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Click here to subscribeA FINE QUALITY LARGE 18TH CENTURY CHINESE QIANLONG PERIOD CLOISONNE GOBLET, with gilded borders, the sides of the inverted bell-form bowl decorated with scroll-stemmed lotus in dark and light blue enamels reserved on a turquoise ground, the baluster-form stem with a gilded ribbon to its shoulders above a gilt lappet border to its foot, the splayed foot with formal lappet and other borders, 4.9in at rim & 8.8in high.
A vintage butterscotch amber bead necklace, the graduated oval beads of opaque amber from 11-17mm long, slightly variable in colour, to an oval box clasp set with a cabochon amber; length 48cm (needs re-stringing), gross weight 26.5g Identification as amber:- The material is both very light and soft - therefore neither hardstone nor glass. The consistency of the material is swirled but certainly not with individual chips - so not polybern (amber chips in resin). The beads are graduated in size, but not entirely uniform in shape, nor in colour, so unlikely to have been of mass-produced manufacture. There are no mould lines or machined lines, so not of machined or cast manufacture. The surface of the beads has light wear, minor scratches and dirt, some have age-related surface crazing and one has a conchoidal chip - all consistent with amber. The beads are strung and have a clasp attached so it has not been possible to see if they float in a salt water solution; nor have destructive tests (hot pin, burning a fragment to identify the smell) been attempted; but the taste test (on a cleaned bead, cleaned again afterwards) gave a pleasant taste consistent with amber, not the chemical taste of plastics. Remote refractive index test suggests RI between 1.52 and 1.56. All observations lead to the conclusion of genuine amber.
A certificated marquise cut yellow diamond and diamond cluster ring, the fancy light yellow marquise cut diamond in a yellow precious metal collet to a border of small white round brilliants and plain shank of white precious metal stamped '750', size O; the mini cert from the International Gemological Institute, number H8J625741214, with photograph, states that the estimated weight of the principal stone is 0.51cts, clarity SI, and the other diamonds to be 0.25cts total, colour G-H, clarity VS-SI
Jules Ferdinand Medard (French, 1855-1925) Still life of pink roses, narcissi and daisies signed lower right "J Medard" oil on canvas 53 x 72cm (21 x 28in) Provenance: Private Collection, Cambridge. 20 PB stencil mark to the reverse, and with studio stamp to the stretcher. In good condition, a few fly spots and light surface dirt. Frame in good condition
Francis Wheatley, RA (British, 1747-1801) The Oyster Girl oil on mahogany panel 12 x 10cm (5 x 4in) Exhibited: The Grosvenor Gallery, 1888 (according to an old label). In good condition, a few small areas of retouching. Perhaps a little dirty and might benefit from a light clean and new varnish. Frame has a few chips and losses.
Attributed to Samuel Woodforde (British, 1763-1817) Portrait of an Officer of the Berkshire Regiment of Fencible Cavalry, or Windsor Foresters, circa 1794-1800 oil on canvas 220 x 120cm (86 x 47in) Provenance: Acquired by the present owner in Parma, Italy. The Berkshire Regiment of Fencible Cavalry, generally known as the "Windsor Foresters" were raised 1 May 1794 for service within Britain and consisted of six troops, under the command of Colonel Charles Rooke. They were disbanded circa 1799-1800, after serving principally in Scotland, and their uniform was by permission of King George III taken over by the Wargrave Rangers. The half of the title scroll that is visible on the helmet reads "Foresters". In "Reminiscences of a Scottish Gentleman, commencing in 1787" Philip Barrington Ainslie recalled "The Cambridgeshire were soon after sent to another station, and replaced by the "Windsor Foresters", commanded by Sir Nathaniel Duckenfield. The uniform of this regiment was scarlet, faced with green, with silver lace; they were mounted on bay horses and appeared to us as the perfection of light dragoons". We are grateful to Christopher Bryant for his assistance with the catalogue entry. Relined and cleaned. Paint layer is stable and sound. Several areas of retouching that are well matched to original. Frame has a few areas of damage and loss.
§ Nina Colmore (British, 1889-1973) Our Babu, a bay racehorse, by "My Babu" out of "Glen Line", the property of David Robinson oil on canvas 49 x 64½cm (19 x 25in) Provenance: A gift from Sir David Robinson, The Mill House, Grantchester, Cambridgeshire, and by descent. Nina Colmore was a painter of horses who during World War II drove ambulances in Birmingham, and later helped the war effort in Sicily and Italy. Our Babu (1952–16 December 1977) was an Irish-bred, British-trained Thoroughbred racehorse and sire. In a career that lasted from May 1954 to June 1955 he ran nine times and won four races. He was Britain's top-rated juvenile of 1954 when his win included the Middle Park Stakes and the Champagne Stakes, and went on to win the 2000 Guineas at Newmarket the following spring. After failing to win in two subsequent races he was retired to stud. Our Babu was a bay horse with a white star and snip and distinctive "lop" ears bred in Ireland by Sir Oliver Lambart. He was sired by the champion two-year-old and 2000 Guineas winner My Babu out of the mare Glen Line who showed no ability as a racehorse but was a highly successful broodmare producing the Eclipse Stakes winner King of the Tudors. As a descendant of the mare Sunbridge, she was a member of the same Thoroughbred family as Windsor Lad. As a yearling, Our Babu was sent to England for the Newmarket July sale, where he was bought for 2,700 guineas by Sir David Robinson who sent him to be trained by Major Geoffrey Brooke at his Clarehaven Stables at Newmarket. In good condition, with yellowed varnish, light surface dirt and fly pots in areas.
Evening Bags - an Edwardian beadwork bag, decorated in stylised geometric blue flowers, their green leafy stems arranged on a pearlescent ground, metal mount; a 1950s silver lame evening clutch, applied in relief with summer flowers; another colourful beadwork purse, pink flowers on a light blue ground, tassel fringing, plastic chain link strap; another (4)
Good Yomut Turkmen ‘kepse’ gul main carpet, Turkmenistan, late 19th/early 20th century, 11ft. 1in. x 6ft. 7in. 3.38m. x 2.01m. Some wear and small holes in places; surface mark lower end; small reweaves in places. Note the ivory main border and the Yomut ‘eagle’ motifs in each elem. Good lustrous wool and good colour including a light blue.
Exceptional Chichi rug, Kuba, north east Caucasus, late 19th/early 20th century, 6ft. 2in. x 4ft. 2in. 1.88m. x 1.27m. Slight wear in places; corrosion to browns; few crease marks; small ‘bite’ to lower right corner. This exquisite rug has an unusual and very pretty overall light blue tonality as in the rug illustrated in Bennett, I. Op cit. p. 270, pl. 352 See back cover.
Good Lenkoran long rug, Talish area, south east Caucasus, late 19th/early 20th century, 9ft. 3in. x 4ft. 9in. 2.82m. x 1.45m. Three typical large medallions and narrow light blue dividing medallions on a dark brown field. Slight fraying to lower end; small crease mark to lower end. Good lustrous, soft wool and excellent range of colour.
Two Tibetan women’s finely woven woollen dress aprons, late 19th/early 20th century, the first with soft blue, pink, dark and light brown narrow horizontal bands, 36in. x 31in. 92cm. x 79cm.; the other a darker palette in shades of dark brown, pink and blue, 34in. sq. 87cm. sq. Tape coarsely sewn to both ends. Both of four widths joined vertically. Seams coming apart in places. According to the available literature, these aprons worn by married women were usually made up of three widths. See Hali, Issue 179 (Spring 2014) pp. 61-69 for an article on The Tibetan Aprons in The Karun Thakar Collection, written by Chris Buckley, where further references are cited. Interestingly, a black and white photograph showing Sherpa women wearing such aprons appears in Shipton, Eric, The Mount Everest Reconnaissance Expedition 1951, p. 80 -2
A Pentax Spotmatic II with 55mm f1.8 standard lens, filter, lens cap and original ever-ready case. CONDITION REPORT A particularly clean example,very slight marking to the base plate around the battery compartment cover, optically and mechanically in excellent condition, the light meter is untested.
A Minolta X-300 35mm SLR camera with 28mm Minolta wide angle lens, a Chinon CE Memotron 35mm camera, a Pentax f1.8 55mm standard lens (M42 screw thread fitting), a pair of extension tubes, a Mecablitz electronic flash gun model 36CT3, a slide duplicator, a right angle attachment and a portable light box (8).
A NUREMBERG BRASS ALMS DISH, 16TH OR 17TH C with gothic inscription, the raised boss engraved to the centre BChi and on the reverse an early scratched letter A, 47cm diam++Two small punched nail holes in the rim for suspension and when held up to the light several small wear holes visible. One or two minor dents, coated in an old and now discoloured lacquer. Some polish residues
AN EDWARD VII OAK EIGHT DAY LONGCASE CLOCK, C1905 the lacquered brass breakarched dial engraved with the Sun in Splendour and inscribed on a convex disc to the arch Tempus Fugit, the movement striking on a coiled wire gong, the case crisply carved overall with grotesques, foliage and lozenges, the hood with conforming side frets, 230cm h, printed depository label of ARMY & NAVY STORES LONDON WAREHOUSING DEPT++Apparently complete and in good original undamaged condition, pleasing light coloured oak, a typically substantial well engineered example in sound condition
A GEORGE III STAINED PINE THIRTY HOUR LONGCASE CLOCK the 8 ½ inch brass dial with inscription J Hull Harrold, matted centre and silvered chapter ring in light brown scumbled case, 200cm h++Dial and movement probably associated, seat board later and packed, door to trunk slightly warped, not refinished or restored. The movement apparently complete
A PALAIS ROYAL HARDSTONE MOUNTED GILTMETAL BASKET INSET WITH MINIATURES, C1870 the sides and swing handle inset with miniatures of Pau and its environs with alpine scenery or peasants, painted on ivory, 5cm h, printed trade label of Auguste Bassy Rue du College 4 Pau++In good original condition requiring a light clean but not regilded and apparently complete. The miniatures beneath glass, the glass cracked on the miniature to the top of the handle. One of the larger landscape miniatures on the side with some retouched damp stains. The original paper covered wooden lining stained and warped and in the underside strengthened
TAXIDERMY. EAGLE OWL, EARLY 20TH C mounted on a mossy tree stump before ferns and painted light blue silk covered backboard, with oval printed label ROWLAND WARD PICCADILLY LONDON, in glazed bow fronted mahogany grained case, 91cm h; 45 x 47cm++In good condition with some staining on the lightly cracked white painted underside of the top. Believed to be by Rowland Ward although we do not warrant that attribution. Veneers on the top and sides of the case slightly chipped
JAMES ROBERTS (1753-C1810) A YOUNG GIRL BY A WOODLAND STREAM signed, Js Roberts pinx: 1799, watercolour, 35 x 26.5cm++Laid on linen and in what is presumably the original regency gilt frame, the colours reasonably well preserved with typical fading and uneven light to moderate overall browning
KARL HARTMANN (1818-1857) THE ORGAN GRINDER signed and dated 1850, watercolour, 29.5 x 21cm++Slight fading but reasonably fresh and with attractive light, a few surface scratches just visible under oblique light, unexamined out of the frame. On the backboard the type written label of The Reid Gallery, Surrey
WALTER LANGLEY, RI (1852-1922) STUDY FOR 'THEIR TASK BEING ENDED WITH DECLINING DAY/HOMEWARD THE WEARY PEASANTS WEND THEIR WAY' signed, pen and ink, 16.5 x 24cm, unframedThe watercolour was exhibited at the 1880 Spring Exhibition at the Royal Birmingham Society of Artists and was sold for 28. Mellors & Kirk is very grateful to Roger Langley for his assistance in the cataloguing of this lot.++Even light staining and soft card on which the work is executed slightly cockled, unrestored
CHARLES HENRY CLIFFORD BALDWYN (1859-1943) MAGPIES AND POPPIES signed and dated 1896, oil on board, 50 x 77cm, in the original gilt Rosetti frame++I good original condition with some slight blooming on the paint surface and localised paint shrinkage, in need of a light surface clean but entirely unrestored and in the original frame with the printed trade label of Alfred Mason, Worcester on the reverse. In the same local private family ownership since c1900. A major work by the artist
ISAAC FAULKNER BIRD (1803-1884) RETURNING FROM MARKET signed, oil on canvas, 60 x 77cm++Lined and restored, and placed on the present stretchers probably in the 1930s, the varnish in need of a light clean, in highly ornate large Victorian giltwood and composition frame. The label of Winifred Broadhead Ltd, Friar Lane Nottingham on the reverse
†JAMES WALTER GOZZARD (1888-1950) THE VILLAGE CROSS; HOMEWARD BOUND a pair, one signed, the other signed with the artist's pseudonym R Douglas, oil on canvas, 49 x 74cm (2)++The Village Cross with some localised flaking, both requiring a light clean, unlined in modern 18th c style gilt frames
ARTHUR HENRY ENOCK (FL 1869-1910) HAYMAKING NEAR KINGS NORTON signed and dated 1877, oil on canvas, 29.5 x 45cm++In ready to hang gallery condition, lined restored and cleaned perhaps 1970s/80s, the varnish now in need of a light clean. No evidence of extensive overpainting and an attractive rural scene with several figures
AFTER CHARLES LE BRUN THE AGONY IN THE GARDEN oil on canvas, 82 x 65cm, unframed++In country house condition, long having been stored in a dusty attic or similar with heavily discoloured varnish and some old overpainting, general light crackling of the paint surface, lined and placed on the present stretchers certainly in the 19th c, requiring conservation and cleaning in order to properly assess a speculative omp
†SIR FRANCIS CYRIL ROSE, 4TH BARONET (1909-1979) PORTRAIT OF ALAN HELM signed, dated 1963 and inscribed The Harlequin: Alan Helm, signed and dated again and inscribed Harlequin "Jongleur" verso, oil on canvas, 74.4 x 49.5cm++In fine original condition requiring only a light surface clean, not lined and in the original cream painted and velvet bordered frame
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