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Click here to subscribeA SAMPLE BEATRIX POTTER 'GREETINGS' DESIGN CHRISTMAS CARD depicting Peter Rabbit and Flopsy Bunny in a snow scene with 'from Beatrix Potter' written below picture as signature. Framed under glass. Inscription verso 'Design for a Christmas card for the Invalid Children's Aid Association'. 14.5cm x 10.5cm. ALSO BESWICK FIGURE 'PETER RABBIT', BP - 3b backstamp, first version, second variation, modelled by Arthur Gredington, issued 1980 - present. 11.4cm high.
A walnut candle stand, first quarter 18th century, the octagonal top with moulded edge above a baluster turned and octagonal tapering stem, on downswept cabriole legs and pad feet, 84cm high, 44cm diameter(repair), and an elm and walnut candle stand, early 18th century and later, the octagonal top with moulded edge above a baluster turned and tapering stem, on three downswept legs with scroll feet, 96cm high, 45cm diameter (repair)
Robert Adam (1728-1792) Two designs for schemes at Osterley Park, one with a central flower spray with two poles supporting urns and swags and with two parrots all within an anthemion border, the other with a central floral spray witin an anthemion band, a band of entwined flowers and a geometric and floral border, Pencil and watercolour, One pricked for transfer, sheet size, 50.7cm x 45.5cm. The second possibly a pole screen banner design. Provenance: Commissioned by Robert and Sarah Child from Robert Adam in 1777 for Osterley Park and thence by descent to the Earls of Ducie. Sarah married in 1791, as her second husband, Thomas Moreton, 3rd Baron Ducie and these drawings have since remained in the Ducie family. These three drawings were part of a folio including botanical and ornithological studies which Sarah Child had collected in the 1790's. Some of the botanical and ornithological studies were by George Raper, a Midshipman on the First Fleet to Australia in 1787, which had been acquired by Sarah through her friendship with her near neighbour Sir Joseph Banks. They were bought in 2005 by the National Library of Australia in a Private Treaty sale organised by Dreweatt Neate. Robert Adam is without question the most important neo-classical architect working in Britain during the second half of the eighteenth century. Following success in Scotland with his brothers in the family practice (succeeding their father William Adam 1689-1748) Robert Adam's international reputation stemmed from his Grand Tour to Italy. The three years he spent there from 1754 to 1757 fired his passion for ancient classical forms and decoration. Adam returned to London rather than his native Edinburgh in order to embark upon a career that revolutionised taste in architecture and interior decoration. His drawings from Italy provided a source of direct inspiration from which a substantial number of commissions from the wealthy and aristrocratic were gained. The importance of Adams work at Osterley Park is signified by its demonstration of Adam's invention of the English 'Etruscan' style that was the product of his matured vision. In his book 'Dictionary of Art' Damie Stillman (I.I37) states that 'The Etruscan dressing room is the finest surviving example of his style, inspired by Piranesi and 'Etruscan' vases, but developed by Adam into the height of elegant, brittle and flat Neo-classical decoration'. The fire screen for which this panel was designed survives in situ at Osterley Park in the Etruscan dressing room. The screen was also made to a design by Adam. It has been suggested that Thomas Chippendale made the screen, however other firms to include Linnell and Ince and Mayhew are known to have executed pieces of furniture for the house. Throughout his career Robert Adam kept copies of the designs he provided his clients. Some of the drawings (notably sketch-designs) are from Adams own hand, others were prepared by the assistants he employed. The drawings were kept together by relatives after Adams death until 1833 when a collection of almost 9000 drawings were bought by the architect Sir John Soane. The collection remains in the museum founded in his house in London. Among the collection at the museum are 35 drawings which relate and cover many aspects of the Etruscan Room at Osterley Park. There are four designs in the museum for the embroidered panel of the screen (Vol.17, No.s 141,142,143, 145). According to the account of Eileen Harris (The Furniture of Robert Adam. 1973. Academy Editions. p.105) the final design from which the screen was embroidered is dated 14 April 1777. As the drawing currently being offered is inscribed with the same date and and has been subsequently re-dated May 1777, this would signify that this was in fact the clients copy and the final drawing from which the screen was embroidered by Mrs Child. These three drawings are of particular importance because they reflect the late stage of Adam's development in the Etrus
Robert Adam (1728-1792) 'Design of a Fire Screen for Mrs Child for the Etruscan Room at Osterly (sic)', Pen, ink and watercolour, Inscribed, dated '1777' lower left and dated 'April 14th 1777, altered the 25th' lower right. On one sheet of paper, the centre section cut out and replaced with a revised design and the whole pricked for transfer to the silk banner, 62cm x 47cm. Provenance: Commissioned by Robert and Sarah Child from Robert Adam in 1777 for Osterley Park and thence by descent to the Earls of Ducie. Sarah married in 1791, as her second husband, Thomas Moreton, 3rd Baron Ducie and these drawings have since remained in the Moreton family. These three drawings were part of a folio including botanical and ornithological studies which Sarah Child had collected in the 1790's. Some of the botanical and ornithological studies were by George Raper, a Midshipman on the First Fleet to Australia in 1787, which had been acquired by Sarah through her friendship with her near neighbour Sir Joseph Banks. They were bought in 2005 by the National Library of Australia in a Private Treaty sale organised by Dreweatt Neate. Robert Adam is without question the most important neo-classical architect working in Britain during the second half of the eighteenth century. Following success in Scotland with his brothers in the family practice (succeeding their father William Adam 1689-1748) Robert Adam's international reputation stemmed from his Grand Tour to Italy. The three years he spent there from 1754 to 1757 fired his passion for ancient classical forms and decoration. Adam returned to London rather than his native Edinburgh in order to embark upon a career that revolutionised taste in architecture and interior decoration. His drawings from Italy provided a source of direct inspiration from which a substantial number of commissions from the wealthy and aristrocratic were gained. The importance of Adam's work at Osterley Park is signified by its demonstration of Adam's invention of the English 'Etruscan' style that was the product of his matured vision. In his book 'Dictionary of Art', Damie Stillman (I.I37) states that 'The Etruscan dressing room is the finest surviving example of his style, inspired by Piranesi and 'Etruscan' vases, but developed by Adam into the height of elegant, brittle and flat Neo-classical decoration'. The fire screen for which this panel was designed survives in situ at Osterley Park in the Etruscan dressing room. The screen was also made to a design by Adam. It has been suggested that Thomas Chippendale made the screen, however other firms to include Linnell and Ince and Mayhew are known to have executed pieces of furniture for the house. Throughout his career Robert Adam kept copies of the designs he provided his clients. Some of the drawings (notably sketch-designs) are from Adam's own hand, others were prepared by the assistants he employed. The drawings were kept together by relatives after Adam's death until 1833 when a collection of almost 9000 drawings were bought by the architect Sir John Soane. The collection remains in the museum founded in his house in London. Among the collection at the museum are 35 drawings which relate and cover many aspects of the Etruscan Room at Osterley Park. There are four designs in the museum for the embroidered panel of the screen (Vol.17, No.s 141,142,143, 145). According to the account of Eileen Harris (The Furniture of Robert Adam. 1973. Academy Editions. p.105) the final design from which the screen was embroidered is dated 14 April 1777. As the drawing currently being offered is inscribed with the same date and and has been subsequently re-dated May 1777, this would signify that this was in fact the clients copy and the final drawing from which the screen was embroidered by Mrs Child. These three drawings are of particular importance because they reflect the late stage of Adam's development in the Etruscan style. The drawing for the screen also allows us to trace t
A lacquered brass four-draw telescope and folding tripod stand, early 19th century, with polished mahogany grip and signed Dollond London to the final draw, 72.5cm long extended, with folding tripod stand, each housed in cylindrical shagreen carrying case; and a First World War pocket compass in a leather case, (2).
A rosewood cased two-day marine chronometer Barraud, London, circa 1845 The four-pillar single fusee movement with Harrison's maintaining power and Earnshaw type spring detent escapement with auxiliary compensation weight to the split bi-metallic balance, with helical balance spring and diamond end-stone, the 3.75 inch circular silvered Roman numeral dial with subsidiary seconds dial, up/down register and signed BARRAUD, 41 CORNHILL, LONDON, MAKER TO THE ROYAL NAVY No. 2840 to centre and with two gilt applied badges and gold spade hands contained behind screw-down bezel and within brass bowl and gimbals with locking lever, in original brass line inlaid and edged three-section box with winding key, 19cm wide. Paul Phillip Barraud (born 1752) worked with his father at first until his death in 1795 after which Barraud turned his attention more towards chronometers. Using the valuable experience gained whilst working on Mudge's timekeepers with W. Howells and G. Jamieson to good effect, he became very successful. After his death in 1820 the business was continued by his sons, taking John Richard Lund into partnership in 1838 who developed the auxiliary compensation balance weight to correct for middle temperature changes. The use of this compensation weight was signified by Barraud by the addition of applied gilt badges on the dial.
A Regency black marble small mantel timepiece James McCabe, London, circa 1820 The circular four-pillar single fusee movement with anchor escapement and screw hold-fast for the lenticular bob pendulum to backplate signed Ja's McCabe, Royal Exchange, London, 2824, the similarly signed and numbered 3.5 inch circular Roman numeral dial with Breguet pattern blued steel hands and engine-turned bezel, in rectangular case with moulded pediment and stepped base, 24.5cm high. James McCabe died in 1811, his business was continued under his name by his sons until 1883. The fact that this clock is signed with the full name and address indicates that it was considered to be a first quality product from the workshop.
A fine inlaid pollard oak quarter chiming eight-day longcase clock with Halifax moon Seddon, Frodsham, circa 1740 The substantial five finned pillar three-train rack and bell striking movement chiming the quarter on six bells, with 12.5 inch brass break-arch dial with ringed winding holes, rosette centred subsidiary seconds dial, calendar aperture and applied shaped silvered nameplate Seddon Frodsm to the wheat-ear border engraved matted centre, within an applied silvered Roman numeral chapter ring with foliate half hour markers and Arabic five minutes and large winged cherub head cast spandrels to angles within a wheat-ear engraved border, the arch with central revolving moon calibrated for the lunar month to equator flanked by dolphin cast mounts beneath conforming engraved border, the break-arch case with moulded cornice and fluted pilasters to hood above shaped-top trunk door with central parquetry star to the book-matched veneers, on conforming plinth base with ogee bracket feet, 234cm high excluding finials. Records relating to the Seddon family of clockmakers from Frodsham, Cheshire first appear in the Parish baptismal entries for the children of Mary Cook and John Seddon (described as a clockmaker by trade) in 1676, followed by the supposed supplying of a turret clock by John Seddon to Poole Hall in 1704. Frodsham Parish records apparently further record a John Seddon complaining of an Edward Cook in 1713. Finally Daniel Seddon, Clockmaker from Frodsham, is recorded as working 1754-85. As the general style of the movement, dial and case coupled with the use of a so-called Halifax moon in the arch (a term coined after John Ogden of Halifax who often used this feature in his clocks during the second quarter of the 18th century) suggest a date of circa 1740, it is probable that this clock was made by a relative (probably the father) of Daniel Seddon.
louis Charles Hippolyte Buhot french School (1815-1865) a pair of bronze cupids each holding a dove and draped in a sash, gazing downwards, on rocaille cast circular plinth base, struck with maker's stamp in capital letters, copper patination (2) 47cm high, plinths 20cm deep note: Buhot began his career at the end of the neo-Classical period of French sculpture as a student of David d'Angers at the École des Beaux-Arts, first exhibiting at the Salon in 1837 and becoming a regular participant in its exhibitions until 1865. His works in bronze are primarily figurative.
The Property of a Lady Sir Thomas Lawrence P.R.A., 1769-1830 study for the head of a man signed with initials and inscribed on a separate label: the sketches have been/done by Sir Thomas Lawrence/about the year 1796 or 98/at my grandfathers house/in Kew, near London/they are done with a paper/match, burnt or singed/at an open fire/the little book is his very/first attempt at drawing/when he was a waiter/at a public house, also inscribed in ink: Dresden 1878 Sophia Pappendick/from Lucy Wharton Dresal (?)xmas/97 pencil and burnt paper stump, on laid paper with partial watermark: L MUNN 18x15cm.; 7x6in. Sophia Pappendick, mentioned on the label, would appear to be a descendant of Mrs Papendick, assistant Keeper of the Wardrobe to Queen Charlotte. Mrs Papendick's journal Court and Private Life in the Time of Queen Charlotte, edited and published by a granddaughter Mrs Vernon Delves Broughton in 1887, mentions the drawings of which this is an example.. In referring to evenings spent at home in the 1790's, she wrote, When we wished to fill up the time with music, I sent for Rodgers; otherwise we read, worked, or had a game at cards. It was during these evenings that Lawrence drew those beautiful drawings in burnt paper pencils. (Court and Private Life in the Time of Queen Charlotte, ed. Mrs Vernon Delves Broughton, 1887, vol 11, p.145) We are grateful to Dr Kenneth Garlick and Peter Bower for their assistance in cataloguing this drawing Provenance Eleanor Brewster; by descent to the mother of the present owner (by 1960)
Anna Alma-Tadema, 1865-1943 eton college chapel signed watercolour with bodycolour 52x36 cm.; 20x14in. Eton College was founded in 1440 and is one of the oldest schools in the country. The south side of the college is dominated by the perpendicular architecture of the college chapel. Building began in 1441 on the chapel, but the original grandiose design was not completed as Edward IV usurped the throne and cut off most of Etons revenues. The present building was intended to be merely the choir of a much larger church. Bishop Waynflete paid for the completion of the Antechapel at the wesern end of the building in 1479. The Chapel is a fine example of fifteenth century Perpendicular Gothic architecture with some of the most remarkable mediaeval wall paintings in Northern Europe. Anna Alma-Tadema was the second eldest daughter of Lawrence Alma-Tadema and his first wife who died when she was only two years old. She inherited her father's talent in capturing detail which also reflects the influence of Dutch painting. Exhibited Royal Academy, 1886, no. 1280 Literature Art Journal, 1886, p. 252; Christopher Newall, Victorian Watercolours, 1987, p. 76
Harold Knight, R.A., 1874-1961 harvesting the sea signed and dated 1900 oil on canvas 135x175cm.; 53x69in. How little do we realise the cost of herring on our breakfast plate! For such realisation it is necessary to experience the relentless battering of an equinoctial gale. In late September and early October, the herring shoal, in its tour around England, passes the Yorkshire coast. It is then that a fleet of Herring Cobbles, caught unaware in the North Sea, has short shrift to get back to shore through the white water breaking on the reefs, whose shallows run further than the horizon line. A (wildified) place is Steers as the locals called Staithes. (Laura Knight, The Magic of Line, 1965, p. 107) In 1895 Laura Johnson and her future husband Harold Knight visited the rugged Yorkshire coastal town of Staithes and were truly captivated by the landscape and its people. After their return to London Laura and Harold discussed the prospect of moving permanently to Staithes and after marrying in 1903 they resided there for fourteen years. The previously unremarkable town of Staithes had been popular with artists since the 1880s. It had attracted painters from the Midlands and the North who wanted to paint similar subjects to those favoured by the plein air painters in Newlyn. Laura summed up the freedom offered by this little town, As long as I can remember I wanted to run wild in a broader life, away from factories, miles from houses in rows, dressed-up shops and the gentility of town where no one knows what their neighbour enjoys or endures. Here in Staithes we share each others joys and sorrows. (Caroline Fox, Dame Laura Knight, 1988, p. 12) Following the precedent of the Barbizon and Hague School of painters, artists in Staithes sought to paint the everyday life of the working class residents. Harold and Laura both developed a great admiration and fascination with the hardiness of the fisher-folk of whom Laura wrote the majority of its people, both man and woman, dedicated to toil of the hardest as they were, and knowing tragedy at first hand. (ibid Knight, p. 107). They believed the fishermen to be the descendants of a Viking race whose ship foundered on the shores and never left, a belief augmented by the sight of one particular example; a majestic figure Ð six foot tall or more, his shoulders and chest enormous, his features aquiline, his pointed beard red; his eyes are the sort of blue that has a special look Ð a sea-eye look one used for big distances Ð his skin is bronzed by the sun and toughened by wind and salt water. (ibid Knight, p. 109) These mortal Poseidons were the models for the small number of dramatic pictures painted by Harold to convey the brutality of the sea and the strenuous courage of the men who worked upon the herring cobbles. Another of these men was Argy (Isaac) Verrill who the Knights befriended and were permitted to accompany to sea in his old cobble. They would often sit around his fireside eating Herring toasted by his daughter Anna-Margaret and listen to his stories of near-death and to his mighty singing voice. It is likely that Argy posed for the present picture and one or more of the other figures, is probably another fisherman friend Mattie Theaker or John Jones. The present view captures the toughness of the Staithes fishermen and the strenuous work as they toil against the ocean. They are dressed in the clothes that Laura described thus; Bleached by weather and sea-water are the garments worn by both women and men. As for the mens trousers Ð never was such a variety of colour found as in the numberless patches. (ibid Knight, p. 109). The pictures painted by Harold Knight in Staithes are rare although several were exhibited at the Royal Academy between 1900 and 1904, including The Last Coble of 1900, Evening, Staithes of 1901 and Unloading Herrings, Scarborough of 1902. A small picture of a similar subject entitled Staithes Pier was sold in these rooms, 9 November 1988, lot 4. By 1905 K
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