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Lot 147
A set of five unusual oversized blown glass champagne flutes, probably third quarter 20th century, of drawn trumpet form, on plain feet, 28.5cm. high; together with a set of six blown glass small wine glasses, early 20th century, the bucket bowls on hollow, panel cut stems, on plain feet with ground pontils, 15.2cm. high, four with faults. (11) * Condition: - Champagnes: One has a two small rim chips. One has a rim chip and tiny frit to the foot.- Wines: Two have a small chip to the foot.All other glasses in good condition.
Lot 148
A pair of Victorian glass bell decanters, the pillar moulded bodies with polished pontils, below panel cut necks and matching bell stoppers, 11¼in. (28.5cm.) high; together with a similar, larger decanter, with annulated neck ring, 12½in. (32cm.) high. (3) * Condition: - Pair: Both have expected scratches and abrasions to base. One decanter has a chip to one 'pillar' beneath the base. The other has a very small chip to one pillar beneath the base.- Larger decanter: Small chip to stopper, and chip to one pillar beneath the base (possibly from when the pontil was removed).
Lot 150
A pair of Georgian oval pint decanters, with panel, diamond and prismatic cut bodies and necks with scalloped, pouring rims, star cut bases, 7¾in. (19.7cm.) high, mismatched stoppers; together with a similar square decanter; a pair of square decanters with ball stoppers, 8¾in. (22.25cm.) high; and a smaller similar, half pint square decanter. (6) * Condition: - Pair oval decanters: One with later ball stopper and chip to rim and edge of base. The other with a few small rim chips.- Similar square decanter: Several small rim chips.- Pair square decanters: One with a small chip to one lower corner and a few tiny nibbles to cut edges.- Small square decanter: Good condition.
Lot 167
A set of six mid-century cut glass sherry glasses, the drawn, trumpet bowls with blaze, star and hobstar cut and panel etched decoration, on panel cut hexagonal stems with notched edges, on comb cut feet, 12.7cm. high; and seven matching water glasses, 13.2cm. high. (13) * Condition: One sherry with small rim chip. No other faults.
Lot 191
A pair of Victorian cut and frosted glass tazzas, each bowl with turnover rim with panel and cross cutting, the lower bowl frosted, on a hollow, panel cut waisted stem and star cut frosted foot, 10 5/8in. (27cm.) diameter, 5½in. (14cm.) high. (2) * Condition: Very good condition, with no damage.
Lot 36
A large early nineteenth century Sunderland pink lustre christening jug, painted and transfer printed, one side panel with 'West view of Iron Bridge at Sunderland', the other side with verse 'The lots of gold is much', etc, etc, and the front with printed inscription 'Charles Ferguson, Born May 2" 1814.', 9½in. (24.2cm.) high. * Condition: Chip and graze to tip of spout, slight rubbing and surface scratches to lustre and decoration, overall a good example.
Lot 37
Three Sunderland pink lustre jugs, to include a large early nineteenth century Sunderland pink lustre christening jug, painted and transfer printed, one side panel with 'West view of Iron Bridge at Sunderland', the other side with verse 'My heart is fixed I cannot range', etc, etc, and the front with printed inscription 'Elizabeth Gordon, Born May 10th" 1815.', 9½in. (24.2cm.) high, together with a smaller named jug 'Rachel Scarchet' and another. (3) * Condition: the large jug with naive restoration to spout, the whole being off and stuck back on, large cracks to main, surface scratches etc, the smaller with nibbles and chips through, the third with hairlines and nibbles. all a/f.
Lot 463
Attributed to Franz de Paula Ferg (Vienna, 1689-1740), Landscape with Bridge and Waterfall, oil on panel, unsigned, early label on reverse inscribed in ink "Landscape with Bridge Waterfall 'Ferg' Mr James (?)", 19th century ornate gilded frame with plaque "The Waterfall 1689-Paul Ferg-1710", 11 3/8 x 15 3/8in. (28.9 x 39cm.).*Label for St Helier Galleries Ltd, Jersey. * Condition: Light surface dirt. Panel straight in good condition with no splits. Paint surface good. Frame damaged with losses to gesso.
Lot 469
Pierre Edouard Frere (French, 1819-1886), Young boy running in the snow, oil on mahogany panel, red printed artist's stamp lower right, 19th century Arabesque style gilt and composition frame, 6 7/8 x 4½in. (17.5 x 11.5cm.).* Provenance: Bonhams, Chester, Pictures, Oils and Watercolours, 7th May 2007, Lot 501 * Condition: Good condition. Tiny split to panel beneath paint to upper centre. Remnants of 19th century gallery label verso. Some small losses from frame.
Lot 494
Studio of Sir Thomas Lawrence PRA, FRS (British, 1769-1830), Portrait of King George IV (1762-1830) in private dress, wearing the Garter Star and Order of the Golden Fleece, oil on panel bearing printed label for the colourman Robert Davy (c.1771-1843) of 16 Wardour Street, London who it states was "patronised by Sir Thomas Lawrence", 20th century frame, painted and gilded surmounted by a crown, each corner having a rosette,10¾ x 8¾in. (27.3 x 22.2cm.).* This is a reduced copy of Lawrence's original full-length portrait London, commissioned in 1822 and now in in the Wallace Collection, London. The original was given by George IV to his mistress Lady Conyngham and was considered by the King to be the most successful of several portraits that Lawrence painted of him. * Condition: Use of bitumen in dark areas, paint shrinkage, light surface dirt.
Lot 495
Thomas Luny (British, 1759-1837), An Eastern Harbour with a Square Rigger Entering, Moorish figures on shore, oil on panel, signed indistinctly, circa 1823, modern reproduction swept frame, typed label on reverse with artist, title and dimensions, 9 x 12in. (22.9 x 30.5cm.).* This is the same composition as a larger oil on canvas by Thomas Luny, signed and dated 1823, 20 x 27in. (50.8 x 68.6cm.) offered at auction in 2016. Another larger oil on canvas, but undated, was offered at auction in 2013. * Condition: Good condition.
Lot 501
After Hans Holbein the Younger (German, 1497-1543), Portrait of Sir Nicholas Carew KG (c.1496-1539), oil on a cradled joined panel, unframed, 32¼ x 38¾in. (81.9 x 98.4cm.).* Sir Nicholas Carew was an English courtier and diplomat who held the position of Master of the Horse to King Henry V111. He was one of Henry's main drinking companions and enjoyed a privileged life until it ended abruptly in 1539 when he was arrested and executed at the Tower of London for his alleged part in the Exeter Conspiracy. The Exeter Conspiracy of 1538 was a supposed attempt to overthrow the King and replace him with his first cousin Henry Courtenay, 1st Marquess of Exeter. It was motivated by Catholics enraged by Henry who had taken control of the Church of England away from the Pope. Sir Nicholas Carew is depicted by Holbein in armour wearing a black cap trimmed with a white plume and an octagonal gold badge. The original painting is in the collection of the Duke of Buccleuch & Queensberry KT at Drumlanrig Castle in Scotland. * Condition: Numerous paint losses across the entire surface. The horizontal joins to the three panels are very obvious however the planks are relatively flat and the cradle is functioning well.
Lot 636
William Porteous, RSA (Scottish, 1831-1882), "Pentland Hills", Scotland, oil on panel, signed and titled to artist's label verso, modern gilt frame11¾ x 8¾in. (29.8 x 22.2cm.). * Condition: Surface dirt - would benefit from cleaning. Spot of gold paint to centre of panel. Was the subject of cleaning and restoration some years ago - scattered retouching and minor strengthening to lower half of panel visible under UV, and a retouch to sky approx. 1in above the hills. Old craquelure lines visible across the sky, which are accentuated by the surface dirt. Small nick to paint surface at lower left. Varnish has begun to break down to the dark brown trees to lower right.
Lot 643
Follower of Thomas Sidney Cooper (British, 1803-1902), Cows on hillside, resting farmers and dog, oil on panel, unsigned, unframed, 14 3/8 x 19 7/8in. (36.5 x 50.5cm.). * Condition: Has been subject of old cleaning and restoration - scattered retouches visible under UV, but blocking varnish probably used on lower half of panel so retouches are hard to distinguish. Retouches paint chip upper left margin. A couple of larger retouches to the lower margin. Chip and paint flaking to lower left corner of panel and some abrasions & paint loss to lower margin, with smaller abrasions and tiny paint chips to the other margins throughout.
Lot 713
Harry Halsey Meegan (British, fl. 1907-1912), "The Gate of London, Tower Bridge", oil on board, signed and dated 1922, inscribed with title verso and signed "Painted by Harry Halsey 1922 (Own Original Study on Royal Academy Panel)", swept frame, 9½ x 12in. (24.1 x 30.5cm.). * Condition: Contact line to paint at upper margin from frame. Otherwise good condition. Under UV, probable retouching and strengthening visible to the yellow paint around the moon and reflections in the river.
Lot 741
Henriëtte Ronner-Knip (Dutch-Belgian, 1821-1909), A feathered gift, oil on mahogany panel, signed 'Henriette Ronner' lower right and authenticated by the artist's husband on an old label verso, bearing the artist's wax and dated 14th Jan. 1873, unframed, 14½ x 18 5/8in. (36.9 x 47.3cm.).* Provenance: Christies London, 18th Nov. 1994, British and Continental Pictures, Lot 136, old Christies stencil verso and chalked with 1994 sale date and lot number * Condition: Damp damage to surface of paint to lower left corner, which has caused deterioration to the surface of the paint and craquelure. There are some chips to the edge of the panel around this corner and another chip to the top left margin, plus minor abrasions to the other corners and edges in places. A few scattered retouches visible under UV, notably to the upper left, but overall, apart from the lower left corner, the paint surface is clean and in good condition.
Lot 771
A Victorian carved walnut Davenport, the ¾ galleried hinged top opening to a fitted stationary compartment over the serpentine writing slope with inset leather, opening to storage and two drawers, with a caved serpentine frieze supported on slender tapering supports with acanthus carved 'knees' terminating in brass castors, the bottom section with a single carved panel with a floral carved roundel flanked by geometric spandrels, with four faux draw fronts on the left side and four real drawers to the right, 22 x 22in. (55.8 x 55.8cm.), 36¼in. (92cm.) high. * Condition: Writing slope has a crack forming to the front right quarter and splits forming from front to back on both sides, no key present.
Lot 791
An Edwardian mahogany piano stool, the stuff over seat lifting to a three compartment interior for music storage, the single panel front with fan patera and husk design, the single panel sides with solid plate carry handles, raised on square legs with brass castors, 20½ x 13½in. (52 x 34.2cm.), 20½in. (52cm.) high. * Condition: Split to panel below the seat
Lot 817
An 18th century oak and fruitwood two door panelled armoire, possibly Jersey, the flared, moulded cornice over five panel sides and a pair of three panel doors with pierced brass escutcheons and exposed hinges, the interior with two shelves, on stile feet, 61½ x 25¼in. (156.25 x 64cm.), 74¾in. (190cm.) high, good colour and patina.
Lot 839
A Regency mahogany chiffonier, with two stepped shelves on turned column supports over a rectangular top with a single frieze drawer and brass round ring handles, the base with two single panel cupboard doors opening to three pull out drawers, all raised on a plinth base with gadrooned top edge, 30 x 13½in. (76.2 x 34.2cm.), 52in. (132cm.) high. * Condition: right handle broken on top interior drawer
Lot 865
A 19th century carved oak three panel coffer, in the late 17th century style, the front with three ornate carved panels comprising a foliate lozenge flanked by two arches, arcaded frieze with lunettes, three panel lid, raised on stile feet 42 x 17½in. (106.7 x 44.5cm.), 23¼in. (59cm.) high. * Condition: Some water staining to top panels.
Lot 868
A George III mahogany linen press, the moulded rectangular top over two book matched single panel cupboard doors, with oval brass plate handle and swag escutcheon, opening to five slide drawers, the base with two short drawers with swan neck handles, raised on bracket feet, 49½ x 23¼in. (125.7 x 60.3cm.), 52in. (132cm.) high.
Lot 871
Two 17th century oak chairs, one having twin finials with a fielded panel below, turned legs and twist turned stretcher the other with a panelled back, turned legs and a bobbin turned stretcher, both chairs with decorative cut top rails and joined and pegged construction, 45 3/4in. (116.2cm.) and 43in. (109.2cm.) high. * Condition: First chair with repair to right upright below finial, age related splits to seat and replacement strip at rear of seat, split to splat panel, repair to rear leg. Chair two with age related splits to splat and seat, repair to crest and shrink crack to underside of bobbin turned stretcher.
Lot 872
A late 17th century four panel oak coffer, the two plank top with a carved border opening to a candle box with cover within and storage, the four panel front with rosette and lozenge carving to the panels and simple carved designs to the top rail, stiles and muntins, the sides with two plain panels, raised on stile feet , 53¾ x 21½in. (136.5 x 54.6cm..), 24¾in. (62.8cm.) high. * Condition: Split to top, lock removed, hinges replaced.
Lot 6517
Model Rail control equipment to include Hornby Railways 3 x R950 Zero No.1 Master Control Unit (1 boxed and 2 unboxed), R95701 Micromimic display panel, 2 x R951 slave control unit (1 boxed and 1 unboxed), 4 x R956 Accessory module (all boxed), also in lot AGW twin track solid state controller, Hornby Dublo A3 power control unit and Lima the sound of steam unit (in original box), all units are untested but look in generally Good condition. (13)
Lot 16
A 19th century oak-cased 8-day longcase clock, Joseph Barber of London, the 12" arch-top dial having silvered chapter ring with secondary dial and calendar aperture, strike/silent dial, brass-mounted Corinthian columns to the hood and brass finials, brass 5-pillar movement striking in a gong, height 228cm (7'6")Dial movement and case all appear to be contemporary, generally in good original condition apart from a split in the front panel on the base of the case, no other damage or restoration and all in working order
Lot 264
An 18th century Italian ebonised table-top cabinet with ivory engraved panels of Classical form, with rosewood veneer and pine construction on bun feet, height 41cm, depth 31cm, width 48cm. This item has been registered as exempt from the UK Ivory Act 2018 on account of it being made before 3rd March 1947 with less than 10% ivory by volume. Ivory declaration submission reference 8KEEVS5SSplits to veneer on sides and top, small sections of missing ivory inlay, replacement catch to front panel, internal door lock has been removed and is loose, neither locks working but have keys, looks to be overall original construction
Lot 35
A William and Mary walnut olivewood and kingwood cabinet on stand, circa 1690, the moulded cornice above inlaid frieze drawer with 2 inlaid panel doors opening to reveal 11 drawers and single central cupboard, the stand with single frieze drawer raised on 6 spiral barley twist legs with ovoid stretcher and bun feet, width 92cm, height 147cm, depth 47cmSingle small block of moulding missing above left door and 1 small veneer chip on left-hand side of door, otherwise no damage, a few small veneer splits and piece is generally faded on front and left side
Lot 36
An Indo-Portuguese cabinet on stand (Contador), late 17th century, possibly Old Goa, brass-bound exotic hardwood seaweed marquetry inlay with scrolled brass side carrying handles, star pierced brass escutcheons, raised on rectangular diamond marquetry inlaid base with C-shaped feet, width 90cm, height 117cm, depth 49cm. For identical example see V&A Museum Accession No. 782&A-1865Top left side edge brass is lifting but only requires nailing back down, both side panels have vertical veneer splits, 1 diamond inlay panel on rear right leg is missing, a few small losses to line veneer, drawer front handles are probably a later edition, 6 drawers are lacking locks, side handles are present but not currently attached, overall colour and patination is still quite rich
Lot 41
A Charles I oak coffer, with plank lid, the front with 3 panels each carved with a vase of flowers within an arch beneath a crossover lunette carved frieze, width 102cm, height 64cm, depth 47cmLargest lid panel has large sections of woodworm damage, no other damage, base boards have been replaced
Lot 42
A Regency walnut circular centre table, with central stained floral marquetry inlaid panel, egg and dart moulding with foliate frieze on spiral turned centre column with foliate carved tri-form face, diameter 106cm, height 77cmTop has numerous small splits, 20cm section of frieze missing otherwise no damage
Lot 54
A 19th century Dutch marquetry centre table, rectangular form with bone inlaid edge, with satinwood fruitwood and amboyna floral urn decoration, 1 long frieze drawer raised on spiral turned column legs, with H-shaped stretcher and bun feet, width 136cm, height 76cm, depth 79cmA few small veneer chips and losses to top panel, a small number of inactive woodworm holes all around frieze and on stretcher, a few pieces of bone inlay missing from stretcher, otherwise no damage or restoration
Lot 65
A 19th century Dutch marquetry inlaid walnut sideboard, the top decorated with flowing basket of flowers, single frieze drawer with turned alabaster column supports and 2-door cupboard below on bracket feet, width 84cm, height 81cm, depth 44cmCupboard doors have vertical splits all the way through, side panels have a few small splits, top panel has a 25cm horizontal split, no obvious losses to inlay
Lot 79
4 x 19th century Tunbridge Ware boxes, including small stationery box depicting Eridge Castle, width 15cm, jewel box with floral panel lid, length 18cm, box with lid depicting basket of flowers, length 25cm, and a box depicting Battle Abbey ruins, length 23cm (4)All need minor restoration, minor veneer splits, general wear and tear, box depicting Eridge Castle has a veneer split through the image, and basket of flowers has veneer split in the background
Lot 84
2 Regency penwork boxes, 1 with Classical design on brass lion paw feet, width 26cm, the other with a Classical panel to the lid, length 23cmBox with brass feet is generally in worn condition with a small area of chipped decoration on the right-hand edge of the lid, the other box is in good condition, central panel is printed and slightly rubbed at the edge
Lot 1022
A rare French gilt metal mantel clock with Chappe semaphore automata, early 19th century, the case in the form of a rectangular tower, the front decorated to simulate stonework with creeping ivy and flowers, surmounted by a semaphore tower with working signalling arms, which spell out the semaphore inventor's name 'C-H-A-P-P-E' in semaphore on the hour, on a velvet covered plinth to an ebonised, gilt lined base on bracket feet, the 3in. white enamel dial with blue Roman numerals and blued steel moon hands, above a recessed, arched painted panel depicting two windmills in a rural landscape, the blades moving as the clock strikes, the circular clock movement with off-set silk suspension clearing the mechanism for the automata above, with outside countwheel striking the hours and half hours on a bell, 21¼in. (54cm.) high to top of semaphore tower.* Provenance: Bonhams New Bond Street, Fine Clocks sale, 12th Dec. 2012, Lot 15 * Condition: The clock winds and runs and the front automata windmill blades turn when the clock strikes. The semaphore function has not been tested as the cotton threads operating the semaphore have become twisted whilst in storage and the top pulley threads are overlapping incorrectly, with one trapped behind the pulley. It will need some careful work to disentangle them and set them up correctly again. The case has probably been restored and refinished at some stage, and there is a spot of corrosion to the lower section of the 'stone' front plate. The painted arch appears largely original, with some paint flakes and retouching/overpainting to the top of the arch. Windmill blades probably repainted. Velvet faded and some marks and scratching to base. Lacks dome. Winding key for semaphore mechanism is present - the winding lug is slightly bent but the key does fit if carefully angled. Clock mechanism key not present. Several hairlines to dial running vertically.
Lot 100
A TURQUOISE AND PEARL BANGLE, STAMPED 15ct ASSESSED VARIOUSLY AS 10-14ct,WEIGHT 10.32grms, A TURQUOISE OVAL GLAZED PANEL BACK PENDANT, UNHALLMARKED ASSESSED AS 18ct TO THE FRONT AND VARIOUSLY BETWEEN 9-14ct TO THE REVERSE, WEIGHT 5.75grms, A DOUBLE TOOTH PENDANT WITH GOLD MOUNTS, UNMARKED, ASSESSED AS 9ct GOLD, WEIGHT 3.23grms, A CHEURB PORTRAIT BROOCH IN AN UNMARKED GOLD MOUNT, ASSESSED AS 18ct, WEIGHT 13.07grms, A PAIR OF SILVER AND DIAMOND SET STUDS, A QUANTITY OF MOSTLY 9ct GOLD (A SMALL AMOUNT OF HIGHER CARATS), SOME HALLMARKED, SOME STONE SET PIECES, GROSS WEIGHT 36.47grms.
Lot 122
Mary Lowndes (1857-1929), a stained and leaded glass panel dated 1920, depicting Saint John in the wilderness holding a lamb in his arms, signed and dated 'M. Lowndes Des 1920'145 x 90cm, framedThe eldest of four sons and four daughters born to Richard Lowndes and Annie Harriet, Mary Lowndes is best known as a stained glass artist, suffragist and pioneering social reformer. Initially training in drawing and painting at the Slade School of Fine Art, it was not until the completion of her studies that Lowndes unearthed her natural aptitude for stained glass making. Under the supervision of renowned artist, Henry Holiday, Lowndes, whose work was prized for her bold use of colour and innovative design schemes, soon became esteemed in her field, despite cultural attitudes towards female influence in the workplace during the late 19th century.By 1888, Lowndes had joined Powell & Sons of Whitefriars, but an increasing desire for artistic liberty persuaded her to work independently from 1892. Unfortunately, Lowndes found herself restricted by the technical requirements of stained glass making and was frequently travelling from her workshop in Chelsea to Southwark, where her designs were fired and glazed at the Britten and Gilsen studio. Owing to her need for specialist facilities, in 1897, Lowndes, alongside Alfred Drury, the former foreman at Britten and Gilsen's studio, established the eponymous Lowndes and Drury glass studio in Chelsea. Quickly having become one of the most prominent glass studios in London, in 1906 the pair moved their business to custom-built premises in Fulham, which later became known as 'The Glass House'.Quickly evolving into a sanctuary of artistic exchange, the Glass House offered artists a space to share and learn from one another whilst working on their own commissions. Lowndes’ became a particularly important figure in the workshop, not only in regard to her own commissions which were installed in churches, private buildings and private homes throughout the country, but also due to the invaluable instruction she offered to the denizens of the Glass House, particularly female artists who would be denied positions at other workshops.In addition to her work as an artist, Lowndes was also involved in the women's suffrage movement. She joined the Women's Social and Political Union and was an active participant in several protests and demonstrations, including the 1910 "Black Friday" demonstration where she was arrested and imprisoned. Lowndes was also passionate about social reform and worked to improve conditions for working-class women. She established a cooperative for women weavers in South London, which provided them with fair wages and safe working conditions. Mary Lowndes died in 1929, but her legacy continues through her stained glass works and her contributions to the suffrage movement and social reform.The panel is buckling under its own weight within the frame and there is a resultant bulge along the bottom. A couple of cracks and breaks to lead work and some scuffing to painted decoration, but in overall good condition.
Lot 146
An Audi TT Quattro roadster, 2003, a 180 bhp model finished in Moro Blue pearlescent paintwork with a blue power hood and mid-grey heated leather seats, 108,000 miles, Mot'd until December 2023Please note, a reduced Buyer’s Premium of 12% inclusive of VAT will be charged on this itemThe vendor describes the car as being in excellent original condition and great fun on an open road.The Moro Blue bodywork is very straight (with good panel gaps all round) and polishes up well but there a few minor blemishes and scuffs to the bumpers that could be improved as one would expect from a 20 year old vehicle.The car drives really well and has proved to be totally reliable in the current owner's tenure, and has only been uses as a fair-weather toy. The service book isn't present but there is a file of invoices to support the mileage.It pulls well in all the gears, particularly in the mid-range and the gearbox and clutch have a smooth action.The brakes have been replaced in the last few thousand miles and the lower control arms were replaced aprroximately1000 miles ago.Being the facelift model, the car rides on the desirable 18" Avus alloy wheels which were refurbished last year(with new centre caps also) and are shod with a matching set of Pirelli P-Zeros with good treadThe interior is well-preserved with only light wear the the driver's bolster and the electric hood is in super order and operates smoothlyThe last MOT was a clean pass once a faulty tyre valve had been replaced and the washer bottle had been topped up!
Lot 155
George Walton (1867-1933), a stained mahogany armchair, circa 1900, the back with upholstered panel and spindle panels above curved arms and upholstered seat raised on outswept turned legs111.5 x 58 x 47cmLiterature: Karen Moon, 'George Walton, Designer and Architect', Oxford 1993, p 70, pl. 84.This chair is an upholstered version of the chairs designed by Walton for Miss Cranston's Buchanan Street Tearooms in 1897, and which he subsequently used in some of his interiors including his own house, Elm Bank, in York in 1898.Re-upholstered, slightly loose in the joints, a split to the back just below the top row of spindles. Generally worn and scuffed from use.
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