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Lot 153
JOHN RAPHAEL SMITH (1752-1812) Portrait of Richard Dagley (1765-1841), old label describing details of the sitter verso, with old inscription to the back board and printed stock number, pastel, 9.5" x 8". See illustration. Richard Dagley became a genre painter after being apprenticed to Thomas Cousen, a jeweller and watchmaker, where he worked enamelling intricate scenes on the backs of watches and jewellery. Between 1805 and 1815 it is recorded that he was working as a drawing master in a ladies school in Doncaster. It is at this time that this portrait of him could have been executed by Smith who was also working in Doncaster. Similar pastel portraits by John Rafael Smith survive in the National Portrait Gallery. Provenance: Acquired from Gordon Bennett Antiques, Dorchester 1999. Private collection, Dorchester.
Lot 154
A fine and very rare brass lantern clock with dial commemorating the accession of Charles II Thomas Wheeler, London, circa 1660 The posted countwheel bell-striking movement with separately wound trains and reinstated verge escapement with brass balance wheel regulation, the dial engraved with central flowerhead enveloped by stylised leafy floral sprays issuing from another flowerhead positioned just above six o'clock and incorporating the Royal crown and inscription C 2 R to upper margin, with an engraved iron hand within applied narrow silvered Roman numeral chapter ring with stylised fleur-de-lys hour markers and engraved leafy infill to angles, the standard London second period 'Lothbury' frame with column turned corner posts beneath engraved foliate scroll pierced dolphin pattern front fret signed Thomas Wheeler Neare the French Church Fecit to lower edge and plain side frets, vase turned finials and domed bell bearer above, the sides with hinged brass doors, on turned ball feet, 40cm (15.75ins) high. Thomas Wheeler is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as apprenticed in 1648 to Nicholas Coxeter and gaining his freedom of the Clockmakers' Company in 1656. He became Assistant from 1674, Warden from 1680 and was appointed Master in 1684. His last record of attendance was in 1694 and is thought to have died between 1695 and 1701, when his widow received charity from the Company. The current lot appears to be a very rare if not unique example commemorating the Restoration of the Monarchy with the Coronation of Charles II in 1661. The richly engraved decoration to the dial centre relies on bold hatching and incorporates large motifs to fill the space beneath the crown. This decoration was almost certainly executed by the same hand responsible for many dials by various contemporary makers mainly based in and around Lothbury, London throughout the 1650's and can be directly compared to an example by Thomas Knifton which is illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers on page 108 (figs. 8.48 and 8.49). This example by Knifton also shares the same half-hour markers to the chapter ring and interestingly can also be accurately dated to 1660 through its provenance (supplied to Sir Thomas Wendy of Cambridge). The frame castings are of typical second period 'Lothbury' pattern and can also be compared to those used for lot 152 a lantern clock by Thomas Loomes. These details indicate that when made the current lot was perhaps a little old-fashioned being more stylistically rooted in the 'second period' rather than being a pre-curser of the updated 'third period' designs seen later in the decade (see lots 155 and 156). The Coronation of Charles II was the first that saw the production of wares commemorating the event with most taking the form of tin-glazed earthenware vessels and chargers. The demand for such items probably reflected the patriotic mood at the time and allowed Royalists to openly express their support for the Monarchy, as well as provide a much needed revenue stream for those engaged in the production of ceramics amongst others. Today Charles II Commemorative ceramics are highly sought-after by collectors of both early English pottery and Royal commemoratives with prices often pushing into six-figures at auction for the best pieces. When considering the market for early Royal commemoratives the current clock would seem to be particularly good value - especially bearing in mind its rarity and the fact that it was probably more expensive than many of its commemorative pottery counterparts when first made.
Lot 63
A Follower of Paolo Veronese (Venetian 1528-1588) CHRIST PRESENTED IN THE TEMPLE with inscription sepia and black inks on tinted paper heightened with white 26 x 40cms; 10 1/4 x 15 3/4in; After Raphael (Rome 1483-1520) THE MIRACULOUS DRAUGHT OF FISHES red chalk 35 x 48.5cms; 13 3/4 x 19in; and two other Old Master drawings, all unframed. (4)
Lot 249
Bewick - 4 Autograph Letters signed “William Bewick” and “W Bewick” to... (William, portrait and history painter, 1795-1866) 4 Autograph Letters signed William Bewick and W Bewick to William Mayor, a fellow pupil of B.R. Haydon (d. 1874) & 2 other recipients, 11pp., 4to, Edinburgh and Darlington, 9th January 1824, 15th September 1831, 23rd September 1836, 21st October 1856, expressing pleasure at the success of Edward Chatfield s portrait, a fellow pupil of Haydon, discussing the cost and benefits of going to live in Italy for two years and inviting Mayor to join him, giving a full account of his collection of heads of the worthies of Scotland, Walter Scott etc., arrangements for his collection of Old Master drawings and commenting on the frescoes at the new town hall in Manchester, what a capital thing for artists in this line , folds, browned, 2 with small tears where opened ; and 10 other letters, including: David Gray, Edward William Cooke, Thomas Campbell, Richard Cobden, Dawson Turner, Daniel Maclise etc., folds, browned (14).
Lot 3427
The Carpenters' and Joiner's Price Book, Arranged on a New Construction, J. Lang, Liverpool 1811, 4to, x + 59pp + index, with printed tables of value and 39 pages of manuscript, containing detailed notes, marginalia, annotation and calculations throughout in multiple hands, including the Prices of Brickwork March 1st 1813, Directions to the Measurers, Joiners work Old Price, notes on French Polish, as well as copy of letters pertaining to 'work of Magnitude' and other building matters from D. Cunningham Sec. [secretary to the Committee of Master Joiners],owner's inscription to preface page, period half leather
Lot 1138
DIMPLE 12 YEAR OLD Blended Scotch Whisky, 75cl, 40% volume. DUNHILL OLD MASTER Blended Scotch Whisky, 75cl, 435 volume. THE ANTIQUARY 12 YEAR OLD Blended Scotch Whisky, 75cl, 40% volume. ROYAL CASK CERAMIC JUG Blended Scotch Whisky, 75cl, 262/3 fl.oz. ROYAL AGES Blended Scotch Whisky, 75cl, 40% volume. WILLIAM LAWSONS 12 YEAR OLD Blended Scotch Whisky, 75cl, 40% volume in carton. 6 bottles
Lot 197
AN ANTIQUE OAK 30-HOUR LONG CASE CLOCK, the arching dial covered with an old master oil painting on canvas laid down on tin depicting St Jerome and the lion on the wilderness, the chapter ring with Roman numerals signed Thomas Deykin, Worcester, the movement striking the hours on a bell, 54cm wide x 102cm high overall
Lot 153
Early Possibly 18th Century German Oil on Board "Old Master Portrait of a Woman" In Elaborate Gilt Wood Frame. Unsigned, although there appears to be a Hand Written genealogy En Verso, Dating back to the 18th Century. Craquelure or in Good Condition. Measures 8-1/2 Inches by 6-1/2 Inches. Frame Measures 14-1/4 Inches by 12-1/4 Inches. Shipping $85.00
Lot 290
Hillier (Jack) - Japanese Prints & Drawings from the Vever Collection, 3 vol., 1976 § Boudaille (Georges) The Drawings of Picasso, 1988 § Smejkal (Frantisek) Surrealist Drawings, 1975 § Reitlinger (Henry Scipio) Old Master Drawings, 1922, plates and illustrations (many colour), a little soiling, original cloth or cloth-backed boards, the first with t.e.g., rubbed and a little marked, the first, second and third with dust-jackets, the first with slip-case ; and c.60 others on painting and drawing, some catalogues, v.s. ( c.65)
Lot 64
The Annunciation to the Virgin, - composite miniature formed from several parts of a miniature from... composite miniature formed from several parts of a miniature from an illuminated Book of Hours, on parchment [northern France (probably Rouen), c.1475] Composite leaf, with main parts of a miniature (including the Virgin to the left and the angel to the right, seated either side of a detailed Gothic interior with a white flower in a golden pot between them, by the Master of the Rouen Échevinage , fl.1455-85, or a skilled follower), the background to this scene perhaps once damaged and later replaced with two long cuttings from a border of the same volume (these with acanthus leaves and strawberries on dull-gold ground), comparison with the artist s other examples of this scene suggests that what is lost in the middle of the miniature is a long banderole held by the angel, border around this scene also cut from other parts of book with scrolling acanthus leaves and large flowerheads, other flowers and seed pods, all on blank parchment and laid down on old paper, 130mm. by 92mm., framed
Lot 33
** Ricky Swallow (b. 1974) - Standing Figure, 2012 bronze withbrown/black patina, from the edition of 2 (plus 1 AP), with integral cast plinth 25 x 6 x 5 in., 63.5 x 15 x 13 cm (height) Provenance: Modern Art/Stuart Shave, London. One of the most memorable pavilions at the Venice Biennale of 2005 was the Australian, for which Ricky Swallow exhibited a group of large sculptures carved in wood depicting skeletons, skulls, bicycle helmets and rattlesnakes. Seemingly borrowed from Old Master paintings, Swallow updated the Trompe L'Oeil aesthetic for today's audience. Since then, his interest in art history has branched out into Modernism and beyond, in step with his increasingly varied use of medium and experiments with process.
Lot 635
Roman School, 18th century- Study of an angel; black chalk with touches of white, 36.5x26.5cm Provenance: with P & D Conalghi & Co Ltd, London, according to the label attached to the reverse of the frame CONDITION REPORT: mounted in a glazed gilt moulding frame printed and written label 'Old Master Drawings/Exhibited at/ Gainsborough's House, Sudbury/ 1977' attached to the reverse of the frame edges of sheet visible appears to be stuck down, unexamined out of frame spotting across the sheet some larger splodges of staining, the two most prominent in lower right corner, each approx 4cm diam. in good general condition
Lot 809
HOOKER (R.) Of the Lawes of Ecclesiastical Politie . . . engraved pictorial title, engraved title to the fifth book (as is correct), the main text followed by Certayne Divine Tractates, and other Godly Sermons (as called-for), with engraved titles, decorated & historiated initial letters, head & tailpiece decorations; old calf (defective), 4to. by William Stansbye, and are to be sold by George Latham, (1632?). * from 1616 editions of this major treatise had the 'Tractates' added, consisting of - Supplication made to the Councell (by Master Walter Travers), with Master Hookers Answere; A Learned Discourse of Justification . . . ; Five Learned Sermons- Nature of Pride; Remedie against Sorrow and Feare; Faith in the Elect; Two Sermons S. Judes Epistle; these being followed by the two Tables.
Lot 791
§ Sir Francis Cook, Bt., ARBA, FRSA (British, 1907-1978) View of Ben Slioch, Loch Maree, Scotland inscribed and dated July 1937 on the reverse oil on board 32 x 43cm (12 x 17in) Exhibited: St Ives Society of Artists Summer Exhibition, 1941, No.3. and in three following shows. Sir Francis Ferdinand Maurice Cook, 4th Baronet (21 December 1907 – 12 September 1978) was a British artist. He was the fourth holder of the Cook Baronetcy. He was the only son of Sir Herbert Cook, inheriting his father's titles in 1939. After World War II, he dispersed the majority of the very important family collection of Old Master paintings. Paintings by Cook appear in the Walker Art Gallery, Liverpool, Manchester, Northampton and Bournemouth. He was also a Fellow of the Royal Society of Arts (1940–78) and an Associate of the Royal Society of British Artists (1938–48). Cook was a founding member of the Jersey Society of Artists and the Jersey Artists Group. Condition appears fine. Extensively inscribed on the reverse in the artist's hand and signed. The present painting was done on a painting trip with Sir Francis Cook’s’ fellow artist and friend, Stuart Somerville, when they travelled around the Highlands in July 1937.
Lot 662
*Waterloo 1815, an Honorary Waterloo medal presented to H.R.H. Prince Frederick, Duke of York who, though not personally present at the Battle was Commander-in-Chief of the Army in 1815, officially impressed (The Master of the Mint to H.R.H. The Comm. in Chief), steel clip and split ring suspension, numerous surface and edge marks and pits and perhaps fire-damaged, about very fine. A number of Honorary Waterloo medals are known, generally with naming citing The Master of the Mint and usually without suspension, although the steel clip on the Duke of York’s example appears to be original and might perhaps have been specified in the C-in-C’s case. The Master of the Mint was the energetic William Wellesley Pole, the Duke of Wellington’s elder brother, who supervised the enormous task of preparing over 36,000 silver medals which were, for the first time, individually named using a specially-adapted machine previously used for coinage. PRINCE FREDERICK, DUKE OF YORK AND OF ALBANY, EARL OF ULSTER, K.G., G.C.B., G.C.H. was the second son of George III and, until his death in 1827, heir to the throne of his brother George IV. During a long and, in a number of respects, distinguished military career there were also unsuccessful campaigns, personal setbacks and scandals. Popularly the ubiquitous Grand Old Duke of York… nursery rhyme is said to have been created (or, more probably, re-created) in mockery of his command in the Flanders Campaign of 1793-4, and he was later afflicted by omnipresent gambling debts. He resigned his post as Commander-in-Chief in 1809 before being reinstated (by his brother, the Prince Regent) in 1811 and his statue, at least, was accorded a place in Waterloo Place in London, where it still stands. Formerly ex John Tamplin Collection, Dix, Noonan & Webb, 20 Sept. 2002 (lot 13).
Lot 199
28 items of correspondence stored in the outer cover of a book with a bookplate of Earl Nelson, containing some interesting letters, one undated to Lord Nelson “In finishing some extracts from the old journals.....Prize Money which you were speaking about, the Ministers wished to withhold Lord Nelson’s share from his heirs....£18,000 was invested for the fortune of Viscountess N instead of Ye 90 Acres of Ye Merton Estate this was in Aug 1806 signed Mary Eyre Matcham; 2 letters to Nelson over a dog biting a Mr Churchill demanding compensation, letter from the hall boy who ran away and took the “Queen’s Shilling”; 2 interesting sheets of foolscap paper with observations on Mrs Gatlings Book “ Nelson and his friends” - “I would give anything in the world if I could accept Mrs Gatlings version of things as true”, “She has to my mind clearly formed ? the Horatia could not have been Lady Hamilton’s child. But what we have to prove is that Nelson did not believe her to be so”. These are just the opening sentences but most of the content is about the birth of Horatia with other observations. Would appear to be in the hand of Earl Nelson. Other papers and documents are mostly 18th century referring to trespassing and boundaries, trouble with poachers, letter addressed to young Master Bolton, the name Capt and Mrs Eyre appears on some. Several are in a fragile state. and a letter addressed to Viscount Nelson by A J Mahon, author of “The Life of Nelson” in 1895, addressed from 489 West End Avenue, New York December 26 1895 - “Dear Lord Nelson....do you think there is any doubt the Nelson believed himself the father of Horatia? I myself have sometimes doubted whether the extreme complaisanice and advanced years of Sir Wm Hamilton could have overlooked the facts, had she been really pregnant...” Good Condition (one fold). . Note: Stated to have been purchased from a member of the Nelson family in the early 1960s.
Lot 261
Registration : JMV611K Chassis Number : 1S1794SA Engine Number : 7S1794SA Odometer reading : 46,710 miles Estimate : £24,000 - £28,000 The Jaguar E-Type was 10 years old and needed new life. History repeated itself by achieving huge success when Jaguar debuted its robust new engine in a sportscar instead of the saloon for which it was designed. Despite its sportscar heritage, Jaguar depended on saloon vehicles for its survival and had developed its twelve cylinder engine to power them with sufficient torque and refinement. Larger and softer in nature with weight redistributed 53/47, the Series III had lost the wilds of its youth but gained the long legged touring profile to which it was arguably better suited. Robert Bell in Motor was quoted as saying at the time that 'all we expected to try was a new engine but what in fact we drove was a new car. Not a yowling, aggressive Ferrari-like machine with which, perhaps, most people associate a V12 engine but a very smooth, quiet and refined grand touring sports car.' This two owner Series III fixedhead coupé was supplied new to the first owner, Mr. A H Gordon, who lived in London. The next owner, Mr. R H Reeves, acquired the car in April 1976 who then changed the registered keeper to his daughter in 1994. This very good, original example has been off the road since 2000 and has just been re-commissioned this year only requiring a new clutch master cylinder, fuel filters, ignition coil and new pedal springs. The vendor believes that the mileage is correct at 46,710 miles and the old MoT's, the 2000 insurance valuation certificate and the overall condition of this E-Type appear to validate that claim. This Series III E-Type, finished in Cotswold blue with dark blue interior, only requires minor cosmetic restoration. Supplied with the car is the V5C registration document, all the old registration documents going back to 1976, the handbook pack which contains the service book and dealer book, a set of the original sales brochures and a file of old MoT test certificate and invoices. This classically dynamic design is still a head turner.
Lot 464
Charles Dickens - Master Humphrey's Clock, including The Old Curiosity Shop and Barnaby Rudge, published by Chapman And Hall, 3 part leather bound volumes 1840-1841 together with Our Mutual Friend, published by Chapman And Hall 1865, two volumes bound as one (4) Condition: Please see extra images and TELEPHONE department for further details
Lot 2213
F.J Britten - Old English Clocks, The Wetherfield Collection, limited edition 221/1000; together with F.L. Britten - Old Clocks & Watches and Their Makers, 6th edition, hardback book; Britten's Watch and Clockmakers' Handbook, Dictionary and Guide, hardback book and Herbert Cescinsky - The Old English Master Clockmakers and Their Clocks, 1670-1820, hardback book (4)
Lot 11
SHISHKIN, IVAN (1832-1898) Autumn on Krestovsky Island , signed with initials, inscribed "Krestovskii" and dated "1892 Sentiabr'". Oil on canvas, 110 by 84.5 cm. Authenticity certificate from the expert V. Petrov. Authenticity of the work has been confirmed by the expert N. Ignatova. Exhibited: Possibly, Personalnaya vystavka etiudov I. I. Shishkina, St Petersburg, 1892. Ivan Shishkin created Autumn on Krestovsky Island during one of his annual painting trips through the environs of St Petersburg. It was a time when the painter had already achieved fame all across Russia, and the sheer mastery of his work secured him a leading place among the great landscapists. In 1891, a year before he painted this canvas, the artist had organised a one-man exhibition entitled Studies, Drawings, Etchings and Lithographs from the Period 1849–1891, setting before the St Petersburg public more than 500 superb works. The works on show were vivid evidence of Shishkin’s “artistic laboratory”, revealing the principle on which his work was always based: a meticulous study of nature. It is as though his brush or the point of his pencil could feel the pulse of nature, masterfully reproducing her creations, whatever they might be – dry bark peeling off a tree, soft moss or ebullient clusters of ground-elder blossom, – evoking at the same time the particular tarry scent of the forest, the coolness of its morning or the freshness of its air in the evening. Shishkin was a true lover and connoisseur of the woodland and knew the anatomy of the various species of trees and plants to perfection. Pavel Tretyakov went so far as to call him Tsar of the Woods. Contemporaries said that Shishkin was “a milestone in the development of Russian landscape, a man and also a school – but a living school”. The artist himself, when still very young, had written in his diary: “Nature is the only book, which can teach us about art”. A few decades later he would occupy a secure and very special place in Russian landscape painting. Art critics would recognise him as a great master, unequalled “among Russian painters of vegetation in nature”. He would be seen as “conscientious and sensible” and a “powerful and genuine master of his craft, for whom there are no technical obstacles to expressing whatever subtleties he observes in nature. For Shishkin, there is now no subject matter beyond the realm of nature, and nature remains his only paradigm for consistent study in the inexhaustible stream of his creative effort”, as was observed in a review for the V Itinerant Exhibition in 1877. Throughout his life, Shishkin’s favourite theme was the majestic world of the forest with its overgrown thickets, mossy soil and thick vegetation, the mighty foliage of the wide-reaching oaks and the needle-fingered boughs of the firs and pines. In Shishkin’s late creative period, however – towards the end of the 1880s and the 1890s – his canvasses take on an ever more lyrical quality, the sense of being drawn, in the artist’s own words, towards a “warm, lively dialogue of the soul with nature and God”. It becomes more interesting for him to paint old parks, tranquil ponds of frozen water or neglected mills on streams in the forest, in short – subjects that exude a feeling of peace, quietness and elegiac pensiveness. In Autumn on Krestovsky Island it is as though the artist has come across the avenue in the morning sunlight by accident while walking in the park. There is a certain sadness and melancholy about the mood evoked by the warmth of summer slipping away and the coolness of autumn days about to come, the earth sodden by recent rain and the yellow fallen leaves. The branches of the oaks form an arch through which can be seen a quiet pool and beside it an abandoned bower, keeping silent witness to secret conversations and musings in solitude. Here, as much as in any other of his works, Shishkin succeeds in conveying the intimacy of nature in Russia, her resonance with deeply felt human emotions: a sense of peace as well as trepidation, a slight sadness together with warm recollections of the past.
Lot 1649
13th-14th century AD. A French bronze vesica flat seal with raised rib and suspension loop to reverse; with intaglio design of the Cross of Lorraine; with incuse +S' RAOVL MAITRE DOVSAINT ESPERIT for Raul, Master of Saint Esperit; old inked collector's number 3609 to the reverse. Raoul Maitre du Saint Esprit, refers to Raoul who was Master of a hospital of the Holy Spirit. Although the main hospital was in Rome this is probably the seal of a master of a southern French branch. There was quite a big hospital at Marseilles, but others in France. 17 grams, 37mm (1 1/2"). From a significant private English collection of seal matrices, formed over the past 35 years. Very fine condition.
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