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Lot 506
A LOUIS XVI LACQUER SNUFF BOX of plain oval design, inlaid in lemon and red gold and silver with a dog and duck in oval frame, paterae and swags suspended from columns, chased gold shell thumbpiece, tortoiseshell lined, 9cm w, c1770 ++Light overall wear but no significant damage, complete and original the lid slightly loose on its mount but no distortion or play in the hinge
Lot 632
ALLEN (R) THE NOTTINGHAM AND DERBY RAILWAY COMPANION engraved title and six plates, tables of times and fares, half title, bound with - as issued - The Railway Companion Advertiser with whole page lithograph of Spondon Ladies Establishment, pictorial light brown wrappers [Ottley 6934] signed on the ffe Clement E Stretton and inside the back cover Stretton Collection Chicago Exhibition 1893, 1839 ++++
Lot 683
OLIVER V S BULLEID, CBE (1882-1970) SIGNED PHOTOGRAPH OF THE SOUTHERN RAILWAY PACIFIC LOCOMOTIVE AND TENDER NO 21CI CHANNEL PACKET silver print, signed and dated in black ink O V Bulleid March 1941, 20 x 28.5cm, framed, with on the backboard, O V Bulleid`s card Provenance: Presented to P [?R] C Cooper by O V S Bulleid in 1945. ++A little dusty and minor handling marks but a fine photograph, undamaged in the original light wood frame, the frame slightly faulty
Lot 690
HENRY PYALL (1795-1833) OR S G HUGHES (1793-1825) AFTER THOMAS TALBOT BURY (1809-187) SEVEN PLATES FROM SIX COLOURED VIEWS ON THE LIVERPOOL AND MANCHESTER RAILWAY AND SIX COLOURED VIEWS ON THE LONDON AND BIRMINGHAM RAILWAY comprising plates 1, 4, 5, 9, 11 (x 2) and 12, Galleria Subterranea, Viaduct across the Sankey Valley, View of the Railway across Chatmoss, Warehouses etc at the end of the Tunnel towards Wapping, Near Liverpool looking towards Manchester and Rainhill Bridge, hand coloured aquatints published by R Ackermann 1831, 25 x 29.5cm (7) ++One or two with slight staining or light browning mainly on plate 5 but mostly in apparently very good condition, not examined out of the non matching frames
Lot 694
E L STEPHENS (FL MID 19TH C) VIADUCT OVER THE RIVER DERWENT AT STAMFORD BRIDGE ON THE MARKET WEIGHTON BRANCH OF THE YORK AND NORTH MIDLAND RAILWAY coloured lithograph, 39.5 x 54.5cm ++One or two minor spots of light foxing and one or two places touched in white but in very good overall condition, unexamined out of the frame
Lot 701
GEORGE HAWKINS (1809-1852) AFTER S C JONES (FL EARLY 19TH C) INTERIOR OF THE GREAT WESTERN RAILWAY STATION BRISTOL lithograph by Day & Haghe, 24.5 x 33cm and three various other contemporary 19th century railway prints (4) ++Some typical light staining/fading but all in fair to very good condition, the other prints in the lot comprising a hand coloured engraving of the Northumbrian Engine by J Shaw Jnr, a handcoloured lithograph of a railway train inscribed in ink with the title Swellington? and a hand coloured lithograph by R E Creasey of the Great Northern Railway Bridge over the Witham 1848
Lot 710
NICHOLAS WALSH, PUBLISHER SIX VIEWS ON THE DUBLIN & DROGHEDA RAILWAY engravings by E Radclyffe after J E Jones, green wrappers with engraving of arms and steam train, ex libris P H Edwards [c1840] § Robert Hobson, Twelve Views in Dovedale and Ilam from Drawings by Mr Edward Price engraved on steel with illustrative notes, loose plates engraved by W H Lizars loosely inserted as issued, glazed light green card gilt, Ashbourn [1845] § Description of the Cast Iron Bridge Erected Over the River Trent Extracted from the Royal Engineer`s Papers Vol 4 [1840] (3)
Lot 778
VARIOUS, MAINLY BRITISH, ARTISTS, 18TH - 20TH CENTURY MISCELLANEOUS DECORATIVE SUBJECTS including a series of etched plates for the Calendarium Londinensis 1917-36 by William Monk, RE (1863-1937), all signed in pencil, unframed (50 approx) ++The Monk etching in good condition with some light staining to several. Most of the other prints also in satisfactory or very good condition, some in card window mounts
Lot 786
WILLIAM WARD, ARA (1766-1826) AFTER PHILIP REINAGLE, RA (1749-1833) THE SUPERB LILY mezzotint, hand coloured, 1799 for Dr Thornton`s Temple of Flora, laid down, 50.5 x 45cm and seven other 18th c hand coloured botanical prints, unframed (8) ++The first with some light overall staining, the other items in the lot in good condition, those hand tinted skillfully done at later date and most attractive
Lot 930
†CONRAD FELIXMULLER (1897-1977) PORTRAIT OF MR ROWLAND ABSALOM AT OXHEY GRANGE WITH "GAY DAWN" AND "DINA" signed and dated 1939, 141 x 101cm Gv. no 779 in Felixmuller`s catalogue (Gemaldeverrzeichnis). Provenance: The sitter; thence by descent to the present vendor. Exhibited: Leicester, Leicestershire Museum and Art Gallery, Conrad Felixmuller 1897-1977 Between Politics and the Studio, 17 September to 30 October 1994, Catalogue No.56. The German Expressionist artist Condrad Felix Muller (as he was originally named) was born in Dresden. After training as a painter, the young Felixmuller`s artistic development was rapid and mirrored by an acute political awareness, both in the 1914-18 war when he was a conscientious objector and during the Weimar Republic (1919-1938). Many of his pictures were shown in the 1933 Dresden exhibition of so called decadent art and also later, in the notorious 1937 Munich exhibition of "degenerate" art when 151 of his works were confiscated by the Nazis. Such persecution led him to leave Germany, travelling firstly to Norway and in 1939 to England at the invitation of Hilmar and Gonda von Stamford, nee Neale, whose double portrait (Gv. no 776) he had painted in Berlin in 1938. During the three months he spent in England, staying in Cardiff and London he painted several views of London and two or three portraits, including the present lot, of friends of the Stamfords. Felixmuller`s bravura portrait of Rowland Absalom holding his unsaddled horse `Grey Dawn` is set on the gently sloping parkland of Oxley Grange, his Hertfordshire estate. His black Labrador `Dina` completes the trio. The typical expressive use of several compositional devices result in a striking, dynamic image. This, when combined with the quintessential Englishness of the setting, is highly unusual. The leaden skies is an obvious portent of the imminent outbreak of total war as felt then by all sensible people and is especially poignant being in the hand of an anti-Nazi artist straight from Germany. The portrait also typifies the fully developed cool detachment or `Neue Sachlichkeit` (new objectivity) that marks the culmination of an approach to portraiture that Felixmuller had first experimented with on the late 1920s. To the National Socialists such discernment, with its less obviously distorted and blatantly subversive imagery might seem marginally less repugnant. Felixmuller returned to Berlin and only narrowly escaped with his life, loosing both his work and Berlin studio during the terror that was about to descend. ++In beautifully preserved untouched condition requiring only a light clean, the support not lined, holed, torn or restored, no overpainting, on the original stretchers. Entirely fresh to market not hitherto offered for sale
Lot 942
EDMUND JOHN NIEMANN (1813-1876) NOTTINGHAM CASTLE signed, 34.5 x 45cm ++Relined and cleaned and put into the present 18th century style frame, probably about 1970. The varnish now in need of a light clean as a consequence of nicotine or similar and some possible localised overpainting but not overly so and not verified under UV light. The frame slightly damaged
Lot 949
ENGLISH SCHOOL, 19TH CENTURY VIEW OF BELVOIR CASTLE panel, 19.5 x 27cm ++Cleaned with some possible localised retouching the extent of which not verified under UV light, a very attractive small landscape executed on a oak panel by an unidentified semi professional hand of probably the first half of the 19th c. In varnished giltwood cavetto frame
Lot 971
†CHARLES JAMES MCCALL, NEAC, ROI (1907-1989) THE PARK signed and dated 1979, signed again, inscribed with the title, size and direction to "Apply final varnish after December 1979", board, 34 x 43.5cm ++In the same fine condition as when purchased from the late owner from Ash Barn Petersfield Hampshire in March 1979, requiring a light surface clean, in 18th c style gilt frame
Lot 972
GEORGE MEEKYN (1831-1909) BRIDLESMITH GATE NOTTINGHAM FROM THE NORTH; BRIDLESMITH GATE FROM THE SOUTH a pair, both signed, 34 x 29cm (2) Provenance: Frederick Messom (1834-1899) Master Bricklayer or Builder (1871 and 1881 Census) of Nottingham, thence by descent to the present vendor. ++In fine original condition, undisturbed in the original late Victorian gilt cavetto frames, the varnish requiring a light clean. Some dirt on the underside of the glass
Lot 973
GEORGE MEEKYN (1831-1909) CHEAPSIDE NOTTINGHAM signed, 29 x 39cm Provenance Frederick Messom (1834-1899) Master Bricklayer or Builder (1871 and 1881 Census) of Nottingham, thence by descent to the present vendor. ++The same fine untouched condition as the preceding lot requiring a light clean with some dirt on the underside of the glass
Lot 976
†JOHN REILLY (1928-2010) THE MIRACULOUS DRAUGHT OF FISHES signed and inscribed verso, board, 58.5 x 89cm ++In good original condition requiring a light clean, undisturbed in the original c1960 white and grey painted plain wood frame, there is on the reverse an unfinished study of angels (?)
Lot 991
CIRCLE OF WILLIAM SHAYER HARVEST TIME 49.5 x 59.5cm ++Unlined, cleaned at some stage and now the varnish in need of a light clean. Extensive light cracqueleur but the pigments generally quite well preserved and colourful. Some localised retouching but not extensive overpainting, not verified under UV light. On the original 19th c stretchers in later 18th c style gilt frame
Lot 1001
GEORGES CHONÉ (1819-1848) LE MARCHAND DE LEGUMES signed, arched top, 58 x 47cm ++Some of the pigments darkened with and the medium a little thin in certain passages and with some localised restoration, light craqueleur. A small central holed patched tear, in what could be the original Victorian arched giltwood and composition frame with on the reverse the trade label of H Pullinger & Sons, Frame makers Brighton, the frame painted more than once in an old bronzing paint
Lot 1009
ATTRIBUTED TO FREDERICK GORE, CBE, RA (1913-2009) SKETCH FOR MURALS OF LONDON AT NIGHT inscribed verso, 70 x 90cm and another (see footnote) unframed (2) The canvas has been removed from the stretchers to reveal another composition of Sunflowers in an earthenware jug. There is a fragmentary printed label of the Redfern Gallery Ltd on the stretcher. ++Both works in reasonably good original condition free from tears or holes requiring a light clean and superficial conservation only
Lot 1048
A NAPOLEON III CARVED WALNUT EASEL MIRROR BY ALEXANDRE GEORGES FOURDINOIS DATED 1855, THE DESIGN BY CHARLES FRANCOIS ROSSINGNEUX the rustic arched frame entwined with blackberries and crested by a cartouche of the initials AA, the base with shield and ribbon inscribed CUEUR ET VISAGE SANS ARTIFICES Anno Dom 1855, 63cm h, Marqie au feu Rossignuex and Fourdinois ++Lacking back strut and with two later brass hooks for hanging, minor peripheral chipping but in basically very good original condition with some dust and much of the original slightly discoloured light brown varnish
Lot 1059
A REGENCY PENWORK TEA CADDY decorated with comical chinoiseries, ribbon trellis and entwined borders, the fitted interior retaining the tea canister, contemporary engraved glass jar and brass lock, 23cm w Provenance: Sold with a signed note by William Radford of Daybrook House, Nottingham, dated April 30th 1873, bequeathing the tea caddy and two other items to Jemima Thorneley. ++Typical light wear and scratches, originally with feet, now lacking, but complete and entirely unrestored, the interior attractive, the glass jar fitting perfectly and clearly the original or at least contemporary
Lot 1115
AN ERNST PLANK TINPLATE GLORIA MAGIC LANTERN OUTFIT the tinplate lantern on paw feet with lacquered brass lens with worm focusing, lamp, chimney, two glass chimneys and set of twelve slides in stained and varnished wood case with maker`s pictorial coloured LANTERNA MAGICA trade label, c1900 ++In very good condition, practically as new with some light surface rust from long term storage. The softwood box with localised worn but original
Lot 1119
A FRENCH BRASS MOUNTED ROSEWOOD AND AMBOYNA BREWSTER PATTERN STEREOSCOPE, A J LIZARS BRASS MOUNTED MAHOGANY AND LAMINATED WOOD CHALLENGE STEREOSCOPE AND APPROXIMATELY EIGHTY MOUNTED STEREO PHOTOGRAPHS some for transmitted light, many anonymous including bathing belles and genre scenes, in mahogany box ++The two viewers in good condition, many of the stereo photographs with signs of use, handling marks and some soiling, other fine
Lot 1177
A WELSH ARTS & CRAFTS OAK BEDROOM SUITE DESIGNED BY PAUL MATT FOR BRYNMAWR FURNITURE comprising breakfront chest of drawers with shelves, wardrobe and bedhead with integral cupboards, wardrobe 112cm w, ivorine oval label, 1934-40 (3) ++In very good original condition with only the loss of the backboard to the chest of drawers and some wormhole in the plywood backboard of the wardrobe. No restored or repolished, one or two light marks on the upper surfaces
Lot 10
RUSKIN POTTERY. A GROUP OF ORIGINAL DOCUMENTS AND FACTORY RECORDS INCLUDING CORRESPONDENCE, PHOTOGRAPHS AND SPECIMEN LABELS including the application for the registration of a trademark by W Howson Taylor and certificates, autograph letters signed and typed letters signed to W Howson or Edward R Taylor from amongst others, W R Lethaby, The Arts & Crafts Exhibition Society and the Board of Trade, printed invitations, factory stationery, promotional material, press cuttings and magazine articles, some laid down on boards for exhibition, in a wooden case Provenance: William Howson Taylor (1876-1935); Ferneyhough Collection. Many of the items in this lot are illustrated, Atterbury & Henson, op cit. ++The lot in generally very good condition, long having been kept away from the light in a box, much unique archival material included. Not hitherto offered for sale.
Lot 20
AN AESTHETIC MOVEMENT FOLDING MIRROR the lacquered brass framed wings backed with red and gilt printed paper designs of Japanese figures and cranes, in varnished light wood bamboo turned frame, 27 x 27cm, stamped PATENT NO 182635, 26 SEPT 1876 and on the clasp BREVETE SGDG, c1876 ++In good original condition, the lacquer on the narrow brass strip surrounding the mirrors discoloured, the outer aesthetic printed paper covering slightly shabby but acceptable
Lot 29
AN ARTS & CRAFTS BRASS ELECTRIC CHANDELIER OF THREE LIGHTS AND A TWIN BRANCH HANGING LIGHT EN SUITE BY CRANMER & CHESHIRE the leaf clad lamp holder with cut glass shades suspended from bifurcated C scrolls, approx 125 and 105cm h, stamped Rd 365538, 1900 Cranmer & Cheshire of Steward Street, Birmingham are listed under Art Metal Workers in Kelly`s Directory, 1911 and 1913 editions. The partners registered the design for the present lights at the Patent Office Design Registry on 31 October 1900 giving their address as 42 St Paul`s Square, Birmingham. ++Both in good condition, a little dusty, parts slightly splashed with paint in places
Lot 9
Brown (Edward). A Brief Account of Some Travels in Divers Parts of Europe ... through a Great Part of Germany, and the Low-Countries ... with some Observations on the Gold, Silver, Copper, Quick-Silver Mines, and the Baths and Mineral Waters in those Parts ..., 2nd ed., with many additions, 1685, fourteen engraved plates only (of 16), including some folding, numerous engraved illustrations to text, advert leaf at rear, ink stamp to title, dedication leaf excised at head and repaired, two single-page plates trimmed or frayed & lined to verso and few other plates repaired with occasional minor loss, some repairs mostly to margins of first and last few leaves, occoasional light damp-soiling & fraying to lower margins & outer corners, first & last few leaves loose, contemporary marbled calf, joints cracked and upper board near detached, slight wear to extremities, folio -1
Lot 12
Carter (Howard and Mace, A.C.). The Tomb of Tut-Ankh-Amen. Discovered by the Late Earl of Carnarvon and Howard Carter, 3 vols., 1st ed., 1923-33, half-tone illustrations, scattered light spots, original brown cloth gilt, small light stain to vol. II upper cover, edges a little rubbed, 8vo. Presentation copy, inscribed in pencil to volume I frontispiece verso: “Howard Carter, in remembrance of many happy days, March 1929”. -3
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534325 item(s)/page