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596772 item(s)/page
Lot 1
A late 18th Century oak and mahogany 8 day Longcase Clock, Jno Drumond, the arched hood with swan neck pediment, over freestanding columns to a moulded throat and shaped long trunk door, to a plinth base, the 12” painted first period dial surmounted by a hunter and a hound, to a Roman and Arabic chapter ring, enclosing subsidiaries for seconds and date, with pierced steel hands, to a signed false plate and movement with plates united by four knopped pillars and anchor escapement, strike on a bell, height 78”
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A 17th century joined oak refectory table, possibly North Country, first half 17th century, the single plank top with later cleated ends, above three plain frieze rails with moulded edges and a front frieze rail carved with foliage on columnar ring turned legs, with stretchers, 78cm high, 183cm wide, 71cm deep (original patch to replace a knot to the centre of the top, restored)
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Hallam, Henry - VIEW OF THE STATE OF EUROPE DURING THE MIDDLE AGES, and INTRODUCTION TO THE LITERATURE OF EUROPE, and THE CONSTITUTIONAL HISTORY OF ENGLAND - complete set of ten volumes (3 vols, 4 vols, 3 vols), first edition, seventh edition, and eleventh edition, John Murray, London, 1860, 1864, and 1866, 7.1 by 4.9ins., in pale brown cloth with blindstamps (10).
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Sir Henry Dryden, Bart., 1818-99 - 'OLD COTTAGES AT ALDERMINSTER' (Aldermaston), and A HALF-TIMBERED THATCHED COTTAGE NEAR ALDERMINSTER - a pair, watercolours, 9 by 12.3ins. and 8.4 by 12.3ins., in matching glazed modern gilt frames - the first with old ink-inscribed red-bordered label on reverse (2). The second watercolour appears to be very similar, although not quite so finished, to the work in the Sir Henry Dryden Collection at Northamptonshire Central Library, current accession number DR/39/003, painted on 22 August 1861, notable as being one of Dryden's earliest depictions of a tramway (seen in the foreground).
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Geoffrey Key, Boxers, mixed mediaGeoffrey Key (1941-), Boxers, signed and dated '86, mixed media, 25 x 20cm.; 9.75 x 8in. * He was a member of the Manchester Academy, gaining first prize there in 1971. Key showed at Salford Art Gallery from 1966; Sheffield University and abroad in 1974; other exhibitions including Harris Museum and Art Gallery, Preston, 1983; Blackheath Gallery from 1989 and Barn Gallery, Cheshire, 1991. Public galleries in Salford, Manchester and Bolton hold his work.
Lot 1
John Pawle, Flood Tide - Blakeney, oilJohn Pawle (1915-), "Flood Tide - Blakeney", signed, artists label inscribed on verso, oil on board, 49.5 x 59.5cm.; 19.5 x 23.5in. * Showed in group exhibitions at Leicester Galleries, 1941; New English Art Club, 1957; City of London Art Fair, 1989 and elsewhere. Had a solo show at Dallas Gallery, London, 1981; the first of several with Parkin Gallery, 1983; and James Hunt Baker Gallery, Palm Beach, 1985.
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Arthur H. Knighton Hammond, Azo Shed, Dalton Works, oilArthur Henry Knighton Hammond R.I., R.S.W., R.O.I. (1875-1970), "Azo Shed, Dalton Works", signed, inscribed and dated 1919, oil on canvas, 43.5 x 59cm.; 17 x 23.25in. * The new plant was built in Dalton, on a site further down the River Colne valley to replace the Turnbridge Works, which had produced dyes since 1860. The Dalton Works covered several hundred acres and had units for the production of raw materials such as oleum (fuming sulphuric acid) and nitric acid; intermediates such as benzidine; and azo, alizarine and vat dyes. Some of the first vat dyes were Chloranthrene Blue BD and Chloranthrene Yellow D. This is a subject Arthur Knighton Hammond painted on many occasions and examples can be found in Peter Norris's, "Arthur Henry Knighton-Hammond", Lutterworth Press, 1994.
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Ivan Taylor - Thames barges Pinmill Suffolk - oilIvan Taylor (1946-), "Pinmill, Suffolk - Lowtide", signed, oil on board, 49.5 x 59.5cm.; 19.5 x 23.5in. * Born in Staffordshire Taylor studied Fine Art and Graphics at Burslem and Stafford School of Art. His painting success began very early when pictures were used to raise money for UNICEF after being seen on television. He has been president of the Staffordshire Society of Artists for a number of years. First solo exhibition held in 1972. He has exhibited at the Quantas Gallery London; Manser Callaghan Gallery Shrewsbury and many other private galleries in England Wales and the USA. He is the winner of the Royal Institute Rowland Hilder Award for 2006.
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Ivan Taylor, Bakewell, watercolourIvan Taylor (1946 -), "Bakewell", signed, watercolour over pencil, 33.5 x 51cm.; 13.25 x 20in. * Born in Staffordshire Taylor studied Fine Art and Graphics at Burslem and Stafford School of Art. His painting success began very early when pictures were used to raise money for UNICEF after being seen on television. He has been president of the Staffordshire Society of Artists for a number of years. First solo exhibition held in 1972. He has exhibited at the Quantas Gallery London; Manser Callaghan Gallery Shrewsbury and many other private galleries in England Wales and the USA. Taylor's work has been published in the 'Studio' magazine.
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Ralph Sweeney, Alex Ferguson, pastelRalph Sweeney (1956-), Sir Alex Ferguson with the Champions League trophy, signed and dated 1999, pastel, 50 x 37cm.; 19.75 x 14.5in. * This painting was drawn to commemorate the unique treble achieved by Manchester United in 1999. They became the first English club to gain the 'treble' completed by a stunning victory in the European Cup against Bayern Munich thanks to injury-time goals from Teddy Sheringham and Ole Gunnar Solskjaer.
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Rene Georges Hermann-Paul (1874-1940), herding the bulls and matador, woodcuts (2)Rene Georges Hermann-Paul (1874-1940), 'Herding the bulls' and 'matador' signed and numbered 22/30 and 17/30 in pencil in the margin produced in 1921 from the series Gardians et taureaux woodcuts 18 x 24cm.; 7 x 9.5in (2). * Hermann-Paul was a student at the Academie Julian. He began his career with illustrations in L'Escarmouche Le Courrier Français and Le Cri de Paris. Only after 1890 did he start focusing his attention on black and white and colour lithography with the input of people like Vuillard Bonnard and Toulouse-Lautrec. Much of his work especially his satirical depictions of bourgeois domestic life relates in content and style to that of Vallotton. From his earliest colour lithograph to his later work with the medium and finally his political and social illustrations one can see the development of the artist. In 1895 he concentrated on the design of two monochromatic lithographic series titled La Vie de Monsieur Quelconque and La Vie de Madame Quelconque (The Life of Mr. and Mrs. Anybody). These series were intended as moral critique which remained his métier through the rest of his life. In 1897 he produced his first political cartoons for Le Cri de Paris. This interest made him design such work for anarchist publications until after the end of World War I though he was also active as an illustrator for La Victoire. In this publication he was one of the illustrators trying to keep up the spirits of troops engaged in combat. After 1915 his style became more allusive and barer. Both his woodcuts and his book illustrations after 1915 started reflecting a more crude view on life. In 1931 he executed a series of seven lithographs depicting the Camargue in just a few lines for each design. From Phillip Cate: The Circle of Toulouse-Lautrec and Janine Bailly-Herzberg: Dictionnaire de l'Estampe en France 1830-1950.
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Charles Murray, crucifixion , etchingCharles Murray (1894-1954), Crucifixion, signed in pencil in the margin, with blindstamp, etching, 32 x 16cm.; 12.5 x 6.25in. * Had first one-man show at Leicester Galleries in 1946, another following at Batley Art Gallery in 1950. Memorial exhibition at Temple Newsam House, Leeds, 1955 and an Edinburgh International Festival show at the Merchant Company Hall in 1977. Tate Gallery and Scottish National Gallery of Modern Art hold his work.
Lot 1
C.F. Tunnicliffe, Malcolm Salaman, etchingCharles Frederick Tunnicliffe R.A. (1901-1979), Portrait of Malcolm Salaman, etching, 22.5 x 20cm.; 9 x 8in. * Illustrated in 'Portrait of a Country Artist' by Ian Niall, 1985, page 50. After Tunnicliffe won a scholarship to the Royal College of Art in 1921 he met Malcolm Salaman who was instrumental in arranging the first publication of a portfolio of Tunnicliffe's etchings.
Lot 1
Two 19th century hand-painted creamware jugs, the first with two scenes, one depicting the Iron Bridge over the Wear, cartouche reading 'An east view of the Iron Bridge over the Wear Near Sunderland Town Foundation stone laid by Re Burdon Esqr., M.P. Sept 24th 1793', the second depicting a masonic scene with four classical figures, cartouche reading 'The World is in pain our secrets to gain but still let them wonder...... gaze on they never can divine neither word nor the sign of a free and..... MASON', 19.5cm high, the other jug with a painted floral and coaching scenes, initialled and dated 'W H 1824', 15.5cm high, (spout restored), (2)
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Three 19th century hand-painted Creamware jugs, the first jug with coaching scenes, named and dated 'J. Heath 1827', 15.5cm high, the second painted with an oriental landscape, initialled and dated 'J. K. 1800', 15.5cm high, the third with stylised foliate bands and embossed figures in a landscape, 20cm high, (3), a/f
Lot 1
Three 19th century Staffordshire flat back figural groups, the first of a girl with a rearing sheep and a dog at her feet, 23.5cm high, spill vase group of a figure with two hens and a dog, 23cm high, spill vase group of a man and woman arm-in-arm, modern flat back group of a huntsman and his hound and two Staffordshire lamp bases, (6)
Lot 1
Two Sevres cups and saucers, the first with a cobalt blue ground and decorated with scrolling gilt foliage forms, the second with a light blue ground painted with a panel of cherubs flanking a gilt Sevres mark inside a wreath, with gilt vine decoration to the rim, both with printed marks to base, a Dresden twin-handled cup and cover painted with panels of figures in a landscape setting, Coalport soup bowl and saucer and a Limoges pin dish and cover, (5), a/f
Lot 1
Eight continental porcelain figures, to include a Sitzendorf figure of a lady holding a globe and basket of fruit with a lion at her feet, 19.5cm high, blue painted mark to base, three Volkstedt figures, the first of a lady holding a basket of flowers and a vase at her feet, 15cm high, the second of a lady with a tambourine, 20.5cm high, the third of a lady in robes, each with blue painted mark to base, 20.5cm high, and four other figures, (8), a/f
Lot 1
Eight continental porcelain figures, to include three Volkstedt figures, the first of an artist at her easel, 17.5cm high, the second of a man in a robe holding bunches of grapes and a ewer at his feet, 15cm high, the third of a man in a long coat resting by a plinth, 11cm high, each with blue painted mark to base, a seated figure of a cellist and four other figures, (8), a/f
Lot 1
FIRST REPORT OF THE COMMISSIONERS...WOODS, FORESTS & LAND REVENUES, 1812, bound with reports 2-5, later three quarter red leather, fold out plates a/f, together with a large quantity of other commissioners bound reports, various bindings and conditions, and other items, ex. Office of Woods Library, with stamps. (6 boxes)
Lot 1
FIRST REPORT OF THE COMMISSIONERS OF HIS MAJESTY'S WOODS, FORESTS & LAND REVENUES..., 1812, 3 fold-out hand-coloured plans (2 after John Nash), later three quarter cloth, some off-setting, folio. together with 25 other various reports bound in 10 vols., with hand-coloured fold-out plans, various cloth bindings, folios and large 4to., and 6 other vols. of bound reports, ex. Office of Woods Library, with stamps, etc. (17)
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A Lowestoft polychrome bowl painted with Curtis-style flowers and foliage circa 1790, 17cm. diameter, a Worcester (First period) teabowl painted with a large insect and flowers, 7.5cm. diameter, a Worcester (First period ) blue scale octagonal dish painted with reserves European flowers, seal mark, 25.5cm., a Worcester blue and white printed butter tub and cover, a similar coffee pot cover and a Caughley bowl, crescent mark, a/f. (6)
Lot 1
An early Victorian silver-gilt presentation medal and quill pen, the medal inscribed 'The First Proficient in Penmanship 26 Nov. 1845/The Governors of Christs Hospital to Adrian Brailey Allard', the pen inscribed 'The Governors of Christs Hospital to Adrian Brailey Allard for Eminence in Penmanship The Prize 20 May 1847', maker Charles Rawlings & William Summers, London 1845/47, in fitted case, together with a handwritten note 'I was confirmed on 12th May 1847. By the Bishop of London. Had the pen on the 20th May 1847'.
Lot 1
Willmott (Rev. Robert Aris). THE POETS OF THE NINETEENTH CENTURY, Illustrated, New Edition 1866, small quarto, gilt-decorated cloth (Presentation inscription on the first free endpaper: 'Xmas '65/Miss Clara M. Boehmer/from G.Daillie (?)'). * Clara Boehmer was the maiden name of Agatha Christie's mother.
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Christie (Agatha). A POCKET FULL OF RYE, first edition 1953, octavo, cloth, dust-wrapper (indistinct presentation inscription on front free endpaper 'For James/with love from/Agatha/Nov. 1953'). *This seems likely to be an inscription either to the author's brother-in-law or nephew, both named James Watts.
Lot 1
Christie (Agatha). A MURDER IS ANNOUNCED, first edition 1950, octavo, cloth. (Presentation inscription on front free endpaper 'With love from/Agatha/??? 1950'). #300-500. 429. Christie (Agatha). CARDS ON THE TABLE, first edition 1936, octavo, cloth. (Presentation inscription on front free endpaper 'with love/from/Agatha').
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Christie (Agatha). THE LABOURS OF HERCULES, first edition 1947, octavo, cloth. (Presentation inscription on front free endpaper 'Rosalind/from/Agatha Christie'). * The author has started writing 'Christie' as Rosalind's surname, getting as far a 'Chris' and then deleting it. By this time Rosalind was the widow of Hubert Prichard before she married Anthony Hicks in 1948.
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596772 item(s)/page