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Lot 420
A CHINESE BLUE AND WHITE BOTTLE VASE in the Ming style, the globular body painted to simulate "heaping and piling" with a principal band of lotus and leafy tendrils enclosed by formalised and panelled borders, the neck with upright plantation leaves rising from a key pattern band and the flared neck with wave scrolls, the base with a Qianlong seal mark and of the period, 143/4" high. (drilled). Provenance: Private Collection, West Dorset. According to the vendor this vase was probably acquired by her great-grandfather, whilst travelling in the Far East. The family moved from Scotland to west Hertfordshire during the first half of the 20th century and for the last 40 years it has been used as a table lamp in the south west London home of the vendor’s Great Aunt. The base of the vase bears an old paper label inscribed in pen "No. 7. Pair blue and white bottles, 14/dollars ... Chienlung 1736-1796".
Lot 536
AFTER FRANCESCO RIGHETTI: A GILT BRONZE BUST AFTER THE ANTIQUE OF ACHILLES wearing a helmet decorated with griffins, leopards and a sphinx, with a large flowing mane, cast to the reverse with the first stanza of Homers Iliad and an aphorism by Horace, bearing the inscription "Fonderia Di F. Righetti MDCCCXXI" 341/2" high, on an associated white marble column bearing the inscription in Greek "Achilles, Tragic Man, The Hero, "1821", 485/8". Provenance: In the Alexandros Arghyrou family since 1946.
Lot 367
Winston McQuoid (British, b.1909, exh.1936) Landscape with Water oil on board 32 x 60cm Provenance: Jim Ede, Kettles Yard, Cambridge, 1964 John Blackburn Acquired by gift from the estate of Dr. P. Crawford Winston McQuoid was born in Glasgow. He attended art schools in Belfast, Nantwich and London. His first solo show was held in Belfast in 1924, when he was only 14. A well-known portrait artist from the 1930s (his sitters included Osbert Sitwell, Lady Cunard and Sir Edward Marsh) he developed a lifelong admiration for the oils of John Constable. In 1969 he moved to Ireland.
Lot 56
Large collection of British and Commonwealth Regimental cap badges and insignia, including Queen's Own Hussars, Artists Rifles, North Stafford, Fife and Forfar Yeomanry, Royal Berkshire, Manchester, The Welsh, Royal Scots Greys, The West Riding, 3rd (Auck) Regiment N.Z.Infantry, Notts & Derby, First Northamptonshire Yeomanry, Scottish Horse, The Cambridgeshire Regt., Inniskilling Fusiliers, South Lancashire, Border Cumberland & Westmorland Regiment and Leicestershire
Lot 539
Collection of angler's guides and catalogues, comprising Hardys 55th and 58th editions and further Hardys guide; The Jock Hardy-Scott Spinning Outfit; five Alex Martin guides 1950, 51, 52, 53, 54/55; Fifty Popular Flies first series and Vol 4; Hills and Vales of Tweed and Clyde by Gilbert Rae; and eight other guides including Trout Spinners Companion by T K Wilson (21)
Lot 653
Lucy Kemp-Welch RI ROI RBA RBS (British 1869-1958) The Newborn Calves oil on canvas, signed 23cm x 30.5 cm Note: Widely accepted as one of Britain's finest animal painters. First exhibited work while only 14 years old. Studied under Herkomer. Regularly exhibited at the Royal Academy. Paris Salon, RI etc. Elected first President of the Society of Animal Painters. Her masterpiece "Colt Hunting in the New Forest" was purchased for the nation by the Chantrey Bequest in 1897 for 500 guineas and hangs on permanent display at The Tate Gallery. She is perhaps most widely remembered internationally as the illustrator of Dent's definitive 1915 edition of Black Beauty. In private & museum collections throughout Britain and around the world.
Lot 865
A Pair of Ormolu Mounted Blue John Pedestal Campana Urns and Covers, probably first half of 19th century, the slightly domed covers with seeded bud finials within collars of key pattern over a mineral inset band, over a pierced guilloche rim and grooved angular shoulder handles with ram mask terminals, the mineral bodies each with triple deep amethyst horizontal inclusions, on single knopped stem with circular foot, resting on socle with blue john inset, laurel leaf collar and square base, 29.5cm high
Lot 1833
1930 Ford Model A, drop-head four door saloon, 3236cc, 4 cylinder, unregistered, no chassis number or V5 available See illustration The Model A was the second huge success for the Ford Motor Company after its predecessor, the Model T. It was first produced in October 1927 using a standard set of driver controls with conventional brake and clutch pedals, throttle and gearshift. This car has been professionally restored with grey paintwork. However, some parts are needed to complete the project.
Lot 95
"King of Prussia", dated 1757: A Transfer Printed First Period Worcester Small Bell Form Mug, circa 1760, ridged and grooved handle, printed with King, trophies and Fame, 8.6cm [c.56] See illustration The print of battle trophies incorporates the Richard Holdship rebus and anchor and the battle honours of "Reisberg, Prague, Collin, Welham, Rosbach, Breslan, Neumark, Lissa and Breslan (bis)".
Lot 96
Classical Ruins: A Transfer Printed First Period Worcester Hexagonal Teapot Stand, circa 1760, with fluted everted rim enclosing a view of classical ruins, a coliseum-like building seen between a temple and tree beneath which stands a solitary figure, 15.1cm [no corresponding number] See illustration
Lot 97
"King of Prussia" 1757: A Transfer Printed First Period Worcester Cylindrical Mug, circa 1760, printed with Fame, battle trophies and the titled King, ridged handle, "RH" and anchor rebus for Richard Holdship, 8.5cm [c.31 and 56] See illustration See Lot 100, where the battle honours for "Welham" are here replaced by "Russians".
Lot 100
"King of Prussia" 1757: A Transfer Printed First Period Worcester Bell Shaped Mug, circa 1760, printed with another variant of lots items 2 and 5, here with a cherub descending with laurels, Fame and battle honours as in lot 97, "RH" and anchor rebus for Richard Holdship, 12cm [c.56] See illustration
Lot 101
Classical Ruins: A Transfer Printed First Period Worcester Teapot and Cover, circa 1760, of barrel form, one side printed with two figures strolling over a two-arched bridge, the sea beyond, the other side with a lady and two gentlemen Grand Tourists beside a shore-side temple complex including a classical ruin, 12.2cm [no Cook number equivalent] See illustration
Lot 107
"Shakespeare between Tragedy and Comedy": A Rare Transfer Printed First Period Worcester Cylindrical Pint Mug, circa 1760, decorated with the Scheemakers monument to the Bard flanked (as in the Joshua Reynolds portrait of Garrick) by the tragic and comic muses, grooved strap handle, 15.5cm [c.98 and 111] See illustration
Lot 274
Studio Pottery Reference Books Birks (Tony) & Digby (Cornelia Wingfield) Bernard Leach, Hamada & Their Circle, 1990, 4to., first edition, presentation copy from the authors to Michael & Xandra Webb (M.W. having written the intro.), dust wrapper; Digby (George Wingfield) The Work of the Modern Potter in England, 1952, first edition, presentation copy to Michael and Xandra Webb from George and Nelly Wingfield Digby, dust wrapper; Pleydell-Bouverie (Katharine) A Potter's Life 1895-1985, 1986, first edition, inscribed by George and Nelly Wingfield Digby, card wraps; with twenty related volumes (23) See illustration
Lot 307
An Enamel and Gemstone Set "Dearest" Bracelet, a curb link chain is linked at intervals by floral motifs, enamelled in white with blue detail, and each flower is set with a gemstone centre, the first a diamond, then an emerald, an amethyst, a ruby, a second emerald, a sapphire and a topaz, bearing the message "DEAREST", length 17.3cm plus safety chain. See illustration.
Lot 1154
Dr. William Crotch (1775-1847) "Parson's Green near Fulham, Middlesex" Inscribed on an exhibition label verso with the artist's name, his dates, the title of the work, also dated "June 18th 1812-8am", charcoal and wash, also possibly some stumpwork on tinted paper, 12cm by 16.5cm; together with John Callow (1822-1878) Hollington Church, Sussex Watercolour, 17cm by 12.5cm (2) Provenance: With the Fine Art Society Ltd, 148 New Bond Street, London W1, first example-stock no. 8810, June 1968, second example-stock no. 9071, September 1969 Performing in London on the organ and piano at the age of 4 and was famous as "the musical child". By 11 he was studying music in Cambridge, two years later he settled in Oxford where he met J.B. Malchair. Appointed organist of Christchurch in 1790 until circa 1807. In 1797 he became a professor of music, moving to London circa 1810 becoming the first principal of the Royal Academy of Music.
Lot 1265
Joseph Pighills (1902-1984) "Mountain Landscape from Birker Fell" Signed "Pighills", also inscribed on the artist's original label verso with the title of the work and the artist's address, and date "1973", pencil and watercolour, 36cmby 53.5cm; together with "Moorland" Signed and dated "47" (1947), pencil and watercolour, 24.5cm by 35.5cm (2) The first example was exhibited at the Bradford Arts Club in 1973 and is marked NFS
Lot 1284
George Weatherill (1810-1890) Whitby Harbour with Fishing Boats in the Foreground, Cottages, St Mary's Church and the Abbey in the distance Indistinctly signed, pencil and watercolour with scratching out, 10cm by 17cm; together with "Valley of the Eske, Yorkshire" Signed and inscribed on a partial piece of the original mount attached to the reverse, pencil and watercolour, 10.5cm by 17.5cm (2) Provenance (first example): With Whitby Galleries, Walker's Antiques Ltd, 40 Flowergate, Whitby, Yorkshire See illustration
Lot 1305
Circle of Francis Cotes (18th century) Portrait of a Fashionable Lady, half length, wearing blue and cream satin dress Oil on canvas, 65cm by 52cm The artist was apprenticed to George Knapton in the early 1740's, at first only using crayons and began using pastels in 1747, possibly being taught oil painting by Knapton. His early rococo style was modified by the example of Liotard who was in London in 1753-1756 and he learned from the patterns of Ramsey and Reynolds. He was the most fashionable portrait painter after Reynolds and Gainsborough, his death preventing him becoming a serious rival to Reynolds. See illustration
Lot 1309
Attributed to Jonathan Richardson Snr (c.1665-1745) Portrait of Thomas Boothby Esq., First Master of the Quorn, of Tooley Park, Leicestershire, standing, three quarter length holding a shotgun, his two sporting dogs by his side Extensively inscribed on an exhibition label verso, also inscribed on a later label giving details of what was written on the reverse of the original canvas, also inscribed "J. Richardson Pinx", oil on canvas, 127cm by 102cm Exhibited at the Leicester Museum and Art Gallery, "Sport in the Midlands Exhibition" Born London 1664/5 and died May 1745, a pupil of Charles Ruben Ryley (Riley) and his heir. He helped to found the 1711 Academy and was a rival of Sir Godfrey Kneller and Michael Dahl. His writings, especially the "Theory of Painting" of 1715 and, in collaboration with his son, "The Account of the Works of Art the Grand Tourist should see in Italy" 1722 were immensely influential. See illustration
Lot 1342
Harry (Henry) James Sticks (1867-1938) Summer River Landscape with Silver Birch Trees beside a Path in the Foreground, mountains in the distance Signed, oil on canvas, 30.5cm by 46.5cm Born in Newcastle, taught by his father and uncle and practised as an artist in Northumberland. In 1894 began to exhibit his work outside Northumberland and a year later staged his first one man show at the gallery in "The Side Newcastle". He made one visit abroad in 1897.
Lot 1382
Attributed to Thomas Spencer (1700-1763) Groom and Jockey with a Racehorse in a Wooded Landscape, a lake and buildings in the distance Oil on canvas, 88cm by 138.5cm Little is known of Spencer's life, Shaw Sparrow suggests he was a pupil of James Seymour, worked for the same publisher "J. Cherry" 1740-1746 contributed 33 racehorse portraits which were engraved by H. Roberts and published during these years. He first made a name for himself painting portraits and miniatures on enamel. For extensive biographical details see page 412 of Sally Mitchell's "The Dictionary of British Equestrian Artists". See illustration
Lot 1397
Margaret Barrett (b.1939) "The Champion Hurdle, Cheltenham, 17th March 1998, won by Istabraq, ridden by Charlie Swan, the First of Three Consecutive Wins by the Horse and Jockey" Signed, also inscribed with the title of the work on a plaque attached to the frame, oil on canvas, 45.5cm by 61cm The artist was born at Walton-on-the-Hill, Surrey. Educated at Portsmouth High School, Portsmouth College of Art and Leicester College of Art. Most of her work is horse portraiture, but she also paints hunting, racing and driving scenes.
Lot 1482
James William Booth R.Cam.A. (1867-1953) Study of a Small Terrier, seated upon a wooden kennel Oil on canvas board, 24cm by 16.5cm, unframed; together with Farmer and Shire Horses Ploughing on a Sunlit Hillside Oil on panel, 16.5cm by 25cm, unframed (2) Provenance: see lots 1286-1289 The first example is said to be the artist's dog and was portrayed at the artist's home at Scalby, Scarborough
Lot 9
American School (c.1910) A starboard profile of the Dominion Line's passenger-cargo ship S.S. Norseman steaming in a calm sea under pilot Signed 'W. Pearson' (lower left) Watercolour 12 x 18in. (30.5 x 46cm.) Framed and glazed. Built by Harland & Wolff for the Hamburg-America Line and launched 27th November 1897 with the name Brasilia, she was re-named Norseman when acquired by the Dominion Line in 1900. Re-fitted as a steerage/freight ship for the North Atlantic service, this refit also increased the number of masts from two to four as seen in this picture. Her first voyage however was as a Boer War troop transport. Chartered by the Aberdeen Line from 1910, she was torpedoed by U-39 in the Gulf of Salonica but managed to limp to Mudros only to be torpedoed a second time and sank in shallow water where she remained until broken up in 1920.
Lot 17
A pair of 19th century glass silhouette pictures entitled H.M.S. Polyphemus and View of H.M.S. "Alcmene". Capt. Sutton., each - 9 x 11½in. (23 x 29cm.); together with another entitled Nelson's First Lesson - 13 x 9½in. (33 x 24cm.) Framed. (3) Polyphemus was a Third Rate of 64-guns, built in Sheerness 1782 and broken up 1827 at Chatham having served at Copenhagen (1801), Egypt (1801), Trafalgar (ninth from the head of Collingwood's lee van) and Buenos Aires, (1807); Alcmene was 32-gun 5th Rate frigate, captured as a prize 1779 and sold in 1784.
Lot 19
A technical profile bound manuscript of the First Class barbette "Majestic" class battleship H.M.S. Hannibal, 1896 comprising ten double pull-out leaves, the first with a full list of specifications, the remaining nine technical ink and watercolour drawings of profile and deck views, hull shapes and details of boilers and ammunition chambers etc., bound with quarter calf marbled boards with title label 6½ x 9¼in. (16.5 x 23.5cm.) One of the ten "Majestic" class First Class battleships - the largest ever built at 14,900 tons, Hannibal was launched on 28th April 1896 at Pembroke Dock. She mounted 4-12in., 12-6in. and 18-12pdr guns and measured overall 421 feet with a 75 foot beam. Her reciprocating engines could produce 16 knots under normal conditions and also powered electrical hoists and lamps throughout. Crewed by a complement of 672, Hannibal never saw action and was sold from the service in 1920. The volume offered here may have been a naval architect's student piece, or possibly produced on board by a talented midshipman to supplement his log. The drawings are of a very high standard and remain in exceptionally good condition.
Lot 20
An historically important plaque to Lord Nelson, believed to be the first memorial placed on the spot he fell shortly after the Battle of Trafalgar comprising a 6in. brass roundel stamped twice from opposing views with inscription reading HERE / NELSON / FELL and dated over central securing bolt OCT 21 / 1805, set within an ornately carved oak surround of laurels inscribed with the 'England Expects..' signal over crossed swords and surmounted by the naval crown with brass suspension loop to top, now mounted in a glazed display case with brass plate. The carved surround 14½ x 11in. (37 x 28cm.); the case 22 x 18in. (56 x 46cm.) After the battle, Victory limped into Gibraltar under jury rig and towed by H.M.S. Neptune where she became an instant tourist attraction. Captain Hardy found himself busy showing a constant succession of curious dignitaries over the ship and perhaps giving the more important ones a souvenir from the Great Cabin. One of the essential sights must have been the spot where England's greatest hero fell and it seems probable that he asked the ship's carpenter to sort out an appropriate marker. The hastily constructed nature of this lot - a simple inscription with punched letters rather than fine engraving, bolted with a single central pin - is precisely what one would expect a sailor to make utilising materials to hand on board. Letter punches were used to mark many items of ship equipment and these characters are also understood to compare with other stamped items from the period. Literature: Heapy, M: "The First Memories to Lord Nelson", for The Kedge Anchor, 18 March 2007, p.24
Lot 34
The hygrometer from U-9, the submarine responsible for the sinking of H.M. Cruisers Aboukir, Hogue and Cressy on 22nd September, 1914 with 4¾in. silvered dial calibrated between 0-100%, inscribed Procente der relativen Feuchtigkeit der Luft and signed Maschinenfabrik "Westfalia" Aktien-Gesellschaft,Gelsenkirchen, with blued steel indicator needle, sealed behind bevelled glass and set within a brass case with perforated sides and hole for bulkhead securing 5¾in. (15cm.) diameter overall. One of the First World War's earliest and most controversial tragedies, the sinking of three elderly lone cruisers in circumstances that were a combination of arrogance, incompetence and bravado provided an early wake-up call for a complacent Admiralty unprepared for the realities of modern total War. The men sent to sea on patrol in these three obsolete cruisers had such a foreboding about their task, they nicknamed themselves "the live bait patrol", in the certain knowledge they would indeed be sunk. Their terrible prophecy unfurled quickly at 6.25am on the fated day when U-9, captained by Otto Weddingen, fired a single torpedo at Aboukir. Settling quickly, the Hogue went to her assistance, only to be struck by a further two torpedoes and sank within 10 minutes. Cressy then paused to lower boats, and although she sighted U-9's periscope and got underway again, it was too late and she was torpedoed twice amidships at 7.20am, foundering in 15 minutes. It was a potent reminder to an Admiralty who expected the world to play by their rules of war and in which submarines had been dismissed as "ungentlemanly". This was to be a very different war and one in which the Royal Navy would have to earn the prestige it had built in peacetime. Had realists headed the Admiralty at the outset of war, nearly 1,500 men may have been spared a grisly fate. As it was, Winston Churchill's skills were honed for his finest hour another world and a different war away. Interestingly, U-9 was the only submarine of her class to survive the war, surrendering on the 26th of November 1918, and was broken up at Morecambe in 1919 where the vendor's father is understood to have been part of the breaking team and to have acquired this souvenir, which tests the air for humidity. Otto Weddigen was not so lucky: Transferred to command of U-29, he was rammed and sunk by H.M.S. Dreadnought on the 18th March 1915 - Dreadnought's only "kill" of the war.
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