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Lot 453
An early 20th century probably Scandinavian silver lamp, of baluster form, with pierced collar over engine turned naturalistic central body, with raised turquoise cabochon floral garland insets, to footed base, stamped 800, with glass chimney (later converted for electricity), height of silver 17.5cm
Lot 465
Bjorn Wiinblad (Danish 1918-2006) - A pair of large tin glazed pottery hexagonal table lamps, each with knopped upper stems, the bodies decorated with Society figures within a landscape, each signed Bjorn Wiinblad and dated '81 to lower body, h.45cm (excluding fittings) Condition Report / Extra Information One lamp with approx 15x8mm repaired chip to upper top edge.The other lamp with further similar sized chipped loss to upper top edge corner area.One with small areas of surface staining to stem.Otherwise good.
Lot 469
An Art Nouveau brass oil lamp, having floral etched pink glass handkerchief shade over cut crystal glass font, to scroll stylised lower bulbous column and circular stepped base, h.66cm Condition Report / Extra Information Approx 2cm low relief chip to underside edge of shade.Glass font good.Stands well.
Lot 470
An Austrian Art Deco patinated bronze table lamp, having a tinted orange dome shade, the tree-trunk column issuing two branches with seated boy staring down at a brown bear, to integral veined marble base, h.42cm Condition Report / Extra Information Glass shade with nibbled losses to underside edge and some surface grubbiness.Leaf cast border with drilled central affixing hole.Seated boy is lacking arms.General patina/age wear throughout.
Lot 61
Richard Weatherill (British 1844- 1923): Fishing Boats off Whitby, oil on board signed 16.5cm x 19.5cm Condition Report Excellent condition, has been cleaned in recent times but shows no signs of overpainting under UV lamp Click here for further images, condition, auction times & delivery costs
Lot 106
A George III inlaid satinwood small square lamp table, in the manner of John Linnell, the square top cross banded in tulipwood, with central inlaid yew wood roundel with inlaid beaded border and stained fruitwood husks, over a frieze with Vitruvian scrolling and florets to the angles, a candle slide to one side, raised on square tapered legs inlaid with pendant husks, united by a turned x-stretcher, on mahogany tapered feet, 11 5/8in. (29.5cm.) square, 25in. (63.5cm.) high. * Provenance: Sotheby's New Bond Street, London, Important English Furniture, 18th November 1988, Lot 248.** Condition: Very good condition overall. Tiny veneer repair beside one husk to corner of top. Two cracks to veneer around central roundel - probably these pieces have lifted at some stage and been re-affixed. A few old shrinkage cracks to veneer on top in accordance with age, but veneers are stable and relatively even. Underside of top has an old shrinkage crack. Tiny wax filled veneer chip to one frieze.
Lot 399
A Chinese crackle glazed earthenware vase lamp, early 20th century, of shouldered baluster form, with twin Kylin mask handles, decorated in polychrome enamels with overlapping pictorial reserves, below a diaper decorated neck, fitted with Oriental gilt metal mounts to converted to a lamp, 17½in. (44.5cm.) high overall plus fittings.
Lot 589
Great Western Railway Hand Lampblackened body with rear handle. The body stamped “GWR”. Brass maker’s label “G Polkey Ltd”. Internal red and blue glass filters. Together with a copper and brass bugle by “T Reynolds Salford Manchester”. Both contained in a 1937 pattern small military bag. 3 items.
Lot 88
*Lewis (Clive Staples, 1898-1963 ). Autograph letter signed, 'C.S. Lewis', Magdalen College, Oxford, 22 May 1952, to 'Grittletonians' in response to their fan letters for the first two books of the Chronicles of Narnia, 'Like you, I am sorry that Peter and Susan are not going back to Narnia, but I think, being the two eldest, they are now getting to the age at which people stop having that sort of adventure for a time - they may start having it again later, but not for some years. The new book is called The Voyage of the Dawn Treader. Lucy and Edmund find Caspian (now King of course) on board ship, sailing to the Eastern end of the Narnian world. There will be lots about Reepicheep. And there will be a Sea Serpent, and a Dragon, and lots of strange islands. I do hope you will all like it. I intend to have seven of these stories altogether - that is, four more after the next one. They will be called The Chronicles of Narnia. The sixth ['fifth' deleted and corrected] book will go right back to the beginning and explain how there came to be that magic wardrobe in the Professor's house - for of course you will have guessed that the old Professor must have known something about things like that himself, or else he would never have believed what the children told him. I don't know yet what will happen in the seventh. What do you think would be a good thing to end the whole series with? Of course Aslan will come into them all', the author then reflecting, 'I wonder what other books you all like. I like George MacDonald's two Curdy books and Tolkien's The Hobbit, and [Kenneth Grahame's] The Wind in the Willows. Do you write stories yourselves? I did at your age: it is the greatest fun', and adding two further works in the post script, 'E. Nesbitt's [sic] works are splendid, I think: especially The Phoenix and the Wishing Carpet and The Amulet', a little creased, 2 pages, oblong 8vo (14 x 21.5cm) The recipients of this warm and insightful letter about the plot lines and planning for the Narnia series would have been pupils at Grittleton House School, in the village of Grittleton, Wiltshire, an independent co-educational school which opened in 1951, (closed in 2016), and this letter must have been written in response to some of its first pupils. The school's rural country mansion character and setting would have borne some similarity to Lewis's description of the professor's mansion in the countryside where the young Pevensie children went to live, and where they discovered the wardrobe. Lewis, too, would have empathised with the children from Grittleton House School, not too far away in the adjoining county to Oxford where he was then living, for he spent some of his early childhood in a large house on the edge of Belfast, and then much of his youth in boarding schools. At the time Lewis wrote this letter he had already written the first five books, but clearly had not yet decided how the final book would end. The Magician's Nephew (the last to be written) was completed in February 1954 and published in May 1955. The Last Battle (the final work in the series) was completed in March 1953 and published in September 1956. In 1957 Lewis wrote to an American fan: 'I think I agree with your [chronological] order for reading the books more than with your mother's. The series was not planned beforehand as she thinks. When I wrote The Lion I did not know I was going to write any more. Then I wrote P. Caspian as a sequel and still didn't think there would be any more, and when I had done The Voyage I felt quite sure it would be the last, but I found I was wrong. So perhaps it does not matter very much in which order anyone read them. I'm not even sure that all the others were written in the same order in which they were published' (Lyle Dorsett & Marjorie Lamp Mead, editors, C.S. Lewis: Letters to Children, 1995). To find Lewis championing Wind in the Willows (1908) and the much later The Hobbit (1937) is unsurprising, but the two other authors mentioned were equally important and influential from a young age. Of George MacDonald, (an important influence on Tolkien too), Lewis wrote 'George MacDonald had done more to me than any other writer', and of E.E. Nesbit's Psammead trilogy and The Story of the Amulet (1906) Lewis wrote '[This] did the most for me. It first opened my eyes to antiquity, the "dark backward and abysm of time"'. As an adult he was able to say, 'I can still reread it with delight'. (1)
Lot 3157
A large Chinese hardwood carving, of Shou Lao, the draped deity stands supported by his staff and holding the peach of longevity, a crane by his side, on a pierced rocky base, outlined throughout with brass stringing, now converted to a table lamp, he stands on a late 19th century French Rococo Revival bronze plinth, cast with a frieze of acanthus scrolls and shell feet, traces of verdigris, 61cm high overall, the carving c. 1900, the stand c. 1880, (2)
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