District Court, Palestine, where he served as a judge in Haifa and Jerusalem. He died in Jerusalem, where he is buried, in February 1942. John Chilembwe is today celebrated as a hero of independence in modern day Malawi, and ‘John Chilembwe Day’ is observed there annually on 15 January. Sold with copied research.
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