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Lot 1
Edward Bawden, R.A. (1903-1989) A MURAL DESIGN FOR THE INTERNATIONAL BUILDING SOCIETY CLUB RESTAURANT, PARK LANE 1938, Inscribed 'To Michael Rachlis Esq. from Edward Bawden 4/3/39', pen and ink and grey washes, squared for transfer 26 x 56cm. Michael Rachlis 1905-1953 was a German emigre architect working in Britain before and after the Second World War. Rachlis and the painter John Armstrong worked with Bawden on the murals for this restaurant. The design incorporates many features from around Great Bardfield and Saffron Walden; for instance, the formal garden behind has similarities to the Bridge End Gardens, Saffron Walden. The mural was unfortunately painted over in the 1950's. Bawden designed other murals, among the most famous being 'The English Pub', for the first class lounge of the passenger liner SS Oronsay (11), another for the refreshment room at Morley College, Westminster Bridge Road, 1928, and a screen for the Festival of Britain, 1950.
Lot 1
A Dinky No.504, Foden 14-Ton Tanker, first type cab, red with a fawn tank, fair-playworn condition; a Dinky No.30w, Hindle-Smart Helecs 'British Railways', fair condition; a Dinky No.30r, Fordson Flat Truck, brown with maroon hubs, playworn (lacking tyres); and a further twelve assorted models, generally playworn, all unboxed, (15).
Lot 1
Postcards - Approximately 550 topographical and other postcards, including real photographic views of the High Street, New Romney; the aftermath of a fire at Week Street Congregational Church, Maidstone, 1915; St. Luck's Road, Maidstone (two different); John Street, Maidstone; London Road, Copford; a 'Disasterous Fire at Maidstone', 1916; and the Rebuilding of Chappel Bridge, 1907 (postmarked Colchester); with views of the Station Hotel, Littlestone-on-Sea; the Britannia Fruit Preserving Co's Factory, Tiptree; and Chart Paper Mills; four artist-drawn cards of First World War V.C. heroes; and others, (three albums and loose); together with an early 20th century scrapbook; a collection of carte de visite and other photographs; and a selection of late 19th and early 20th century pictorial guidebooks.
Lot 1
Medals - A First World War Victory Medal, to 11094 Pte J.F. Limerick, Notts & Derby Regt; and a Second World War group comprising Royal Navy Reserves Merchant Fleet to J.114467 (PO. B. 20204) L.E.T. Temporal A.B.R.F.R., 1939-45 Star, Burma Star, Atlantic Star, and War Medal, latter five all lacking ribbons, (6).
Lot 1
Medals - A First World War death plaque to Giles Rooke, with a Second World War Africa Star, War Medal 1939-45 and Defence Medal, framed as one; together with a British War Medal 1914-18 to 95484 Pte C.J.G. Sandford, Liverpool Regiment (polished); a Mercantile Marine Medal 1914-18 and British War Medal 1914-18 to David Clark; and a Victory Medal to FTS 2858 Pte H. Stanley, A.S.C. (polished).
Lot 1
Marine Interest: A Victorian mahogany occasional table, the rounded rectangular top inset with a plaque inscribed 'Constructed of timber from Symingtons Steamer the 'Charlotte Dundas' built in 1801 A Stern wheeler The first steamboat ever applied to practical purposes was used for towing other vessels on the Forth and Clyde canal, on pierced end supports and scrolling downswept feet, 74cm high 54cm wide 35cm deep
Lot 129
FELIKS TOPOLSKI "Samel Topolski's first haircut", pen ink and some crayon, signed and inscribed "To Mr Jones, one of my best English friends, to commemorate the beginning of the second generations entry in this association, London 15.3.1958", also inscribed verso "Samel Topolski, son of Feliks Topolski receiving his first haircut from Benjamin Jones, master barber, proprietor of Laurie Jones, Gentlemans hairdressers of 97 Jermyn Street, London, W.1- this was drawn by Feliks Topolski on the above occasion in 1958, 35 x 24 cm
Lot 1
The Orange Girl, after George Abbott, Minton & Co, 1873, standing holding a basket of oranges under her left arm, offering a single orange in her right hand, impressed "Mintons", year cypher and shape 245; and A Companion Figure, The Crossing Sweep, year cypher for 1876, 25cm high (2) See illustration The Orange Girl was purchased as item 142 The Catalogue of an Exhibition (The Parian Phenomenon) arranged by Richard Dennis, Chelsea Town Hall, December 1984. The Orange Girl is recorded as shape 417 in Jones (Joan) MINTON-The First Two Hundred Years of Design and Production, pg.331. George Abbott (1803-1833) Born in London and trained at the Royal Academy Schools. Modelled amongst others for Samuel Alcock, Coalport, Copeland and Minton.
Lot 1
Lalage, A Part Glazed and Green Tinted Figure, after John Bell, Minton, 1868, the classical maiden sits on a rock clasping her right knee and holding a floral garland, a lizard at her feet, incised title and "John Bell", impressed "Minton" and year cypher, the base with old "Richard Dennis Parian Exhibition 1984" label (no.115), 39.5cm high See illustration This model is illustrated in The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary & Busts, edited by Paul Atterbury, published by Richard Dennis, fig.145. Lalage was shown by Minton at the International Exhibition 1862. This is probably a companion to Miranda. The figure is modelled after a statue commissioned by Lord Fitzwilliam which was exhibited at the 1856 RA. Lalage was one of Horace's mistresses. The marble was exhibited at the London International Exhibition 1862 with the following quotation from Horace (Ode 1.22.23) "Dulce ridentem lalagen amabo, dulce loquentem". This figure is recorded as shape 391 (available in parian, celadon and white, tinted and gilt, Persian turquoise, ivory) in Jones (Joan) MINTON-The First Two Hundred Years of Design and Production, pg.330.
Lot 1
Dorothea, A Green Tinted and Partly Glazed Figure, after John Bell, for Summerly's Art Manufactures, Minton, 1868, seated bare foot on rocks, impressed "Minton", year cypher, applied seal of John Bell and relief diamond lozenge pad mark, also bearing label of exhibition "Richard Dennis Parian Exhibition 1984 (No.151), 32.5cm high See illustration This was shape 189, companion figure to Clorinda. It was available in parian, tinted parian, Persian multi-colours, and was exhibited at The Great Exhibition 1851. See Jones (Joan) MINTON-The First Two Hundred Years of Design and Production, pg. 328. Original life size marble was commissioned in 1838 by Lord Lansdowne and exhibited at the RA in 1839 and 1841. The marble remains at Bowood House. The subject is from Cervante Don Quixote part 1, chapter 29 "They espied a youth dressed like a peasant stooping to bath his lovely feet in a rivulet that ran by …. the lovely maiden looked up on hearing them approach. In doing this so exquisite a face was displayed that Cardemio said to the priest in low voice "since this is not Lucinda, it can be no human creature".
Lot 1
The Prince of Wales, after the painting by Franz Xavier Winterhalter (German, 1806-1873) Minton, circa 1890, with curly hair, his hands thrust deep into his pockets, a knife at his waist, stood on rockwork, 33cm high Prince Albert gave permission for a parian figure to be modelled of the young Prince of Wales in sailor costume, as depicted by Winterhalter in his painting. It was, according to The Illustrated London News in October 1848 "One of the most interesting presentments of the youthful Royal Family yet published". See Jones (Joan) MINTON-The First Two Hundred Years of Design and Production, pg.121 (also illustrated). It is figure number 206. A similar model is illustrated in The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary & Busts, edited by Paul Atterbury, published by Richard Dennis, fig.121. The parian model was engraved in the Illustrated London News 14th October 1848, and was exhibited at the 1849 Birmingham Exhibition and at The Great Exhibition 1851. The painting (in the Royal Collection, Osborne House) was given to Queen Victoria by the Prince Consort in 1846 as a Christmas present. Winterhalter painted a number of portraits of the Royal children in costume.
Lot 1
Amazon, after Jean-Jacques Feuchere, Shape 246, Minton, 1867, energetically modelled as the horse rears and the Amazon aims a spear (now lacking), impressed "Minton" and year cypher, 36cm high A similar example is illustrated in The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary & Busts, edited by Paul Atterbury, published by Richard Dennis, fig.102, where it is described as exhibited by Minton at The Great Exhibition 1851 with its companion figure "Theseus". The group first appeared in a plaster version at the 1843 Paris Salon. Bronze versions are at Cleveland, Ohio and in The Louvre. In Jones (Joan) MINTON-The First Two Hundred Years of Design and Production Amazon is described as available in parian (spear extra), ivory and Persian multi-colours. It was also exhibited at The London Exhibition 1862. Jean-Jacques Feuchere (1807-1852). Born in Paris, studied under Cortot and Ramey, known principally for his architectural studies.
Lot 1
A Bust of Richard Green, after Edwd W Wyon, Minton, published London 1863, looking downwards to sinister, wearing a heavy "Roman" cloak, circular base, impressed "Minton", year cypher for 1864, titled "RICHARD GREEN ESQ EDWD W WYON SCULPTOR LONDON 1863", 27cm high This bust was not given a shape number and does not appear in the Minton figure books, however, examples were produced in limited quantities. See Jones (Joan) MINTON-The First Two Hundred Years of Design and Production, pg.332.
Lot 1
The Vintagers, after A Carrier-Belleuse, Minton, 1869, as two putti carrying a large pale blue tinted parian shell on a seaweed-strewn shaped oval base, impressed "Minton", date cypher, the base with "Richard Dennis Parian Exhibition 1984" label, number 145, 25cm high See illustration A similar group is illustrated in The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary & Busts, edited by Paul Atterbury, published by Richard Dennis, fig.146, pg.90, where it is described as one of several variation of Carrier's labourers group, shape 296. Shown at The London International Exhibition 1862. In the Richard Dennis Exhibition it states "they were also made separately holding baskets". Also see colour illustration at the front of The Parian Phenomenon. This group was also available in parian coloured and gilt, celadon and white, tinted and gilt, Persian turquoise, and was also issued in majolica glazes. See Jones (Joan) MINTON-The First Two Hundred Years of Design and Production, pg.329.
Lot 1
In Books and Work and Healthful Play Let My First Years Be Past, after T Thornycroft, Minton, circa 1880, a massive parian figure of a young school girl, standing, holding a book in her left hand, knitting in her right, bare foot by flowers, on a circular plinth, titled, incised "T Thonycroft Sc", 104cm high; upon a later associated composition stone square section stand, 149cm high overall See illustration For a similar figure see The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary & Busts, edited by Paul Atterbury, published by Richard Dennis, fig.372.
Lot 1
A White and Green Tinted Glazed "The Reader Flower Holder", after Albert Carrier-Belleuse, Minton, circa 1875, as a maiden leaning on a pillar which backs an inverted helmet shape cistern applied with a caryatid and swags of flowers, and classical medallions, on a Greek key pattern edged shaped oval plinth, impressed "Minton", year cypher, and shape number "463", 43cm high See illustration This model is illustrated in The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary & Busts, edited by Paul Atterbury, published by Richard Dennis, fig.412, where it is described as being shown at the Vienna Exhibition 1873. This piece is the "Celadon and White" version, mentioned in Jones (Joan): MINTON-The First Two Hundred Years of Design and Production, Appendix B, pg.331. It was also available in parian, and also tinted and gilt. It was also available with majolica glazes. Albert Ernest Carrier de Belleuse (1824-1887) was a French sculptor and modeller, trained at the Ecole des Beaux-Arts, Paris. He moved to England in 1848 and began to work as a modeller for Minton. In about 1852 replaced Jeannest as modelling instructor at the Stoke and Hanley Schools of Art. He returned to Paris in about 1855 but continued to work for several English manufacturers, including Jackson & Graham, and Coalbrookdale, in addition to his modelling and designing for pottery manufacturers such as Wedgwood, Mayer, and William Brownfield. Between 1864-1871 his studio assistant was Auguste Rodin who also worked with Carrier at Sevres after he was appointed Artistic Director in about 1876. In 1881, and for the next two years, Carrier designed exclusively for Minton.
Lot 1
William Browne , 'Orme' Racehorse in a stable, signed lower left, oil on canvas, 51.5 x 67cm, Orme was bred by the first Duke of Westminster, one of five sired by Ormonde, the Duke's unbeaten Triple Crown winner. Orme was tipped to win the 1892 Two Thousand Guineas, however, he fell ill days before the race of what was almost certainly mercury poisoning and failed to run. The horse made an unbelievable recovery and three months later went on to win the Eclipse Stakes at Sandown and another win at Goodwood. Orme narrowly missed winning the St Leger, however he went on to win four out of five successive races finishing second in his last. In 1899, when he was retired to stud, Orme lead the sire list
Lot 251
Glenmorangie Claret Wood Finish In 1989 eight casks of vintage years between 1976 and 1979, matured in American White Oak then transferred into casks which previously held First Growth Claret from Pauillac, Bordeaux. Bottle number 241. Distilled and bottled by The Glenmorangie Distillery Coy, Tain. In original wooden case. Single malt, 43% volume 1 bottle
Lot 312
Imperial-Guaranteed Over-10 year-old This is a blend of the very finest old Highland Whiskies from a recipe first used in 1860. Blended and bottled by Charles Kinloch & Co. Ltd., London and Edinburgh. Brown pear shaped bottle, stopper cork, embossed lead capsule. Labelling legible, some fraying and small sections missing around edges. Level: 2.5cm from base of capsule 1 bottle
Lot 23
A George I silver pen stand, Isaac Liger London 1719, of waisted form, with moulded rims and incurved corners and raised on four stepped feet, bearing crest to centre, 19 cm wide, weight 9 oz Arthur G Grimwade notes: "19 Septembris 1704. Isaac Liger in Hemming Row in the Parish of St. Martins in the ffields Goldsmith was this present day sworne and Admitted into the ffreedome of the Company of Broderers by Redemption by Order of a Court of Aldermen dated the ffourteenth day of September instant" His first mark was entered 2 October 1704 and the address given as Hemings Row, near St. Martin's Lane and and Heal records him as working at Heming's Row until his death in 1730. Liger's work, from surviving pieces appears to have been relatively small pieces of high quality. His greatest client was undoubtedly the 2nd Earl of Warrington for whom he worked from 1708 throughout his career
Lot 317
Sir Alfred James Munnings PRA, RWS (1878-1959), 'Mrs Rank's Picture - the lawns at Druids Lodge', oil on board, signed, inscribed with title on reverse, 45 cm x 61 cm Provenance: Private collection. Painted in September 1940, this is a view of the lawns at Druids Lodge, Middle Woodford, Wiltshire, owned by Joseph V Rank, the father of Joseph Arthur Rank, later Lord Rank, who was president of the Rank organisation, chairman of Joseph Rank Ltd and Rank Hovis MacDougall. J V Rank owned a string of successful racehorses, including 'Southern Hero', 'Black Speck' and 'Knight's Armour' which were stabled at Druids Lodge. In the summer of 1940, Rank commissioned Munnings to paint his horses, and the artist records that he produced a number of studies and sketches on this visit, including 'Mrs Rank's Picture' which depicts the 'shaded lawn between the stables and the house', a view that he used for the background for the main picture of the horses. In a contemporary letter to his wife, Munnings described Mrs Rank as 'first rate, kind, jolly, and has a mind of her own'. It is not recorded whether Munnings gave this picture to Mrs Rank, if it was part of the commission or if she bought it from him, but as it is inscribed on reverse 'Mrs Rank's Picture', it is possible that he sent it to her after the picture as a 'thank you gift'. The summer of 1940 was exceptional, and Munnings has captured the bright sunlight, contrasted with areas of dark shadow and movement of foliage in a gentle breeze. This tranquil scene gives no indication of the Battle of Britain that raged overhead.
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