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Lot 1
A Scottish dish ring, with marks for Edinburgh 1922, maker Brook & Son, of usual form, the pierced sides incorporating C-scrolls, fruit, foliage, pastoral figures and animals in a landscape setting, the central cartouche crested and inscribed LUX TUA VITA MEA, with deep green glass liner Diameter 17.5cm, 17.5oz Motto translates as THY LIGHT IS MY LIFE £500-700
Lot 1
A pair of William IV Sheffield Plate three-light candelabra having foliage husk applied borders the twin foliage spray scrolling branches fitted detachable campana shape sconces and detachable nozzles having flame extinguishers and two spare nozzles for the candelabrum bases (to use as separate candlesticks) the stems applied sprays of acanthus. Candelabra: 19.5in. (50cm.) high. (2). (see previous lot for illustration)
Lot 1
Sir William Quiller Orchardson R.A., 1832-1910, the market girl from the lido, signed, oil on canvas, 59.6x101cm.; 23 1/2 x 39 3/4in. Late in April 1870 Orchardson leisurely embarked for Italy, reaching Venice by early April and taking rooms within the Casa Benetzki on the Grand Canal. He had intended to devote himself to painting in Venice but found the light too vivid and instead chose to make sketches and absorb the atmosphere of faded elegance. He took the ill-advised decision to swim every day in the canals, always casting his hat into the water first before leaping in head first after it. He employed the exclusive services of a young gondolier to ferry him through Venice's waterways and to follow him as he swam through the waters, 'one of those invaluable servants you find once or twice in a lifetime among the Latin races, but never, in ten lives, among the Teutons. Everything conceivable that an Englishman in Venice could require, Antonio sought and found.' The handsome gondolier was also something of a romantic hero having risked all by offering himself for a blood transfusion (extremely risky and rarely attempted in those days) to save his fiancee after she contracted smallpox. 'He forced his way to the girl's bedside, took her in his arms where she lay, and never relaxed his hold for a day and a night, until the feeble spark of life was nourished back to the beginnings of flame.' (Walter Armstrong, The Art of William Quiller Orchardson, 1895, p. 27). Whilst Orchardson was in Venice he witnessed the girl's seemingly miraculous recovery and marriage to Antonio and was greatly touched by the heroism of the valiant gondolier and his love for his beautiful young wife. Undoubtedly Antonio and his fiancee were the stimuli for A Market Girl from the Lido which was probably painted immediately after Orchardson's return to London. Orchardson's time in Venice had been a disappointing one, plagued by illness and conditions that he found to be against any possibility of painting. However he returned to London committed to paint several images of Venetian life including On the Grand Canal of 1871, The Venetian Fruit Seller painted in 1874 (Sotheby's, Hopetoun House,19 April 2004, lot 8), and Moonlight on the Lagoons of 1875. Provenance Mrs Richard Johnson, by 1887 Exhibited London, Royal Academy 1870, no. 298; Manchester, Royal Jubilee Exhibition, 1887, no. 383 Literature James Stanley Little, 'The Life & Work of William Q. Orchardson Royal Academician', Christmas edition of Art Journal, 1897, p. 21
Lot 1
Margaret Bayliss exh. 1928-1938, 'a goblin toasts a bumble bee', signed with initials and inscribed Light as feathers the witches fly The horn of the moon is plain to see By firefly under a jonquil flower A Goblin toasts a bumble bee, watercolour heightened with bodycolour, 31x21cm.; 12x8.25in. (4) To be sold with three further works by the same artist All in the sweet, sweet April rain, In my garden and And I found myself in the heart of the tune...
Lot 1
A fine 'Newcastle’ light baluster wine glass the round funnel bowl engraved with an elaborate crowned cartouche containing a horse perhaps the White Horse of Hanover flanked by battle emblems the stem in the form of a dumbell section containing spirals of airs above an inverted baluster upon a conical foot c.1750 18.5cm.
Lot 1
A fine pair of 'Newcastle’ light baluster wine glasses with funnel shaped bowls engraved in Holland with the arms of William IV Prince of Orange within foliate cartouches with the seven coats of arms of the provinces of Holland on knopped baluster stems with tear drops and conical feet c.1740-50 19.3cm. (2)
Lot 1
An extensive Spode blue and white Indian Sporting Series service all marked Spode all titled unless other wise stated c.1820. (83) Comprising: Two meat platters; 'Shooting a Leopard’ 52cm. and 'Dooreahs Leading out Dogs’. Some slight peppering to the glaze. 47cm. Four chamfered rectangular dishes; 'Shooting a Leopard’ untitled 51cm. 'Driving a Bear out of Sugar Canes’ 41.5cm. 'Shooting at the Edge of a Jungle’ 36.5cm. and 'Hunting a Civet Cat’. Light staining to the glaze. 26cm. A chamfered rectangular bowl; 'Hunting a Civet Cat’ 23.5cm. Two oval strainers; 'Dooreahs Leading out Dogs’ 38cm. and 'Driving a Bear out of Sugar Canes’ 33cm. Two oval bowls; untitled 27cm. A shaped bowl with shell handles; 'Hunting a Buffalo’. Two tiny nibbles beneath the handle rims. 38.5cm. A rectangular dish and cover; 'Hunting a Buffalo’ the base unmarked 30.5cm. A sauce tureen cover and two stands; untitled. One stand with a footrim chip. 21cm. A square cover; 'Hog Hunters Meeting by Surprise a Tigress and Her Cubs’. A tiny rim chip. 20cm. Thirteen soup plates; 'Chase After a Wolf’ one untitled. Two with tiny rim chips. 24.5cm. Nine plates; 'The Hog Deer t Bay’. One with a small chip to the back of the rim. 18cm. Eighteen plates; 'Common Wolf Trap’ three untitled. One untitled plate stained and with a small rim chip two further plates with small chips. 21cm. Twenty four plates; 'Death of the Bear’ six untitled. Three with rim chips. 25cm. Spode’s Indian Sporting Series forms one of the most collectable series of blue printed patterns they were based on coloured engravings from drawings by Samuel Howitt in Captain Thomas Williamson’s Oriental Field Sports Wild Sports of the East published by Edward Orme in 1807. The original edition contained 40 plates and was dedicated to His Majesty King George the Third. The popularity of the series can be judged by the fact that it was copied almost in its entirety by other potters. Cf. A.W. Coysh and R.K. Henrywood pp.187-188.
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534310 item(s)/page