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Click here to subscribeBERNARD GREEN limited edition (42/70) linocut - entitled in pencil 'Finding Light at Carn Llidi, Pembrokeshire II', signed and dated 1987, 32 x 61cms Provenance: private collection, consigned via our west Wales office Presentation & Condition: no problems, framed and glazedPlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)
CERI RICHARDS boxed set of seven limited edition (15/100) Curwen Press coloured lithographs - to illustrate the text by the artist's associate Roberto Sanesi, entitled 'Viaggio Verso Il Nord', each individually signed, fully posthumously in pencil, 44 x 32cms Provenance: private collection Swansea Presentation & Condition: light surface marks to some pages and front of boxPlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)
CLAUDIA WILLIAMS pastel - study of a reclining female nude, entitled verso 'Looking Towards the Light', signed lower right, 22.5 x 29.5cms Provenance: private collection Carmarthenshire, consigned via our Carmarthen office Presentation & Condition: no apparent problems, some wear to frame, framed and glazedPlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)
SIR KYFFIN WILLIAMS RA oil on canvas - head and shoulders portrait, entitled verso 'Willie', signed with initials, 75 x 74cms Provenance: private collection Powys Auctioneer's Note: Willie is purported to be Willy Lee of Ynys Mon (Anglesey) and formed part of a local support group for epileptic sufferers together with Sir Kyffin who was himself also an epileptic. If Kyffin Williams had not developed epilepsy he might never have become a painter. Kyffin recalled that in 1937 after a St David's Day dinner at the Anglesey Arms, Menai Bridge: 'I went to bed at about 12.30 happy and sober. I don't know when I woke, but I remember lying beside the open window. It was unbearably cold and I was covered in snow. There was a taste of blood in my mouth and my tongue was terribly painful…. I must have lost consciousness, for the next thing I remember was waking up in bed…. My tongue was agony, but I got up, dressed and unsteadily made my way downstairs to breakfast. I don't think I ever got there, because once again I found myself in bed, my tongue was worse and everything was unbelievably vague. A few weeks later he was taken to see Dr Henry Cohen in Liverpool 'He told me that I had had an attack of grand mal epilepsy, that the pupil of my left eye was fixed and I had no reaction to light, and that I had no reflexes in my knees. He prescribed luminal and a foul tasting mixture of belladonna and Irish moss. A few days later again in April 1937 Kyffin received his commission in the 6th Battalion Royal Welch Fusiliers but six months after the first attack of grand mal he had a second one: 'In the morning I felt reasonably well but was found unconscious on the pavement near Pwllheli station while on my way to lunch. I regained consciousness twenty four hours later. Again there was the taste of blood in my mouth and my tongue was unbelievably sore'. In August 1938, on the return from summer camp as the train left Prestatyn, he had another attack of grand mal, and further attacks followed. The last while still in the army occurred while buckling on his Sam Browne belt prior to a company inspection. He was sent to Moston Hall Hospital, Cheshire, for two weeks; then followed investigations at a military hospital in Oxford, under the supervision of Dr (later Sir) Hugh Cairns. Kyffin describes these as follows, '... first test was the inevitable lumbar puncture. This was followed a few days later by the electro-encephalogram, the first machine of its kind to be assembled in this country. I sat in a wire-netting rabbit hutch and a strange permanent-wave machine hung above my head as terminals were attached to my ether-soaked hair. At the other end of the room a girl pressed a switch, and a large metal hand started to draw a crazy graph on some paper pinned to the wall. The next day in came my doctor. 'What are you going to do when you leave the army? … as in fact you are abnormal,' he announced. 'I think it would be a good idea if you took up art'. Rogers Jones & Co have decided to donate 5% of the price from the commission to Epilepsy Research UK Presentation & Condition: no problems, framedPlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)BUYER'S PREMIUM:24% + VAT (28.8%) on all lots up to a hammer price of £19,99916% + VAT (20%) on all lots of a hammer price £20,000 and over10% + VAT (12%) on all lots of a hammer price £60,000 and over***PLEASE CLICK ON THE IMAGE MULTIPLE TIMES TO SEE A CLEAR HIGH RES IMAGE'
GLYN MORGAN oil on canvas - Greek mythology, entitled verso 'Maenad and Owl in the Forest', unsigned, dated 1984, 90 x 90cms Provenance: private collection Kent Presentation & Condition: light surface marks to bottom of canvas, framedPlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)
PHIL NICOL oil on board - urban view with parked cars and light reflection on office block, 16 x 16.5cms Provenance: private collection, consigned via our Cardiff office Presentation & Condition: no problems, neatly framedPlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)
CHARLES WYATT WARREN oil on board - whitewashed cottage and Eryri mountains, entitled verso 'Farm near Mynydd Mawr', signed, 18.5 x 33cms Provenance: consigned via our Colwyn Bay office Presentation & Condition: may benefit from light clean, typical original frame which is tiredPlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)
IOLA SPAFFORD oil on board - still-life, entitled verso 'Barley', signed, 48 x 39cms Provenance: from the collection of the late Rev John O Wilstead B.D FRSA, thence by descent, please see Lot 379 Presentation & Condition: original framing, may benefit from light cleanPlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)
AN 18TH CENTURY WROUGHT IRON RUSH LIGHT HOLDER the iron work in two sections joined by a single rivet, both sections twisted for decoration and mounted to a primitive carved elm base of square and conical form, 27cms high Provenance: private collection Gwent Condition Report: excellent example, no damage of note, please see images
A light and darkwood strung cased Longcase Clock of diminutive dimensions having a spring driven three train movement, the brass face having a silvered chapter ring with Roman numerals and cast spandrels with cherub faces and trailing foliage/scoll detail, the movement striking on bars/gongs (pendulum and key absent), 66 1/8'' high x 16 1/2'' wide x 7'' deep.
A good Edwardian Mahogany Sideboard having cross-banded and light and darkwood stringing and inlaid oval panels to the opposing doors to either side of a flight of three bow fronted drawers and having upstand complete with drape rail and standing on tapering square legs with spade feet, 60'' wide x 22 1/2'' deep x 59 1/4'' high overall.
A group of mostly Victorian painted glass, to include a light blue opaque glass vase with funnel bowl upon a spreading circular foot, decorated with a bird, butterfly and flowers within a gilt frame surround, H31.5cm, a milk glass ewer decorated with a bird upon branch with flowering tendrils, H32.5cm, a Mary Gregory type amethyst glass vase, with castellated rim decorated in the typical manner with child amongst long grasses, H28cm, a milk glass goblet decorated with an Oriental style figural panel, H19cm, etc.
Vinyl LPs and singles including Rod Stewart 'Atlantic Crossing', Electric Light Orchestra 'Out of the Blue', Supertramp 'Even In The Quietest Moments...', Bonnie Tyler 'Faster Than The Speed Of Night', Queen 'Greatest Hits', Meat Loaf 'Bat Out Of Hell', Billy Joel 'An Innocent Man', Dire Straits 'Brothers In Arms' etc, in one box
Taxidermy: African Leopard Skin Rug (Panthera pardus pardus), dated May 1964, Mozambique, Africa, by Rowland Ward, Ltd, 64/65 Grosvenor Street, London, a superb quality adult skin rug with headmount, mouth agape, glass eyes, with limbs outstretched, mounted upon light brown felt backing material, nose to tail 213cm, across the forelimbs 133cm, including photo copies of original photographs from Mozambique 1964 album, also photo copy of original Rowland Ward invoice. With Cites Article 10 (non-transferable) licence no.601195/01. repaired entry wound to right shoulder hardly noticeable, all teeth remain, all claws remain, pelt overall in very condition, strong colours remain, very few whiskers remain, 07/05/21
Natural History Books: Voodoo Salon, Errol Fuller, 240 pages, 2014, This book is a visual stroll through great examples of the craft - both historical and contemporary - with a commentary throwing light on its aims and intentions. Work commissioned by the world's great museums is featured; so too are pieces ordered by private collectors including familiar names from the past. Charles Dickens, for instance, grieving at the death of his pet raven, paid a taxidermist to preserve its outward form. Together with The Victorian Taxidermy Co Ltd, a fantastic full colour pictorial reference soft back book cataloging the fine art taxidermy offered for sale by the Victorian Taxidermy Company. A lavishly printed book that is now becoming increasingly rare to find. 139 pages full of the finest cases of taxidermy by many different exponents of the craft. A fantastic reference book. Published 2004. (2).
A GILLIES JONES OF ROSEDALE GLASS LIMITED EDITION VASE, 'Leaves', on clear glass foot, signed, inscribed, and dated 2000, NO. 04/183, 15cm together (Stephen Gillies and Kate Jones have been making contemporary blown glass in Rosedale since 1995)Condition report: in the photograph a reflection from our light booth. The vase is in good order.
A ROYAL WORCESTER BONE CHINA FIGURE GROUP, 'In the Ring', modelled by Doris Lindner, depicting a circus performer standing astride three dapple grey horses, No.3180, gold factory stamp, registration No. 818428, date code for 1955, 27cm highCondition report: There is no chip to the ear. Condition is good, no chips, cracks or restoration. Some light crazing on the limbs of the horse rider & on the horse, otherwise fine condition. There is no base, box or certificate as was brought in from a house clearance with a cabinet full of other Worcester items.
Tony Blackburn signed 6x4 colour Capital Radio promo photo. Anthony Kenneth Blackburn (born 29 January 1943) is an English disc jockey, singer and TV presenter. He first achieved fame broadcasting on the pirate stations Radio Caroline and Radio London in the 1960s, before joining the BBC, on the BBC Light Programme. He was the first disc jockey to broadcast on BBC Radio 1 at its launch, on September 1967, and has had several stints working for the corporation. He has also worked for Capital London and Classic Gold Digital, and currently BBC Radio 2, BBC Local Radio, and KMFM. He has also had a singing career. Good Condition. All autographs are genuine hand signed and 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 £8.99
Richard Todd signed 16x12 Dambusters black and white photo. Richard Andrew Palethorpe-Todd OBE (11 June 1919 - 3 December 2009) was an Irish-British actor known for his leading man roles of the 1950s. He received a Golden Globe Award for Most Promising Newcomer - Male, and an Academy Award for Best Actor nomination and a Golden Globe Award for Best Actor nomination for his performance as Corporal Lachlan MacLachlan in the 1949 film The Hasty Heart. His other notable roles include Jonathan Cooper in Stage Fright (1950), Wing Commander Guy Gibson in The Dam Busters (1955), Sir Walter Raleigh in The Virgin Queen (1955), and Major John Howard in The Longest Day (1962). He was previously a Captain in the British Army during World War II, fighting in the D-Day landings as a member of the 7th (Light Infantry) Parachute Battalion. Good Condition. All autographs are genuine hand signed and 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 £8.99
Nameplate TAW VALLEY ex Bullied West Country Light Pacific 4-6-2 built at Brighton in 1946 and numbered 21C127, renumbered in 1948 to 34027. Rebuilt at Eastleigh in September 1957. Allocated to Exmouth Junction, Bricklayers Arms, Ramsgate, Brighton and 70E Salisbury from where it was withdrawn in August 1964 and purchased for preservation and currently based on the Severn Valley railway. In nicely face restored condition.
* Girelli (Pietro Paolo, circa 1685-circa 1750). Prospetto interno ed esterno dell antico tempio Romano detto Pantheon, oggi Chiesa della Rotonda, Rome, Carlo Losi, 1773, etching with engraving on pale cream laid paper, after Giuseppe Tiburzio Vergelli, a good, strong impression, some light toning (generally in very good condition), plate size 46 x 68 cm (18 x 26.75 ins), sheet size 525 x 740 mm (20.75 x 29.2 ins), together with: Antiquum Amphiteatrum una cum Triumphali Arco Flavium Romae erectum, Rome, Carlo Losi, 1773, etching and engraving on laid paper, after Giuseppe Tiburzio Vergelli, depicting the Colosseum and the Arch of Constantine, some toning, plate size 43 x 67.5 cm (17 x 26.5 ins), sheet size 50.5 x 74.5 (19.8 x 29.25 ins), matching modern gilt frames, glazedQty: (2)NOTESThe view of the interior and the exterior of the Pantheon, here published by Carlo Losi in 1773, and dedicated to Carlo Borromeo, is based on an engraving first published by Matteo de Rossi in 1692.
* Stubbs (George, 1724-1806). Horse at Play, 1795, uncoloured engraving by William & Letitia Byrne after George Stubbs, together with Gilpin (Sawrey, 1733-1807). Horse Starting, 1795, uncoloured engraving by William & Letitia Byrne after Sawrey Gilpin, both published by W. Byrne, Titchfield Street, March 2nd, 1795, some light overall staining and toning, and slight creasing to both engravings, both 240 x 315 mm, framed and glazedQty: (2)NOTESLennox-Boyd, Dixon & Clayton, George Stubbs, Complete Engraved Works, 126, state ii/ii (for the first work). Rarely found as a pair. Lennox-Boyd states 'the plate seems to have been a companion to an engraving after Sawrey Gilpin. In the sale of Byrne's plates in 1806 these were described as "Two Horses from Stubbs and Gilpin by Byrne with 30 proofs and 54 lettered impressions each" ', from which Lennox-Boyd deduces there was a proof first state.
* Heap (Mary). Portrait miniature of Caroline Baynham, 1823, oval watercolour on ivory, head and shoulders portrait, half profile to left, of a young lady seated in a landscape, wearing a red walking dress, a white lace collar, and a lace headpiece adorned with flowers, slightly rubbed in places and a little light toning, 8.5 x 6.8cm, contemporary oval frame with flower and ribbon border, contemporary inscription in brown ink on verso 'Portrait of Caroline Baynham - painted by her sister Mary Heap November 1823', 11.4 x 9.6cmQty: (1)
* English School. Portrait of Frederick Henry Cooper (1827-1869), aged 34, head & shoulders portrait in oil on card, some faint scratches & few cracks, uneven paint surface and light craquelure, pencil identification caption to verso and to rear lining paper, 14.5 x 12.5 cm, gilt moulded frame (chipped & worn to lower edge), 22.5 x 21 cmQty: (1)NOTESFrederick Henry Cooper CB (1827–1869) was a British civil servant who worked with the East India Company. He served as Deputy Commissioner of Amritsar, Punjab, during the Indian rebellion of 1857. He is noted for his ruthlessness and indiscriminate killings of Indian rebels and civilians during the 1857 uprising. His killing of about 500 sepoys of the 26th Native Infantry and civilians at Ajnala were described in his memoirs. His acts were condemned by the Liberal MP and Quaker Charles Gilpin in the British parliament on 14 March 1859.
* Clayton & Bell (Stained Glass). Design for a 4-panel stained glass window for Wantage Parish Church, 1913, fine watercolour with pen & brown ink, signed in capitals lower right, and laid down on cream backing card, with neat ink title inscription to lower margin, stating that the window was erected in the Parish Church of Wantage in June 1913, in memory of Mary Evelyn Emerson, by her husband Thomas Gilbert Emerson M.D., some light spotting to outer margins, overall sheet size 200 x 240 mm (9.5 x 8.75 ins), framed and glazed, with a period newspaper cutting relating to the memorial window pasted to versoQty: (1)
* Tait (Arthur Fitzwilliam, 1819-1905). Seven watercolours for an unpublished work 'Views on the London and North Western Railway', circa 1846, watercolour heightened with bodycolour, two signed by the artist and dated 1846, some light toning and one or two spots, 24.5 x 37.5 cm mount aperture, mounted (some spotting to mounts)Qty: (7)NOTESTait had prepared a series of approximately fifteen views for his intended book Views on the London and North Western Railway only one copy of which is extant in the collection of the National Railway Museum in York. Tait's views concentrate on the north division of the railway, which suggests they were intended as a sequel to the earlier series produced by John Cooke Bourne. It is not known why Tait failed to publish this work but it may have been due to the stock market crash of speculative railway securities in 1848-49 and the abrupt ending of the public's love affair with the railways (source: Warder H. Cadbury & Henry F. Marsh's Arthur Fitzwilliam Tait. Artist in the Adirondacks, 1986). Three of the watercolours are identified in pencil on the mounts as 'Sankey Viaduct', 'Dane Viaduct' and 'Vale Royal'. Tait's main published railway work was Views on the Manchester & Leeds Railway... with descriptive history by Edwin Butterworth, 1845.
* Palmer (Samuel, 1805-1881). The Herdsman’s Cottage or Sunset, 1850, etching, a fine, atmospheric impression of the second (final) state, after the plate was reduced and with the addition of the artist’s initials, published as Sunrise in The Portfolio, November, 1872, on firm laid paper, with full margins at left, right and bottom, with some light and mount-staining mostly around the platemark and at the upper and extreme right sheet edges, a few foxmarks in the upper margin, minor abrasion to the left sheet edge due to removal of old tape, otherwise generally in good condition, plate size 124 x 102 mm, sheet size 306 x 218 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018). Lister E3.
* Baumer (Lewis, 1870-1963). Nude before a Mirror, 1920s, drypoint printed in bistre, a fine impression, printing with rich burr and plate tone, on firm laid paper watermarked F.J. Head & Co., signed in pencil and inscribed ‘Trial Proof’, with full margins, pale light-staining, a soft diagonal crease at the lower left corner, old tape at the upper sheet corner verso faintly visible recto, a tiny crease at the lower right corner, generally in good condition, plate size 225 x 149 mm, sheet size 390 x 260 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018); purchased from Michael Rich (October 2017).
* Strang (Ian, 1886-1952). Place St André des Arts, Paris, etching, a fine, bright impression printing with clarity and contrasts, and with a light plate tone, on laid paper, signed in pencil, one of 75 proofs, with full margins, traces of inky fingerprints at the sheet corners, residual mounting tape at the upper sheet corners, a small associated abraded spot at the upper left sheet corner, in very good condition, plate size 187 x 238 mm, sheet size 265 x 397 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018). This work was sold in these rooms, 15 June 2017, lot 476
* Brangwyn (Frank, 1867-1956). A Venetian Procession, 1919, etching and drypoint on pale cream thick wove paper, signed in pencil lower right, light mount stain, plate size 178 x 244 mm (7 x 10 ins), sheet size 290 x 368 mm (11.5 x 14.5 ins), together with: Hankey (William Lee, 1869-1952). The Betrothal, etching with drypoint on cream wove paper, from the edition of 100 proofs, signed in pencil and with artist's blindstamped initials, plate size 197 x 235 mm (7.75 x 9.25 ins), sheet size 263 x 320 mm (10.3 x 12.6 ins), framed and glazed, with early label of J. Davey & Sons, Liverpool to verso, plus two other etchings by David Young Cameron (1865-1945), Street Scene, signed in pencil, and Reynold H. Weidenarr (1915-1985), The Road is Rough, signed and titled in pencil, all framed and glazed (42.5 x 47 cm and slightly smaller)Qty: (4)
* Greaves (Walter, 1846-1930). Old Battersea Bridge, etching on laid paper, signed within the plate 'W Greaves Chelsea', titled Old Battersea Bridge in pencil to lower margin, some spotting and light overall toning, plate size 175 x 275 mm (6.9 x 10.9 ins), sheet size 26 x 35 cm, old oak frame with gilt inner slip, glazed, together with: The Chelsea, etching on pale cream laid paper, printed with light overall plate tone, signed in pencil, plate size 112 x 225 mm (4.4 x 8.9 ins), with margins, framed and glazed, with printed label to verso for Graves Gallery, BirminghamQty: (2)
* Mason (Frank Henry, 1876-1965). Harbour Lights: Shields, etching on paper, printed with plate tone, signed lower left, titled lower right, spotted, plate size 185 x 300 mm (7.25 x 11.75 ins), mount aperture 210 x 315 mm (8.25 x 12.5 ins), framed and glazed (430 x 490 mm), together with: Bone (David Muirhead, 1876-1953), Falkland Palace, etching on paper, printed with light plate tone, signed lower right, a couple of light spots (one to margin), plate size 115 x 175 mm (4.5 x 7 ins), mount aperture 130 x 190 mm (5.25 x 7.5 ins), framed and glazed (385 x 550 mm), verso with framer's label James Connell & Sons, Glasgow, including typewritten title and artist's name, plus two others etchings: St. Augustine's Gate [Bristol], by Edward W. Sharland (1884-1967), and Petergate, York, by Charles A. Barker (late 19th-early 20th century), both window mounted, framed and glazedQty: (4)
ARR * Tanner (Robin, 1904-1988). Wiltshire Roadmaker, 1928, etching on pale cream laid paper, watermarked Hand Made, published in an edition of 50 impressions by Penn Print Room iin 1974, signed in pencil to centre of lower margin, and numbered 30/50 in pencil to lower left blank margin in another hand, light mount stain, 2 patches of tape residue to upper and lower blank margins, plate size 98 x 150 mm (3.9 x 5.8 ins), sheet size 233 x 288 mm (9.1 x 11.4 ins), framed and glazedQty: (1)NOTESProvenance: Private Collection, Sussex, UK. Obtained directly from the artist by the current owner, who worked alongside Robin Tanner as a schools' inspector. Garton 6, iv/iv.
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