John Christian Schetky (British, 1778-1874) Dunottar Castle off the Coast in Aberdeenshire, with a British frigate, a fishing boat in the centre distance, and to the right a naval barge watercolour 26 x 36cm (10 x 14in) Provenance: Lt. Col. Charles Howard Bury; Rex Beaumont Esq; The Leger Galleries, 13 Old Bond Street, London, W1. Other Notes: John Christian Schetky (1778-1874) was a Scottish marine painter, commissioned by George IV, William IV and Queen Victoria, and son of Johann Georg Christoff Schetky who was a renowned composer and cellist. Schetky was educated at the Royal High School in Edinburgh, where he befriended a near contemporary, Walter Scott. Schetky studied art under Alexander Naysmyth, moving later to Oxford where he spent six years teaching as an arts master. After obtaining a post in 1808 at the Royal Military College at Great Marlow, he was appointed Professor of Drawing at the Royal Naval College, Portsmouth. Condition appears fine.
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WILLIAM BOUDIN DE TROMELIN (1798-1875)Beach scene in Northern France with an artistWatercolourSignedUnframedCount William de Tromelin was an artist and collector. He was a friend of many of the English artists who visited Northern France in the early nineteenth century, notably, R.P. Bonington (1802-1828), see Lots 182 and 190; T.S. Boys (1803-1874), see Lots 204 and 229; and William Wyld (1806-1889), see Lots 236 and 237. He bequeathed his collection of English watercolours and old master paintings to the Musee de Morlaix.Provenance: A private collection of English and Irish watercolours6_ x 8_ inches (16 x 22 cm.)
A good William IV mahogany chisel based drop dial wall clock by Vulliamy of London, No. 1011, the 12ins diameter painted wood dial with Roman numerals, with good quality eight day movement, heavy brass plates and slender turned pillars, complete with heavy brass bob pendulum (also No. 1011), in mahogany case, with cast brass bezel and dome glass turned mahogany outer bezel and with drop case chisel base lower opening door and two side opening doors, 23.25ins high Note: Vulliamy's daybook recorded clock No. 1011 as an "eight day spring dial mahogany case with a tail" he goes on to list that the case was made by Rich and the movement was made by Holmden. It is believed it was sold circa 1830 to London University. Benjamin Lewis Vulliamy (1780-1854) was the last of a long line of exceptional clock makers in the Vulliamy family. The first of which was Francois Justin (also known as Justin) Vulliamy, followed by his son Benjamin, followed by his sons Benjamin Lewis and Justin Theodore. Benjamin Lewis Vulliamy was born 25th January 1780 and not a lot is known about his childhood except that he spent most of it at 68, Pall Mall, London. He joined his father in Pall Mall very early in life, certainly when less than 20 years old. He received the Freedom of the Clockmakers Company in December 1809 and became a Liveryman in January 1810 at the age of 30. He was admitted to The Court of Guild in the same year. There he served every office in the court and was five times elected Master. In his years of service he did much to further the good reputation of the clockmakers trade and against increasing odds he succeeded in preserving high standards of craftsmanship which can be seen in almost all the clocks he produced. Like his fathers main output which was of ornamental house clocks and furnishing items, Benjamin Lewis tended to concentrate on using the very best of materials and workmanship in order to give long and trouble free life to his clocks. The work force that Vulliamy used were in many instances specialist craftsman or out-workers. There was however a number of staff permanently employed at 68 Pall Mall, in particular there was members of the Jump family who after Vulliamy's death went on to found there own famous and very successful business. Provenance: Campbell & Archard Ltd. Incorporating Derek Roberts Antiques, 25 Shipbourne Road, Tonbridge, Kent, TN10 3DN, Stock No. 31545
Four pictures to include:Attributed to Thomas Barker of Bath (British, 1769-1847): Ogmore Castle, Glamorgan, ink & sepia wash, titled verso & inscribed 'Barker of Bath', H 36.5 x W 54 cm, unframed. Note: A similar work by the artist of the same subject exists in the Government Art Collection (No. 7999); together with three unframed Old Master drawings:A male figure study, pencil drawing, H 54 x W 38 cm; A female figure on a horse driven chariot, ink drawing, H 22 x W 50 cm; & a series of three pencil studies of a Biblical subject on a single sheet, H 26 x W 37 cm (4)
A GEORGE III SILVER SPOUTED EWER AND COVER, PAUL STORR FOR RUNDELL, BRIDGE & RUNDELL, LONDON, 1810 in the form of an Antique oinochoe, the otherwise plain body engraved on one side with a crest, applied with two bearded masks in sizes, one below the scroll handle, the other below the short curved spout, gadroon borders, plain bun knop to the detachable cover, gilt interior 18.5cm high, 986gr (31oz 14dwt) Provenance: The Collection of J. Anderson Rose; The Collection of Charles Chichele Oman (1901-1982), thence by descent. Charles Oman (1901-1982) is a name which is familiar to most collectors of old silver, partly because of his position and influence as Keeper of Metalwork at the Victoria and Albert Museum from 1945 until 1966 and partly because of his books and numerous articles on the subject. His English Domestic Silver was published in 1933, which was followed by English Church Plate (1957), The English Silver in the Kremlin, 1557-1663 (1961), Caroline Silver, 1625-1688 (1971) and English Engraved Silver, 1150-1900 (1978). These standard works are accompanied by various articles which demonstrated the breadth of Oman's knowledge and interests, including the ground-breaking Apollo article of 1966, 'A Problem of Artistic Responsibility' in which he explored the contribution made by William Theed the elder, John Flaxman, E.H. Baily and other artists in the success of the royal goldsmiths, Rundell, Bridge & Rundell's plateworking activities.Beyond the relatively narrow world of antique silver scholarship, Oman was also known for his deep knowledge of English historic buildings and cathedrals. Early in his career at the Victoria and Albert Museum, which he joined in 1924 as an assistant keeper in the department now known as Prints and Drawings, he researched and wrote a catalogue of the museum's collection of early wallpapers, published in 1929. This jug, formerly one of a pair, was shown with its companion at 'The Fine Art Exhibition of the Worshipful Company of Cordwainers' at no. 7, Cannon Street, City of London during April and May 1890. Admission was one shilling and the proceeds raised were 'applied to the FUND for the RELIEF of the SURVIVORS of the BALACLAVA CHARGE.' The exhibition, which brought together a wide range of pictures and works of art, all contributed by members of the Company, including old English pottery and Greek and Etruscan vases sent by Sir Henry Doulton. By far the largest group of paintings and objects exhibited belonged to the then Master of the Cordwainers' Company, James Anderson Rose (1820-1890), great-uncle of Charles Oman, the well-known authority on antique silver, to whom this jug descended. Rose, a lawyer, was a familiar figure in creative circles, being solicitor to Whistler, Rosetti and many other artists of the Victorian period. According to the Cordwainers' 1890 exhibition catalogue, this jug and its pair, described as coffee pots, were of 'Etruscan shape. Head of Jupiter on handles, designed by John Flaxman, R.A. for the Prince Regent and formerly in his possession.' This is quoted by N.M. Penzer in his book, Paul Storr, Last of the Goldsmiths (London, 1954, p. 142, pl. XXXII), who states that the design of the jugs was based on Roman originals (urceus and lagona), which, he says, have been discovered as far apart as Kent and Pompeii. No exact ancient parallel has been found, however, indicating that the pattern was based on an invention by one of Rundell, Bridge & Rundell's resident artists, the most likely candidate being William Theed (1764-1817). Other, similar jugs of oinochoe form and applied with the same masks, maker's mark of Paul Storr for Rundell's, London, 1812, have been recorded, including one from the collection of the Marquess of Ormonde, an important patron of Rundell, Bridge & Rundell (Christie's, New York, 19 October 2010, lot 114). It should be noted that these examples do not represent Paul Storr's earliest essays in 'pure' classical form. A silver jug in the shape of an Etruscan bronze oinochoe, hallmarked London, 1798/99, when he was an independent manufacturing silversmith to the trade, was sold in these rooms, Matthew Barton Ltd., 21 May 2013, lot 273.
A GEORGE III AMBOYNA, MAHOGANY AND SPECIMEN VENEERED 'COTTONIAN' BOOKCASE, ATTRIBUTED TO ROBERT TUSON, C1780 of breakfront form with dentil cornice and round-arched glazing bars, fitted with shelves of deal faced with mahogany, the lower doors principally veneered in zebrawood between ebony bands and on the inside with exotic specimen veneers, the sides in zebrawood, 152cm h; 40 x 144cm Provenance: One of the group of similar amboyna bookcases commissioned by Charles Rogers, FRS, FSA (1711-1784) firstly from the London cabinet maker Thomas Wood, c1757 and subsequently from Robert Tuson for his house in Laurence Pountney Lane, London; inherited together with Roger's collection by his brother-in-law William Cotton I (1713-1791); his son, William Cotton II (1759-1816) and removed to Balham Hill House; his son William Cotton III, MA, FSA (1794-1863) and removed in 1823 to The Priory, Leatherhead, Surrey by whom given with the Rogers Collection to Plymouth Proprietary Library in 1853; transferred to Plymouth City Museum & Arts Gallery on permanent loan in 1915. A note on provenance: the present bookcase is understood to have been acquired by the vendors' father from the trade in about 1960. It is not known when it left the Cottonian Collection, the provenance of which is as above: The present bookcase is almost certainly one of those made for the 18th century antiquarian and collector Charles Rogers. A particularly learned connoisseur and collector on the grand scale, his scholarly interests ranged from books and fine art to the natural sciences. He is known to have collected rare and exotic woods, on account of both their aesthetic and scientific value. The cabinets to house his collection,with their restrained design, but extensive use of particularly rich veneers, especially amboyna but also zebrawood, amarillo and even manicheel were, most unusually for the period, central to the Collection itself, rather than, merely to housing the prints, old master drawings, folios, books and manuscripts. According to Rogers' accounts he first ordered an 'Amboina' bookcase from the London cabinetmaker Thomas Wood in 1741. In 1780 he ordered another, hitherto thought to be one of the two surviving examples, from another London cabinet maker, Robert Tuson. Highly prized in the Regency period, 18th century English amboyna furniture is extremely rare. Obtained from the island of Ambon (in Indonesia) it was rare and valuable. For a full account of Rogers' furniture by Dr Adam Bowett, see Historic Furniture in the Cottonian Collection: A Concise Catalogue was published by Plymouth City Museum Art Gallery in 2014. Mellors & Kirk acknowledges the kind assistance of Dr Adam Bowett in the cataloguing of this lot. ++In good original unrestored condition
FLEMISH SCHOOL THE HOLY FAMILY WITH ST ELIZABETH AND THE INFANT ST JOHN THE BAPTIST oil on canvas, 38 x 28cm The composition is derived from an alterpiece attributed to the Master of the Female Half Lengths. ++Poor condition with patched hole lower centre, old restoration and retouching, the varnish dirty
FLEMISH OLD MASTER OIL ON WOOD PANEL, C. 1550, H 10 1/4", W 6 1/2", "MARY OF BURGUNDY" Depicting a young lady holding a covered vessel, adorned with jewels and wearing an elaborate turban style head-dress. Unsigned and framed. Verso having a stamped 'H' in black (see photo detail); incised compass on the top right edge. Ex. Collection Edward F. Fisher, Detroit Michigan (of Fisher Body). As viewed under UV light in the unopened frame: exceptional quality and detail; c. 10% to 15% spotty overpainting (generally small flecks) including, but not limited to, the following areas: face, neck, upper chest, both hands, body and hair; overall stable, very fine craquelure; c. 5 1/2" long scratch going from the edge of the painting and her right shoulder up into her forehead (see photo details); holes on verso at top; wear, etc. to areas beyond image; modern outer frame. - For High Resolution Photos visit Dumouchelles website.
THE DEATH OF A MERCHANT CAPTAIN AT CANTONGood content A.L.S., 2pp. 8vo., Dec. 5, 1783, from Francis Werry to John Bonus, on the subject of the death of John's relative, Captain William Bonus, who commanded the Austrian Imperial East India Company ship GRAF ZIZENDORF. In part: "... I find myself under the disagreeable necessity of conveying to you the necessary advice of Capt. Bonus's decease which event took place on the 8th November at 7 o'clock in the evening, he dying aboard the ship at Whampoa ... His illness was a dysentery, a disorder very common to this climate. He depend'd too much on the strength of his constitution, and kept it secret some time. He was ill near six weeks, but about ten days before his death, came from Canton (where he had been ever since our arrival) down to the ship at Whampoa, hoping the change of air would assist him. On board he had the advice of several surgeons, who from the first thought he could not recover. Our ship has been very sickly, have buried twelve & have a number now sick. Capt. Bonus's man Richard has by his own desire been discharged to get home in an English ship, but at present he is very ill & I fear without great care, he will not recover, he has the very same disorder as his poor master had..." Werry also discusses the dispersal of Bonus's effects, and states that his burial was "... made decent and agreeable to the rank he held..." The document bears folds, with several splits with old cello tape repairs, else very good. The Austrian East India Company was established in 1722, in direct competition with the companies established by the British, French, and Dutch governments. It was abolished in 1727 due to mounting political pressure on the emperor.
Brodie (Benjamin Collins). Lectures Illustrative of Certain Local Nervous Affections, 1st edition, 1837, 32 pp. publisher's catalogue at rear (dated 31 March 1845), institutional ink stamp to blank area of title and at foot of final page of text, Dr Michael Jefferson book ticket to front pastedown, contemporary boards, old cloth reback with printed paper label to spine, rubbed and marked, 8vo, together with Introductory Lecture Delivered in the Theatre of the Royal College of Surgeons, on the 8th May 1820, 1st edition, 1820, contemporary half calf, some corner wear, rebacked, plus Physiological Researches, Collected and Republished from the "Philosophical Transactions", 1851, library ink stamps to title, publisher's catalogue at rear, a little spotting, original cloth, some corner wear, rebacked with remains of spine relaid, all 8vo, plus an autograph letter signed by Brodie 'B.C. Brodie', 14 Saville Row, [London], 8 May 1847, to an unidentified recipient concerning Master Bridger's case, 'It is very desirable whenever he is in a condition to leave the bed, the joint shall be kept thoroughly supported. If the splint cannot be borne, I would suggest that you should procure a good quantity of stocking-bandage (No. 2) from Churton the hosier at 91 Oxford Street, and let it be wrapped round the elbow extending some way up the arm and some way down the forearm...', a little spotting along folds, 3 pp., 8vo (4)
CIRCA 1800 ITALIAN SCHOOL IN THE OLD MASTER MANNER "Allegorical study of the Virgin Mary with infant in arms, reading to a recumbent bearded gentleman, an angel at his head, cherubs bearing baskets of flowers, a landscape with castle in background", oil on canvas, unsigned, 108 cm x 178 cm CONDITION REPORTS Canvas relined. Canvas very wrinkled and mis-shapen. Separating from frame. Numerous repairs and repaired splits. Areas of restoration and overpainting. Craquelure to paint, some flaking and losses.
A collection of Old Master and other etchings and engravings including AFTER REMBRANDT (1606-1669) "Self portrait leaning on a stone sill 1639", black and white etching, 11.7 cm x 10.2 cm, AFTER SALVATOR ROSA (1615-1673) "Servatur Exemplar in Ædibus....", black and white etching by Joseph Goupy, 31 cm x 30 cm, AFTER JACQUES CALLOT (C.1592-1635) "Israel Siluestre Exudit" a set of twelve black and white engravings, 8.2 cm x 6 cm, mounted on one sheet, AFTER ALBRECHT DURER (1471-1528) "Coat of Arms with skull", 24.5 cm 17.5 cm, another by the same hand "Der Reuter", depicting a Knight on horseback with death and the devil, 25.5 cm x 20 cm, AFTER WENCESLAS HOLLAR (1607-1677) "Fishing", black and white engraving, 5.9 cm x 12.9 cm and others various CONDITION REPORTS REMBRANDT "Self portrait" - very stained, discoloured, ripped bottom left, glued down on card. Paper with brown ink conducive with age. most damage obscured by mount. SALAVATOR ROSA - paper browned with age and with staining and foxing particularly to the base with various creases and rips particularly at the top edge. CALLOT - Israel engravings all browned with age, with various water marks, foxing etc throughout. DURER" Coat of Arms" probably a 19th Century French reproduction with discolouration particularly to the edging. DURER "Der Reuter" - glued down on card, inscribed verso "French Reproduction of The Knight and Death" condition fair. HOLLAR "Fishing" - cut very close to edge of margins and with discolouration and foxing but image clear. Figure with donkey and dog watering , very browned and discoloured though image clear. Figures and horses in river with washer women in foreground - very stained with rips to the right-hand side, staining caused by glue to the top edge. Remainder all in foxed and browned condition - see images for further info
HOROLOGY. ALLIX (C) and P. BONNERT, Carriage Clocks, 1989; BASSERMANN-JORDAN (E. Von), The Book of Old Clocks and Watches, 1964; CESCINSKY (H), The Old English Master Clockmakers and Their Clocks, 1670-1820, first edition, 1938 (dustjacket sealed); SYMONDS (R W), Masterpieces of English Furniture and Clocks, 1940, limited edition, plates, cloth; LYMAN (Ian P), Railway Clocks, 2004, good in dustjacket, DARKEN (Jeff) and J. HOOPER, English 30-Hour Clocks, 1997, signed no' 46/50, in cloth-slip case; RIDGWAY and PRIESTLEY, Chester Gold and Silver Marks, 2004, signed title, dustwrapper (7)
AFTER ABRAHAM BLOEMAERT (ITALIAN, C 1620), OLD MASTER OIL ON CANVAS, H 51", W 63", VERTUMNUS & POMONAVertumnus and Pomona, Italian old master painting. Size is canvas only. Frame adds 8" to all sides. Vertumnus is the god of seasons, change and plant growth, as well as gardens and fruit trees.Relined canvas.- For High Resolution Photos visit Dumouchelles website.
A rare Alfred Dunhill 9ct gold cigarette case Unique lighter and integrated timepiece combination by Bando (Matteo Cellini), the rectangular case with hinged cover with engine turned panel and black enamel bands stamped marks AD London 1929 and etched Bando, 10.5 x 7.5cm. Catalogue Notes The name Bando first appeared in a Dunhill catalogue as early as 1919 and Alfred Dunhill referred to Bando as 'These superb cases are the work of the renowned master craftsman in precious metal, Matteo Cellini, known familiarly as Bando. In beauty of design and perfection of craftsmanship they rival the famous craftsmen of old. Each bears the signature of the artist-craftsman, 'Bando'.
Dufaycolour & Other Magic Lantern Slides. 2 boxes of 50 Magic Lantern Slides. Box #1 copies of Dutch(?) Old Master paintings & drawings featuring landscapes with animals, farms etc. Box #2 mixed including many Dufaycolour groups and portraits, a few named, and dated 1937 & 1945. Also early Agfa & other processes. (Condition 4 & 5)
- Aluminium bonnet, under-bonnet panels and side doors- c.66,000 miles only, original UK delivered RHD car- Extensive history file of invoices for restoration workAccording to its accompanying Jaguar Heritage Certificate, this original RHD UK supplied E-Type was manufactured on 19 February 1965 and sold via Henlys a month later to a Mr H Gogard of South Harrow, Middlesex. We understand that since that time the car has had just four previous keepers and that the mileage of c.66,300 miles recorded is genuine. In storage between 1998 and 2008, the car was then extensively restored by its previous owner with most of the work being carried out between 2012 and 2015. Of particular interest is the fact that the bonnet, lower panel, front wings, side doors and under-bonnet panel have been crafted in aluminium giving the car a 'semi-lightweight' construction.The comprehensive works carried out also included the fitment of a replacement engine by Jim Stokes Workshops in 2015 for which an invoice for £11,000 is contained in the detailed history file. This is still running in with less than 500 miles being covered since installation. The carburettors were also reconditioned and the car boasts an electric cooling fan whilst the ignition has been upgraded with an electronic distributor, 123 ignition coil and silicone plug leads. In 2014 a new fuel tank, high pressure fuel pump and stainless exhaust were fitted. Attention to the braking system included the fitment of Cooper Craft aluminium 4 pot calipers, new master cylinder and brake pipes. The limited slip differential and drive shafts were also overhauled. The brightwork has been re-chromed and a new windscreen, rear screen, chrome wire wheels and tyres have been fitted. The interior has been re-trimmed in grey leather by Rawles Motor Sport at a cost of some £6,000.Offered with a comprehensive collection of invoices for the restoration, photographs, assorted old MoTs and current MoT to February 2017, this is an extremely attractive and enviably well specified E-Type.
FAMOUS MEN & WOMEN: Collection of A.Ls.S., T.Ls.S., many accompanied by typed and holograph statements (most unsigned) by a variety of famous individuals (entertainers, television personalities, some authors and politicians etc.), all written to Henry Buckton in association with his BBC Children in Need fundraising book entitled Celebrity School Days, providing various anecdotes from their school lives, including Joan Aiken (in part '....since I was no good at games, my social status was low. The only trophy I ever won was a cup donated by an American family for "promotion of international understanding". I and a friend acted a play about a cannibal and a missionary in the Fiji islands. Nowadays it would probably be considered racist.'), Peter Barkworth, John Brabourne, Raymond Briggs, Fiona Bruce, Lord Carrington (in part, 'When I was sixteen years old, my father asked me what I wanted to do later in life. "I don't know" I said. "In that case, you had better go into the Army" he replied. My housemaster....nodded his head approvingly. "There are only three careers in which a really stupid boy can make a success: the Army, farming and stockbroking". I have never been a stockbroker!'), Nicky Clarke, Jilly Cooper (in part, 'My mother was.....gloriously eccentric, but sometimes slightly embarrassing. She loathed the pink and grey school uniform so much, particularly the summer dresses, that she sent me to school on sports day, in a blue silk dress with a white collar from Harrods, because she thought it was so much prettier.....'), Wendy Craig, Edwina Currie (in part, 'I spent much of my time in secondary school at The Cavern....we used to slope off....& bop the lunch hour away....Cilla Black was the cloakroom attendant & would nag all the groups to let her sing....Of course all the groups played, including The Beatles.....'), Judi Dench, Susan Hampshire, Patricia Hodge, Douglas Hurd, Lesley Joseph, Neil Kinnock, Robin Knox-Johnston (in part, 'I had put in some maths prep and sadly, when it was returned it had more red ink on it than it should. This had led the Maths Master to add a note - "Knox-Johnston, if you ever go to sea I am going to emigrate to Switzerland...."'), Julian Lloyd Webber, John Mills, Mary Peters, Roy Strong (in part, 'I was cripplingly shy and hated all forms of sport. But I was a fearful swot and knew that I could be top of history and art every time. And I was......the English teacher, Miss Emery.....gave me my favourite report: "Occasional flashes of rare insight into Shakespeare. These must be more frequent". I learnt from her to love his plays.....'), Mollie Sugden, Alan Titchmarsh, Jack Wild etc. Also including a paperback edition of the book Celebrity School Days, edited by Henry Buckton and signed by Cliff Richard to his front cover portrait. Generally VG, 71
*Ploos van Amstel (Cornelis, 1726-1798). Marine Landscape off the Dutch Coast, after P. Cooper, 1777, etching with hand-colouring on laid paper, 110 x 220 mm (4.25 x 8.7 ins), with pencil and monochrome wash vignette to verso and faint early inscription, together with Luyken (Jan, 1649-1712), Feldschlacht der Kaiserlichen mit den Franzosen, copper engraving on laid paper, some marks, plate size 270 x 340 mm (10.7 x 13.5 ins), with narrow margins, mounted on backing card, plus other various Old Master prints & engravings, including an engraving of Christ carried to the tomb, bearing Durer's monogram AD, and the biblical quotation 'sicut in adam omnens moriuntur ita et in Christo omnes vivificabuntur' (not by Durer), an engraving by Marcantonio Raimondi after Raphael, re-issued by Giovanni Giacomo Rossi in 1610, several later impressions of Rembrandt prints, an engraving by Paulus Pontius after Van Dyck, a Bartolozzi stipple engraving after Richard Cosway, a Dighton caricture of Lieutenant-General MacDonald, 1812, etc., various sizes (42)
*Tempesta (Antonio, 1555-1630). Septem Orbis Admiranda ex Antiquitatis..., 1608, etched title page, 225 x 285mm (8.9 x 11.25ins), trimmed to margins, together with a collection of miscellaneous old master and later prints and engravings, mostly 17-19th century, including portraits, illustrations, Hogarth, a signed Blampied lithograph (toned), etc, various sizes (approx. 140)
*Attributed to Fran‡ois Perrier (1594-1650). Study for The Deificiation of Aeneas, pen & brown ink with brown wash on pale cream laid paper, with traces of red chalk, bearing unidentified early watermark of interlaced Cs enclosed within a shield-shaped foliate border, laid down on early 19th century backing paper (with ruled brown ink border), partial inscription in ink to verso 'paintre et graveur a l'eau forte - Ecole romaine', 298 x 367mm (11.75 x 14.5ins), tab-mounted, framed and glazed Sold Gorringes, Fine Art & Antiques, 23 March 2016, lot 844. The present work may be a prepatory study (here reversed and differing in composition) for the painting of the same title by Fran‡ois Perrier, sold Christies, London, Old Master Pictures, 9 July 1993, lot 38. (1)
Old Master Oil on Canvas. Continental School Depicting Architecture, Boats and Figures. Very Old Gilt Carved Frame. Unsigned. Antique Condition with Craquelure and Losses to Frame. Measures 9-3/4 Inches by 14-1/2 Inches, Frame Measures 16-1/2 Inches by 21 Inches. Shipping $95.00 (estimate $250-$350)
Artist: Pietro Annigoni (1910 - 1988) Artwork Title: Untitled Size: 28.5 x 19.6cm Media: Charcoal on paper Artist Info: Pietro Annigoni was an Italian portrait and fresco painter. He studied art at the Accademia di Belle Arti in Florence. An exhibition in 1950 at Wildenstein & Co., London, introduced Annigoni's work to the English public, with whom he remained popular. He based his style on Leonardo da Vinci and Titian, working in tempera and oil to simulate old-master oils, or pen-and-ink to imitate silverpoint. Public Collections include: Uffizi Museum, Florence, Italy Pitti Palace in Florence, Italy Benedetta Bianchi Porro Foundation in Dovadola (Forlì), Italy Metropolitan Museum of Art in New York Indianapolis Museum of Art Fine Arts Museum of San Francisco Minneapolis Institute of Art Royal Collection of Windsor Castle National Portrait Gallery of London, England Vatican Museums in Rome, Italy Notes: Annigoni painted a portrait of Queen Elizabeth II currently exhibited at the National Portrait Gallery in London.
Artist: Jeanne Modigliani (1918 - 1984) Artwork Title: Portrait Size: 63 x 48 cm Media: Pastel on paper Artist Info: Jeanne Modigliani was born in Nice on the 29th November 1918. She was soon after adopted and brought up by her aunt Margherita Modigliani, in Livorno, her father Amedeo Modigliani's home town. Her childhood was never discussed until she reached adulthood so she was unaware of the lives and tragic deaths of her parents, who both died when she was only 14 months old. However, life was not to be easy for the child of Modigliani either, and as Fascism deepened its hold on Italy poor young Jeanne was identified and persecuted as a Jew – so she left Italy and, like her father before her, took refuge in Paris where she later joined the French Resistance and she was imprisoned for political reasons. As daughter of painter Jeanne Hebutern and the great master Amedeo Modigliani, Jeanne inherited artistic genes and her works are of a stunning, elegant, refined and sensual quality, albeit painting was only one of her many artistic outlooks in life. Jeanne Modigliani died in 1984 in Paris, at the age of 66. Notes: Probably her most lasting heritage is the faithful and true biography of her father written in 1958 and the product of very intensive, scrupulous and passionate research when she finally discovered who her real father was! "Modigliani, man and myth", was later translated into English from the Italian by Esther Rowland Clifford. Artworks by Jeanne Modigliani have had some low auctions records but have attracted a lot of interest in recent years. Artworks by Jeanne Modigliani have now become rare collectors items.
Warner (Rev. Richard, of Sway, Hants.). Antiquitates Culinariae; or Curious Tracts Relating to the Culinary Affairs of the Old English, with a Preliminary Discourse, Notes and Illustrations, 1st edition, printed for R. Blamire, 1791, engraved title, double page tinted aquatint plate of 'A Peacock Feast', single page aquatint of 'A Saxon Entertainment', some light marginal toning (B4 with burn mark to fore margin), a few spots, previous owner signature of William Henderson to title, modern paper-backed boards, corners rubbed and bumped, 4to Bitting p.485; Cagle 1049; Maclean p.149; Oxford p.120; Vicaire 873. 'The double plate "A Peacock Feast," which Maclean reports had to be withdrawn after publication because of copyright infringement, is present in this copy.' (Cagle). Contains 'The Forme of Cury', compiled about 1390, by the master cooks of King Richard II. (1)
An oak longcase clock, the eight day five pillar movement with an inside countwheel striking on a bell, with a silvered chapter ring with Roman and Arabic numerals, signed 'Wm Speakman in Old Street', with an engraved matted centre with subsidiary seconds dial and date aperture, with cast cherub and crown spandrels and herringbone edging to the dial, the hood with a raised top and fluted columns, the later case has been long associated with the dial and is applied with an unusual bone dial indicating the days of the week, the inside of the trunk door with an interesting old label relating to a previous owner Harry Spencer Andrew Foy, 219.4cm high. William Speakman was apprenticed to Peter Closon and was made Master of the Clockmaker's Company in 1701.
Elis, Olympia AR Stater. 'Hera' mint, 105th Olympiad, 360 BC. Head of Hera left, wearing pendant earring and low stephane ornamented with F-A between palmettes / Eagle with closed wings standing to left; thunderbolt behind, olive wreath around. Seltman 334 (FE/ιρ). 12.05g, 24mm, 6h. Extremely Fine. Extremely Rare. Ex P. Gérard Collection, Roma Numismatics VIII, 28 September 2014, lot 246. In 476 the Greeks convened an arbitration court in Olympia to act as a mediator between their cities in cases of disputes to try to end the inter-city warfare that kept the Greeks divided and fractious. In commemoration of this newly found place at the heart of Greek politics the Eleans erected a massive new temple to Zeus built of marble (which would later house the gold and ivory statue by Phideas). The humble old temple was rededicated to Hera, who had no important cult at Olympia until then. It was in this rededicated temple that the ‘Hera mint’ coins were supposedly struck. A substantial coinage was struck for the 105th Olympiad in celebration of the sanctuary of Olympia having been liberated from Arkadian occupation in 363 BC. Master engravers were employed to create dies for both workshops, one of which had been closed since 380 BC. An extremely rare stater struck at the Zeus workshop (see Roma Numismatics IV, 30 September 2012, lot 141) formalises the celebratory nature of the coinage by depicting the nymph Olympia for the first time along with the legend FAΛEIΩN OΛYMΠIA - ‘Olympia belongs to the Eleians’.
An English porcelain mug, early 19th century, printed in black with a profile head and marked ''The Young Roscius'', born September 13th 1791, gilt lined rim and gilded feather grooved handle, 7cm high.William Henry West Betty, also known as the Young Roscius and also called Master Betty (born September 13th 1791, Shrewsbury, Shropshire, died August 24th 1874, London) was an English actor and child prodigy. His debut was in Belfast before he was 12 years old in an English version of Voltaire's 'Zaire'. When he first performed in Covent Garden in 1804 troops were called out to preserve order so great was the crush to obtain admittance. Later he played at Covent Garden and Drury Lane and George III presented him to the Queen. He retired completely in 1824 and lived off his fortune.
DARK SHADOWS (2012) - Barnabas Collins' (Johnny Depp) Cane Barnabas Collins' (Johnny Depp) cane from the comedy Dark Shadows, directed by Tim Burton. Barnabas, the man who made the mistake of scorning a witch’s love and being cursed forever as a vampire, used his cane throughout the movie. Cast from a dense urethane, the cane features an ornate wolf carving on the crook painted shades of cream to resemble ebony, and has been intentionally aged by hand to look as old as its master by creating superficial ‘cracks’ enhanced with black paint. The main shaft is painted black with intricate patterns along the entire length. The base is tipped with a short cylinder of metal for endurance in use. It remains in very good condition, with some slight scuffs at the base. Dimensions: 94 cm x 15 cm x 4 cm (37"x 6" x 1 ½")This lot is supplied with a Warner Bros. certificate of authenticity in place of a Prop Store certificate. Payment plan on this item is restricted to a duration of one month. Please contact us for further information. VAT Status - DAGGER
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