A small group of gold and costume jewellery, comprising:two gold pendants,an amethyst and diamond cluster pendant, stamped 375, suspended by a Prince-of-Wales link chain, stamped 9K, and a white gold open heart pendant, tested as approximately 9ct gold, suspended by a curb link chain, clasp deficient, stamped 375,and a costume ring and pendant,a gilt metal zircon three stone ring, a base metal paste pendant, suspended by a serpentine link chain, stamped 9259ct gold 3.40g, silver 1.76g (4)Ring size MCondition ReportClasp deficient to white gold curb link chain.Zircon stones to ring heavily abraded to crown and table. Visible to the eye. With a few chips to girdles, visible by 10x magnification.Marks and scratches to some surfaces.Minor tarnish.
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A 9ct gold ruby and diamond cluster ring and 9ct gold a ruby and diamond ring, the cluster ring with an oval cut pinkish red ruby, to a surround of round brilliant cut diamonds and round cut pinkish red rubies, all claw set to hollowed tapered shoulders and a D profile shank, Birmingham 2005, and a 9ct gold pinkish red ruby and diamond seven stone ring, London 1998, 4.95g (2) Ring size L, M Condition ReportMinor marks and scratches to mounts. May benefit from being cleaned gently.
Two 9ct gold gemstone set rings, comprising:a 14ct gold blue topaz and diamonds,with a rectangular cut topaz, four claw set, flanked by eight cut diamonds to either side, into tapered split shoulders and a D profile shank,and a 9ct gold amethyst and diamond ring, with an oval cut amethyst, 11mm x 9mm, flanked by a curved line of eight cut diamonds to either side, all claw set to a D profile shank,Ring size N, MCondition ReportBoth rings are in good overall condition.Minor tarnish, marks and scratches to mounts.
A group of designer silver jewellery, comprising a Gucci logo pendant, suspended by a Gucci cable link chain, a Gucci band ring, all signed Gucci, a Tiffany & Co. 1837 padlock charm bracelet, a rose quartz heart charm bracelet, by Thomas Sabo, a cultured pearl bracelet, suspending an enamel cultured pearl charm, both by Thomas Sabo, a Links of London Tinkerbell charm, and a Links of London bead necklace, broken, with six base metal charms, all hallmarked or tested as silverSilver 114.26g total (7)Ring size MCondition ReportLinks of London necklace broken, with loose beads and charms. Requires re-stringing.Marks and scratches to surfaces.Tarnish.
11.75inch sighted barrel with Belgian proof mark and serial no. 1108, bevelled lock stamped with a crowned M and maker's stamp PJ MALHERBE A LIEGE, half stocked with regulation brass mounts, the butt with lanyard ring, hallmarked silver presentation plaque OFFICERSKÅRENS KUNGL.LIVREGEMENTET TILL HÄST HEDERSPRIS RYTTARTÄVLINGAR 1947. (Life Guards recipient).
FONTENELLE, M: 'CONVERSATIONS WITH A LADY ON THE PLURALITY OF WORLDS' translated by Glanvill, fourth edition, printed by J. Darby for M. Wellington, London 1719, later brown leather bound; a 1769 edition of the same work; together with an 1804 French edition of the same work (3)Provenance: A Dorset bibliophile.
A 9-carat gold mounted dress ring set with three graduated sapphires interspersed by pairs of small diamonds, 2.1 g, size M CONDITION REPORTS Not a qualified gemologist so opinion only. In need of a good clean which may be affecting the colour. The central sapphire and one of the side sapphires appear to be a good match, the other one seems a little bit darker. There is some surface scratching to the stones. The setting to the middle sapphire doesn't seem quite flush to the stone. Otherwise general wear and tear conducive with age and use - see images for more details
M J PLEDGER "Mallard male", pencil sketch, signed and dated "1981" lower right and bearing "Kings Street Galleries" label verso, 17.5 cm x 24 cm, PAYNE "Barn owls", limited edition etching, indistinctly signed, dated "82" and No'd. "50/50", titled to the margin, 12 cm x 18 cm, MARION ADNAMS "Birds nest", pencil study, signed and dated "53" lower right and titled, named and dated in pen verso, 14 cm x 15 cm (3) CONDITION REPORTS PLEASE NOTE THAT P CALDY "Study of cats", has been withdrawn from this lot
A white metal two handled cylindrical bowl with wrythen decoration, bearing ownership initials "E*H*N*M" and with half skull engraved motif, 9.5 cm diameter not including handles x 5.8 cm high, a shallow white metal wrythen engraved embossed dish of flower head form, 12.6 cm diameter, a pair of plated coasters with reeded and foliate decorated rims, 17.3 cm diameter and a small white metal pill box with mother of pearl top and bottom, the top carved with dog chasing a duck by a watermill, 3.5 cm diameter
M J S MACKENZIE "Mallard ducks in flight", oil on board, signed and dated "79" lower left, 51.5 cm x 44 cm, together with another similar, signed and dated "79" lower left, 51.5 cm x 33.5 cm, a black and white scratch drawing of "Drake", signed and dated "74" lower left, 13 cm x 19 cm, "Study of lioness", watercolour on board, signed and dated "91" lower left, 38 cm x 35.5 cm and "Dark-haired woman", portrait study, signed and dated "67" lower right, 63.5 cm x 46 cm, "Butterfly", watercolour, unsigned, 19 cm x 20.5 cm and a decorative print in frame (7)
Vinyl - The Beatles - Please Please Me LP on Parlophone Records PMC 1202. Original UK first press with black and gold labels, front laminated flipback Ernest J Day sleeve with Angus Mcbean credit far right at bottom, with large 'mono' top right, Dick James credits for I Saw Her Standing There, Misery, Ask Me Why, Please Please Me, Do You Want To Know A Secret and There's A Place - 1N / 1N Matrices and 1 A / 1 M mother matrices, ZMT tax code and original Emitex inner sleeve. Sleeve front VG+, sleeve back VG (loss to bottom flip back and sticker and sticker marks on back, small tear at opening back), Vinyl VG+ (non feelable light scuffs).
Vinyl - The Beatles Please Please Me LP on Parlophone Records PMC 1202. Original UK press with black and gold labels, front laminated flipback Ernest J Day sleeve with Angus Mcbean credit far right at bottom, with large 'mono' top right, Dick James credits for Ask Me Why, Please Please Me, and There's A Place - 1N / 1N Matrices and 2 GH / 1 M mother matrices. Original Emitex inner sleeve. Vg+
JESSIE MARION KING (1875-1949) AND ERNEST ARCHIBALD TAYLOR (1874-1951) INTEREST GROUP OF PERSONAL AND DOMESTIC ITEMS [King-Taylor family recipe book]. The Practice of Cookery and Pastry by Williamson & Son 1869. 8vo, with numerous manuscript recipes laid in, including one for ‘American gingerbread’ written in the hand of Jessie M. King, another recipe apparently in another hand but with King's annotation ‘The EASY-BISCUIT à la Polly Peacham’; Collection of family photographs, approx. 40 in total, of which several depicting Jessie M. King, including a full-length portrait of JMK as a young woman, in a garden (platinum print, mounted on card), one of JMK in a classroom with pupils (albumen print, mounted on card), and others showing E. A. Taylor, Merle Taylor, etc.; Merle Taylor's childhood autograph album, including a watercolour sketch of a cottage through trees signed ‘EAT’ (her father Ernest Archibald Taylor, 1874-1951), and one unsigned but attributed to Jessie M. King; Typescript short story by Merle Taylor, ‘The Maister’For a complete list of photographs in this lot see the lot description on our website lyonandturnbull.com Provenance: Jessie Marion King and Ernest Archibald TaylorBy descent to their daughter Merle TaylorEstate of Merle Taylor
JESSIE MARION KING (1875-1949) ‘A CLOSE IN HIGH STREET’, CIRCA 1912 pen and ink on vellum, signed lower left JESSIE M. KING, framed 23.5cm x 9.5cm (frame size 40cm x 24.5cm) Provenance: Jessie Marion King and Ernest Archibald TaylorBy descent to their daughter Merle TaylorEstate of Merle Taylor
WILLIAM DE MORGAN (1839-1917) 'ANTELOPE' TRIPLE LUSTRE TILE, 1898 lustre-glazed earthenware, stamped verso DM98 15.3cm square Provenance: Purchased from William De Morgan by Arthur James Balfour, Earl of Balfour (1848-1930), Prime Minister of the United Kingdom from 1902 to 1905 and by descent. Literature: Greenwood M. The Designs of William de Morgan, Richard Dennis 1989, p. 122, pl. 977, where the design for this tile is illustrated.
CHARLES RENNIE MACKINTOSH (1868-1928) 'BROOKWEED', 1901 pencil and watercolour, signed and inscribed lower right BROOKWEED/ HOLY ISLAND/ JULY 1901/ MT FB C, framed 22cm x 17cm (frame size 44.5cm x 39.5cm) Provenance: William Marshall, GlasgowScottish Private Collection Exhibited: Edinburgh, London, Darmstadt, Zürich, Charles Rennie Mackintosh (1868-1928) Architecture, Design and Painting, 1968, Catalogue number 289, lent by William Marshall, Glasgow1901 was a productive and exciting time for Mackintosh professionally, being the year that he was made a partner in the Glaswegian architectural practice where he worked. Seeking some brief respite from his busy roster of commissions, he and his wife Margaret took a holiday to Holy Island in the month of July, joined by the other members of ‘The Four’: Margaret’s sister Frances Macdonald and her husband Herbert McNair, as well as Margaret and Frances’s brother, Charles.Given the trip was for such a short duration, sketches from this excursion are scarce. Nonetheless, the impact of this visit on both Mackintosh’s artistic and architectural practice was marked. For example, the surviving sketches show that he was deeply absorbed by Lindisfarne Castle. It has been noted that its sweeping, austere curves find echoes in his architectural language, for example in the Glasgow School of Art’s design which was completed in phases between 1896 and 1909. Mackintosh had begun to develop his botanical studies in the 1890s, but the series of works from Holy Island are notable in that they crystallize the format for his botanical drawings thereafter. It is here, for example, that he begins to add his distinctive, almost Japanistic ‘cartouche’, featuring the initials of the companions present at the time of the work’s inception. In the past some have implied that the presence of ‘MM’ on such works suggest that Margaret did the colouring, but this does not fit with what is known of his attitude as an artist. Those close to him, notably Mary Sturrock - daughter of his friend and mentor Fra Newbery - are adamant that Mackintosh would not have let his artwork be added to in such a manner. Further support for this can be found in ‘Brookweed’ and other Holy Island watercolours, some of which feature more than two sets of initials. In ‘Brookweed’ the picture is signed M (for Margaret Macdonald), T (Tosh for Mackintosh himself), F (for Frances Macdonald), B (for Herbert (Bertie) McNair), and C (for Charles Macdonald, Margaret and Frances's brother), which appears to confirm the theory that the inscriptions were more of an aide memoire or dedication to those who were present when the pictures were made. Botanic studies were central to Mackintosh’s artistic practise. Even when he was busy with his architectural business, they remain a mainstay. Mackintosh’s ideology had sprung from the tenets of the Arts and Crafts Movement, in tandem with European Art Nouveau, and it is crucial to understand that his design language, whether that be architecturally or artistically, ultimately found its basis in his belief that nature was the source of beauty. His work across all media is characterised by a sinewy, linear approach to form, the distillation of the essential patterns and design of the natural world. This fascinating, alchemical process by which Mackintosh transforms the organic into design is arguably most tangible in his botanical studies, which perhaps explains their enduring appeal. The drawings vary subtly over the course of time. From naturalistic depictions on Holy Island in 1901, to analytical, almost scientific studies in Sintra in 1908. Ultimately a more wholly decorative interest was developed post-1910, enhanced by the fact he is highly likely to have begun pressing his flower stems in order to more clearly expose the decorative formal possibilities. Finally, there was the explosion of botanical studies in Walberswick in 1914 (40 over a period of approximately 12 months), which marked a move from depictions purely of wildflowers to the inclusion of cultivated blooms.Writing for The Studio in 1897, London critic Gleeson White remarked that the work of the ‘Spook School’, “is singularly free from vulgarity of idea, redundance of ornament, and misapplication of material…”. This sentiment holds across all aspects of Mackintosh’s work, but perhaps most particularly his botanical studies. This meeting of classicism and modernity, precision and invention, the spare and the decorative, goes some way to explain the timelessness of these pieces.
JESSIE MARION KING (1875-1949) TEAPOT AND COVER, CIRCA 1940 glazed earthenware, signed JMK with Greengate and rabbit marks to the base 16cm high Provenance: Jessie Marion King and Ernest Archibald TaylorBy descent to their daughter Merle TaylorEstate of Merle Taylor Literature: White C. The Enchanted World of Jessie M King, Canongate 1989, p. 110, pl. 149 where a similar shape is illustrated.
JESSIE MARION KING (1875-1949) ‘MAY FORTUNE’S FAERIE BARQUE’, 1907 printed paper hand-coloured with gold and silver paint, inscribed MAY FORTUNE'S FAERIE BARQUE/ BY WIND AND WAVE BE WAFTED THEE, framed 22cm x 12.5cm (frame size 37.5cm x 27.5cm) Provenance: Jessie Marion King and Ernest Archibald TaylorBy descent to their daughter Merle TaylorEstate of Merle Taylor Literature: White C. The Enchanted World of Jessie M King, Canongate 1989, illustrated p. 69, pl. 85
WILLIAM DE MORGAN (1839-1917) 'HOWLING WOLF' TRIPLE LUSTRE TILE, 1898 lustre-glazed earthenware, impressed verso DM98 15.3cm square Provenance: Purchased from William De Morgan by Arthur James Balfour, Earl of Balfour (1848-1930), Prime Minister of the United Kingdom from 1902 to 1905 and by descent. Literature: Greenwood M. The Designs of William de Morgan, Richard Dennis 1989, p.123, pl.1008, where the design for this tile is illustrated.
JESSIE MARION KING (1875-1949) COLLECTION OF ORIGINAL PRINTING BLOCKS, CIRCA 1910 AND LATER comprising a GROUP OF ZINC BLOCKS, to include Kirkcudbright, a Royal Burgh, in three parts, 22cm x 12cm, with spine title, along with an original copy of Kirkcudbright, a Royal Burgh; Good Greeting 1949, in five parts, 3 at 14cm x 10cm and two smaller (for the card interior) From the Green Gate (symbol) Kirkcudbright; Ernest A Taylor: NeuGaelTach bookplate, 14cm x 6cm; Horseman at the Gate, in two parts, 7.8cm x 8cm; Ex Libris: Mary Elizabeth Reid bookplate, 10.4cm x 5.2cm; and Dandelions, from Budding Life, along with an original copy of Budding Life; a GROUP OF COPPER BLOCKS, to include an illustration of Spenser’s ‘The Faerie Queen’ And in the midst thereof a pillar placed…etc., 13.5cm x 8.5cm; and illustration of Shelley’s ‘The Wild West Wind’, Sister of the Spring, 13cm x 8cm; an illustration of Morris’s ‘King Arthur’s Tomb’ For Lancelot’s red-golden hair would play, 14.3cm x 9.5cm; a GROUP OF ELECTROTYPE BLOCKS, to include Dead Babe, 19.5cm x 9cm; Sam Mavor bookplate, 7.4cm x 7.4cm; Spirit of the Woods, 11cm x 9cm; Couple by the Rocks, 14cm x 13.5cm; and three further electrotype blocks, one showing an image by Charles Rennie Mackintosh, two unidentified; a GROUP OF CARVED WOOD BLOCKS, to include Jessie M King/ The (with Green Gate symbol), 11cm x 3.7cm; a seal with carved symbol of a rose, 6cm long; Cottages in a Landscape, 8.2cm x 9cm; a crow, 7cm x 6cm; and an image of an agricultural roller, 6cm x 11cm; and a group of LINOCUTS, by Merle Taylor, E.A. Taylor and Jessie M. King, largest 15.5cm x 10.5cm (35) Provenance: Jessie Marion King and Ernest Archibald TaylorBy descent to their daughter Merle TaylorEstate of Merle Taylor
JESSIE MARION KING (1875-1949) AND ERNEST ARCHIBALD TAYLOR (1874-1951) INTEREST COLLECTION OF BOOKS FROM THE LIBRARY OF JESSIE M. KING AND FAMILY including: The English Version of the Polyglott Bible. London: Samuel Bagster & Sons, c.1880. 12mo, ownership inscription ‘Jessie M. King, The Manse, New Kilpatrick’ to initial blank, half-title annotated ‘John Liddel’s Bible' in the same hand, further inscription ‘from my mother’ to the front free endpaper, lacking rear cover and apparently several leaves of text at rear; Greenaway, Kate. Kate Greenaway's Birthday Book, c.1920. 16mo, original cloth, inscribed ‘To Merle from Angus’ within hand-drawn decorative border on front free endpaper, with manuscript entries throughout, including for ‘Mrs E. A. Taylor’, i.e. Jessie M. King, next to her birthday of 20 March; Le Nouveau Testament. Strasbourg 1878, ownership inscription ‘Peggy King, The Manse, New Kilpatrick, April 1898’ to initial blank; The Letters of Charles Lamb. London: J.M. Dent & Co., with gif inscription 'To Mrs Taylor “A trifling memory of a true kindness” G.J.J. July 1917; Sappho. One Hundred Lyrics. London: Alexander Moring Limited, 1906. Small 8vo. contemporary green roan, gift inscription ‘To E.A.T. Xmas ’06'; and 22 others similar, from the library of Merle Taylor, several with family inscriptions, mainly leather-bound. For more information on the contents of this lot please see the lot description on our website lyonandturnbull.com Provenance: Jessie Marion King and Ernest Archibald TaylorBy descent to their daughter Merle TaylorEstate of Merle Taylor
CHARLES RENNIE MACKINTOSH (1868-1928) 'PIMPERNEL', 1901 pencil and watercolour, signed and inscribed lower right PIMPERNEL/ HOLY ISLAND/ JULY 1901/ M T, framed 22cm x 17cm (frame size 44.5cm x 39cm) Provenance: Provenance: William Marshall, GlasgowScottish Private CollectionPencil inscription to verso of frame reads ‘The previous frame’s backboard had written (handwritten) in pencil: ‘The Property of William Marshall/ 45 Cecil Street/ Glasgow (top flat)’Scottish Private Collection
CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON ARTICULATED LETTER RACK, 1881 electroplated metal, stamped maker's marks, 2555, registration lozenge for 1881 9cm wide, 12.5cm high, 10.5cm deep Literature: Whiteway M. Christopher Dresser 1834-1904, Milan 2001, p. 84, pl. 58 for a comparable example registered for 1881.
JESSIE MARION KING (1875-1949) AND ELISE PRIOLEAU ‘HOW FOUR QUEENS FOUND SIR LANCELOT IN THE WOOD’, CIRCA 1910 coloured silks, framed 20.5cm x 41cm (frame size 48cm x 65.5cm) Provenance: Jessie Marion King and Ernest Archibald TaylorBy descent to their daughter Merle TaylorEstate of Merle Taylor Literature: The Studio, no. 213, December 1910, pp. 232-235, illustrated in colour p.233 White C. The Enchanted World of Jessie M King, Canongate 1989, p.33, pl.28 illustratedExhibited: Barclay Lennie Fine Art Limited, Glasgow, Jessie Marion King Exhibition 2nd-25th November 1989, no. 45 Dumfries and Galloway Museum Service Tolbooth Art Centre, Kirkcudbright, Jessie M King Anniversary Exhibition, June 4th - July 18th 1899, no. 20The Glasgow School of Art Jessie M King Anniversary Exhibition, 27 July-3 September 1999, no. 54Jessie M King’s ‘How Four Queens Found Sir Lancelot in the Wood’ employs striking design and skilful execution to illustrate a beguiling legend. Most intriguing of all however, is the artistic partnership behind its creation, a piece of the puzzle so often extinguished from the history of decorative art. The embroidery was executed around the time King and her husband E. A. Taylor were living in France. The couple moved to Paris in 1910 and founded the Shearing Atelier School of art. It can be argued that some of her finest works belong to this Paris period, including pieces considered influential to the creation of the Art Deco movement.This work marked the genesis of a collaboration between King and Paris based embroiderer Madame Elise Prioleau. Despite her French sounding name, Prioleau was descended from an ancient English family and married to a banker from South Carolina. Prior to King’s move to France, Prioleau had contacted the artist via letter. A feeling was present amongst artistic circles that contemporary embroidery lacked imaginative input and was instead producing ‘insipid and meaningless’ works, a fault of the designers rather than the embroiderers. This was a sentiment with which Prioleau agreed, hence why, on seeing King’s inspired illustrations in the Studio magazine, she suggested collaboration. The subject of the embroidery is taken from the 15th century prose work Le Morte d’Arthur by Thomas Mallory, an interpretation of the legends of King Arthur and the Knights of the Round Table. Chapter three, Book VI, Volume I describes how four fantastical queens discover Sir Lancelot resting beneath an apple tree. Having placed an enchantment, they take him to a castle where he must choose between picking a queen as his ‘paramour’ or death. Prioleau was sent a small watercolour of the design, and having traced it onto canvas, she then painstakingly worked the piece in silk threads. She was a master of her art, praised by Colin White for her use of satin stitch ‘cleverly angled across the picture like brushstrokes’, the effect being a ‘three-dimensional appearance’. Despite White’s comparison of threads with paint, E.A. Taylor in a Studio magazine article of December 1910 considers ‘How Four Queens Found Sir Lancelot in the Wood’ to be refreshingly original precisely because to him, Prioleau seems ‘at pains to avoid imitating…the pictorial painter’. The association between King and Prioleau was not limited to this piece, the duo producing works including ‘Richard Coeur de Lion’, also illustrated in the Studio. This was a fruitful and widely admired artistic partnership. ‘How Four Queens Found Sir Lancelot’ enjoyed exposure in the foremost artistic forums of the day. A full-page colour image was first reproduced in the December 1910 volume of the Studio magazine with an accompanying article discussing the state of embroidery in Paris, as well as the design featuring in ‘The Studio Year Book of Decorative Art’ the same year. Then, in 1912 the work was displayed at the Musée Galleria exhibition of embroidery, a show reported upon in the September edition of the Studio magazine. In both instances, the partnership between King and Prioleau is described in glowing terms. Whilst E. A. Taylor, King’s husband, is the author of both articles and therefore not an unbiased reporter, the publicity the embroidery received and consequently the high regard with which it must have been viewed is undeniable.
A KAREN FROG DRUM BURMA, 18TH OR 19TH CENTURY 35cm high, 48cm diameterThis type of drum derived from the much earlier Dong Son type and was traditionally made in the Shan states for the Karen people. The drum would be beaten during a ritual to encourage rainfall to enable the harvest. The Karen are a major ethnic group in Burma with origins in Yunnan province in China. Literature:Richard M. Cooler, 'The Karen Bronze Drums of Burma: Types, Iconography, Manufacture and Use', Leiden 1995 Condition Report: PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEW With wear, marks, knocks and scratches as per age, handling, use, and cleaning Some surface patina Misshaping and some losses to the base, please see images ADDITIONAL IMAGES: Please 'Ask a Question' to request additional images for this lot.Condition Report Disclaimer
![CIRCLE OF GEORGE MORLAND A GREY HORSE IN A CLEARING Oil on millboard Signed indistinctly 'G. M. ...[?]' (lower left) 29.5 x 3](https://cdn.globalauctionplatform.com/25838542-256d-4893-9c50-b2a3011b9ed6/55e30a06-32b8-41de-9d14-b2aa01064c12/468x382.jpg)
CIRCLE OF GEORGE MORLAND A GREY HORSE IN A CLEARING Oil on millboard Signed indistinctly 'G. M. ...[?]' (lower left) 29.5 x 38.5cm (11½ x 15 in.) Measurements do not include the frame unless specified. Please note Dreweatts are not liable for damage to frames or mounts. Condition Report: Please Note: All Lots In This Auction Are Not Available To View The board is curving to the centre. Surface dirt, scattered stains and craquelure throughout. Small areas of paint loss, with one in the upper left quadrant approximately 2cm from the upper edge and another two at the top and to the right of the horse's front leg. Inspection under UV reveals an unevenly applied green varnish and two small areas of retouching; one at the previously mentioned area of paint loss to the upper edge and another approximately 5cm from the lower edge, to centre right.High resolution images are available upon request, please contact the department directly at pictures@dreweatts.com PLEASE NOTE: ALL LOTS ARE LOCATED SACKVILLE WEST STORAGE IN ANDOVER SP10 3SA. Condition Report Disclaimer
Eric Ravilious (1903-1942) 'Hardware'lithograph in colours, from 'High Street' by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938visible 22 x 14cmCondition ReportFramed: 43 x 30.5cmLight creasing in the top corners. Presents well overall and ready to hang. Not viewed out of the perspex glazed frame
Eric Ravilious (1903-1942) 'Submarine Engineer'lithograph in colours, from 'High Street' by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938visible 22 x 14cmCondition ReportFramed: 43x 30.5cmLight handling creases visible to the top and bottom edges. A small, faint dirty mark to the centre of the right edge. Presents well overall and ready to hang. Not viewed out of the perspex glazed frame.
Jean Margaret Peace (1915-1989) Victoria Park, Stafford, 1951 signed 'J. M. Peace' l.r., watercolour 38 x 48cmJean, a student of Edward Bawden and Eric Ravilious at the Royal College of Art, taught alongside Nan Youngman until her marriage to glass engraver David Peace. Due to restrictions on married women at the time, she was compelled to give up her teaching career. Edward Bawden praised her highly, stating that she 'possessed a standard of artistic achievement rare in the work of students'. John Betjeman was an admirer of her writing which included a nature book, 'Sweet Vernal', which was published in 1966. She produced a series of watercolours in the early 1950s while raising her family in Staffordshire before beginning to lose her sight.Condition ReportFramed: 49.5 x 59cmA little time staining. There is a faint 2.5cm vertical crease mark in the centre of the top edge. Presents well overall. Please see additional condition images. Not viewed out of glazed frame.
Eric Ravilious (1903-1942) 'Clerical Outfitter'lithograph in colours, from 'High Street' by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938visible 22 x 14cmCondition ReportFramed: 43 x 30.5cmLight handling creases to the corners. Faint dirty marks to the lower edge. Not viewed out of the perspex glazed frame. Presents well overall and ready to hang.
Eric Ravilious (1903-1942) 'Hams'lithograph in colours, from 'High Street' by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938visible 22 x 14cmCondition ReportFramed: 43 x 30.5cmLight handling creases visible to the unprinted areas around the edge. A very faint brown mark in the lower right corner. Not viewed out of the perspex glazed frame. Presents well overall and ready to hang.
▲ Jean Margaret Peace (1915-1989) Victoria Park under snow, 1951signed 'J. M. Peace' l.r., watercolour37.5 x 47.5cmCondition ReportFramed: 51.5 x 64cmThere is some discolouration and the work has an overall light brown hue, please refer to illustration. A couple of pale marks above the trees in the upper left and a small black dot in the centre of the pond. Not viewed out of the glazed frame.
Eric Ravilious (1903-1942) 'Theatrical Properties'lithograph in colours, from 'High Street' by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938visible 22 x 14cmCondition ReportFramed: 43 x 30.5cmLight creasing visible to the top and bottom edges. There are some brown spots at the bottom of the sheet, please refer to illustration. Not viewed out of the perspex glazed frame. Well presented and ready to hang.
Eric Ravilious (1903-1942) 'Cheesemonger'lithograph in colours, from 'High Street' by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938visible 22 x 14cmCondition ReportFramed: 43x 30.5cmThe work presents well overall and is ready to hang. Not viewed out of the perspex glazed frame.
Eric Ravilious (1903-1942) Fireworkslithograph in colours, from 'High Street' by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938visible 22 x 14cmCondition ReportFramed: 43 x 30.5cmLight handling creases to the edges. A faint dirty mark (possibly a finger print) to the centre of the lower edge. Not viewed out of the perspex glazed frame. Presents well overall and ready to hang.
Eric Ravilious (1903-1942) 'Bakers and Confectioners'lithograph in colours, from 'High Street' by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938visible 22 x 14cmCondition ReportFramed: 43 x 30.5cmA couple of very small, faint dirty marks to the unprinted area in the upper left. Presents well overall and ready to hang. Not viewed out of the perspex glazed frame.
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375851 item(s)/page