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Lot 1421
Herbert Dicksee etching BEAR OF THE NORTH: Measuring 47cm x 72cm excluding mount and frame. Published by Frost & Reed 1927 in a limited edition of 100 and plate to be destroyed, exhibited at the R.A. no.1165, described as very rare. Vendor refers to this item as HD50103 Please note - we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
Lot 1405
Herbert Dicksee etching THE ALARM signed proof on vellum: Alert lion with lioness & cub behind. Measuring 49.5cm x 76cm excluding mount and frame. Published by Frost & Reed 1918, exhibited at the RA also 1918. Vendor refers to this item as HD30217. Please note - we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
Lot 1417
Herbert Dicksee drypoint etching ALSATIANS: Measuring 35.5cm x 47cm excluding mount. Published by Frost & Reed circa in a limited edition of 150 signed artist's proofs, and exhibited at the R.A. no. 1064 Vendor refers to this item as HD10901 Please note - we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
Lot 1403
Herbert Dicksee etching Clouds have a Silver Lining: Measuring 45cm x 58cm excluding mount and frame. Published by the Fine Arts society, vendor states this item is rare, circa 1902/04, and refers to this item as HD11103. Please note - we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
Lot 1423
Herbert Dicksee etching MATERNAL CARE: The Lioness and her Cub by a pool or river. Measuring 55cm x 74cm frame. Published by Frost & Reed in 1899. Vendor refers to this item as HD30211 Please note - we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
Lot 1406
Herbert Dicksee etching FOOTSTEPS signed proof on vellum limited run of 325: West Highland White Terrier sitting, with lying Scottish Terrier behind. Measuring 35cm x 64cm excluding mount and frame. Published by Frost & Reed 1926. Vendor refers to this item as HD11904 Please note - we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
Lot 1407
Herbert Dicksee etching LUCKY DOG: Girl sitting on step and patting dogs head, with 6 ducks waiting to be fed. Measuring 50cm x 36cm excluding mount and frame. Published by Frost & Reed date unknown, described as rare. Vendor refers to this item as HD11801 Please note - we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
Lot 1412
Herbert Dicksee etching THE FIRE WORSHIPERS: Showing a King Charles Spaniel and Deerhound. Printed by Frost and Reed in 1906, but originally printed in 1899 by C. E. Clifford and Co. It was exhibited at the Royal Academy in 1899, no. 1515. It is not only a Deerhound but HD's own dog, Sir Brian Measuring 43cm x 56cm excluding mount. Vendor refers to this item as HD10711 Please note - we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
Lot 1410
Herbert Dicksee etching THE BEND IN THE RIVER: Measuring 40cm x 50cm excluding mount and frame. Published by Frost & Reed circa 1915 in a limited edition of 100 and plate destroyed, exhibited at the V.A. no. 290, described as very rare. Vendor refers to this item as HD60004 Please note - we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
Lot 1422
Herbert Dicksee etching NEARING HOME: The shepherd and his herd of sheep nearing Home. Measuring 55cm x 66cm excluding frame. Published by Frost & Reed, and exhibited at the V.A. in 1902 no. 2358. Vendor refers to this item as HD50501 Please note - we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
Lot 1411
Herbert Dicksee THE SENTINEL: Bloodhound lying in doorway. A hand coloured reproduction by photography from the exceedingly rare artists proof. Measuring 39.5cm x 65cm of the impressed area only, excluding outside margin. Vendor refers to this item as HD10204 Please note - we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
Lot 1404
Herbert Dicksee etching RAIDERS signed proof on vellum: Lioness in coiled spring position with lion behind. Measuring 39cm x 65cm excluding mount and frame. Published by Frost & Reed 1899 and exhibited at the RA in the same year. Vendor refers to this item as HD30214. Please note - we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
Lot 2310
A small group of mainly South Seas ethnic items, comprising a carved hardwood figural finial with applied beadwork necklace, length 23cm, a carved stone adze, length 18cm, a carved and mother-of-pearl inlaid item of boat form and a purse.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2602
A Regency tortoiseshell tea caddy of curved sarcophagus form, with ivory stringing and mother-of-pearl foliate inlay above a reeded panel, on brass spherical feet, height 15cm, width 18cm, depth 11cm (some faults). Note: a non-transferrable ivory exemption certificate has been granted for the sale of this item.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 65
Grant by Abbot Peter and the community of the Cistercian Abbey of St. Mary, Woburn of local fields and a mill pond to William de Medmenham, in confirmation of an agreement before the king's court at Westminster, fine monastic charter in Latin, on parchment [England (Woburn, Bedfordshire), dated 1203/04] Large single-sheet document, with 13 long lines in an early English court documentary script, with ornamental elongated ascenders, capitals decorated with penstrokes, modern pencil '2' on turnup, reverse with Early Modern and modern endorsements, some folds and few tiny holes, else in excellent condition, seal tag present, but seal wanting, 120+23 by 170mm. This is perhaps one of only three recorded items from the "Registra, computos, rotulos curiae, cartas originales, etc." of Woburn Abbey that the antiquarian James West informed Thomas Tanner were among the holdings of the Duke of Bedford, with Tanner then reporting this in the 1744 edition of the Notitia Monastica. No part of the archive could be located by G. Scott Thomson in 1933 ('Woburn Abbey and the Dissolution of the Monasteries', Trans. of the Royal Historical Society, 4th ser. 16, pp. 129-60, especially 151-2), and there are indications that the Duke no longer had access to this archive even in the 1740s (ibid., pp. 152-3). Scott Thomson suggests that the charters may have fallen to figures such as one Ralph Starky, who in 1619 who was accused of taking "diverse leger books of diverse monasteries" as well as charters and other documents from the Court of Augmentations on its dissolution, or were left in the custody of the bailiffs of the estate and thus did not pass to the ducal archive at Woburn. Apart from the discovery of this item, the only other charters of the house are British Library, Add. Charter 6026 (a grant to the abbey of the reign of John) and Add. Charter 19932 (a confirmation to the abbey of the time of Henry III), these acquired form the collections of the antiquary G. Baker in 1844 and the 1st Viscount Hatton, respectively. This charter re-emerging in the collection of Ian Woodner (1903-1990) of Manhattan, real estate developer, artist and collector, whose substantial collections passed to his daughters, Dian and Andrea Woodner, and were dispersed by Christie's (this 23 June 1993, lot 32); acquired at that sale by the late Jeremy Griffiths of Oxford, and sold by him to Martin Schøyen (his MS. 1688/1), and thereafter kept in his London library.Woburn Abbey was founded as a Cistercian house in 1145 with monks from Fountains Abbey in Yorkshire. Despite being one of the wealthiest houses in England, little is known in detail or with certainty of its history. Thus the emergence of any record, no matter how small, adds significantly to the history of the house. The last abbot received the oath of supremacy from the royal visitors in 1534/5, but came to regret it, and died soon after conscience-stricken over his cowardice. The house was suppressed in 1547, and the estate was gifted by Henry VIII to John Russell, the first Earl of Bedford. It currently houses the splendid art collection of the Dukes of Bedford. Almost nothing survives from its medieval library, with Ker recording only one extant manuscript (N.R. Ker, Medieval Libraries of Great Britain, 2nd ed., 1964, p. 205: Oxford, Balliol College, 178A, a twelfth-century Florus diaconus) and two incunables (British Library, IB 118, and Cambridge, St John's, Bb.6.17).
Lot 71
Papal indulgence for the Hospital at 'Ronceval' (Roncevaux in the high pass over the Pyrenees), in Latin, illuminated manuscript on parchment [southern France/northern Spain (Pyrenees), soon after 9 August 1471] Very large charter, written on a whole sheepskin, with remains of skin from legs at corners and neck at top (this with hole and once used for suspension, suggesting the item displayed on a wall at one time), on 54 long lines in a small and professional secretarial hand, important initial words in main text in liquid gold, blue, burgundy and probably silver (now oxidised to black), two large diapered initials in blue and pink on angular edged gold grounds encased within foliage with coloured seedpods and flower heads as well as gold ivyleaves and bezants, one large and somewhat rustic miniature at head of skin of the enthroned Pope before a host of cardinals handing a sealed document (with the name of Pope Sixtus [IV] on it) to a kneeling tonsured monk all on a tessellated silver-grey floor, below these large coats-of-arms: the crowned arms of France, the papal arms of Sixtus IV with three-tiered crown and large silver keys, and most probably the arms of the Order, contemporary endorsement (presumably by papal notary) at foot, folds, tears to edges, some scuffs, else good and presentable condition, 830 by 570mm. On first inspection one could be forgiven for thinking that the illumination here has been added later, but the metallic parts are oxidised in places in the same fashion as the opening words of some sentences, and we would then have to explain why the scribe left nearly a third of the skin at the head of the page when he began to write. In fact, much here seems rustic or unpolished, including the fact the date given in the document (30 May 1470) is before the beginning of the papacy of the Pope who is named in the miniature and whose arms are atop the document. On that, it seems probable that the grant was initially made by Paul II, and then after his sudden death on 26 July 1471, his successor Sixtus IV (Pope from 9 August 1471) endorsed it and was painted onto the document.This document was not made in the papal curia, and must be a product of the beneficiary, here the hospital at Roncesvalles/Roncevaux (named in endorsement on obverse) high in the Pyrenees on the main pass between southern France and northern Spain (elevation: 1057m./3648 ft above sea level, and now in modern Navarre in Spain). The hospital there was initially a Hospitaller foundation, but from the thirteenth century at least were staffed by a sub-group of the Augustinian Canons Regular known as the Brethren of the House of St. Nicholas and St. Bernard of Monte Jovis (see J. Brodman, Charity and Religion in Medieval Europe, 2009, pp. 116-19, especially n. 63), whose mother-house sat high up in the Great St. Bernard Pass in the Swiss Alps. These monks committed themselves to offering assistance to pilgrims travelling through the mountains (they still offer help to tourists and skiers). Records of their famous dog breed (Saint Bernards) used initially as guard dogs and then to help in searches for lost travellers, survive from the late seventeenth century. The house at Roncevaux was dissolved in 1835, and its goods scattered.Manuscripts from southern France are rarer than their northern peers, and those written and illuminated on top of the Pyrenees far more so.
Lot 76
‡ Six initials on cuttings, with five humans, including a hunter with a bow and a hare slung over his shoulder, a cat and a finely drawn hunting hound, from two illustrated manuscripts on parchment [France, twelfth century] Six figure initials, each trimmed to edges: (a) fine penwork hound, his fur picked out in lappeting penstrokes, with his torso and front paws through an initial 'O' touched in purple-brown wash, as he turns his head to look at the text behind him, reverse with remains of single column of 8 lines of a good Romanesque hand written with a thin nib, and with a strong ct-ligature, text too slight and obscured to allow identification, mid-twentieth-century "#66" and "ABE" in pencil, initial 42 mm. diameter, whole cutting 70 by 65mm., France, first half of twelfth century; (b) five cuttings from the same manuscript: (i) a hunter cut from an unknown initial, in red robes, leading two dogs by chains and with his bow slung over his shoulder from which hangs a dead hare suspended by its feet, 110 by 75mm., (ii) a 'R' formed by a priest in a red tunic and green and blue robes preaching or blessing two kneeling supplicants (one wearing a pale green robe), the figures linked by a single blue and red acanthus leaf frond, 75 by 77mm., (iii) a 'C' in blue and red enclosing a male saint's bust, he wearing blue robes edged with green with rectangular designs picked out on it, and a pale green halo, this with what is probably a mid-twentieth-century "ABE" on reverse in pencil, 50 by 50mm., (iv) an 'I' formed from a standing saint in green and blue robes, 90 by 125mm., (v) an initial 'I', formed from a stylised lion, rearing up and with foliage emerging from its roaring mouth, on blue, green and grey wash grounds, this with mid-twentieth-century "#66" and "ABE" in pencil on reverse, 95 by 22mm., all apart from hunter with remnants of text on reverse, in good pre-gothic bookhand with capitals stroked with red penwork, that on item (ii) enough to permit identification as from Augustine's Sermo 142 ("... [da]ndo redim[ere. Bonum est ieiunare] fratres; sed me[lius est eleemosy]nam dare. Si quis [sic for 'aliquis'] [utrumque] potest ['facere' inserted here'] [duo sunt bona:] si vero non [potest, melius e]st eleemosynam [dare. Si p]ossibili[tas n]on [fuerit ieiunandi, eleemosyna sufficit sibi sine ieiunio; ieiunium sine elee]mosy[na] ..."), France, mid-twelfth century; all in item (a) here somewhat scuffed, with small stains in places and paper adhering to reverse from previous mounting, overall fair and presentable condition; once framed together and with card mount from that framing with darkened sections showing that they were together in this form for some decades From the collection of Vladimir Gregorievitch Simkovitch (1874-1959), Russian émigré to Germany then America, professor of Economic History at Columbia University, New York. The dog jumping through the initial 'O' here as if it were a hoop is finely executed and suggests Parisian work in its understanding of shading and its use of penwork to create the texture of fur. However, while the other cuttings are more rustic in quality, they also include a rare scene from everyday life: a hunter leading dogs and carrying his bow and a dead hare. The palette, notably the use of vibrant reds alongside dark muted greens finds parallels throughout central and south-western France (see for example W. Cahn, Romanesque Manuscripts, 1996, no. 31 and 26, from south-western France and Tours, respectively). The simplistic facial modelling and the large pupilled eyes are in line with other manuscripts from the same regions, such as the mid-twelfth-century Cartulary of Vierzon (BnF. Lat. 9865: ibid., no. 6). Any examples of drawings of humans of this great antiquity are of significant rarity on the market, while those performing secular tasks such as hunting are almost absent from it.‡: A double dagger (‡) indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%) if the lot remains in the UK.
Lot 37
Attributed to Jean-Baptiste Monnoyer (Lille 1636-1699 London)Peaches, grapes and melon on stone carvings with a ewer and a carpet oil on canvas80.7 x 107.8cm (31 3/4 x 42 7/16in).unframedFootnotes:Seldom signed, similar still life compositions of this period have been alternatively given to Nicolas de Largillière, Pierre Dupuis and Jean-Baptiste Monnoyer. A canvas sold by Sotheby's, 3 Dec 1989, on canvas, 85 x 158 cm., lot 339 which Dominique Brême attributed to de Largillière at the beginning of his Parisian career circa 1680-1685 (but which Michel Faré attributed to Pierre Dupuis) was subsequently given to Jean-Baptiste Monnoyer by Didier Aaron. Similarly, a Still Life with Pears, Pomegranates and Watermelons on a frieze (Sotheby's, New York, 12 January 1989, lot 106) was for a long time thought to be by Pierre Dupuis; while Fruits et ruines d'architecture, which hung in the French Embassy near the Holy See, was incorrectly ascribed to Alexandre-François Desportes by the Louvre in 1933. These three works have been dated to the beginning of Monnoyer's career, between 1665 and 1675.This lot is subject to the following lot symbols: αα Buyers from within the UK: VAT is payable at the prevailing rate on just the Buyer's Premium (NOT the Hammer Price). Buyers from outside the UK: VAT is payable at the prevailing rate on both Hammer Price and Buyer's Premium. If a Buyer, having registered under a non-UK address, decides that the item is not to be exported from the UK, then they should advise Bonhams immediately.For further information on this lot please visit Bonhams.com
Lot 45
Jacob Grimmer (Antwerp circa 1525-1590)A View of Kiel on the Scheldt with Antwerp beyond bears signature '**** BRUEG***' (lower right)oil on panel42.8 x 51.2cm (16 7/8 x 20 3/16in).Footnotes:The present, unpublished, painting is related to the large View of Kiel with Antwerp beyond, dated 1578, in the Royal Museum of Fine Arts in Antwerp, which measures 121 x 196 cm (47 6/8 x 77 1/8in) (fig.1). Although different in size, the compositions are very similar, but the 1578 painting shows a more elaborate landscape and also a greater variety of staffage. It seems likely that Grimmer received a commission to make a smaller rendition based on one of his masterpieces. The execution of the landscape elements but also the figures in the present painting are typical for Jacob Grimmer. A date in the 1580s is feasible for the present work. Almost an exact contemporary of Pieter Brueghel the elder, Jacob Grimmer was among the most important 16th century Antwerp landscape painters. His rural landscapes show a clear development moving away from the fantastic panoramas with gigantic rocks of Joachim Patinir, Herri met de Bles and their followers towards a more intimate rendition of the Flemish countryside. Jacob Grimmer was born in Antwerp, the son of Nicolaas and Elisabeth Cops. According to Karel van Mander - in his Schilder-boeck, Haarlem 1604 - Grimmer first learned to paint landscapes from Matthys Cock and later from the unknown Christian van den Queborn. He became a master in the Antwerp Guild of Saint Luke in 1547, and the next year later he married Lucia van de Wouwer. Their son Abel, born in the early 1570s, became a landscape and architectural painter in his own right. The city of Antwerp succeeded in the 15th century in becoming the successor of Bruges, which until then had been the most important mercantile metropolis of western Europe. At the end of the 15th century, when nearly all the Low Countries were united under the Burgundian and Habsburg dynasties, the economic preeminence of Antwerp over Bruges is indicated by the fact that the majority of foreign merchants transferred their residence to Antwerp. It quickly became the leading commercial centre of western Europe, benefiting from the beginnings of colonial trade and stimulated by the great discoveries of the Portuguese and Spaniards. Extensive urbanization plans were developed to lodge the increasing population, who earned their livelihood in trade, transport, and industry.We are grateful to Dr. Luuk Pijl who endorses the attribution to Jacob Grimmer on the basis of high definition photographs.This lot is subject to the following lot symbols: αα Buyers from within the UK: VAT is payable at the prevailing rate on just the Buyer's Premium (NOT the Hammer Price). Buyers from outside the UK: VAT is payable at the prevailing rate on both Hammer Price and Buyer's Premium. If a Buyer, having registered under a non-UK address, decides that the item is not to be exported from the UK, then they should advise Bonhams immediately.For further information on this lot please visit Bonhams.com
Lot 56
Florentine School, 16th CenturyThe Madonna and Child and the Infant Saint John the Baptist oil on panel92 x 69.7cm (36 1/4 x 27 7/16in).unframedFootnotes:Along with many known copies after Andrea del Sarto, the present composition follows that of the Fries Madonna, now in the Rothschild Collection at Ascott, Buckinghamshire (acc. no. 1535140).This lot is subject to the following lot symbols: αα Buyers from within the UK: VAT is payable at the prevailing rate on just the Buyer's Premium (NOT the Hammer Price). Buyers from outside the UK: VAT is payable at the prevailing rate on both Hammer Price and Buyer's Premium. If a Buyer, having registered under a non-UK address, decides that the item is not to be exported from the UK, then they should advise Bonhams immediately.For further information on this lot please visit Bonhams.com
Lot 62
Flemish School, 17th CenturyThe Penitent Magdalene oil on canvas79.2 x 139.5cm (31 3/16 x 54 15/16in).unframedThis lot is subject to the following lot symbols: αα Buyers from within the UK: VAT is payable at the prevailing rate on just the Buyer's Premium (NOT the Hammer Price). Buyers from outside the UK: VAT is payable at the prevailing rate on both Hammer Price and Buyer's Premium. If a Buyer, having registered under a non-UK address, decides that the item is not to be exported from the UK, then they should advise Bonhams immediately.For further information on this lot please visit Bonhams.com
Lot 70
Attributed to Joseph Wright of Derby (Derby 1734-1797)The Bay of Naples from Posillipo oil on canvas31.1 x 40.4cm (12 1/4 x 15 7/8in).Footnotes:Joseph Wright of Derby first visited Naples in 1774–75 and made most of his sketches of Mount Vesuvius at that time. He never witnessed an actual eruption, but the idea had a considerable impact on his imagination. The subject proved especially popular with his patrons. In the following years he painted at least twenty-seven different versions of the volcano in eruption. The present composition is very close to his A Picture of a distant View of Vesuvius from the Shore of Posilipo, on panel, 63.5 x 83.8 cm., of circa 1788, now in the Paul Mellon Collection, Yale Center for British Art, which, according to Wright's account book, was intended for Sir Robert Wilmot, second Baronet of Osmaston, a Derbyshire landowner who paid Wright £42 for the picture.This lot is subject to the following lot symbols: αα Buyers from within the UK: VAT is payable at the prevailing rate on just the Buyer's Premium (NOT the Hammer Price). Buyers from outside the UK: VAT is payable at the prevailing rate on both Hammer Price and Buyer's Premium. If a Buyer, having registered under a non-UK address, decides that the item is not to be exported from the UK, then they should advise Bonhams immediately.For further information on this lot please visit Bonhams.com
Lot 161
A lovely collection in two well-filled green New Imperial albums, with over 7,000 mint stamps and a further 1000+ used, with condition generally exemplary, the colours bright and hardly any faults even in the 19th century issues, the earliest classics generally being avoided by this collector. This is intact as received and stated to catalogue £72,000 (2006), which does not account for the never hinged here which includes frequent high values only mounted on selvage, a good range of Newfoundland, Falklands Centenary issue to 1/-, etc. Besides which we have noted better varieties not counted in the owner's cataloguing: Brunei 1929 5cts orange-yellow showing U-L value tablet retouch with distinctive thin 'c' (SG.66a, cat. £325), Malta 1922 2/- showing 'break in lines below left scroll' (SG.103e, cat. £400), elusive 'broken frame and crown' varieties on the 1905 25cts and 50cts of Straits Settlements (SG.133a, cat. £750; SG.135a cat. £750), as well as British East Africa 1897 2½d surcharge missing fraction bar unlisted in SG. Another extra-catalogue item is a charming and most probably unique 1922 Barbados 1/- with designer Mrs. G. W. Goodman's initials in lower selvage and petulant inscription 'this is my design spoilt' (De La Rue had reduced the naturalism of her original essay, in particular declining to include the flying fish - see photo online). This collection is a delight to view and there will no doubt be more for the keen-eyed to discover.
Lot 202
Mint and used collection in five red loose-leaf albums, over 2500 mostly pre-1950 stamps, the GB with four-margin penny black, four-margin 1d red with blue cancel, 1d and 2d plates, surface-printed to 5/- incl. 1881 2½d ultramarine mint plate 23 (cat. £450), etc, as well as pleasant range of mint British Commonwealth and useful worldwide. A better item noted is the Kenya/Uganda/Tanganyika 1936 1/- perf variety (SG.118b, cat. £140) in used pair, though left stamp has fault. Well worth a thorough viewing.
Lot 246
An Olive Album,partially filled with a selection of subjects and topo. Greetings, song cards, military, patriotic sentiment and children all noted, very much an album of the WWI era. Some better topographical cards of Beeston, Nottinghamshire and Yorkshire seen. Also of Titanic interest is the real photographic postcard of a floral model of the ill-fated liner advertising Charles E. Simpson Florist, York - an unusual Titanic-related item of some scarcity.
Lot 596
English School, 19th century, a portrait miniature, of a Georginia Cavendish, watercolour on ivory, oval, 9cm x 7.5cm, gilt metal frame. This item has been registered as exempt from the UK ivory act 2018, on account it being a portrait miniature made before 1918 with a surface area less than 320 square centimeters. Ivory declaration submission reference :E6FMU5F6
Lot 599
English School, 19th century, a portrait miniature, of a beauty, blond curly hair, watercolour on ivory, oval, 9cm x 7.5cm, ribbon tied gilt metal frameThis item has been registered as exempt from the UK Ivory Act 2018, on account of it being a portrait miniature made before 1918 with a surface area less than 320 square centimetres. Ivory declaration submission reference:B253ZV3S
Lot 200
Superb Guy Gibson 15x11 inch original pencil drawing by the Renowned Aviation and Military Artist Steve Teasdale. Teasdale Signed the Drawing in Pencil with Date '06. Fantastic Item. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £9.99
Lot 53
Aviation Artist Robert Taylor Book Multi Signed by WW2 Veterans including Billy Drake, Peter Brown, Nigel Drever and the artist Robert Taylor. Signed in pencil. Published in 2009. Fantastic Item. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £9.99
Lot 124
AFTER SALVADOR DALI "Purgatory Chant 9 : The Dream" from the Divine Comedy Suite, chromolithograph signed in pencil to the margin, paper size 33.5 cm x 26 cm together with certificate of authenticity from the F & B Gallery of Dubai detailing the piece as a woodcut and block print with reg. No. FB-Dali-4064 and invoice from F & B Gallery for £2,913 detailing the item as a lithograph together with a Treasury Consulting Group Fine Art purchase agreement certificate dated 9/16/21 for £15,000 and a copy of a Treasury Consulting Group Fine Art purchase agreement dated 5/16/2019 for £2,913
Lot 641
HENRY SCOTT TUKE, RA, RWS (1858-1929) WINDJAMMERS LYING IN THE CARRICK ROADS, FALMOUTH, AWAITING ORDERSSigned and dated 1925, watercolour and pencil 13 x 20.5cm.; with another by the same hand, of Cutty Sark, signed and indistinctly dated, 13.5 x 21cm. (2) Provenance: The former item a wedding gift to the vendor's ancestors, Mr and Mrs J V Ratcliffe, 1925 (with separate note reading With all good wishes/ from H. S. Tuke/ Sept 14.1925) ++ The former a little pale; the latter faded and discoliyred with some apparent retouching in white by another hand
Lot 657
•JOHN MADDISON (b.1952) CORNER OF THE SITTING ROOM Signed with initials, also signed and dated 2015 verso, oil on canvas board 40 x 50cm.; with a small study of a still life by the same hand, initialled and also signed and dated 2013 verso, oil on board, 13.5 x 19cm. (2) Provenance: (Sitting Room) Sherborne, The Jerram Gallery, October-November 2015, no.10 ++ The principal item in good condition; the smaller picture with a small chipped loss
Lot 889
19THC PART TEA & COFFEE SET - ANIMALS possibly by Brown-Westhead & Moore, each item with a small panel painted with a variety of animals and gilded leaf decoration. Comprising 3 saucers (Fox, Bull and Dog), 3 tea cups (Bull, Dog and Lamb), and 3 coffee cups (Dog, Fox and Hare). Saucers 13.5cms diameter. (9)
Lot 916
WORCESTER DISH - DYSON PERRINS MUSEUM a late 18thc/early 19thc square dish in the Dragons in Compartments pattern, with a label for the Dyson Perrins Museum, Item No M1856, 22.5cms across. Also with a Chamberlain Worcester botanical dish with blue border (26.5cms diameter), a Chamberlain Worcester botanical plate (23cms diameter),a large Chamberlain Worcester plate with panels of flowers and cobalt blue border around the rim (28cms dia), a miniature Chamberlain Worcester vase (9cms high, marked Chamberlain Regent China, Worcester) and a pair of plates painted with panels of flowers (unmarked, 21.5cms dia). (7)
Lot 264
A Border Fine Arts group of Welsh Black Cow and Calf, together with Border Fine Arts Welsh Bull, on oval plinth bases, with original certificates numbered 285 (Cow & Calf) and 271 (Bull) from limited editions of 500(2)There are no serious damages or any restorations to either item. The cow, in particular, has a few very small paint scuffs where the black paint has been rubbed – however, these could easily be retouched if desired. The bull also has two similar flakes of paint on one front leg.
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