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Lot 1698
•JOHN PEDDER (1850-1929) WINDSOR CASTLE Signed, watercolour 17.5 x 23.5cm,; with a watercolour of Scarborough by Henry Barlow Carter, signed, 18 x 24.5cm.; and a sketch of hounds' heads by George Denholm Armour, charcoal, 17.5 x 24cm. (3) Provenance: (Armour) London, Spink, (from a sketchbook) ++ Pedder needs light clean, slightly faded; Carter faded and scuffed; Armour satisfactory
Lot 1709
THOMAS HAND (1771-1804) PEASANTS SEATED AT A TABLE BY A COTTAGE Signed and dated 91, oil on canvas 69 x 89cm. Provenance: London, Christies, April 15th 1994, lot 124 (as one of a pair, £2800 hammer) ++ Lined; some associated retouching; small flaked loss in the trees, minor blemishes elsewhere; needs a light clean
Lot 1762
THEODORE LEVIGNE (1848-1912) 3eme CHASSEURS D'AFRIQUE, SEDAN. 1er SEPT 1870: `AH! LES BRAVE GENS, LES BRAVES GENS` Signed and dated 1879, oil on canvas 78 x 100cm. * The Battle of Sedan, September 1st-2nd 1870, proved to be a decisive event in the Franco-Prussian War. It resulted in the capture of Napoleon III, thereby effectively delivering victory to the Prussian forces commanded by Helmuth von Moltke. The 130,000-strong French `Army de Chalons` under Marshal Patrice de MacMahon was encircled by the astute Prussian forces and cornered into surrender. ++ Needs a light clean
Lot 1768
HIROSHI YOSHIDA (1876-1950) SUZUKAWA Colour woodblock print, signed in pencil and titled in ink 24 x 37.5cm.; with another by the same hand, `Fujiyama from Funatsu`,1928, signed and titled, 37 x 24.5cm. (2) * To be sold for the benefit of Save the Children. ++ The former a little faded; the latter faded, with light staining and a tear in right margin
Lot 1794
WILLIAM WALCOT (1874-1943) THE ROYAL INSTITUTE OF BRITISH ARCHITECTS, PORTLAND PLACE; NEWCASTLE CENTRAL STATION Two, etchings with drypoint, the former with aquatint, c.1935 and 1922, each signed in pencil, unframed 15.5 x 23.5cm. and 9.5 x 15cm. (2) ++ The former with light staining where formerly mounted and soft crease in margin lower right, also slightly rubbed along plate mark at lower edge; the latter good
Lot 1805
•FRANCIS EDGAR DODD, RA, RWS (1874-1949) THE MONUMENT AND FISH STREET HILL Etching with drypoint, 1912, the 5th state (of 8), signed in pencil, unframed 27.5 x 14.5cm. * A margin inscription in the artist's hand, reads "the distance was afterwards scraped down & the foreground darkened/ FD" ++ Needs a light clean
Lot 1820
•STANLEY ANDERSON, CBE, RA (1884-1966) HYDEN, THE OLD SHEPHERD Engraving, 1947, signed, titled, inscribed (Line engraving) and Edition 65 proofs, unframed 18 x 14.5cm. * George Hyden is seen repairing sacks at a mill near Bath. Unusually for Anderson, the sitter's name is part of the title. Post-War thrift requires careful repairs for the sacks but the shepherd's heavy hands seem to make light of the task. The work is menial but important and economical; the atmosphere is calm but focused and industrious. ++ Good condition
Lot 1898
•JOHN STEVEN DEWS (b.1949) `THERMOPYLAE` HOVE TO Signed, oil on canvas 49 x 74cm. Exhibited: Beverley, Yorkshire, James H. Starkey Galleries, December 1976. The artist was born in Beverley and this exhibition was probably his celebrated debut, a near sell out show which also earned the young artist 17 valuable commissions and opened the market for his work in America. ++ Needs a light clean; discoloured varnish
![•JAMES LAWRENCE ISHERWOOD (1917-1988) STRATHUMEL [sic], SCOTLAND Signed, also signed and inscribed with title and dated 58 ve](https://cdn.globalauctionplatform.com/a2a4e98f-311f-4200-a2ae-a94300c795b3/c9c89bb3-0ce2-415e-c5fd-daf23d16c0a5/468x382.jpg)
Lot 1965
•`GLUCK` (HANNAH GLUCKSTEIN) (1895-1978) SEASCAPE Signed and dated Gluck 1969, oil on canvas board, in a `Gluck frame` 14 x 21.5cm.; 41 x 48.5cm in frame Exhibited: London, The Fine Art Society plc, July 1989 (label on reverse of frame) * An intriguingly autocratic artistic personality, Gluck forsook her family name in order to distance herself from family wealth and patronymic convention. She studied in St John's Wood and associated with Sir Alfred Munnings in Cornwall before resolving to show her work only in solo exhibitions (of which there were five during her lifetime) and she adopted a highly mannered masculine appearance. She was a friend of Constance Spry, who inspired her flower pictures. Gluck's innate feel for design led to her devising the instantly recognizable stepped geometric frames. When hung against a wall of similar colour, these frames allowed the pictures to blend almost invisibly into their surroundings (which was not quite the modest self-effacement that the artist ever sought for herself). ++ Needs only a light clean
Lot 1970
•ALGERNON NEWTON, RA (1880-1968) SEPTEMBER AFTERNOON Signed and inscribed with title and artist's address on the overlap, oil on canvas 50 x 60cm. * The unsettling atmosphere of the deserted landscapes in many of Newton's works was borne, at least in part, of two harrowing years spent in the trenches during the Great War. He was invalided home with severe pneumonia and was later reduced to selling his pictures - with some difficulty - on the pavements of London. The generation of fallen men who never returned from War reduced some of England's once busy farms to desolation and financial (as well as physical) collapse. Newton's popularity was on the rise in the 1930s but the poignant losses of comrades and friends from an earlier decade invested much of the artist's work with an allegory for their enduring absence, expressed through landscapes in which one expects to spy a human presence but in which, chillingly, there is none to be seen. The title of this work further suggests the passing of a fecund season and the advent of a time of mournful decay. Exhibited: Pittsburgh, Pennsylvania, Carnegie Institute (label on stretcher) London, Royal Academy, 1936, no.536 ++ Needs a light clean We are grateful to the artist’s grandson, Nicholas Newton, for expanding the footnote as follows: The unsettling atmosphere of the deserted landscapes in many of Newton's works was borne, at least in part, by his experience during the Great War. He joined up in 1916 but after several months of training he was invalided home with double pneumonia and was later reduced to selling his pictures - with some difficulty - on the pavements of London. The generation of fallen men who never returned from War reduced some of England's once busy farms to desolation and financial (as well as physical) collapse. Newton's popularity was on the rise in the 1930s but the poignant losses of his two nephews, comrades and friends from an earlier decade invested much of the artist's work with an allegory for their enduring absence, expressed through landscapes in which one expects to spy a human presence but in which, chillingly, there is none to be seen. The title of this work further suggests the passing of a fecund season and the advent of a time of mournful decay. Completed in 1936 September Afternoon was painted during an intense period when he was creating compositions motivated by the relationship between the sky and its light reflecting on the tranquil waters of English rivers. A year earlier he completed the commission of Evening on the Avon for the new RMS Queen Mary, a large work which was installed at the after end of the Long Gallery, which connected the first-class main lounge to the first-class smoking room.
Lot 1974
•EDWARD SEAGO, RWS (1910-1974) PICCADILLY BY THE RITZ, JUNE 1953 Signed, oil on canvas 49.5 x 65cm. Provenance: Private collection, Somerset * Seago was appointed to be one of the official artists for the Coronation on June 2nd 1953, following a distinguished association with the Royal family, which continued up to his death. This subject was painted during the artist's visit to London for that event. HM The Queen later selected one of Seago's works as the most successful depiction of the Coronation procession. The artist was not just a regular visitor to Sandringham but also made a gift of a picture to Queen Elizabeth upon her birthday and again at Christmas for over 25 years. With a keen eye for light combined with a fluent technique of great panache, he captured skilfully the sense of liveliness in a subject such as this through the use of attenuated figures and mere hints of form which suggest fleeting movement. ++ Slight craquelure within the tree upper centre; 1cm faint graze below vehicle on extreme left; needs a light clean
Lot 2133
FRENCH GILT BRONZE NEO-CLASSICAL FIFTEEN LIGHT CHANDELIER, the two tiers of lights on foliate scrolling supports, some with female heads, on a circular frame around a central light, beneath four, slightly splayed supports with scrolling foliate decoration, height including suspension hoop 170cm, width 105cm
Lot 179
Black Tide multi signed 10"x8" photo. Fantastic "Light From Above - Shout" song lyrics multi signed 10"x8" promo photo, signed by Gabriel Garcia, Steven Spence, Austin Diaz, Zachary Sandler. This signed photo is guaranteed authentic and is supplied from one of the UK's leading autograph memorabilia companies. Good Condition. All signed pieces come with a Certifcate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.95.
Lot 150
J P S (aka JAMIE PAUL SCANLON) "Freddy Krueger", of "Nightmare on Elm Street", with television and young boy in background, stencil on canvas, unsigned (Provenance: acquired by the vendor in Weston-Super-Mare. Authenticated by the artist "...The canvas actually has an art work underneath the red that my mate Adam painted but didn't like, then he sprayed it red but wanted an orange fade and failed. The canvas then sat in his room for a while and he put the tv stencil on it. I visited one day and put the Krueger in the tv." This information acquired directly from the artist for the auctioneers by Peter Davison of Secret Agent Marketing), 90 cm x 90 cm CONDITION REPORTS Basically appears in sound condition though with a light surface scratch above the aerial of the television - 7 cm long - showing white. A light surface scratch from across the right hand side of the television - approx 14 cm. Another very light scratch from Freddy's left shoulder upwards - approx 6 cm though all do not seem to affect the integrity of the piece viewing from 6 feet. This is though purely an opinion.
Lot 212
A Tudor Prince Oyster date Sub Mariner Model 494110 wristwatch, dating from the late 1970's CONDITION REPORTS Appears to be in good condition throughout. Hands / movement appears to be working. Cannot enter the case back of the watch as do not have the tools nessasary and the codes are as follows 380B and 78500.Specific enquiries - overall condition appears good. However is it in shop condition? Suggest not. Light scratch to the back plastic cover (wrist side). Is the movement functioning correctly? The second hand is moving more than that we cannot tell. Unknown whether it is an ETA2784 movement. Unknown as to whether it has been serviced. The colour of the dial is dark blue. The bezel is blue but looks to be new blue, rather than faded. The only visible numbers on the watch / bracelet are those already provided ie 380-B and 78500 to the bracelet. Bracelet length open is 21 cm. There is no box and there are no papers with this piece.
Lot 302
VICTOR NOBLE RAINBIRD (1888-1936) "Old Archway Shields", street scene with figures, watercolour, signed lower left and titled lower right CONDITION REPORTS Painting appears to be slightly grubby in areas. Areas to the top that look like possible light foxing. Slight fading/discolouration in some areas. General wear and tear commensurate with age. Image size is 25 cm x 17 cm and 43 cm x34 cm approx including frame.
Lot 58
A 19th Century Copeland and Garrett cabinet plate, the centre field with hand-painted decoration "Civita Vecchia", within a gilded border, bearing transfer decorated mark with crown and wreath of symbols of The Empire, No'd. 7547, together with another similar entitled "Temples of Poestum", bearing mark for Copeland circa 1851-85 and No'd. 7547, together with a Continental cabinet cup with painted decoration in the manner of Teniers of a girl reading a book with two onlookers, heavy gilt highlights and indistinct mark to base in the manner of Sèvres CONDITION REPORTS Light surface scratches to both plates. Wear to the top of the plate in the areas where the plate is ridged. Areas of loss and wear to the gilt work on both plates. General wear and tear commensurate with age - see images for details. 24.2 cm diameter and 24.5 cm diameter
Lot 72
A collection of various advertising pottery wares including "John Cosnell & Co. London Cherry Toothpaste patronised by The Queen", "Holloway's Ointment", "Boots The Hygienic Inhaler", "Clark's Patent Pyramid Nightlight", "Boots Creme D'Amande for Shaving", "Carbolic Paste", "Calvert's Carbolic Toothpaste", "Pomade Sylphides prepared only at The Army and Navy Toilet Club" (20) CONDITION REPORTS Pyramid jugs both chipped to the spout. Measuring spoon broken and repaired to the handle. Holloway's ointment jar with chip to rim and very crackled to the glaze. Creme D'Amande shaving pot with chip to base of rim. Base very discoloured. Boots inhaler with various nibbling and chipping to the rim. One glass tube with damage. The other with heat damage to the end. Holloway's ointment pot with chip to base. Carbolic toothpaste jar with discolouration and heavy crazing. Pomade lid heavily crazed and discoloured. Cherry toothpaste very discoloured and with crazing x 2. Edward Cook's tooth soap cover with chips to base. Clark's Miraculous salve very discoloured and crazed. Otherwise with various light crazing throughout conducive with age.
Lot 1
Africa.- Fries (Lorenz) Tabula IIII Aphricae, Ptolemaic map of northern Africa on a trapezoidal projection, with part of Saudi Arabia, showing the source of the Nile depicted above the "Mons Lune", and with a seated Christian king below Ethiopia, who is said to be Prester John, the mythical Christian patriarch and king, woodcut with early hand-colouring, 395 x 530 mm. (15 1/2 x 20 7/8 in), central vertical fold, Latin text on verso with woodcut border and ornamentation attributed to Hans Holbein, tipped at edges onto mount, minor handling crease and light browning at extremities, unframed, Lyon, 1535.
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534338 item(s)/page