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Lot 2199
Plojoux of Geneve - an early 20th century yellow metal, enamel and diamond circular brooch, the central ground finely enamel decorated with profile portrait of Hermes, having yellow metal set bodice and winged helmet, the wings tipped with rose cut diamond highlights, the whole in a surround of 36 rose cut diamonds, all above a carved yellow metal bezel, signed Plojoux Geneve, unmarked but valued as high carat gold, 7.8g, dia.26cmWith very light scratches to surface of enamel only.Very good condition.
Lot 2472
A mid-20th century Waterford cut crystal ten-light electrolier, arranged as two rows of five candle-arms, each supporting faceted drops and cut glass 'drip' trays, dia.69cm, h.85cmOne sconce chipped.Two or three drops chipped.Missing a drop to centre of bottom.Otherwise generally appears in good order.
Lot 2066
An extensive Herend porcelain dinner service, in the 'Printemps' pattern, decorated with flowers within a basketweave and gilt heightened border10” plates – 18 in total, all appear to be in good order, some light cutlery marks only.7.25” side plates – 35 in total, twelve of these have either been in regular use of through the dishwasher as the decoration is quite faded, one of these 12 is also cracked.8.25” dessert plates – 12 in total, two are slightly faded and one is cracked.19.5 x 7” serving dishes – all three are intact.Teapot – good.Double-ended sauceboat and saucer – good.Three 4” milks – good.3.5” milk – good.16” meat plate – good.14” meat plate – good.Two coffee pots – both have minor nibbles to the rose finials, one has a small chip to the rim.10” round serving bowl – good.13” round serving plates – both good.Tureen with lemon handle – minor nibbles to the flowers, otherwise good.Pair of candlesticks (different pattern) – one has a few small chips to the foot.Nine teacups – two are smashed and repaired.Twelve tea saucers – all appear good.Nine coffee cups – two are smashed and repaired.Ten coffee saucers – all appear good.
Lot 2375
Hamley of Duke Street, Grosvenor Square (London) - a Regency mahogany bracket clock, having a signed convex Roman dial with twin winding holes for a brass gut-driven eight-day fusee movement striking on a bell, with anchor escapement and pull-hour repeat, the case surmounted with a brass pineapple finial, having brass ring handles and brass inlays, h.51.5cmDial has been overpainted, otherwise good with only light marks.Case highly polished.Fully working.All parts appear to belong to one another, no unexplained holes to back cover.With key and pendulum.An excellent, clean example.
Lot 2423
A pair of mid-Victorian ebonised and boulle side cabinets, each of serpentine outline with black marble tops, brass mounts, red tortoiseshell and brass inlaid panels, the doors opening to reveal shelved interiors, w.128cm, d.47cm, h.107cmQuite difficult to assemble.Various splits and losses to the Boulle and veneers.One has a small chip to the right hand corner of the marble.The other has a large repair to the back left corner.Both with light surface scratching.
Lot 2236
A Montblanc Meisterstück fountain pen, burgundy resin with gold-coated trim, the cap with white star emblem to tip of cap and engraved 'Montblanc Meisterstück' to lower band, having bi-colour 4810 14k Montblanc 585 nib, the clip ring marked Germany and serial number GC100992, length 13.5cm (capped)No ink in cartridge but otherwise the pen appears very good with light surface wear only.
Lot 2242
An early 19th century yellow metal and agate snuff box, of shaped oval form, with faceted agate inset lid and base, the lid with mirrored interior, the body in finely engraved yellow metal with raised thumbpiece, unmarked but tests as approx 18-22ct gold, 41.3g, w.5cmBoth stones good, no cracks or chips.Good polished surface.Hinge good and box closes well.Gold good, with light handling wear only.Mirror to lid is crazed.
Lot 2113
A 19th century Russian silver and niello 'Cossack' belt, comprising individually stamped geometric decorated niello slides with leather belt passing through, the buckle having hardstone inset boss and hook clasp, each slide marked Moscow 1877, assayer Egor Ivanovich Bliumberg and silver standard 84, length approx 80cmAll stones present.Dirty and with some age/handling wear, but no apparent faults.Marks with general light wear only.
Lot 2277
A Chinese hardwood vase stand, 19th century, profusely carved with flowers and standing upon five ruyi head feet, dia.22cm, together with another similar, dia.22cm, another smaller, dia.7.5cm, and a similar carved hardwood lid, of domed shape, dia.11cm (4)Largest low stand: stands well.Two cracks running from centre top into body.Chip along one edge.Large pierced stand: Some fret losses on top (see picture)Otherwise no faults.Very small stand: No faultsLid: Light age/handling wear.Otherwise no faults.
Lot 408
Gnomeman: Thomas Whittaker (1912-1991) (Littlebeck): An Oak Panelled Blanket Chest, with rectangular adzed hinged top, the central front panel carved with a rampant lion, with recessed carved gnome trademark, 93.5cm by 42.5cm, 58.5cm highThe top with a crack forming from the left-hand side (approx 6cm). Noticeable light scratches. Some water marks to the front. Otherwise OK.
Lot 401
Acorn Industries: G.J.Grainger and Son (Brandsby): An Oak Table Lamp, of octagonal form, with recessed carved acorn trademark, 18cm high; An Oak Four Branch Light Fitment, octagonal column, with four upward facing sconces, with recessed carved acorn trademark, 49.5cm wide (2)The table lamp has a crack that has been wax filled. The light fitment has white paint and an old repair to the central octagon.
Lot 222
Bernard Moore (1850-1935): A Flambé Porcelain Vase, painted with an owl swoopind down on seven mice, printed mark BERNARD MOORE, 18cm high (worn gilding); Another, painted by Annie Ollier, with foliage and repeating patterns, painted mark and artist monogram, 30.5cm high (restored) (2)Owl vase has worn gilding and light surface scratches. The foliage vase has a restored rim, surface scratches and crazing.
Lot 384
Workshop of Robert Mouseman Thompson (Kilburn): A Set of Six English Oak Lattice Back Dining Chairs, 1997/8, blue cow hide seats, on two octagonal front legs, each with carved mouse trademark, labelled 3/6/97 and 12/2/98,84.5cm highOne or two water splash marks to each of the chairs. Structurally sound, with no scratches or knocks. The colour is light fume.
Lot 387
Workshop of Robert Mouseman Thompson (Kilburn): An English Oak 4'6" Panelled Bedstead, the headboard and footboard with penny moulded top, the footboard with carved mouse trademark, headboard 137cm wide, 106.5cm high footboard 137cm wide, 66cm high with bedbase and vono metal railsSome light fading. Some mild scuffs to the top right of the footboard. Good mouse. Generally good condition. Base and supports are functional.
Lot 358
Workshop of Robert Mouseman Thompson (Kilburn): An English Oak Teapot Stand/Small Chopping Board, with carved mouse trademark, 19cm wide; An Ashtray, of standard rectangular form, with carved mouse trademark, 10cm (2)1. Teapot stand has a light surface scratch on the top, the mouse has a dark dot on head and back. Mouse in high relief. 2. Ashtray is in good order
Lot 416
Squirrelman: Wilfrid Hutchinson (Husthwaite): An English Oak 3ft Refectory Coffee Table, the adzed rectangular top, on two octagonal legs joined by a floor stretcher, with carved squirrel trademark, 91cm by 37cm, 44cm highSome fading and light water marks. Some very light scuffs and marks (these can be polished out).
Lot 371
Workshop of Robert Mouseman Thompson (Kilburn): An English Oak Dish Top Stool, 1970s, the rectangular nailed and adzed top, on four octagonal legs, joined by stretchers, with carved mouse trademark,41cm by 27.5cm, 38.5cm highThe top with some water marks. Legs and stretchers with some light scuffs and marks, otherwise OK.
Lot 412
Oak Leafman: Fred Suffield (Thirsk): A Pair of Oak Double Wall Light Brackets, the shaped rectangular backs mounted with an arm with two upward facing electric light bulb holders, each with carved leaf trademark, 25cm wideSome paint splatter. Wires have been removed, so all elements are loose. One fitting is missing. No scratches or chips.
Lot 378
Workshop of Robert Mouseman Thompson (Kilburn): An English Oak Octagonal Coffee Table, the adzed top on a cruciform base, with carved mouse trademark, 55cm diameter, 47cm highWith ring mark and one or two minor water splash marks. The top with even wear and one or two light surface scratches. Water marks to the base. With a good mouse.
Lot 3
After Laurence Stephen Lowry RBA, RA (1887-1976)"Mrs Swindells' Picture"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 43cm by 31.5cmSlight time staining to paper. The odd sporadic foxing spot, in particular, one to the upper right corner to the left of the black line and a few tiny ones upper left within the sky. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Lot 33
Brian Shields (Braaq) FBA (1951-1997)"Just Spent Me Mum's Milk Money on This"Signed and dated (19)76, inscribed "Ann", inscribed verso, oil on board, 44cm by 59.5cmThe painting has been restored, cleaned and re framed. There is evidence of re touching to the left of the two dogs, left of centre, to the upper right corner of the sky, to the right of the grey building to the right of the houses in front and smaller more sporadic areas elsewhere. Vertical areas of craquelure in line with the board throughout in particular within the brown roofs, this has possibly been infilled although it is not fluorescing with a uv light. See additional images.
Lot 99
Gwen Raverat (1885-1957) "Horses at Night"Signed, inscribed and dated (19)13, woodblock print, 15cm by 20cmSlight time staining to the paper. With the odd very minor tiny sporadic foxing spot in evidence to the margin. Some light surface dirt and debris trapped under the glass. Significant time staining to the mount with areas of foxing, particularly to the outer edges. Not examined out of the frame.
Lot 41
Allen Tortice (b.1948)"Paradise Road"Signed, inscribed verso and dated 1989, oil on canvas, 52cm by 76cmSome light surface dirt. Superficial surface scratch left of centre of the bottom edge. Small crease in the canvas approximately 7cm in length above the dog on the right up the street into the children. The canvas is slightly rubbed to the outer edges where it has moved in the frame.
Lot 93
Jerzy Marek (1925-2014) Polish"Friends"Signed, inscribed and dated 1975, oil on board, 20cm by 22cmSome light surface dirt. Areas to the brown of the curtain where something has splashed onto the surface. Fine craquelure to the dog's back. The odd minor knock to the frame, gaps in the corners where the wood is attached, by design? See images
Lot 129
Marino Marini (1924 – 1997)"Cavallo" (1959)Jacquard woven furnishing fabric for Edinburgh Weavers, 43cm by 53cmLiterature: "Artists' Textiles in Britain 1945-1970", The Antique Collectors' Club in association with The Fine Art Society/Target Gallery, 2003, p.102Some very light surface dirt trapped under the glass. Seam line down the fabric to the extreme left. Otherwise appears in good overall condition. Not examined out of the frame.
Lot 142
Richard Billingham (b.1970)Two WhippetsOil on canvas, 104cm by 156cmProvenance: Purchased from the artist's graduation show at Sunderland University circa 1994Some light surface dirt. Areas where the black paint appears to be bubbling in places, in particular to the left hand side edge and to the right in front of the dog's nose. Slight rubbing to the outer edges in places. The odd hair and brush bristle trapped within the paint. Tiny loss to the right of the top edge. Small area of fine/medium sized craquelure within the white paint to the lower left and another to the right hand side of the whippet. See images.
Lot 25
Laurence Stephen Lowry RBA, RA (1887-1976)"A Family Group"Signed, inscribed and dedicated "To Leslie Anthony", dated 13 September 1966, pencil and biro, 18cm by 18cmProvenance: Mr Anthony, Manager of the Seaburn Hotel SunderlandChristie's South Kensington, 20th Century British Art, Thursday 13 July 2000, lot 117Exhibited: Sunderland Museum and Art Gallery, no.68Literature: "L.S. Lowry in the North East" by Juliet Horsley for Tyne and Wear Museums Service 1989, p.50Sold together with four letters from L S Lowry to Mr Anthony at the Seaburn Hotel and a copy of "L.S. Lowry in the North East" by Juliet Horsley for Tyne and Wear Museums Service 1989The work is drawn on the back of a book page. The paper is hinged at the top corners with tape. Very slight time staining to the paper and the odd minor handling crease. The areas of biro have faded. These include the text, signature and areas of the drawing such as the figure's legs and arms right hand side, the central figure's head and hat and the head and arms of the left figures. Some light surface dirt trapped under the glass.
Lot 55
Piers Browne (b.1949)"Grasmere"Signed and dated (19)93, oil on canvas, 99cm by 90cmSome light surface dirt. The odd hair and brush bristle trapped within the paint. Paint thin in places by application. The odd bump to the outer edges where the texture of the nail in the canvas is protruding. Otherwise good overall condition.
Lot 23
Ashley Jackson (b.1940)"Barnsley Main - Gone Forever"Signed and dated (19)68, mixed media, 106cm by 70cmExhibited: Salford Gallery, 16th June 1983Some very light surface dirt and debris trapped under the glass. Small brown mark left of centre of the top of the sky and the odd very minor tiny sporadic foxing spot, one to the left of the brown mark. Otherwise appears in good overall condition. Not examined out of the frame.The odd chip and knock to the frame.
Lot 2
After Laurence Stephen Lowry RBA, RA (1887-1976)"Man Holding Child"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 49cm by 73cmSlight time staining to paper. Very slight cockling to paper. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Lot 29
Laurence Stephen Lowry RBA, RA (1887-1976)"Tug"Signed and dated 1959, oil on panel, 19cm by 17.5cmProvenance: Picadilly Gallery, LondonClarendon Gallery, Manchester, where purchased by the vendor's father in 1976Thence by descent"Tug" is a fine example of a work inspired by Lowry’s love of the North Sea and was probably painted on one of his extended holiday stays at the Seaburn Hotel, Sunderland. Here from his hotel room (always the same room) with his easel set up by the window, Lowry could look straight out to the North Sea which obligingly offered up its wide empty skies, with ships and boats bobbing about on the near or far horizons, all feeding Lowry’s imagination and inspiring him to paint. The tug itself feels tiny on the vast grey sea, however Lowry has given it strength and determination as it battles its way across the composition from right to left leaving an impressive trail of black smoke in its wake as it powers against the tides. Lowry puts the little tug front and centre in the composition and it stands out against the distant more anonymous shipping in the background seemingly giving it the strength to perform all its seaborne tasks in spite of its lack of size.We are grateful to Jonathan Horwich for his assistance with this catalogue entry.Some light surface dirt. A small fine arc shaped area of craquelure to the right of the top edge, approximately 2.5cm in length. Slight rubbing to the outer edges of the board. An area of pitting? within the front of the black boat lower right approximately 1cm in size. Time staining to the mount. Some light surface dirt and debris trapped under the glass. The painting is glazed and has not been examined out of the frame.
Lot 95
Martin Leman RBA, RWS (b,1934) "Playmates"Signed, inscribed verso, oil on board, 39cm by 25.5cmSome light surface dirt. Superficial scratch to the tail of the ginger cat approx 1cm in size and one to the top left of the sky. Two scratches within the green leaves of the plant and a few scratches to the right of the black and white cat's head. The horizontal grain of the board is visible throughout and in particular is more pronounced to areas of the green curtain and the sky. The frame is quite tatty and has a large crack to the upper right corner.
Lot 51
Walter Steggles (1908-1997)"Sussex Landscape, Lewes"Signed, oil on canvas, 37cm by 49cmProvenance: The Artist's Estate and thence by descent.Christie's, Modern British and Irish Art, 14th December 2012, lot 381Some light surface dirt, the odd hair and brush bristle trapped within the paint. Canvas slightly buckling upper left corner. Otherwise appears in good overall condition.
Lot 138
David Blackburn MBE (1939-2016) "Central Australian Landscape" Signed and dated 1979, pastel, 62.5cm by 51cmSome light surface dirt and debris trapped under the glass, mount slightly grubby. The signature has faded. A tiny bit of the pastel has bled into the lower margin.Horizontal crease through the centre of the image. it is not clear if this is due to the paper being folded in half or whether there is a join.Not examined out of the frame.
Lot 28
Laurence Stephen Lowry RBA, RA (1887-1976)Street scene with figures (1947)Signed and dated 1947, pastel, 27cm by 35.5cmProvenance: Leigh Gallery, Manchester where purchased by the vendor's father in 1976Thence by descentThe present lot is an exciting discovery as it’s the earliest work so far to appear on the market from a unique, rare group of joyful and vibrant figurative pastel works by Lowry, of which he seems to have made one a year between 1947 (or earlier) and 1950. There are two notable works from the series that have previously come to market namely; "Cowles Fish & Chips, Cleator Moor", 1948, sold for £145,250 in May 2012; and "The Broken Shop Window at Cleator Moor", 1950, sold for £50,000 in July 2020.When comparing these two works with Street Scene with Figures, 1947, it is evident that not only is Lowry’s handling, style and technique the same in all three works, but they are also all the same size, and use the same medium and support, i.e., pencil and pastel on blue paper.Lowry executed these pastels during his annual visits to Cumbria to stay with his friend, Reverend Geoffrey Bennett (1902-1991). Lowry and Bennett first met in 1926 when Bennett worked as a clerk with Lowry's cousin, Grace Shephard, at the London and County Westminster Bank in Manchester. The two men shared a lifelong friendship and over the years Bennett acquired many works from his friend and formed a very significant Lowry collection, which included the above mentioned, "Cowles Fish & Chips, Cleator Moor", 1948. When Bennett married after the War, he moved from Manchester with his wife Alice and son, also Geoffrey, to Cumbria as manager of the National Westminster Bank branch in Cleator Moor. Bennett was ordinated into the Anglican Church in 1962 and he became known to Lowry as the 'Reverend Gentleman'. When Lowry died in 1976, Reverend Bennett conducted the funeral service.Following Bennett’s death in 1991 his collection of works by Lowry was sold in 1995 for a total of £528,440, to benefit Carlisle Cathedral.We are grateful to Jonathan Horwich for his assistance with this catalogue entry.On blue buff paper. Slight cockling to the paper in places. Some very light surface dirt and debris trapped under the glass, mostly to the mount. Good colour depth. There are a number of small spots within the roof of the houses to the left hand side, these appear to be by design. Two pin holes top right corner. Not examined out of the frame.
Lot 74
John Titchell RA (1926-1998)"Sun Drenched Road, Hythe in Kent"Oil on board, 29cm by 33.5cmPurchased from the artist's studio.Some light surface dirt. A brown dot right of centre to the yellow path and two to the upper left of the sky. Areas where the paint is thin in places by application and the grain of the board is visible. Otherwise appears in good overall condition. Glazed and not examined out of the frame.
Lot 19
Harry Malkin (b.1951)"The Struggle"Signed, inscribed verso, acrylic on board, 60cm by 91cm Castleford born Harry Malkin took up painting full time shortly after the last strike when his pit closed in 1985. Drawing on his experience of being a miner, he began to create public and private commissions, these include The "Allerton Bywater Colliery Miners Memorial" and a memorial for the ex Prince of Wales Colliery, Pontefract. He also became an art teacher. His works have been exhibited at the Southbank Centre in London, he was represented by the late leading Yorkshire art dealers Tom and Rosamund Jordan and his work is included in "Shafts of Light" by Robert McManners and Gillian Wales. His paintings are housed in many public and private collections including The National Coal Mining Museum for England and The Mining Art Gallery in Bishop Auckland.The painting is in good overall condition. There is a diagonal crease/line (following the grain of the board)down through the left miner's hands to the signature. See images.
Lot 139
Sir Sidney Robert Nolan OM, AC, CBE, RA (1917-1992) Australian/British"Desert Landscape"Signed, inscribed and numbered 54/100, lithograph, together with three further signed and inscribed lithographs each numbered 54/100 by the same hand "Night", "Dalila" and "Ram in Thicket" 58cm by 71cm (4)"Desert Landscape" has cockling to the paper, some light surface dirt and debris trapped under the glass. Time staining to the bottom of the mount. A small foxing spot to the right of centre of the sky.The other examples are in a similar condition to the former.Not examined out of the frames.
Lot 135
Peter Thursby (1930–2011) "Looking Forward"Signed, mixed media study for the bronze sculpture commissioned by Exeter City Council to commemorate the Queen's Silver Jubilee in 1977, together with two further unframed 1987 watercolour sculptural studies by the artist, an abstract drawing dated 18/12/(19)69 and a copy of "Peter Thursby" by Vivienne Light and Simon Olding, 50cm by 33cm, 63.5cm by 48cm, 41.5cm by 30cm & 56cm by 76cm respectively (5)
Lot 98
Kit Williams (b.1946) "Sanctus"Signed and dated (19)74, oil on board, in a folding marquetry frame with velvet and embroidery inside the two folding panels, 27.5cm by 19cm (with arched top)The painting has some very light surface dirt but is otherwise in good overall condition. There is some light surface dirt and slight fading to the velvet inside. Some vertical cracking within the grain of the wood to the front panel and the odd bit of wear and tear to the wood, in particular to the left of the pig’s front trotter, to the top left of the case and surrounding the metal sun. The odd minor surface scratch to the reverse.
Lot 6
After Laurence Stephen Lowry RBA, RA (1887-1976)"The Contraption"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, together with the reproduction preparatory sketch, 34.5cm by 31cm and 31cm by 19cm respectively (2)Very slight time staining to the paper. The odd very minor foxing spot in evidence to the margin. Slight cockling to the paper, some light surface dirt and debris trapped under the glass. Not examined out of the frame.The sketch has slight time staining to the paper. The odd very minor scattered foxing spot, especially one to the centre of the bottom edge of the plate. Not examined out of the frame.
Lot 43
Allen Tortice (b.1948)"School Scene (Blackpool)"Signed, inscribed verso and dated 1989, oil on canvas, 76cm by 58cmMarks to the bottom edge where the pins of the canvas are showing through, especially to the right of the signature and to the left of this. Vertical line below the boy down through the left of the signature. Some light surface dirt.
Lot 94
Martin Leman RBA, RWS (b,1934) "Cat with Green Eyes" Signed, inscribed to label verso and dated (19)74, oil on board, 26.5cm by 27cmSome light surface dirt. There are a number of vertical cracks in line with the grain of the board. These are most noticeable through the center of the cat's body, down through the tip of the cat's tail, to the top of centre. Circular shape to the top of the cat's front leg also in line with the grain of the board.The frame has the odd chip and knock with a tear in the wood to the upper right corner.
Lot 109
Robert Oscar Lenkiewicz (1941-2002)Portrait of a bearded man from Vagrancy ProjectOil on canvas, 47.5cm by 58cm Some light surface dirt. Canvas very slightly bucking and very slight stretcher shadow. Possible small area of paint loss to the left of his hat approximately 1cm in size. Slight surface scratch to the right of this approximately 6cm in length, this may be by design? Otherwise appears in good overall condition.
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