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Click here to subscribeA September 1937 cream satin bias cut wedding dress with braid detail to length of sleeves and a sash with tasselled ends. With the net veil, wax orange blossom wedding circlet and a metal horse shoe covered with ribbon. Sold with two original photographs of the wedding by S. Welch Walsall, Rushall Parish Church
A green and pink on brown Celia Birtwell print for Ossie Clark full length crepe dress with feature batwing sleeves, a Susan Locke Chelsea silver printed velvet full length with divided skirt and an embossed velvet grey and green and petrol multi coloured full length also labelled Susan Locke Chelsea. From Susan Locke`s personal collection
A George II rococo kettle and stand, the kettle profusely decorated with flowers, fruit and masks, with the spout terminating in an eagle’s head, scrolled handle with raffia binding, the semi-domed cover with semi-open end finial, the sides of the body engraved with armorial and blank cartouche; the stand with floral swag aprons, raised on three leaf-capped scroll supports terminating in scroll pad feet, the lamp fixed in the centre, London 1748, maker’s mark scrolled ‘JC’ (with a two-handled vase above a star motif between the initials, all in a shaped shield), hallmarked on the base of the kettle and lamp, 37cm high, 54 ozs. (2)
A George III oval salver with Irish connections, the centre inscribed “This piece of plate is presented to the Revd. Francis Orpen by the parishoners of St Peter’s Parish in the City of Cork as a memorial of their gratitude and affection to him, for his zealous, unremitting and pious discharge of the labourious duties of curate of this extensive Parish for ninenteen - Cork June 28th 1792” within reeded rim, supported on four shell-capped scroll feet, London 1791, maker Peter and Ann Bateman, length 60cm, weighing 103.08ozs.
An elegant French coffee pot, late 18th century, possibly Lille, the baluster shaped body chased with floral sprays, blank cartouche bordered by antiquities, musical instruments and other artistic motifs, the domed cover with similar decoration, the turned wooden handle at right angles to the mask-decorated spout, the whole on three scrolled feet, marks to the base include a maker’s mark GjG beneath a star motif, 20cm high, all-in weight 13.25 ozs.
Omega, a lady’s 18ct gold wristwatch, the silvered dial having raised baton numerals, dauphine hands and signed ‘Omega’, the round case numbered ‘59160748’, the Florentine-designed mesh bracelet stamped for 18ct gold, contained in the original wooden box with paperwork and warranty dated for April 2005 and showing the reference number as ‘46703102’ and calibre number ‘1456’, diameter: 22mm.
Charles Frodsham. A gentleman’s 18ct gold keyless lever openface pocket watch, the circular white enamel dial with Roman numerals and subsidiary seconds dial signed Cha’s Frodsham, London 08149, the three-quarter backplate with repeat signature in a plain 18ct gold case with attached 9ct gold curb-link watch chain.
John Moncas, Liverpool, an 18ct gold keywound pocket watch, the gold dial having raised Roman numerals, a matted centre, three-colour gold foliate border and gold spade hands, the three quarter plate, chain fusee movement engraved with the maker’s name ‘John Moncas, Liverpool, 4813, Patent’, and having a lever escapement with a plain three-arm balance, the case with raised decoration to the rim, engraved bow and hallmarked for 18ct Gold, Chester 1825, diameter:46mm. * John Francis Moncas is recorded as working in Liverpool from before 1820 with a lever watch by him having been in the Courtenay Ilbert Collection of clocks & watches.
Hunt & Roskell, London, an 18ct gold full hunter pocket watch, having a white enamel dial with black Roman numerals, subsidiary seconds dial, blued steel spade hands and signed ‘Hunt & Roskell, London’, the chain fusee three-quarter plate movement having a plain three-arm balance to the lever escapement with an engraved backcock, the backplate signed ‘Hunt & Roskell, 156 New Bond St, London, No. 11068’, the full hunter case having engine turned decoration to the front and back and hallmarked for 18ct gold, London 1896 with the case maker’s initial’s ‘H.W’, diameter: 45mm. * Hunt & Roskell was the final partnership in a business that started as Paul Storr & Mortimer, then Mortimer & John Hunt after the dissolving of the former in 1838 with an address at 156 New Bond Street, before Mortimer retired in 1843 allowing Robert Roskell jnr and C.F. Hancock to take an interest before the latter set up on his own account in 1849 leaving Hunt and Roskell as sole proprietors.
International Watch Company for Tiffany, an 18ct gold gentleman’s wrist watch, having a ‘gold’ dial with black Roman numerals, date aperture, a sweep seconds hand and signed ‘International Watch Co, Schaffhausen, Tiffany & Co, Automatic’, the movement stamped with the serial & calibre numbers ‘1981026, C8541.B’, the case marked ‘18K’ and stamped with the serial number ‘1891628’, complete with integral 18ct gold mesh bracelet, diameter: 32mm.
Straub & Hepting. A gentleman’s 18ct gold, keywound lever openface pocket watch, the backplate inscribed ‘Borough, No 137452’, the white enamel dial with Roman numerals and subsidiary seconds dial in an engine-turned 18ct gold case with a 9ct gold curb-link watch chain attached with spiral reeded propelling pencil, fob seal and two brass and steel keys.
Dent au Brassus. A gentleman’s 18ct gold keyless lever openface repeat pocket watch, the signed circular white enamel dial with Roman numerals and subsidiary seconds dial, the movement with repeat signature numbered 20348, the dust cover with monogram ‘CJD’, the repeat mechanism not working, in an 18ct gold case with slide button in the band.
Margaret Alison Atkins (b.1878), ‘Forests And Inchantments (sic) Drear Where More is Meant than Meets the Ear’ watercolour, signed lower right 19 x 27cm. Footnote: The inscription is taken from Il Penseroso by John Milton. There are few details about Margaret Alison Atkins. In 1905 she contributed some pen and ink illustrations to a book called “Mohamed Aben Ahmar or The Invention of the Moorish Arcg” by Stephen Syeds, and by 1908 was living at 90 Burnt Ash Hill, Lee, London and was displaying her illustrations at local exhibitions including works called Bringing home the Christmas Tree, An Elf Maiden and Titania’s Baby.
Louis Wain (1860-1939), A Day’s Outing; a strip of nine cartoons, signed bottom right, inscribed on a label attached to the reverse, watercolour, bodycolour, pen and ink, each 24.5 x 18cm overall. Provenance: Raphael Tuck. The vendor’s husband was an accountant with Raphael Tuck & Sons Ltd., circa 1930-1980
Dorothea Sharp (1874-1955), Hollyhocks and Dahlia, oil on board, 43.5 x 36cm, with an oil sketch verso, Mother and Child The verso sketch relates closely to the standing figure with baby in The Outing to The Beach, sold at Sotheby’s on 26.11.1997; and also to the oil sketch ‘a mother and child’, sold at Sotheby’s on 26.10.1993.
Brian Shields (Braaq), (1951-1997), Coastal landscape with numerous figures around a seaside town, yachts in an estuary, lighthouse beyond, signed Braaq, dated ‘77 and inscribed ‘Ann’ bottom right, oil on marine ply panel, 50 x 76cm. Brian Shield was born in Liverpool. His father, Dennis, was a professional artist and his elder brother had a successful career as a sculptor in America. The name Braaq, with which Brian signed his works, is a mis-spelling of the famous French artist Braque which, on account of his artistic talent as a boy, was his nickname at school. The name ‘Ann’ after his signature was his sister who died at the age of 21, and to whose memory all of the his subsequent paintings were dedicated. Brian was, on leaving school, discouraged from an artistic career and consequently trained as a chef in Harrogate. He was asked to paint a mural on the wall in the hotel where he worked, and this came to the attention of a local art critic who launched his career. He exhibited in London’s West End galleries and built up a considerable reputation and following. Sadly his career was cut short when he died, at the age of 46. In 1977 ‘The Times’ art critic described Braaq as ‘one of the six most successful artist in England’. The Liverpool Echo described him as ‘Liverpool’s Lowry’.
Sam Haile (1909-1948): An earthenware tankard of tapering cylinder form with applied strap handle and thumb rest the body with incised linear band and combed cream slip decoration on a chocolate panel reserved on a russet body, 12.5 cm high, impressed ‘bull’s head’ seal, circa. 1947. An identical example is in the collection of Victoria & Albert Museum and is illustrated as plate 241, Studio Pottery, Oliver Watson, Phaidon in association with the V & A.
Michael Angelo Rooker (1743-1801), View from Hensome Hill, Herefordshire; an extensive landscape with shepherd and sheep in the foreground, signed and dated 1783 (?) bottom left side (on a rock), watercolour over pencil, 30 x 47cm. Provenance: Pre 1935 Trafford Family, Goodridge Court, Ross on Wye. Thence by family descent. Gifted to the vendors’s family
Alexander M. Rossi (fl.1870-1905), A Summer’s Day, signed bottom right, oil on canvas, 34 x 51cm. Rossi spent his early career at the local art school in Preston Lancashire. From 1870-73 he sent a number of paintings to The Royal Academy for selection and in all he exhibited 66 works between 1871 and 1903. From 1875 he had moved to Shepherds’s Bush, London, where he spent the rest of his artistic life. Rossi specialised in genre painting often centred on children and young adults. These works were executed in a style that incorporated both the traditional academy teachings and also the avant-garde brushwork and colours of the Impressionists. Rossi also exhibited at The Royal Society of British Artists between 1870 and 1893, in all some 47 works in oils and watercolour
Sarah Louise Kilpack (1840-1909), Unloading the catch, oil on card, 9.5 x 11.5cm. Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.
Sarah Louise Kilpack (1840-1909), The Rainbow, oil on card laid down, 7.5 x 10cm. Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.
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