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Click here to subscribeA French Louis XV style kingwood and gilt metal mounted side table, late 19th century, decorated with floral marquetry, comprising of three long drawers raised on cabriole legs70 x 42 x 28cmGeneral wear including knocks and light scratching consistent with age and useSome colour discolouration due to sun fadingMarquetry top has been restoredLoss of veneer inbetween the top and middle drawerrear right leg has been broken and gluedSee images
Maud Alice Earl (1863-1943) Portrait of Mildred Hetherington (1874-1943) mounted side-saddlesigned and dated '94 lower rightoil on canvas62 x 75cmProvenance: By descent from the sitter to her grandson,Heydon Grange, NorfolkThe sitter was the daughter of John Hetherington of Cricklewood, Middlesex, and married in 1900 Hanslip Long of Balsham (1869-1943).The painting is executed in oil on a canvas support which is unlined and has an artist supplier stamp for Winsor and Newton on the reverse. The canvas tension is good and the picture is in plane. The paint layers are in a good condition overall. The varnish is slightly yellowed and matte but even. Around the head of the sitter and horse the paint appears a little glossier, this appears to be reworking by the artist to emphasise these features against the dark background. There is a light layer of surface dust present and a few accretions.Framed 89 x 92cm
After Benozzo Gozzoli Angels Adoringchromolithograph published by the Arundel Society, 188576 x 47cm; together with two further prints after Giorgione and Vittore Carpaccio (3)Angels Adoring - small loss below the angels in the mountain. After Carpaccio - small abrasions and scuffs in the bottom right quadrant.After Giorgione - light surface dirt visible under glass.
A Regency painted pine corner stand, the top with cutouts for washbowl etc. (now with glass top) above a frieze painted with a neoclassical urn and raised on downsplay legs, the whole painted in cream and green (decoration refreshed)100 x 42 x 42cmStructurally soundDecoration refreshed in recent years and showing some light wear to the edges and a small dent in the frieze
Edgar Hunt (1876-1955) A pony, donkey and chickens in a stable interiorsigned lower right 'E Hunt'oil on canvas34 x 44cmUnlined. Light scuffs and wear to outer edges in the background. Signature partially obscured by edge of frame and slightly worn in this area. Paint layer is stable. Stretcher bar marks are visible in raking light. 47 x 60cm framed
§ Edward Seago RWS RBA (1910-1974) Study of Bobby the Clownsigned lower right 'Seago' and titled 'Bobby 'August' (Elliott)' lower leftpencil heightened with white25 x 19cmProvenance:Christie's, London, Victorian & British Impressionist Art, 17th March 2010, Lot 75Light undulations throughout. Minor creasing, most noticeably right of the clown's face.
Charles Turner (1774-1857) after Joseph Mallord William Turner Norham Castle on the Tweed; and The Tenth Plague of Egyptplates 57 and 61 from the Liber Studiorum, 1816, part XIIetching and mezzotinteach 17.5 x 26cm (2)Both sheets stuck down to mounts along their outer edges but original text and plate lines visible beneath mounts.Tenth Plague of Egypt overall in good, clean condition. Sheet size 27.5 x 36.5cmNorham Castle with light spotting and 7 small pinholes to the sky. Sheet size 26 x 36.5cmFramed 33 x 41cm
Cogswell & Harrison, a 12 bore 'Konor' sideplated boxlock ejector gun, No. 80163, with 28" barrels, the frame with bouquet and scroll engraving, well figured 14 3/4" stock, nitro proofRetains some case hardening to action and bores are relatively clean with only very minor pitting. Proofed at .729 in both, measures .731 in each. Some surface pitting externally to barrels and some light scratches and marks to stock. Min wall thicknesses of 25 thou in the right and 24 thou in the left. Both barrels are quite tightly choked, app. full and full.
After Boccaccio Boccaccino Christ among the Doctorschromolithograph published by the Arundel Society, 1890in a tabernacle frame with dental cornice42 x 76cmLight abrasions to the edges, particularly visible in top left and right corners and in the cloaks of the standing figures near left and right edges.
An elm bureau bookcase, 18th century, the pair of glazed doors above a fielded panel fall front with fitted interior over four long drawers and bracket feet 198 x 88 x 55cm Signs of restoration throughoutSome historic worm to the carcass of both sectionsGlass panels have been re-enforced, no cracks, only light scratchingFall front heavily knocked around the edges, fitted interuor very knocked and stained writing surface later restoredveneer around the left loper missing and looseHandles later and replaced
§ Edward Seago RWS RBA (1910-1974) Yarmouth Swing Bridgesigned with initial lower lefttitled to the reverse on artist's original labeloil on board20 x 25cmIn good original condition. Very minor losses to outer edges. Very light wear and abrasion to the painted surface. A noticeable crack above the left most boat as seen in images. Glazed. 34 x 39cm framed
Joseph Bishop Pratt (1854-1919) after Sir Edwin Landseer The Monarch of the Glensigned in pencil by the engraver, bears remarque portrait of the artist with title and 'Special Plate'mixed-method engraving published by Leggatt Brothers, 189371.5 x 69cm sheet sizeLight foxing throughout. Chipping to the veneer at the bottom of the frame. Not examined out of frame.
After Bartolomeo Montagna 'St John the Baptist and St Benedict' and 'St Nazarus with St Celsus'chromolithograph published by the Arundel Society, 1874framed together, 46 x 17cm; together withAfter Albrecht DürerThe Four Apostlesa pair of chromolithographs published by the Arundel Society, 1870each 50 x 18.5cm (3)After Montagna - good condition overall. Minor losses and wear to the slip. Wear to one of the Durer prints primarily along the left hand edge by the figure's red cloak (see image). Foxing to the white cloak of the other Durer print. Minor abrasions around the heads. Light wear to the frames.
Edward Lear (1812-1888) The Abbey of Santo Spirito at Sulmonasigned lower right 'E. Lear del. 1844' and inscribed lower left 'Abbadia di S. Spirito'black chalk, pencil and stump heightened with white on buff paper8.5 x 15cmProvenance:John Scandrett Harford (1787-1866),Thence by descent until 2015Literature:Edward Lear's Illustrated Excursions in Italy, 1846, engraved by J. Whimper, as vignette, p.30The Abbey of Santo Spirito stands about five kilometres outside the town of Sulmona at the base of Monte Morrone. The present monastery was built in the early 18th century, after an earthquake all but destroyed the original 13th century building.`Below the solitary hermitage is the Monastery of S. Spirito, founded by Pope Celestino V, but now used as a poor-house for the three Abruzzi. It is a picturesque edifice, some distance from the high-road; and its tall campanile is seen all over the Pianura of Solmona' (see Literature, pp.30-31)Edges cut as illustrated. Not examined out of frame. Overall appears in excellent condition with no fading or damage to the paper. The frame with light wear.Framed size 31 x 36.5cm
Thomas and William Daniell RA (1769-1837) Tremal Naig's Choultry, Madura, 1798; and A Minar At Gour (Ancient Capital of Bengal), 1808plates XVIII and XXIII from Oriental Scenery (Abbey Travel, nos. 44 & 74) hand-coloured aquatints, unframed74 x 54cmUnframed. Unmounted. Minar - bottom right corner damaged. Minor scattered spotting. Colours are good. No watermarks visible. Tremal Naig's Choultry - Light crease and wear to corners. Light staining to edges. Colours good. Text slightly faded. 74 x 54cm sheet size.
§ Lionel Edwards RI (1878-1966) Sandown Parksigned lower left 'Lionel Edwards' and inscribed with title lower rightpencil and watercolour heightened with white21.5 x 29.5cmProvenance:Cheffins, Cambridge, The Tony Collins Collection, 28 November 2018, lot 189Light undulations to paper. Framed 36 x 44cm
Joseph Mallord William Turner RA (1775-1851) The Entrance to Bishop Vaughan's Chapel, St David's Cathedral, Wales signed and inscribed in Turner's hand to the reverse 'Bishops [sic] Vaughan Chapel St David's Cathedral / W Turner' watercolour 32.5 x 24.5cm Provenance: A Suffolk country house collection since at least 1990 The present, hitherto unrecorded, composition draws upon Turner’s 1795 tour of South Wales and is the only fully worked up watercolour of St David’s, Pembrokeshire. His South Wales Sketchbook (Turner Bequest XXVI) includes four architectural studies which relate to his visit to St David’s, two of which are inscribed with Turner’s own title in his hand – St David’s: Part of the Ruins of the Bishop's Palace (folio 35); “Bishops [sic] Throne, St Davids Cathedral ” (folio 36); “Bishops Vaughan [sic] Chapel “ (folio 37) and St David’s: Porch of the Great Hall of the Bishop’s Palace (folio 40). The itinerary of Turner’s summer tour of 1795 is transcribed in another hand on the inside front cover and first two flyleaves of the sketchbook and details his journey starting at Wells, Somerset, making his way to Wales and visiting Picton Castle just before St David’s. Setting out from Haverfordwest, Turner travelled ’36 miles and back’ and disappointingly noted in his own hand ‘no inn ‘ (ibid, first flyleaf verso, p. 3 of itinerary). Judging by Turner’s own annotations which designated all places with 'good inns’ along the way with an ‘x’ (see Andrew Wilton, ‘Inscriptions by Turner and Another Hand: A Welsh Itinerary and Notes 1795 by Joseph Mallord William Turner’, catalogue entry, April 2012, in David Blayney Brown (ed.), J. M. W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012) Haverfordwest was a good place to stay which is perhaps why Turner returned there after his trip to St David’s. This watercolour is closely based on the preparatory sketch of the same subject in the South Wales Sketchbook (folio 37, 26.4 x 20.3cm, see illustration below). That sketch which Turner himself inscribed with the title “Bishops Vaughan [sic] Chapel “ in the bottom right corner is similarly inscribed as the present watercolour on the verso “Bishops Vaughan [sic] Chapel St David’s Cathedral ” (see illustration below). The view, in fact, depicts the entrance to Bishop Vaughan’s Chapel with the ruins of St Mary’s Chapel in the left foreground. The chapel was built in 1509 for Edward Vaughan (Bishop 1509-1522) as his chantry chapel and burial place and was dedicated to the Holy Trinity, the name under which it is now known. The effigy which appears in the foreground of both works is that of John Hiot, Archdeacon of St David’s from 1400-1419. Turner depicted the intricate architectural detail with extraordinary accuracy, also recording the poor state of the building and the unroofed condition of the North Choir and Chapel Aisles as they were in 1795. The viewpoint, however, that he chose is taken from the North Chapel Aisle and so attests to Turner’s imaginative use of lighting and perspective as the small door to the right would, in fact, be invisible from this angle. The present watercolour epitomises Turner’s early architectural drawing and was almost certainly worked up from the preparatory sketch back in his London studio as a private commission for one of his patrons or friends. We are grateful to Andrew Wilton for confirming the attribution first hand and for his assistance with this catalogue entry. Watercolour with pencil underdrawing on laid paper watermarked J Whatman. Watermark is visible under raking light. On paste board, in a modern acid free mount. Hinged at the top with tape. Had previously been stuck down onto another support. 12 blobs of animal based adhesive to verso. Faint graphite marks to the reverse. A tiny tear on the left hand side about third way up from the bottom. A little tear on the right hand side, third of the way down. A fracture in top right corner. Creases in bottom left and right corners. Faint polishing marks seen in reflected light inside the arch and in bottom left corner. A small abrasion inside the arch on the right hand side. Area of discolouration in the sky across most of the top edge. Insect damage near the centre of top edge. Small brown spots of foxing visible in the sky. Paper little discoloured, but colours are good. Under raking light 5 tiny spots of mould visible mostly in the bottom half. Slight dents along the right edge. Indentation near top left corner. Wetransfer link for high resolution images: https://we.tl/t-DxHWxadHla
Sir Godfrey Kneller (1646-1723) Portrait of Edward Richard Montagu, Viscount Hinchingbrooke (1692-1722) aged 8, half length, in a silver-trimmed plum-coloured coat with blue and pink cap, his right arm akimbo signed with monogram and dated 1700 centre left oil on canvas 74 x 61.5cm Provenance: Christie's, London, 26 June 1981, lot 123, for £4,460, as by Kneller of an unknown sitter The sitter was the son of Edward Montagu, 3rd Earl of Sandwich and Lady Elizabeth Wilmot, daughter of the 2nd Earl of Rochester. In 1707, aged only 14, Viscount Hinchingbrooke married Elizabeth Popham (d. 1761) shortly before departing on his Grand Tour. He served as Member of Parliament for Huntingdon between 1713-1722. In 1715, he was commissioned Captain of the Grenadier Company of the Coldstream Guards and later the same year was appointed an aide-de-camp to George I. He gained the rank of Colonel in the 37th Regiment of Foot in 1717 and became Lord-Lieutenant of Huntingdonshire in 1722. Viscount Hinchingbrooke died at the young age of 30, predeceasing his father, and so his son, John, succeeded his grandfather as 4th Earl of Sandwich in 1729. The present painting was engraved in mezzotint by John Smith, published in 1701. The painting is executed in oil on a canvas support which has been lined. The canvas has good tension and the picture is in plane. The paint layers are in a good stable condition overall. There is a network of age cracks present across the surface which are slightly darkened in areas but secure. The varnish is glossy but has yellowed with age and become slightly dull. There are scuffs across the surface affecting the varnish and causing matte patches. A light layer of surface dirt sits on top of the varnish.
Wynford Dewhurst RBA (1864-1941) An apple tree branch in blossomsigned lower left 'WYNFORD DEWHURST'oil on canvas53 x 72cmBorn in Manchester as Edward Thomas Smith, the artist changed his name to Wynford Dewhurst whilst studying at the École des Beaux-Arts in Paris. It was in France that he likewise transformed his artistic style from the traditional academic approach of his first teacher, Jean-Léon Gérôme, to the radical Impressionism of Claude Monet. Monet became Dewhurst's most significant mentor and inspiration, as demonstrated by the present painting. Dewhurst dedicated his pioneering account, 'Impressionist Painting: its genesis and development', to Monet; this was the first study of the movement to be published in Britain, in which Dewhurst argued that Impressionism was indebted to the painterly innovations of Turner and Constable. Like water-lilies for Monet, trees in blossom were a favourite subject of Dewhurst who painted numerous variations of the subject. A closely comparable version of the present picture was sold at Christie's, London, 9th June 2000, Lot 77.The painting is executed in oil on canvas support which is unlined. The canvas tension is slightly slack and there are minor undulations around the edges. The paint layers are in a very good condition overall. There is a thin, uneven varnish layer which is artist applied and a light dust layer.Framed 69 x 87cm
J Maurer (fl. 1713-c1761) Four views of London - Royal Chelsea Hospital; Somerset House, Vauxhall Pleasure Gardens and Westminster Bridgehand-coloured engravings20.5 x 40.5cmRoyal Chelsea Hospital - discoloured. Somerset House - Wrinkling to paper. Some staining far right, possibly water damage. Light discolouration visible in the sky.Vauxhall Gardens - two arched marks of discolouration to the centreWestminster Bridge - discoloured throughout. Several scuffs across the sky. Pinhole marks upper left corner. Framed 31.5 x 51.5cm
R H Hunt (active circa 1900) A family in a landscape burying a dead birdsigned lower left 'R H Hunt'oil on canvas70 x 90cmLined. Few minor paint losses which have been filled. Paint layer stable. Little surface dirt. A network of age cracks has developed, particularly in the sky area and near the top edge. Top stretcher bar mark visible in raking light. Evidence of old repairs and scattered retouchings. 85 x 105cm framed
English Provincial School, 19th century Portrait thought to be of William IV (1765-1837) when Duke of Clarenceinscribed to the stretcher 'HRH Prince William Henry Lieut. Royal Navy Died 20 June 1837 aged 72'oil on canvas29.5 x 24.5cmProvenance:Collection of the late Arne Schlesch (1922-2010) according to label versoThe present composition appears to derive from the three-quarter length portrait of William IV when Duke of Clarence by Sir Thomas Lawrence at Upton House, Warwickshire.Lined. In good stable restored condition. Scattered retouching mostly to the background and jacket. Fine craquelure throughout. Slightly uneven discoloured varnish visible in darker passages under UV light.
Sir Hubert von Herkomer CVO RA RWS (1849-1914) 'Roses' and 'Ivy'Herkomergravurespublished by the Fine Art Society, 189658 x 45cm Pl.; 56 x 43cm Pl.Roses - Light undulations to paper. Minor creasing to outer edges and bottom left hand corner of the margin. Ivy - Undulations to the paper and creasing to centre of the image, other minor creases to outer edges.
An elm and yew wood Windsor armchair, early 19th century, the turned stick back over a shaped seat on turned legs with crinoline stretcher91 x 50 x 43cmSome light wear to the surface of seat, seat with split, repair to horizontal arm rail where it meets the top hoop rail and supported with metal braces, legs appear to have been reduced, historic worm
§ William Albert Clark (1880-1963) A prized cow signed and dated lower right 'W Albert Clark 1922' inscribed with artist's name and address to the reverse '55 Hanover Road, South Tottenham, London'oil on canvas59.5 x 70cmUnlined. Age cracks have formed, particularly visible in the sky area. Top stretcher bar mark visible. Canvas tension slightly slack. A repaired tear above the animal’s head. Light retouching in the background, above and right of the animal’s headFramed 63 x 74cm
Frank Algernon Stewart (1877-1945) On the lookout, Second Boer Warsigned lower left 'F A Stewart'watercolour on paper32 x 47cmFrank Algernon Stewart was War Artist to the Illustrated London News and Illustrated Sporting and Dramatic News during the Boer War, South Africa, 1899-1900. He was present at many battles, including Colenso, Spion Kop, Peiter's Hill and also at the Relief of Ladysmith.Some light surface dirt, particularly to mount. Framed 53 x 67cm
J.R.R. Tolkien, Lord of the Rings trilogy, comprising Fellowship of the Ring, The Two Towers and The Return of the King, 10th, 7th & 7th impressions respectively, George Allen & Unwin, 1960/1961. Condition:- Good, light general wear, no sign of any major damage or repair. Note:- They are 10th, 7th and 7th impressions of the first edition. Each comes with fold out map. The plastic covers on the dust jackets are removable, not stuck on.
Penguin Books, approximately 119 paperbacks, mainly Mystery & Crime and The Bodley Head series, green and white covers, circa 1930s to 1960s.Condition (Death on the Borough Council by Josephine Bell only):- Good, light general wear, no sign of any major damage or repair.Note:- Cut Throat is a Penguin first.
A Webley & Scott Jumior mark II .177 calibre air pistol, 19cm long, with instructions & box. (BUYER MUST BE 18 YEARS OLD OR ABOVE AND PROVIDE PHOTO IDENTIFICATION ON COLLECTION) Note:- no in-house P&P available on this lot.Condition:- Good, light general wear, cocks ok, untested, sold with no guarantee, no sign of any damage or repair.
Shakespeare "Ugly Stik" carbon spinning rod 2.4m, 2pc, CW 18-50g, 17" handle, uplocking reel seat, lined rings throughout, MCB. Shakespeare "Ugly Stik" carbon spinning rod 7ft 2pc medium action CW 8-20lb, 20" composite handle, down locking reel seat, lined rings throughout, MCB, very light use. Shakespeare Trion Royality spin carbon rod 7ft 2pc CW 2-15g, 17" handle, uplocking reel seat, lined rings throughout, MCB, looks unused. (3)
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