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Lot 157
Two trays of assorted Coalport porcelain, circa 1880 and later, to include a light blue fluted jewelled cup and saucer, Indian tree to include a large jar and cover, cups, saucers and a jug, a cobalt and gilt coffee cup and saucer, three Coalport jugs in the Caughley style, a rare Flower Pot pattern cup, saucer and side plate, pair of Coalport gilt and white cabinet plates etc (a quantity)
Lot 382
A pair of carved jadeite figures, of guardian Buddhist lions, each raised on a rectangular base and hardwood stand, 10cm high, and a jadeite group of cranes, 16cm high, a 19th century porcelain fairing, 'The Last in Bed to Put out the Light', 9cm long, slight damage, a similar smaller example, slight damage, and a parian hound
Lot 494
A PAIR OF EARLY 19TH CENTURY ITALIAN FOUR-LIGHT CANDELABRA on round bases with embossed borders & part-fluted columns, the branches cast as stylised dolphin scrolls, circular drip pans and central finials, maker's mark partially worn "FCha..", Naples 1820-40; approx. 16.75" (42.5 cms) high; 59.7 oz (2)
Lot 1774
JOHN HAMILTON MORTIMER, ARA (1741-1779) SLEEPING MONSTERS Etching, published in a posthumous edition by the artist's executors, 1780 13.5 x 21cm. Provenance: Solomon Alexander Hart, RA (1806-1881), painter of portraits and historical and biblical genre. ++ A little discoloration and light-staining
Lot 1787
WALTER RICHARD SICKERT, RA (1860-1942) MAPLE STREET (Bromberg 212) Etching with drypoint, c.1923, full margins, on laid, signed in pencil, unframed 19.6 x 12.6cm. * This lot and the following lot are strikingly similar and were evidently composed from the same standpoint at the junction of Maple, Cleveland and Southampton Streets close to Tottenham Court Road. The site was close to Sickert's studio in Fitzroy Street and the prints were derived from a drawing and an oil executed in c.1917. The almost entirely vertical and linear technique used in `O Sole Mio` has been developed into the more complex textures afforded by the cross-hatched lines in `Maple Street`. It is probable that these were Sickert's experiments in assessing different moods in an etching as he tested subtly nuanced varieties of technique and scale. He varied the `weight` of etched lines and explored contrasts of light and dark by placing patches of blackness against the stark paleness of the paper. ++ Slight light-staining
Lot 1821
ENGLISH PROVINCIAL SCHOOL, Circa 1830 PORTRAITS OF THREE CHILDREN One depicted in a red dress, with a toy horse; one seated in a blue dress upon a high chair; and one wearing a blue dress, holding a small basket of flowers, watercolour Each 18 x 20.5cm or slightly smaller (3) ++ Colours generally good (slightly faded); each needs a light clean; period gilt frames
Lot 1866
•HAROLD WILLIAM HAILSTONE (1897-1982) BEHIND THE SCENES IN THE ENTERTAINMENT WORLD: Intimate study of Circus Promoter interviewing likely aspirants for the forthcoming Xmas productions (Punch, December 18th 1935) Signed, pen and black ink, heightened with white 340 x 23cm. approx. with a pen and ink design for the `Ex Libris` bookplate for E. Preble Harris signed by C de Q, 33 x 15.5cm.; and a watercolour (of Jeremy Fisher?) by `Cam` (Barbara Mary Campbell), 24.5 x 18.5cm.; this last unframed (3) ++ The first a little light stained; the second mat stained and a little creased; the last good
Lot 1963
ALEXANDER GEORGE FRASER Senr., ARSA (1786-1865) THE OLD WELL OR `THE FOREST WELL` AT CAMLACHIE Signed, also signed and inscribed with title verso and upon a darkened label on the stretcher, further inscribed `Painted for G. W. Oslear` (this last word unclear), oil on canvas 30.5 x 40cm. ++ Needs only a light clean
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