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Lot 330
World War Two German Navy Officer's dress dagger, housed in hammered scabbard with two hanging strap rings, cross guard with fouled anchor to centre of both sides, orange celluloid grip with wire binding and portepee, etched blade marked on ricasso with Knight Head trademark of WKC, reverse etched Abken, 41cm long, note: taken by owner's father, who was a Royal Marine Commando in 30 Assault Unit, commanded by Ian Fleming
Lot 461
Mary Wigley (British, mid 19th Century), portrait of Miss Pryce, half length, wearing a pearl tiara, white silk dress and holding a bouquet of flowers, drapery background, landscape beyond, signed and dated 1840 l.l., titled, signed and dated 1840 verso, oil on canvas, 95 by 75cm, in the original gilt frame with moulded scroll corners
Lot 293
German World War II WKC Kriegsmarine navy dress dagger, engraved 24.5cm blade, stamped WKC (Weyersberg, Kirschbaum und Cie) celluloid grip with spiral wire binding, eagle pommel with brass scabbard and hanging strapsCONDITION REPORTSKriegsmarine navy dress dagger is in excellent condition throughout, very light rubbing to pommel, light tarnish and rubbing to scabbard and hanging straps
Lot 18
Pair of Nautilus porcelain figure bowls, modelled as nautilus shells raised on coral supports with an applied boy to one, and a girl to the other. Red Nautilus mark to base Height 16cm, width 16cmCONDITION REPORTThe figure bowls are in very good condition throughout, small firing crack on back of girls dress to shell
Lot 222
SELECTION OF FIGURINESincluding a resin seated girl, 13.5cm high, two stone figures, 16cm high, Japanese resin fisherman, 21.5cm high, resin Buddha, 7.5cm high, carved wood crouching figure, 8cm high, resin seated lady, 13cm high, spelter lady seated cross legged, 23.5cm high, resin lady in a full length dress, 34.5cm high, spelter ballerina, 25.5cm high and a carved tribal bowl, 54cm long (11)
Lot 255
Sri Lanka.- Photograph album of views of Sri Lanka, c.60 albumen prints on 60pp., some a little faded, some spotting to leaves, original morocco, lettered "Ceylon 1886" in gilt on upper cover, and with initials R.J.C. on spine, some scuffing to corners and spine ends, rubbed, oblong folio, 1886⁂ Including views of Columbo, the Dambulla caves, Kaudulla and ancient ruins as well portraits of people in traditional dress and village life.
Lot 243
HENRI FARRÉ (FRENCH 1871-1934)THE SWAN MAIDENSOil on canvas179 x 228cm (70¼ x 89¾ in.)Provenance:Sale, Sotheby's, London, 19 March 1986, lot 119Condition Report: The canvas has been strip lined and is on a later stretcher which is providing good support. There is some fine surface cracking but paint layers seems stable. There is a small puncture in the canvas which is approximately 5mm square and on the hem of the girls white dress. Under UV light there are some scattered areas of retouching on the nude figure, the red blanket and in some background areas. It has been cleaned and re-varnished. Condition Report Disclaimer
Lot 26
FRANCIS HAYMAN (BRITISH 1708-1776) AND STUDIOBUILDING HOUSES WITH CARDS Oil on canvas141 x 203.5cm (55½ x 80 in.)Provenance:(Possibly) W.H. Forman Collection, Dorking, and by descent in 1869 to(Possibly) Major A.S.C. Browne, Callaly Castle, NorthumberlandBell of NewcastleViscount and Viscountess Gort, Hamsterley Hall, County Durham, and by descent to the present owner(This item was inherited from the 7th Viscount Gort, deemed to be of national importance and placed into conditional exemption upon his death)Exhibited:Kenwood, Iveagh Bequest, The French Taste in English Painting during the first half of the 18th century, Summer 1968, no. 35.Literature:A Description of Vaux-Hall Gardens, London, 1762, p. 30, no. 6.The Ambulator, or the Stranger's Companion in a Tour Round London...comprehending Catalogues of the Pictures by Eminent Artists, London, 1782, p. 200, no. 6.R. Edwards, An Attribution to Highmore, Burlington Magazine, XCI, July 1949, p. 206.L. Gowing, Hogarth, Hayman and the Vauxhall Decorations, Burlington Magazine, XCV, January 1953, pp. 9-11, fig. 6 (detail).R. Edwards, Hayman or Gravelot?, Burlington Magazine, XCV, April 1953, p. 142.D. Fitzgerald, Gravelot and his influence on English Furniture, Apollo, XC, August 1969, p. 141.J. Hayes, The Landscape Paintings of Thomas Gainsborough, A Critical Text and Catalogue Raisonné, I, London, 1982, p. 33-34, pl. 33.B. Allen, Francis Hayman and the Supper-Box Paintings for Vauxhall Gardens, The Rococo in England: A Symposium, C. Hind (ed.), London, 1986, pp. 130-131.B. Allen, Francis Hayman, 1987, p. 180, no. 176.D. Coke and A. Borg, Vauxhall Gardens: A History, New Haven and London, 2011, pp. 103 and 365, no. 6, fig. 85.This picture is one of about fifteen surviving decorations for the 'arbours' or supper boxes that adorned Jonathan Tyers' pleasure gardens at Vauxhall. Situated just south of the Thames, the gardens were a highly fashionable destination for London's beau monde. With the help of some of the most creative avant-garde artists of his time, Tyers turned Vauxhall into the favourite haunt of elegant London society; a place to dine, to socialise and to admire sculptures and paintings in the open air. The original fifty supper boxes surrounded the central quadrangle, called the Grove, and all contained pictures of approximately eight feet across, portraying a variety of light-hearted subjects. Most early documenters ascribe the greater part of the Vauxhall decorations to Francis Hayman and his talented pupils, who worked on the boxes from about 1738 to 1760. Probably among them was the young Thomas Gainsborough (1727- 1788), to whose hand Professor Lawrence Gowing, in his pioneering article on the Vauxhall decorations (Burlington, 1953), tentatively attributes the head of the central, seated youth in the present picture. Hugh Belsey, however, doubts Gainsborough's involvement in this work. Hayman's fellow artists also contributed to a number of his designs and Gowing ascertains that Building Houses with Cards was a collaboration between Hayman and the French engraver, Hubert François Gravelot (1699-1773). This supposition is apparently confirmed by the inscription on a 1743 engraving by Louis Truchy: 'Gravelot Invent F. Hayman Pinxt', which can be found in the collection of the British Museum.Many of the surviving panels are currently kept in important museum collections, seven of which residing in the V&A in London. Most of them were also influenced by decorative French engravings of the 1730s; The See-Saw, currently in the collection of the Tate, was also recorded in an engraving by Truchy. With this first major decorative commission in Tyers' fashionable establishment, Hayman contributed greatly to the spread of French Rococo taste in England. Condition Report: The canvas is lined and on a later stretcher, which provides good support. Some abrasions around the edges from contact with the frame. The paint layer is stable but thin in some areas. UV light reveals scattered patches of retouching, most prominently in the figure in the yellow dress. A layer of surface dirt and discoloured varnish. Condition Report Disclaimer
Lot 44
SIR GODFREY KNELLER (BRITISH 1646 - 1723)PORTRAIT OF LADY GRIFFITHOil on canvas laid to boardSigned and dated 1687 (lower left)126 x 100cm (49½ x 39¼ in.) Condition Report: The painting is covered in surface dirt and a thick layer of discoloured varnish. The board is cradled. Several marks and abrasions. Paint thinning and fine craquelure in various areas with related scattered areas of paint loss, mainly in the lower half. UV light reveals signs of retouching, predominantly in the sitter's dress and around the edges. Condition Report Disclaimer
Lot 50
A BOX CONTAINING ARCHIVE TO A MERCHANT SEAMAN, serving during WW2, to include photos, ID Cards, Port Cards, Clothing book, wages booklets, shoulder board and mess kit knife, fork & spoon, all attributed to a James Anderson, also present is a large Sepia photo in a glazed frame of a Man in formal shirt/uniform dress, details unknown
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