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Lot 242
* Gillray (James). Temperance enjoying a frugal meal, London: H. Humphreys, July 28th 1792, etching on wove with contemporary hand-colouring, a few pin holes to upper and left margin, minor mount burn and minimal spotting, paper residue to top margin on verso, sheet size 250 x 340 mm, together with another example with contemporary hand colouring, trimmed to image, some closed tears, 330 x 270 mm QTY: (1)NOTE:BM Satires 8117, a companion print to BM Satires 8112. 'The meanness of the King and Queen and their self-restraint at table were well known..., Everything in the room is indicative of miserliness, from the Kings patched trousers to the empty fire-grate.... this pair of prints is amongst the finest of all royal portraits, the drawing is superb and not a detail is superfluous.' Richard Godfrey, James Gilray: The Art of Caricature, p 179.
Lot 653
Finely Engineered 10 1/4" Gauge 4-2-2 Stirling Single Class No.1 Locomotive finished in green as GNR No.1 with Great Northern Railway Co. No.50 Makers 1870 Doncaster plaque to both splashes and Brian Elliott Roger Cockfield Engineers No.1 2003 Leyton oval plaque loose in cab, locomotive 66", 167cm, tender 48", 122cm, on display stand, with Certificate of Test dated 23-11-93Copper boiler. Copper smokebox. Brass bodywork. Brass running boards. Stainless steel water tank. Twin axle water pump. Injectors. Stainless steel ash pan and grate. Steam brake cylinder. Hand feed water pump. Tested with air. Never been used.
Lot 150
Norman Garstin (1847-1926) (attributed to) ?Young Woman Seated at a Table,? O.O.P., approx. 37cms x 24cms (14 1/2" x 9 1/2").ÿ ÿ (1) A first-rate painting, Young Woman Seated at a Table is an accomplished study in tones, ranging from pale ivory to grey, to burnt umber. Seated on a pew-like chair, the young woman, a servant girl, leans forward, arms outstretched on the table, as if overcome with tiredness or grief. Behind her can be seen an empty fire grate. The only object on the table is a candle holder, but the candle has burned out. The narrative conveyed by the scene is clear; the young woman has maintained an all-night vigil for her loved one, possibly a fisherman at sea. However with a new day dawning, hopes of seeing her loved one are fading. The setting, subject-matter and Impressionist style all suggest this is a work by an artist working in Newlyn, Cornwall, in the late nineteenth century. The subject matter of women seating or waiting pensively in cottage interiors was popularised by Walter Langley, founder of the Newlyn School, but his style tends to be more detailed in his depiction of figures and objects. In his painting, A Hopeless Dawn (Tate Britain), the Newlyn artist Frank Bramley depicts a similar theme, of hope dwindling as day dawns. However while this painting has the crispness that one associates with Bramley, he tended to work with a flat brush, using cross-hatching, a technique not so evident in this oil on panel. A convincing attribution can be made to another Newlyn painter, and a contemporary of Bramley?s, Norman Garstin. Born in county Limerick, Garstin worked as an architect and engineer before moving to South Africa where he was a journalist. He then studied art in Antwerp and Paris, afterwards travelling in Spain, Morocco and Venice, before settling in Newlyn in Cornwall, where he taught plein-air painting. Garstin preferred a muted colour palette, and several works by him depict women, servants or children in humble cottage interiors. As shown in his painting of Penzance on a rainy day, he had a liking for almost monochromatic painting. Provenance: From the collection of the late Thomas Teevan, Dublin.
Lot 205
Wiener Aktionismus - - Arnulf Rainer. (1929 Baden b. Wien). Dark Cherry. 2024. Kaltnadelradierung in Rot auf Velin. 39,5 x 30,2 cm (70 x 53,5 cm). Signiert und nummeriert. - Insgesamt sehr gut. Ausgesprochen prachtvoller, farbintensiver und gratiger Druck mit Rand, links mit dem Schöpfrand. Eines von 25 Exemplaren. In Dark Cherry zeigt sich die ganze Bandbreite von Rainers künstlerischen Fähigkeit im Umgang mit der Radierplatte. Die aus seinen Übermalungen über Jahrzehnte entwickelte Radiertechnik nutzend, schafft er durch die sich überlagernden Kreuz- und Kritzelschraffuren unterschiedliche Tonwerte. Hierbei wechselt Rainer von Magenta ins Kirschrot. Die dadurch evozierten malerischen Werte verdichten im Plattenzentrum eine vertikale Textur, die durch die Sie mit der Radiernadel überlagernd eingekratzten Furchen charakteristischen Grate evoziert werden, die in ihrer Komposition fast eine Art Landschaftsstruktur erkennen lassen. Hier arbeitet Rainer mit der ganzen Fläche der Radierplatte, die einen zarten Magentaton aufweist. Die sich abtönenden Striche sind so kraftvoll gesetzt, dass die physische Komponente des Radierprozesses, das Einsetzen der Nadel, gegen den Widerstand des Metalls, eine sichtbare und spürbare Dynamik beim Betrachter erkennen lässt. Drypoint etching in red on wove paper. Signed and numbered. One of 25 copies. - Exceptionally splendid, colour-intensive and rich impression with margins, with the scoop margin on the left. - One of 25 copies. Dark Cherry demonstrates the full range of Rainer's artistic skill in handling the etching plate. Using the etching technique developed over decades from his overpaintings, he creates different tonal values through the overlapping cross-hatching and scribbling. In doing so, Rainer switches from magenta to cherry red. The painterly values thus evoked condense a vertical texture in the center of the panel, which is evoked by the characteristic ridges scratched in with the etching needle, which almost reveal a kind of landscape structure in their composition. Here Rainer works with the entire surface of the etching plate, which has a delicate magenta hue. The toning strokes are so powerfully placed that the physical component of the etching process, the insertion of the needle against the resistance of the metal, reveals a visible and tangible dynamic to the viewer.
Lot 268
A rare Barnard, Bishop and Barnards cast iron fire basket designed by Thomas Jeckyll, model no.880, cast with low rectangular panel of Japanese mon, set with polished brass mounts to edges,cast BBB cipher, 48cm. high, 67cm wide 33cm deep LiteratureSusan Weber Soros and Catherine Arbuthnott Thomas Jeckyll, Architect and Designer, 1827-1881 Yale University Press, page 229 figure 6.77 for the original photograph from the Register of Design, Public Record Office, Kew (13th April 1876). The original advertisement for this fire basket and 'sunflower' andirons prices the fire basket at £15 0 0. Catalogue notesThis fire grate was created for the Peacock Room by Thomas Jeckyll, flanked by the iconic Sunflower andirons now held in the Freer Gallery of Art, at the Smithsonian. As well as the four bee mon the grate includes the double moth cipher suggested to be his signature and also possibly a symbol of Jeckyll's friendship with Whistler.
Lot 1
The lid engraved 'Purchased at the Sale at Gadshill, Auguest 11th 1870, No. 325 in Catalogue/This was constantly used by Charles Dickens in preparation of his celebrated gin punch/brewed by the great author himself', the bulbous body with open chair-back thumbpiece, double C overlap handle with leather sheath, large spout with removed grate, and monogram ‘CD’ to front, touchmark to the underside of the lid and inside base, in the manner of Gerard & Watson (fl.1824-1854), (PS3751), but very possibly by Charles Bentley, London (fl.1837-1863), (PS662), height 22cm Provenance: Charles Dickens, Gads Hill, Higham, Rochester, Kent, the country home of the renowned English author. The contents of ‘Gad’s Hill Place’, sold Messr’s Thomas & Homan, August 10-14, 1870. This jug was lot 325, described as a ‘Metal hot water jug’ and listed under ‘Pantry’. Literature: Cedric Dickens, ‘Drinking With Dicken’ notes ‘Charles Dickens himself particularly loved the ritual of mixing the evening glass of gin punch which he performed with all the energy and discrimination of Mr Micawber’ Tony Chapman corresponded with the author, Cedric Dickens, the great-grandson of Charles Dickens regarding this jug.
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