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Lot 412
David Jones (British, 1895-1974) Vespers II 1926 - 29 original line engraving 18 x 14 cm Very good impression printed in blue grey ink, as first issued in 1929 for Douglas Cleverdon's edition of Samuel Taylor Coleridges's The Rime of the Ancient Mariner.David Jones's engravings for this work represent the culmination of his career as an engraver and were his last major works in this medium. Blair Hughes- Stanton (British, 1902-1981) "Faith, Hope & Charity" 1956 signed, numbered and titled by the artist in pencil wood engraving 15 x 11.5 cm Very rare wood engravings designed for the Allen Press edition of The Wreck of the Golden Mary by Charles Dickens and Wilkie Collins.
Lot 414
Barnett Freedman (British, 1901-1958) 15 inch Gun Turret, HMS "Repulse", August 1941 signed lower right in the print "Barnett Freedman" lithograph 68 x 94cm This large lithograph is the work of Barnett Freedman who was one of the leading original lithographers of his generation. The Gun Turret print is one of the great lithographs of the 20th Century. It was published by the National Gallery as part of an exhibition of Britain at War. The exhibition was conceived as a series of prints that could be put up in social centres, canteens and the like. Barnett Freedman was one of the first artists to be commissioned by the War Artists Advisory Committee at the start of the Second World War. He was posted to France at the start of the war, staying on as long as possible before being evacuated. He was to return in 1944 to record the setting up of operational harbours in Normandy. In between, his interest was in recording operational methods and he was commissioned to work for the Admiralty, and specifically on HMS Repulse, in July 1941.
Lot 453
Charles Arthur Wheeler (New Zealand, 1880-1977) Gums Trees in the Midday Heat signed lower left "C Wheeler" oil on board 30 x 39cm Charles Arthur Wheeler was born on 4 January 1880 at Dunedin, New Zealand. The family moved to Australia in 1891. Apprenticed in 1895 to C. Troedel & Co. as a lithographic artist, Charles began part-time study next year at the Working Men's College; in 1898 he took drawing classes at night in the National Gallery schools under Frederick McCubbin and in 1905 joined the painting class under L. Bernard Hall. Some five years later Wheeler held his first one-man show. In 1910 the National Art Gallery of New South Wales purchased his painting, 'The Portfolio', and the National Gallery of Victoria acquired 'The Poem'. Wheeler exhibited with the Victorian Artists' Society in 1908-10 and with the Australian Art Association in the 1920s and 1930s. In April 1912 he travelled to London, visiting Paris and the Prado in Madrid to see the work of Velazquez. In the following year he exhibited 'Le Printemps' at the Salon de la Societe des Artistes Francais, Paris, and in 1914 went to the Netherlands. Returning to England before the outbreak of World War I, he enlisted in the 22nd Battalion, Royal Fusiliers. He was awarded the Distinguished Conduct Medal (1916) for his actions at Vimy Ridge, but refused a commission and remained a sergeant. Demobilized in February 1919, Wheeler took a studio at Chelsea and exhibited 'Autumn Afternoon' and 'Golden Hours' at the Royal Academy of Arts, London. Back in Melbourne, he held an exhibition at the Athenaeum Gallery in March 1920.
Lot 471
Geraldine Girvan (British, 20th Century) Studio Table signed lower right "Girvan '97" bodycolour 72 x 102cm Provenance: Chris Beetles Ltd., 8 and 10 Ryder Street, St James's, London, SW1 Exhibited: Geraldine Girvan Exhibition, April 1999, No.14, Chris Beetles Ltd., 8 and 10 Ryder Street, St James's, London, SW1. Geraldine Girvan was trained at Edinburgh College of Art where her first tutor was Elizabeth Blackadder. Geraldine has had a biennial solo exhibition at the Chris Beetles Gallery, London, since 1989 and continues to produce bold and vibrant paintings in a tradition which is fresh and vital and an explosion of colour.
Lot 512
Theodor Baierl (German, 1881-1932) St John the Baptist signed lower right 'Theodor Baierl' oil on panel with cradle stretcher in original Aedicula gilt frame with Renaissance style decoration, and label verso 80 x 39cm Provenance The Reverend Francis Swithinbank, Vicar of Clare, Suffolk, for over 60 years, who obtained the painting from a Fellow Clergyman during a visit to Munich, and subsequent descent within the family after his death in 1962. Exhibited 'Muenchener Kunstausstellung im Glaspalast' Munich Art Exhibition, Crystal Palace, Munich, 1930 (old label on the reverse refers ) Theodor Baierl, prior to the first world war, received regular Church commissions for frescoes or altar paintings including Stations of the Cross. Baierl studied at the Munich Academy under Franz von Stuck and was a patron of the Munich Secession. This painting clearly shows how he was influenced by the Quattrocento - the landscape is painted in the Italianate style and the figure of Saint John is depicted in the traditional Renaissance 'serpentine' form.
Lot 559
Charles Edmund Brock, RI (British, 1870-1938) An Elegant Lady passing two Gentlemen outside a Country House, possibly Anstey Hall, Trumpington signed lower right "Charles E Brock 1904" oil on canvas 74 x 120cm Provenance: Private collection, Dorset We are delighted to have paintings from a private collection in Dorset, all by the Brock brothers, who lived and painted in Cambridge - Charles Edmund Brock, Henry Matthew Brock and Richard Henry Brock. Charles Edmund Brock (1870-1938) was a portrait painter and illustrator. He was born in Holloway, London, and studied at Cambridge, and also under the artist Henry Wiles. He was the eldest of four artist brothers, and he lived in Cambridge and exhibited at the Royal Academy seven times between 1897-1906, and at the Royal Institute in 1908. He contributed to Punch, the Graphic, he illustrated Hood's Comic Poems 1893, Gulliver's Travels in 1894, and other works. Charles Brock obtained his first book commission at the age of 20. He became a very successful illustrator for authors such as Jonathan Swift, William Thackeray, Jane Austen and George Eliot. He is best known for his line work, initially working in the tradition of Hugh Thomson, but he was also a skilled colourist, adapting his work whether for sensitive novels through to soldiers, rustic and horsey stories, and drawing grotesqueries to amuse children in story books. Brock's portrait of John Venn, the mathematician, hangs at Gonville and Caius College, Cambridge. His brothers Henry Matthew and Richard Henry were also artists and all three shared the same studio in the city. The brothers maintained a Cambridge studio filled with various curios, antiques, furniture and a collector's items.
Lot 489
A Fine Pugin Oak Panel boldly carved with an ornamented miter and scrolling banners above crossed keys enriched with gilding & entwined with laurel sprays amidst lavish scrolls of acanthus. Removed in the 1980's from St Mary's Church Derby; Pugin's first church commission designed in 1838, and recovered from a builders yard (with letter to confirm authorisation of removal). 36½ ins x 51 ins (93 cms x 130 cms)
Lot 60
Dr Neal-Good King Wenceslas, pictured by Arthur Gaskin with introduction by William Morris, published Birmingham, Messrs Cornish 13rs & New Street 1895, First Edition book plate for Alfred Armitage Bethune Baker signed and dated from Edith to Alfred Xmas 1894, together with letter from Edith to Alfred
Lot 133
A First Period Worcester scale blue ground mask jug, of baluster shape, enamelled with swags and single flowers in gilt cartouche shaped panels, the handle with puce sprigs, the rims gilt, 18cm h, painted fretted square in underglaze blue, c1775 ++Old filled flat rim chip and a couple of minor nicks to the rim of the mask lip, no 'professional' restoration
Lot 139
A First Period Worcester polychrome coffee cup and tea bowl, enamelled with stylised flowers tied with a gilt ribbon and with two subsidiary sprays with gilt edged puce scale inner border, the tea bowl with stylised flowers beneath a gilt edged lilac trellis border, cup 6cm h, c1770 ++Cup in fine condition, the tea bowl with wear to the enamelled sprig on the interior and the gilding around the rim somewhat rubbed
Lot 140
A First Period Worcester tea bowl and a reeded saucer, both painted in underglaze blue with the Cannonball or Immortelle patterns respectively, saucer 12cm diam, painted script W or open crescent in underglaze blue, c1770 ++Both finely potted thin examples in fine condition, apart from the most minute pinhead sized nick on the inner rim of the bowl
Lot 144
Two First Period Worcester teapots and covers, in the Queen Charlotte and Gilt Queen's patterns, the second with entwined handle, 15 & 18cm h, painted fretted square or crossed swords and 9 in underglaze blue, c1780 ++Queen Charlotte teapot - spout with hairline crack. Flower knop slightly chipped. Queen's teapot - handle broken and glued, flower knop re-stuck into position
Lot 147
Two First Period Worcester globular teapots and covers, one reeded, printed or painted in underglaze blue with a cell diaper border or the Mansfield pattern, 14cm h, painted open crescent in underglaze blue, c1780 ++Reeded teapot - restoration to the flower knop. Mansfield teapot - restoration to the spout
Lot 148
Two First Period Worcester teapots and covers, one of double cone shape, the other globular and reeded, painted or transfer printed in underglaze blue with the Mansfield pattern or a cell diaper border, 11 & 14cm h, painted open crescent in underglaze blue or unmarked, c1770 ++The first with restored flower knop, the second with restored spout and knop
Lot 150
Two First Period Worcester tea bowls and saucers, one painted in Dry Blue and gilt with scattered flowers in gilt dentil rim, the other reeded and painted in underglaze blue with a border pattern, saucers 13 & 12cm diam respectively, painted open crescent in underglaze blue or unmarked; a Staffordshire polychrome tea bowl and saucer with a border of 'rosehips' and a pair of Chelsea-Derby pineapple moulded gilt blue ground coffee cups and saucers, all c1780-c1800 (10) ++The Chelsea Derby coffee cups and saucers cracked or chipped
Lot 151
A First Period Worcester polychrome tea bowl and saucer, enamelled with a famille rose flower spray and scattered sprigs within an undulating red and gold foliate border and entwined ribbon rim edged in black, saucer 12.5cm diam, c1775 Literature: A saucer of this pattern from the Zorensky Collection was sold Bonhams, 16 March 2004, lot 89. ++In fine condition and attractive
Lot 152
A First Period Worcester coffee cup and saucer, transfer printed in bright underglaze blue with The Bandstand pattern, the rims and handle gilt, saucer 12cm diam, printed disguised numeral in underglaze blue, c1780; a Chinese porcelain sparrow beak milk jug, enamelled probably in England with scattered flowers beneath a trailing border, c1780; a Chinese porcelain famille rose ribbed cream jug; an English porcelain plate finely painted with scattered roses in shaped gilt rim, c1820; a yellow ground coffee cup and saucer of London shape, painted spurious SWANSEA mark in red (7) ++Chinese jug with English decoration with short descending hairline crack, the plate with filled rim chip
Lot 153
A First Period Worcester polychrome tea bowl, enamelled in Meissen style with a loose bouquet and scattered flowers and with iron red inner border, 7.5cm diam, c1770; a New Hall slop bowl, enamelled with stylised flowers, painted 195, c1790; two pearlware cabbage leaf moulded jugs, one painted in cobalt, the other transfer printed with Chinese temples, c1800 (4) ++Worcester teabowl - in fine condition. Slop bowl - fine star crack in the base, both pearlware jugs with a chip or flat chip on the edge of the foot, no restoration
Lot 159
A First Period Worcester scale blue ground coffee cup and saucer, enamelled in kakiemon style with chrysanthemum and banded hedge designs in gilt scrolling cartouches, saucer 12cm diam, painted open crescent in underglaze blue, c1770 ++In fine condition with some localised wear to the gilding on the rim of the cup
Lot 173
A Chamberlain Worcester armorial soup plate, the Brunswick blue border moulded in shallow relief with gilt festoons and C scrolls, 25cm diam, c1825; a Chamberlain Worcester gros bleu ground plate or stand, enamelled with a central floral group, possibly by George Davis, 23cm diam, painted Chamberlains Worcester in red script, c1815; a Flight, Barr & Barr crested plate; a Copeland & Garrett armorial plate (4) ++The two Chamberlain plates in good condition with on the reverse of the first some light staining of the slightly crazed glaze. The Flight Barr & Barr and Copeland & Garrett plates cracked or chipped
Lot 199
A pair of English porcelain gilt ground coffee cans, painted with trailing flowers; a pair of Flight, Barr & Barr richly gilt apricot ground coffee cans and a Barr, Flight & Barr coffee can in gilt vermicular pattern, 6-6.5cm h, impressed marks or unmarked, all c1810 (5) ++An attractive group in fine condition. The Worcester examples especially so. The first pair with slight wear to the gilding around the rim but also fine
Lot 200
Four various coffee cans, one painted with an oval landscape in a wide gilt border, one Hicks & Meigh and painted with an oval panel of flowers on a marbled ground [pattern 213], another Charles Bourne, painted with sprigs beneath a trailing border and a Spode can with a Japan pattern, 6-7cm h, all early 19th c ++The first with insignificant minor firing crack. The Hicks & Meigh and Bourne examples with slight wear to the gilding on the rim. An attractive group.
Lot 201
A Minton cobalt ground coffee can and four other contemporary English coffee cans, the first painted with flowers, another with a gold ground border of flowers, the others in Japan or gilt patterns, approximately 6cm h, Minton example with painted mark and 876, all early 19th c ++Minton can in fine condition with light wear to the gilding on the rim. The others in similar condition, the Flight Barr & Barr Japan pattern example with small flat rim chip
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596780 item(s)/page