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Lot 317
18th century Chelsea mug of swollen form, with polychrome painted floral spray decoration and loop handle - red anchor mark, circa 1755, 14cm CONDITION REPORT Good overall condition, some minor wear to painted rim. Scratching to glaze on interior of mug and very light wear to painted decoration
Lot 525
Military Interest: Victorian silver cigarette box of rectangular form, with hinged cover with engraved '3rd Royal Fusilier's' presentation inscription and cedar lining (London 1889), maker - F.B.M., 12.2cm across, together with a cap badge of the Shropshire Light Infantry, mounted on a white metal plinth (2)
Lot 574
Early 20th century five piece silver plated tea and coffee set - comprising spirit kettle of half-fluted form, scroll handle with ebony insert and domed hinged cover, separate burner frame (burner lacking), matching teapot, coffee pot, sugar and cream jug, undersides stamped - Cheltenham & Co. Sheffield EPNS, together with a five-light silver plated candelabrum of angular form, with engraved foliate decoration (7)
Lot 752
Georg Jensen 'Moonlight Blossom' silver bracelet model number 11, the clasp marked 'Georg Jensen 11, G J Ld', London hallmarks 1990, length 18.5cm CONDITION REPORT very good condition, no obvious damage or repairs, light surface wear/scratches commensurate with age, clasp works well, clear hallmarks, gross weight approximately 16.3 grams
Lot 839
Victorian diamond gypsy ring with three old cut diamonds estimated to weigh approximately 1.00ct in a heavy 18ct gold rub over setting (Birmingham 1887). Ring size approximately N CONDITION REPORT The diamonds are well-matched stones of good colour and reasonably good clarity. Estimated colour approximately H/I. The central stone has a small chip to the pavilion facets, visible to the naked eye. The central stone measures approximately 5.3 x 4.9 x 3.6mm. The two smaller stones measure approximately 4.3 x 3.9 x 2.9mm and 4.1 x 4.1 x 2.7mm. Setting and shank in very good condition with light surface wear commensurate with age. No obvious repairs or damage, no obvious signs of re-sizing, full set of hallmarks, clear and crisp. Gross weight approximately 8.2 grams
Lot 850
1950s gentlemen's Rolex Oyster Shock-Resisting wristwatch. Model no. 6246. Serial no. 117126, the circular dial with applied gold baton hour markers, gold dot minute markers, gold hour and minute hands, blued-steel centre seconds hand, in circular stainless steel Oyster case, on later leather strap, case approximately 31mm diameter CONDITION REPORT The watch is currently running although we cannot guarantee the accuracy of its timekeeping. And service history, repairs/restoration or replacement parts are unknown. The dial is stained/discoloured and has surface dirt. The case is in good condition commensurate with age and use. The back has light surface scratches, a few slightly more noticeable. The glass/plastic is scratched. Non Rolex strap. No box or papers.
Lot 894
JAMES HOLLAND (1799-1870) BritishBartolomeo Colleoni MonumentOil on board, variously inscribed to verso and with remnants of old label, framed. 28 cm diameter. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, minor losses to frame.
Lot 892
FREDERICK RICHARD LEE (1798-1879) British and THOMAS SIDNEY COOPER (1803-1902) BritishMoorland Scene with Resting Shepherd and His FlockOil on panel, signed, old label to verso for Thomas Agnew & Sons, London, framed. 60 x 44.5 cm.Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, cleaned at some stage, thin in parts, could do with another light clean, losses to frame, chalk inscriptions to verso.
Lot 905
WILLIAM JAMES MULLER (1812-1845) BritishTivoliOil on panel, signed, old label to verso for Thomas Agnew & Sons, London, old label to verso for W Boswell & Son, Norwich, and further old label inscribed with the title View in Italy by Muller, framed. 24 x 34 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, minor area of paint loss.
Lot 784
ALEXIS DE LEEUW (1822-1900) BelgiumBringing in the HayOil on canvas, signed, old label to verso for Austin G Hall, Cheshire, framed. 126 x 75 cm. CONDITION REPORTS: Generally good condition, expected wear, re-lined, possible old repairs with associated over painting, losses to frame, could do with a light clean.
Lot 792
CLAUDE HARRISON (1922-2009) British (AR)Dance Macabre or Dancing With DeathOil on board, signed and dated 89, signed to verso and dated Sept 89 and numbered 583, old typed label to verso numbered 1316128 and further inscribed with title to frame, framed. 59 x 49 cm. CONDITION REPORTS: Generally good with expected wear, some minor surface deposits, could do with a light clean, minor scuffing to frame.
Lot 896
JOHN LINNELL (1792-1882) BritishRiver Scene at DuskOil on panel, stamped R Davy, 83 Newman Street to verso, framed. 25.5 x 18.5 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, losses to frame.
Lot 890
DAVID FARQUHARSON (1840-1907) BritishMoorland Scene Near Loch Tummel, PerthshireOil on canvas, signed and dated 1904, old label to verso for Thomas Agnew & Sons, London, framed. 75 x 50 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, some surface deposits, losses to frame.
Lot 897
JOSEPH STANNARD (1797-1830) BritishThe Marl Staithe, Whitlingham, Near NorwichOil on canvas, old label to verso for Thomas Agnew & Sons, London, old label for Royal Academy Exhibition of Works by the Old Masters 1891 inscribed with artist, title and owner, further printed label for Burlington House Exhibition 1891, further inscribed labels, chalk and pencil inscriptions, and stencilled stock number, framed. 39 x 29 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, re-lined, could do with a light clean, some surface crazing, losses to frame.
Lot 777
After CLAUDE MONET (1840-1926) FrenchVenetian SceneOil on board, bears signature and dated 1914, indistinctly inscribed to verso, old label to verso inscribed Removed from Neville Court, St Johns Wood by direction of the executors, Lloyds Bank Limited, Samuel Tobias Cohn and Eric John Spanier Esq., framed. 59.5 x 48.5 cm. Note: The present owner was given this painting in April 2013 by an elderly friend who was relocating to France. She had been given it as a wedding present by her father-in-law over 40 years previously. Her father-in-law was a Polish art dealer who said she could choose any picture from his gallery, but strongly suggested that she choose this particular painting, hinting that there was something special about it. It is believed that he may have purchased the painting from the estate of Mrs Fanny Lemel nee Fischer, a wealthy Jewish family who were diamond merchants in South Africa at the time that Monet's brother was liquidating Monet's assets after his death to fund his safaris in the late 1920s/early 1930s. The Lemel's were a wealthy family in their own right, living in Regents Gate, London, where Mr Lemel was a wine merchant. The present owners have had the paint aged by Art Research, London and the age is consistent with the date on the painting, but that the signature was possibly added at a later date. CONDITION REPORTS: Generally good with expected wear, could do with a light clean, losses to frame.
Lot 887
Attributed to JOHN BERNEY CROME (1794-1842) BritishOn the YareOil on panel, framed. 37.5 x 45.5 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, some slight lifting and very minor paint loss.
Lot 1376
Henry George Rushbury (1889 - 1968), signed etching - Continental town, two other signed etchings, pen and ink drawing and a William Orpen etching, all unframed CONDITION REPORT The Orpen has staining to the paper and a mark top right, also some foxing to the margin. Rushbury in good condition, not laid down, very light mark around the edge where the mount meets it. Just attached in 2 places on the top edge
Lot 135
A BOARD OF ORDNANCE MARKED .36 CALIBRE SIX-SHOT PERCUSSION COLT NAVY REVOLVER , 7.5inch sighted octagonal barrel with traces of blued finish stamped with the manufacturer's details on the top flat, cylinder with good traces of Naval Engagement scene and bearing the serial no. 26662, two-piece wooden grips, the brass trigger guard retaining some traces of original plated finish. Serial number matches throughout. Light wire wool surface scratches.
Lot 280
A CLEAN WILLIAM IV 1821 PATTERN LIGHT CAVALRY OFFICER'S SWORD BY MOORE, 88cm bright pipe-backed blade with spear point, etched with crowned WIVR cypher's to either side and a maker's panel at the forte, regulation three-bar steel hilt, wire bound fishskin grip, contained in its steel scabbard.
Lot 286
A VICTORIAN PATENT SOLID HILT LIGHT CAVALRY OFFICER'S SWORD TO THE FOURTH HUSSARS BY WILKINSON, 89cm fullered blade etched with scrolling foliage, regimental motifs, crowned VR cypher, crowned Royal Arms and the owner's initials A. G. C. B. and stamped with the serial no. 33047, regulation steel three-bar patent solid hilt, wire bound grip, contained in its field service scabbard. Complete with a copy of the Wilkinson Sword register entry, confirming the sword was made for A. G. C. Bruce of the 4th Hussars 26th February 1895. Bruce left the 4th Hussars after a very short period and later was the subject of a libel writ issued by Winston Churchill.
Lot 287
A VICTORIAN 1821 PATTERN LIGHT CAVALRY OFFICER'S SWORD, 88cm bright blade by ROBT MOLE & SONS BIRMINGHAM MAKERS TO WAR & INDIA OFFICES, etched with scrolling foliage and crowned VR cyphers, serial no. M2991 stamped on the back edge, regulation three-bar steel hilt with wire bound fishskin grip, contained in its steel mounted leather scabbard. The scabbard probably denotes service in India or Africa.
Lot 325
A VICTORIAN HIGHLAND LIGHT OFFICER'S PRESENTATION DIRK BY LECKIE GRAHAM & CO OF GLASGOW, 31cm fullered blade with faceted back edge, etched with scrolling foliage, crowned HIGHLAND LIGHT INFANTRY, crowned VR cypher and maker's panel, gilt mounted hilt decorated with bands of thistles, the pommel set with a faceted orange stone, carved wooden grip decorated with basket weave and set with gilt studs, contained in its copper gilt mounted leather scabbard decorated to match, the upper mount applied with the HLI badge, the rear of the middle mount engraved PRESENTED TO LIEUT GEORGE BROWN By the Officers & Members of N COMPANY 1ST LANARK R.V ON THE OCCASION OF his taking a commission in the 3rd V B Highland Light Infantry 4TH NOVEMBER 1898, complete with companion knife and fork decorated to match, miniature medals and full size Territorial Decoration and Volunteer Force Long Service and Good Conduct Medal and a sweetheart brooch with photograph of the officer. Spring clips missing from companion knife and fork.
Lot 1312
One lot of miscellaneous items to include a vintage desk/bankers light with green enamel shade and cast iron base, a pair of white glazed ceramic table lamps with foliate detail, two others of varying design, three small japanned tin artists paint boxes, a white marble mortar, two wooden juggling clubs, flared glass vase, etc
Lot 1321
An Edwardian stripped pine dressing table with central swing mirror, together with an Edwardian oak two door hanging wall cupboard, a small pitch pine cupboard enclosed by a lancet shaped panelled door, a vintage pine housemaids box with iron loop handle, removable segmented tray, a small flight of pine open wall shelves, a pair of leaded light glazed panelled doors and a travelling lap/writing slope with pierced handle
Lot 1328
A good quality light oak draw leaf D end dining table with single additional leaf and moulded outline raised on a central turned vase shaped pillar and swept quadruped to seat six, together with a pair of good quality traditional Windsor hoop and stick back dining chairs in ash, generous saddle shaped seats raised on splayed turned legs united by crinoline stretchers
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