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Click here to subscribeGeorge Vernon Stokes (British, 1873-1954) Study of a black Labrador and a mallard, the dog eagerly watching as the bird glides away from the surface of a stream, leaving a small rippling dimple in its wake, hand coloured etching, limited edition 48/75, pencil signed to the margin, 23 x 30 cm
AFTER OLLIE JAMES "River serenade I", limited edition colour print, together with AFTER ROLF HARRIS "Early light", colour print No'd. 124/275, together with a framed and glazed front page of "Girl" magazine, AFTER C. VOLKMAR "On the upper Raritan", a black and white etching and a framed and glazed newspaper clipping
Cinema - Pay Box removed from Savoy cinema, Petersfield built in 1935. The main glass panel has a strong Art Deco design achieved by the skill of acid etching & hand engraving. The Pay Box display above is supported either side by a pair of plaster pilaster columns. Together with a pair of original cashiers chairs.
Bernard Leach CBE (1887-1979)A balauster vase with dark green ground. 26cm tallA pioneer of modernist ceramics Leach was born in Hong Kong and originally studied painting and etching in London. Turning to pottery he spent many years in Korea and Japan. He set up a pottery studio in St.Ives with renowned Japanese potter Shoji Hamada. Leach succeeded in abolishing the barrier between “art” and “craft”, in creating a successful blend of modernist abstract design and traditional techniques.
**A NORTH EUROPEAN PARTISAN, LATE 17TH CENTURY AND A LUGGED SPEAR IN 15TH CENTURY STYLE, 19TH CENTURY the first with tapering central blade, a pair of shaped basal lugs, retaining some etching including a pair of cannon at the base (the upper portion now largely obscured) faceted socket with moulded collars a pair of long straps, wooden haft; the second with leaf-shaped central blade formed with a medial ridge, a pair of right angular flat basal lugs each engraved with zig-zag lines, pellets and crosses, tapering faceted socket, wooden haft with iron shoe the first: 21.8 cm; 8 ½ in head the second: 38.7 cm; 15 ¼ in head (2) Provenance The first: Max Williams, New York, sold Anderson Galleries, New York, 7 March 1928, lot 70 The second: Angelo Peyron, Florence, sold Savoy Art Galleries, New York, 4 November 1954, part of lot 37 JWHA Inv. Nos. 488, 3065
**A COMPOSITE CAP-A-PIE FIELD ARMOUR, NORTH ITALIAN, LATE 16TH TO EARLY 17TH CENTURY comprising close helmet of cuirassier's type with rounded skull formed in two halves joined along the crest of a low medial comb (bruised and cracked towards its rear) and fitted at the nape with a plume-holder (replaced), peak, face-defence and bevor attached to it by plain common pivots (replaced), the peak of narrow rounded form, the near-vertical face-defence cut at its upper edge with a pair of broad shallow notches serving as vision-slits, and at each side of the front with five vertical ventilation-slots, the face defence and bevor each secured at the right by a pierced stud and swivel-hook (replaced), and the lower edges of the skull and bevor (that of the skull patched at its centre) flanged outwards in each case to receive a pair of rounded gorget-plates (associated); collar of one deep lame front and rear, in each case flanged upwards at the neck-opening to receive at least one additional lame; breastplate formed of a main plate of deep 'peascod' fashion fitted at its arm-openings with moveable gussets (associated) and flanged outwards at its lower edge (cracked) to receive a fauld of one centrally-divided lame (associated) and fitted at each side with a turning-pin and hooked stud to attach a knee-length tasset of eight lames terminating in a winged poleyn of four lames; backplate formed in one piece with broad shallow neck-openings and flanged outwards at its lower edge to receive a deep detachable culet of three lames (restored, the lowest disarticulate at its left end); large symmetrical pauldrons each formed of seven lames of which the lowest four protect only over the outside of the arm (all those of the right and the lowest two of the left associated and reworked to fit their present context), and the lowest pierced at its centre with a rectangular slot to attach by means of a projecting turning-pin a fully articulated vambrace fitted at its upper end with a turner of one lame and at its elbow with a winged bracelet couter of three lames (restored); fingered gauntlets each formed of a moderately long flared and round-ended cuff closed at the inside by a riveted join and fitted at the outside with four metacarpal-plates (all associated, one of the right disarticulated at its upper end); and a pair of full-length tubular greaves (restored) each articulated once at the ankle and terminating in an integral square-toed sabaton of eight lames; the main edges of the armour formed with file-roped inward turns and its surfaces decorated with etching on a blackened ground, that of the cuirass consisting of alternating bands of foliate interlace and trophies, the former involving oval cartouches occupied by armoured warriors of the 16th century, and that of the remainder consisting of bands and borders of trophies enclosed by projecting filigree-like volutes interrupted at intervals by trefoils (the armour lightly patinated overall); together with a piece of late 16th century mail later cut and shaped to form a codpiece See note at front of catalogue for information concerning stands Provenance Purportedly Prince Eugene Manice of Savoy-Carignan, Count of Soisson Fechtenback Collection, Schloss zu Laudenbach, sold Cologne 1889, lot 102 K. Schaefer, Munich, 17 April 1930 Julius Böhler, Munich, 20 May 1930 JWHA Inv. No. 1148 Literature Hans Schedelmann, 'Der Waffensammler', Waffen- und Kostümkunde, Vol. 6, 1964, pt.1, pp. 56-7, fig.19 (wrongly recorded among fake armours)
Victor Pasmore (1908 - 1998) Pulse. Abstract etching and aquatint. No. 72/90. Monogrammed in pencil and dated (19)86. Framed. 79cm x 184cm Condition - a large vertical crease running from top to bottom on the right hand side, minor marks, a couple of bugs pressed between the paper and the perspex. Minor discolouration but overall good colour. No tears nor any holes/repairs.
‡PATRICK LAMBERT LARKING (1907-1981) The Accordion Player pencil signed in margin (lower right) etching Pl. 8 x 6in (20.3 x 15.2cm); Sold with one other etching by Larking depicting a figure seated in a chair; an etching by Jane Michaelis titled ‘Night Hunter’; and an etching by another hand depicting a street corner by moonlight; four (4)
A late 19th Century photogravure - "Spring", after Sir Lawrence Alma Tadema, published by the Berlin Photographic Company, No. 2429, unframed; together with a large-plate etching - "Youth - Yacht Racing - Rounding The Buoy", by Victor Focillon after Charles Napier Hemy, published by Frost & Reed, 1905. (2)
Les Biggs, Ostrich (1991) etching, edition: 4 of 50, signed,framed, 54 x 42 cm (framed size),On show at the Curwen Gallery. Directors Comments: We discovered this pair when we were sorting through our unframed prints recently. We liked them so much we decided to frame them up for the auction. My staff, Natalie and Robin, like them both immensely.
Les Biggs, Hornbill (1991) etching,edition: 4 of 50,signed,framed,54 x 42 cm (framed size),On show at the Curwen Gallery. Directors Comments: We discovered this pair when we were sorting through our unframed prints recently. We liked them so much we decided to frame them up for the auction. My staff, Natalie and Robin, like them both immensely.
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