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Lot 145
Charles O'Neill (E & C O'Neill Brothers, London)An Arts and Crafts stained and leaded glass oval panel, late 19th/early 20th century, depicting a nude classical female, 33cm high and 20.5cm wide Charles O'Neill worked as a glass painter with his brother, Edward Frederick Hatton O'Neill, forming 'The O'Neill Brothers' glass company. They are first listed at 343 Kentish Road, London as glass makers in 1891-92 and later as a joint business in 1897 at 165 Gray's Inn Road. This address was shared for a short time with the glass designer Charles Edward Tute (1858-1927), with whom they were noted for making at least one window. The majority of their glass is reputedly in the Midlands and North, although if so, much remains unidentified. Known work includes: St. Stephen Church in Clewer, Berkshire; north chancel window, Royal Arms, St. Andrew and St. Patrick and St. David. C.E. Tute designed St. Alban the same chancel. St Michael Church in Theydon Mount, Essex, east window (1920). St. Michael with two horsemen, given in memory of Major Charles Hunter and his wife. Designed by Wilfred Gabriel de Glehn. St. Saviour, Crouch Hill Church in Tollington Park, Inner London, west window (1900). St Peter - Baptism, St. Philip. Christ Church in Leyton, Essex, south aisle window (1920). Good Shepherd, Risen Christ, Christ and Children windows in memorial of Rev Frederick Sloan Vicar. The firm is listed as ‘C O’Neill, 4 Heathcote Street, WC1’ St. Mary Church in Sunbury, Surrey, south clergy window (1905). St. Matthew and St. Thomas. Designed by Mrs Eve Ostrehan. The firm is listed as ‘O’Neill Bros’. St. Patrick Church in Hove, Sussex, north aisle windows (1895 and 1908) – Madonna and Child with kneeling Angels and St. Cecilia. William Bainbridge Reynolds designed both windows. St. George, Jesmond, Newcastle-upon-Tyne: east window (1888). Holy Family with Magi and Shepherds. Church architect Thomas Ralph Spence designed the ornamental parts, and the figurative panels were cartooned and painted by John William Brown. Studio assistance (including the lights) by the O’Neill brothers, London. Provenance: By family descent. Charles O'Neill was the vendor's great aunt's husband.Condition is good. No cracks or chips to any of the panes. Signed with monogrammed initials 'ON' towards the base. Please see additional images
Lot 146
Charles O'Neill (E & C O'Neill, London), late 19th/early 20th century, an Arts and Crafts style stained and leaded glass circular panel depicting the Virgin Mary and Baby Jesus, 26cm diameterCharles O'Neill worked as a glass painter with his brother, Edward Frederick Hatton O'Neill, forming 'The O'Neill Brothers' glass company. They are first listed at 343 Kentish Road, London as glass makers in 1891-92 and later as a joint business in 1897 at 165 Gray's Inn Road. This address was shared for a short time with the glass designer Charles Edward Tute (1858-1927), with whom they were noted for making at least one window. The majority of their glass is reputedly in the Midlands and North, although if so, much remains unidentified. Known work includes: St. Stephen Church in Clewer, Berkshire; north chancel window, Royal Arms, St. Andrew and St. Patrick and St. David. C.E. Tute designed St. Alban the same chancel. St Michael Church in Theydon Mount, Essex, east window (1920). St. Michael with two horsemen, given in memory of Major Charles Hunter and his wife. Designed by Wilfred Gabriel de Glehn. St. Saviour, Crouch Hill Church in Tollington Park, Inner London, west window (1900). St Peter - Baptism, St. Philip. Christ Church in Leyton, Essex, south aisle window (1920). Good Shepherd, Risen Christ, Christ and Children windows in memorial of Rev Frederick Sloan Vicar. The firm is listed as ‘C O’Neill, 4 Heathcote Street, WC1’ St. Mary Church in Sunbury, Surrey, south clergy window (1905). St. Matthew and St. Thomas. Designed by Mrs Eve Ostrehan. The firm is listed as ‘O’Neill Bros’. St. Patrick Church in Hove, Sussex, north aisle windows (1895 and 1908) – Madonna and Child with kneeling Angels and St. Cecilia. William Bainbridge Reynolds designed both windows. St. George, Jesmond, Newcastle-upon-Tyne: east window (1888). Holy Family with Magi and Shepherds. Church architect Thomas Ralph Spence designed the ornamental parts, and the figurative panels were cartooned and painted by John William Brown. Studio assistance (including the lights) by the O’Neill brothers, London. Provenance: By family descent. Charles O'Neill was the vendor's great aunt's husband.Two short cracks can be seen and felt through the hair and face of the Virgin Mary. Please see photographs.
Lot 147
Charles O'Neill (E & C O'Neill, London), late 19th/early 20th century, an Arts and Crafts rectangular stained and leaded glass panel titled 'Architecture', 25cm wide x 30cm highCharles O'Neill worked as a glass painter with his brother, Edward Frederick Hatton O'Neill, forming 'The O'Neill Brothers' glass company. They are first listed at 343 Kentish Road, London as glass makers in 1891-92 and later as a joint business in 1897 at 165 Gray's Inn Road. This address was shared for a short time with the glass designer Charles Edward Tute (1858-1927), with whom they were noted for making at least one window. The majority of their glass is reputedly in the Midlands and North, although if so, much remains unidentified.Known work includes: St. Stephen Church in Clewer, Berkshire; north chancel window, Royal Arms, St. Andrew and St. Patrick and St. David. C.E. Tute designed St. Alban the same chancel.St Michael Church in Theydon Mount, Essex, east window (1920). St. Michael with two horsemen, given in memory of Major Charles Hunter and his wife. Designed by Wilfred Gabriel de Glehn.St. Saviour, Crouch Hill Church in Tollington Park, Inner London, west window (1900). St Peter - Baptism, St. Philip.Christ Church in Leyton, Essex, south aisle window (1920). Good Shepherd, Risen Christ, Christ and Children windows in memorial of Rev Frederick Sloan Vicar. The firm is listed as ‘C O’Neill, 4 Heathcote Street, WC1’St. Mary Church in Sunbury, Surrey, south clergy window (1905). St. Matthew and St. Thomas. Designed by Mrs Eve Ostrehan. The firm is listed as ‘O’Neill Bros’.St. Patrick Church in Hove, Sussex, north aisle windows (1895 and 1908) – Madonna and Child with kneeling Angels and St. Cecilia. William Bainbridge Reynolds designed both windows.St. George, Jesmond, Newcastle-upon-Tyne: east window (1888). Holy Family with Magi and Shepherds. Church architect Thomas Ralph Spence designed the ornamental parts, and the figurative panels were cartooned and painted by John William Brown. Studio assistance (including the lights) by the O’Neill brothers, London.Provenance: By family descent. Charles O'Neill was the vendor's great aunt's husband.
Lot 148
Charles O'Neill (E & C O'Neill), late 19th/early 20th century, an Arts and Crafts stained and leaded glass rectangular panel of a female figure in a flowing diaphanous purple dress, 24.5cm wide x 32.2cm highCharles O'Neill worked as a glass painter with his brother, Edward Frederick Hatton O'Neill, forming 'The O'Neill Brothers' glass company. They are first listed at 343 Kentish Road, London as glass makers in 1891-92 and later as a joint business in 1897 at 165 Gray's Inn Road. This address was shared for a short time with the glass designer Charles Edward Tute (1858-1927), with whom they were noted for making at least one window. The majority of their glass is reputedly in the Midlands and North, although if so, much remains unidentified.Known work includes: St. Stephen Church in Clewer, Berkshire; north chancel window, Royal Arms, St. Andrew and St. Patrick and St. David. C.E. Tute designed St. Alban the same chancel.St Michael Church in Theydon Mount, Essex, east window (1920). St. Michael with two horsemen, given in memory of Major Charles Hunter and his wife. Designed by Wilfred Gabriel de Glehn.St. Saviour, Crouch Hill Church in Tollington Park, Inner London, west window (1900). St Peter - Baptism, St. Philip.Christ Church in Leyton, Essex, south aisle window (1920). Good Shepherd, Risen Christ, Christ and Children windows in memorial of Rev Frederick Sloan Vicar. The firm is listed as ‘C O’Neill, 4 Heathcote Street, WC1’St. Mary Church in Sunbury, Surrey, south clergy window (1905). St. Matthew and St. Thomas. Designed by Mrs Eve Ostrehan. The firm is listed as ‘O’Neill Bros’.St. Patrick Church in Hove, Sussex, north aisle windows (1895 and 1908) – Madonna and Child with kneeling Angels and St. Cecilia. William Bainbridge Reynolds designed both windows.St. George, Jesmond, Newcastle-upon-Tyne: east window (1888). Holy Family with Magi and Shepherds. Church architect Thomas Ralph Spence designed the ornamental parts, and the figurative panels were cartooned and painted by John William Brown. Studio assistance (including the lights) by the O’Neill brothers, London.Provenance: By family descent. Charles O'Neill was the vendor's great aunt's husband.One sliver chip and associated crack to short blue rectangular panel on the top left hand side corner. Cracks visible through both of the figure's wrists.
Lot 149
Charles O'Neill (E & C O'Neill, London), late 19th/early 20th century, a rectangular ecclesiastical stained and leaded glass panel depicting Saint Joseph with a lantern, 20cm wide and 38cm highCharles O'Neill worked as a glass painter with his brother, Edward Frederick Hatton O'Neill, forming 'The O'Neill Brothers' glass company. They are first listed at 343 Kentish Road, London as glass makers in 1891-92 and later as a joint business in 1897 at 165 Gray's Inn Road. This address was shared for a short time with the glass designer Charles Edward Tute (1858-1927), with whom they were noted for making at least one window. The majority of their glass is reputedly in the Midlands and North, although if so, much remains unidentified.Known work includes: St. Stephen Church in Clewer, Berkshire; north chancel window, Royal Arms, St. Andrew and St. Patrick and St. David. C.E. Tute designed St. Alban the same chancel.St Michael Church in Theydon Mount, Essex, east window (1920). St. Michael with two horsemen, given in memory of Major Charles Hunter and his wife. Designed by Wilfred Gabriel de Glehn.St. Saviour, Crouch Hill Church in Tollington Park, Inner London, west window (1900). St Peter - Baptism, St. Philip.Christ Church in Leyton, Essex, south aisle window (1920). Good Shepherd, Risen Christ, Christ and Children windows in memorial of Rev Frederick Sloan Vicar. The firm is listed as ‘C O’Neill, 4 Heathcote Street, WC1’St. Mary Church in Sunbury, Surrey, south clergy window (1905). St. Matthew and St. Thomas. Designed by Mrs Eve Ostrehan. The firm is listed as ‘O’Neill Bros’.St. Patrick Church in Hove, Sussex, north aisle windows (1895 and 1908) – Madonna and Child with kneeling Angels and St. Cecilia. William Bainbridge Reynolds designed both windows.St. George, Jesmond, Newcastle-upon-Tyne: east window (1888). Holy Family with Magi and Shepherds. Church architect Thomas Ralph Spence designed the ornamental parts, and the figurative panels were cartooned and painted by John William Brown. Studio assistance (including the lights) by the O’Neill brothers, London.Provenance: By family descent. Charles O'Neill was the vendor's great aunt's husband.Four short cracks through the lower right hand corner of the figure's cloak. Small chip the right hand corner of the face panel. Signed ON59 with price '£5'Please see additional images
Lot 150
Charles O'Neill (E & C O'Neill, London), late 19th/early 20th century, an Arts and Crafts style stained and leaded glass ecclesiastical circular panel, 30cm diameterCharles O'Neill worked as a glass painter with his brother, Edward Frederick Hatton O'Neill, forming 'The O'Neill Brothers' glass company. They are first listed at 343 Kentish Road, London as glass makers in 1891-92 and later as a joint business in 1897 at 165 Gray's Inn Road. This address was shared for a short time with the glass designer Charles Edward Tute (1858-1927), with whom they were noted for making at least one window. The majority of their glass is reputedly in the Midlands and North, although if so, much remains unidentified.Known work includes: St. Stephen Church in Clewer, Berkshire; north chancel window, Royal Arms, St. Andrew and St. Patrick and St. David. C.E. Tute designed St. Alban the same chancel.St Michael Church in Theydon Mount, Essex, east window (1920). St. Michael with two horsemen, given in memory of Major Charles Hunter and his wife. Designed by Wilfred Gabriel de Glehn.St. Saviour, Crouch Hill Church in Tollington Park, Inner London, west window (1900). St Peter - Baptism, St. Philip.Christ Church in Leyton, Essex, south aisle window (1920). Good Shepherd, Risen Christ, Christ and Children windows in memorial of Rev Frederick Sloan Vicar. The firm is listed as ‘C O’Neill, 4 Heathcote Street, WC1’St. Mary Church in Sunbury, Surrey, south clergy window (1905). St. Matthew and St. Thomas. Designed by Mrs Eve Ostrehan. The firm is listed as ‘O’Neill Bros’.St. Patrick Church in Hove, Sussex, north aisle windows (1895 and 1908) – Madonna and Child with kneeling Angels and St. Cecilia. William Bainbridge Reynolds designed both windows.St. George, Jesmond, Newcastle-upon-Tyne: east window (1888). Holy Family with Magi and Shepherds. Church architect Thomas Ralph Spence designed the ornamental parts, and the figurative panels were cartooned and painted by John William Brown. Studio assistance (including the lights) by the O’Neill brothers, London.Provenance: By family descent. Charles O'Neill was the vendor's great aunt's husband.
Lot 151
Charles O'Neill (E & C O'Neill, London), a rectangular stained and leaded glass Arts and Crafts panel depicting a semi-nude Classical female with pumpkins, 24cm wide and 28.5cm high (small piece of glass at fault)Charles O'Neill worked as a glass painter with his brother, Edward Frederick Hatton O'Neill, forming 'The O'Neill Brothers' glass company. They are first listed at 343 Kentish Road, London as glass makers in 1891-92 and later as a joint business in 1897 at 165 Gray's Inn Road. This address was shared for a short time with the glass designer Charles Edward Tute (1858-1927), with whom they were noted for making at least one window. The majority of their glass is reputedly in the Midlands and North, although if so, much remains unidentified.Known work includes: St. Stephen Church in Clewer, Berkshire; north chancel window, Royal Arms, St. Andrew and St. Patrick and St. David. C.E. Tute designed St. Alban the same chancel.St Michael Church in Theydon Mount, Essex, east window (1920). St. Michael with two horsemen, given in memory of Major Charles Hunter and his wife. Designed by Wilfred Gabriel de Glehn.St. Saviour, Crouch Hill Church in Tollington Park, Inner London, west window (1900). St Peter - Baptism, St. Philip.Christ Church in Leyton, Essex, south aisle window (1920). Good Shepherd, Risen Christ, Christ and Children windows in memorial of Rev Frederick Sloan Vicar. The firm is listed as ‘C O’Neill, 4 Heathcote Street, WC1’St. Mary Church in Sunbury, Surrey, south clergy window (1905). St. Matthew and St. Thomas. Designed by Mrs Eve Ostrehan. The firm is listed as ‘O’Neill Bros’.St. Patrick Church in Hove, Sussex, north aisle windows (1895 and 1908) – Madonna and Child with kneeling Angels and St. Cecilia. William Bainbridge Reynolds designed both windows.St. George, Jesmond, Newcastle-upon-Tyne: east window (1888). Holy Family with Magi and Shepherds. Church architect Thomas Ralph Spence designed the ornamental parts, and the figurative panels were cartooned and painted by John William Brown. Studio assistance (including the lights) by the O’Neill brothers, London.Provenance: By family descent. Charles O'Neill was the vendor's great aunt's husband.Triangular breakage to the upper right hand side rectangular border panel. Piece is broken but present. No further damages or repairs.
Lot 159
A collection of English porcelain, comprising three Job Ridgway & Sons dessert plates, circa 1812, pattern 845, painted with three side panels and a central panel of polychrome summer flowers, with a dark blue ground decorated with stylised gold petals, painted pattern number, 21.5cm diameter; together with a pair of Hicks & Meigh bone china lobed triangular low footed dessert dishes, of single-handled form, with a plum wine and yellow border decorated with butterflies, flowers and gilding, painted pattern number, 12cm wide; a pair of Davenport rectangular low footed dessert dishes, circa 1870-86, pattern 506, subtly decorated with gilded and enamel butterflies and trees, broad pale yellow border, printed factory mark in puce, painted pattern number, 24cm wide; a spiral fluted tea bowl, an 18th century fluted cobalt and gilt Worcester coffee cup and saucer; a selection of seven orphaned saucers, including Derby, Coalport and New Hall (Tobacco Leaf); a Copeland plate, 20cm diameter (at fault); together with a small group of Continental ceramics including a pair of late 19th/early 20th century candlesticks; a Dresden bottle vase, 31.5cm high and a French bronzed metal mounted plate, hand-painted with pink, purple and white flowers against a dark blue ground, unmarked, 24cm diameter and 12cm highThumb broken to one candlestick figure. Spiral Fluted tea bowl chipped. Copeland circular dish has been broken into many pieces and reglued. One Job Ridgway plate heavily stained yellow and crazed. One short hairline through foot to one of the Davenport butterfly dishes
Lot 240
English School, 19th century, an interior scene centred around a farmhouse kitchen table, with a present being given to a sleeping grandmother, indistinctly signed lower left, oil on panel, 45 x 56cm, frame 58 x 68.5cmPrivate West Midland's estate. Part of a collection formed from the late 19th century. Thence by descent.Ok. Frame later.
Lot 243
Frederick Henry Henshaw (British, 1807-1891), loggers on a country track, a castle in the background, signed lower left and inscribed indistinctly on a label verso ‘Re… by me 1882. F.H.Henshaw’, other labels verso badly faded, oil on panel, some damage, 23.5 x 39cm, frame 28 x 44cmPrivate West Midland's estate. Part of a collection formed from the late 19th century. Thence by descent.Frederick Henry Henshaw was taught by J.V.Barber and was influenced by Turner. He exhibited at the RA and Suffolk Street from 1829 to 1864 and with the Birmingham Society of Artists. He specialised in landscape painting, which included scenes in Europe (he travelled from 1837-1840) but mostly depicted British views.Panel with 7cm hairline crack lower left and with some loss of paint around crack. Later frame chipped and lacking mouldings, including most of left side.
Lot 284
Ralph Todd (British, 1856-1932), ‘It may be for years, or it may be forever’, a woman sitting on the wall of a quay with her right hand on a letter on fishing nets, on a fine day with the departing fishing fleet in the distance, signed lower right and titled and signed on the original backing and with the original gallery label ‘…oza Gallery, St James’s Gallery, 4A King St, St James’s, London, SW’, both mounted on a section of panel attached to the back of the later frame, watercolour, 49.5cm x 34cm, frame 70cm x 55.5cmOK, later frame.
Lot 318
A 19th century gilt brass, rectangular casket, with a pietra dure panel, the hard-stone panel, relief decorated in the manner of Foggini, with flowers and leaves, within a rope-twist border, raised on a plint base, the panel damaged and the gilt very worn, 28.5cm wide x 18cm deep x 13cm high, with key (2)The panel damaged - cracked in three places and leaves chipped. Lacking elements. The gilt very worn.
Lot 336
An early 20th century novelty, 'telescope', walking stick, the brass handle with an inset ivorine panel at the top, above a narrow relief moulded collar, the walking stick unscrewing at each point to reveal a 32.4cm long telescope, with a metal ferrule, some restoration, minor damage, 88cm longPart of a private collection, which includes a collection of swordsticks in the militaria sale (200123 - 070223).Ok, but old restoration, including several vertical hairline cracks glued/filled the length of the top section (housing half the telescope)- about 13cm long. Equally some long hairline cracks and glued/filled cracks in the next section down (housing the other half of the telescope) - about 20cm long. Other hairline cracks too, but the structure is sound and some were found using a lens and good light. Some small, old dents and scratches on the metalwork.
Lot 365
A 17th/18th century needlework panel, depicting a maiden in flowing dress holding a flower spray, she stands in a landscape with trees, accompanied by a lamb and a rabbit, to a mahogany veneered frame, 35cm x 24cm (frame 40cm x 29cm).Uniformly faded/discoloured. Small losses in places but backing textile intact. No signs of moth. Frame repaired top right corner and otherwise showing signs of age including old scratches and other cosmetic marks.
Lot 367
A 19th century wool-work panel, depicting a scene of figures conversing beside a hut, possibly a biblical scene, in coloured wool and embossed printed card, 20cm x 30cm.Unframed. Generally appears good with minor signs of age and reasonable colour, probably faded a little but consistently. No moth damage, holes or tares.
Lot 385
A Victorian oak, octagonal library table, with 4 working drawers, each flanked by a dummy drawer, all with a Gothic style sunken panel front, raised on barley-twist legs, united by a shaped, pierced 'X' stretcher, 120cm wide x 76cm highOk, apart from chips, dents and scratches consistent with age and use.
Lot 386
A 17th/18th century and later oak tridarn, the canopy with a cyma recta cornice above turned supports, the base with a central arched panel, flanked by a square panelled door, the projecting base with a pair of cupboard doors, raised on extended stiles, later elements and restorations, 148cm wide x 59cm deep x 207cm highLater elements, including top of canopy and cornice. Later carved. Chips, dents and scratches consistent with age and use.
Lot 388
An 18th century oak dresser, Denbighshire, the characteristic two-tier hooded plate rack above a base with a two-plank top over three drawers, with fielded panel fronts, with a pair of double fielded panelled doors below, raised on extended stiles, some damage, 138cm wide x 51cm deep x 200cm highPlate rack rails - age cracks and holes where hooks positioned.Top of base - cracked, including 20cm on right. Old stains. Fillet between two planks.Base - old handle positions and escutcheons evident as filled. Inside of drawer fronts with concave cut-away sections. Lacking locks.Overall - scratches, dents and chips consistent with age and use.
Lot 941
Celtic, Dragonesque brooch, 1st-2nd century, 5.2cm long by 2.2cm wide; a flat plate brooch of reverse S-shape in East Brigantian (York) style, with circular-shaped ear, eye and upturned snout with ring and dot decoration; the expanded sub-ovate body of the brooch has a central large lozenge panel containing blue enamel. Fine with a rough brown patina and complete with pin £160-£200 --- Provenance: From a UK collection; originally found in Lincolnshire
Lot 942
Celtic, Romano-Celtic, a dragonesque brooch, 2nd century AD, 49mm x 20mm, East Brigantian style, head with large red enamel ears and a blue enamelled eye, body with a central rectangular panel with lozenge-shaped yellow and red enamelled cells, either side are swash Ns in blue and red enamel. Intact with considerable enamel £150-£200 --- Provenance: Found in the Yorkshire Dales
Lot 956
Roman, Roman, Enamelled bronze plate brooches (4), all 2nd century AD, equal-ended with zoomorphic terminals, with a flat central lozenge centre inlaid with orange, blue and red enamel, 6.4cm long by 3.1cm wide (cf. Hattatt 1594); quadriform with zoomorphic terminals, with raised central panel inlaid with white enamel (cf. Hattatt 1617); lozenge shape with stepped red enamelled centre and border of pierced circular lugs; lozenge shape, equal-ended with triangular cells inlaid with red, green and blue enamel (cf. Hattatt 1116) [4]. All about very fine £120-£160 --- Provenance: From a UK collection
Lot 977
Roman, Roman, A bronze and silver crossbow brooch, 4th century AD, 8.6cm long by 5.6cm wide; onion-shaped knobs, high arched bow inlaid with a central silver panel decorated with chevrons; detachable foot decorated with ring and dot motif (Hattatt 1267 var.). Very fine £60-£80 --- Provenance: From a UK collection
Lot 982
Roman, Romano-British, Bronze disc brooches (5), 1st-2nd century, including umbonates (2), both with red and blue enamel; Tutulus type with central cone (cf. Hattatt 1070); triskele of red enamel with blue in the field (cf. Hattatt 120); large central panel with recessed face (cf. Hattatt 543) [5]. Fine to very fine; all complete with pins £80-£120 --- Provenance: From a UK collection
Lot 994
Medieval, Byzantine, Bronze buckles (2), 6th-7th century, first with articulate pin and hinged plate containing three circular panels containing a portrait of Christ; second a buckle plate with circular panel containing a quadruped, with two birds in front [2]. Both fine £60-£80 --- Provenance: From a UK collection
Lot 230
AR * Bénézit (Emmanuel Charles, 1887-1975). La Route de St. Tropez à Gassin, 1920, oil on thin wood panel, signed lower left, titled, dated in artist's hand to verso, Mercury Gallery London label to verso, panel size 19 x 24 cm (7 1/2 x 9 1/2 ins), framed (27 x 31.8 cm) QTY: (1)NOTE:Provenance: Private Collection, Gloucestershire.Emmanuel Charles Bénézit became a pupil of J.P.Laurens and studied at the Academie Julian et Colarossi. His first exhibition in the U.K was at the Mercury Gallery in 1973.
Lot 3
* Manner of Philips Wouverman (1619-1668). Rustic figures with pack horses outside a dwelling, & Soldier on horseback and figures unloading goods from pack horses, a pair of miniature oils on panel, small repair to the lower left corner of the second work, 12 x 13 cm (4 3/4 x 5 1/8 ins), fine gilded frames (28.5 x 31 cm)QTY: (2)
Lot 5
* Follower of Godfrey Kneller (1646-1723). Oval portrait of a young lady, oil on chamfered wood panel, head and shoulders portrait of a young lady wearing a pale gold silk dress, a blue cloak around her shoulders, some craquelure, 40 x 32 cm (15 3/4 x 12 1/2 ins), gilt moulded frame (52 x 43.2 cm)QTY: (1)NOTE:Provenance: Private Collection, Monmouthshire, England.
Lot 7
* Subleyras (Pierre, 1699-1749). The Visitation, and The Presentation of the Virgin in the Temple, oil on paper laid to panel, 42 x 26 cm (15 x 9 ins), in early ornate moulded gilt frames with striated, foliate, ribbon and acanthus leaf motifs (64 x 48 cm)QTY: (2)NOTE:Provenance: Collection of Madame Krebs, Sotheby's (Catalogue of fine old master drawings and paintings, including the property of the Rt. Hon. Lord Balfour of Inchrye ... Sir Charles Cave ... the late Herman Cameron Norman ... the Hon. Mrs. Robert Bruce ... Madame Krebs and ... Major S.V. Christie-Miller), 22nd February, 1956, lot 174, where purchased by Agnew & Sons for £350 (hammer); Thomas Agnew & Sons, their label verso, with attribution to Fragonard; Collection of Sir Lawrence Gowing (1918-1991), with Agnew's 1956 invoice (included with this lot).Pierre Subleyras (1699-1749), a leading 18th century French painter who settled in Rome in 1728, where he worked for Pope Benedict XIV. He is most highly regarded for his religious pictures, which are more serious in spirit than most French works of the Rococo period.
Lot 74
* Dutch School. Vanitas still life, with globe, books, musical instrument, hourglass, skull, playing cards, and candle stick on a partly draped table, early to mid 19th-century, oil on wood panel, some surface marks and light discolouration due to age, 27 x 34 cm (10 1/2 x 13 3/8 ins), unframedQTY: (1)
Lot 81
* Dupré (Jules, 1811-1889). French Coastal Scene, 1853, oil on wood panel, coastal landscape in northern France with houses and boats ashore and on the sea, people, signed with initials JD and dated 1853 lower left, 18.5 x 36 cm (7 1/4 x 14 1/8 ins), label to verso 'L'Atelier, J. Duretz, 3. Rue Macé, Cannes - T.932', pencil notes to verso of frame 'TEPPER louis XV tres ajouie', gilt frame (25 x 42 cm)QTY: (1)
Lot 468
WW2 1st pattern Fairbairn-Sykes Commando fighting knife. A very good and rare example. The hilt with nickel grip of chequered design. Double edged spear point blade, the ricasso with etched panel Wilkinson Sword Ltd. London, the reverse side the F-S Fighting Knife. Recurved cross guard. Housed in an early pattern brown leather scabbard with nickel rounded chape. Tailored with leather and nickel stud retaining strap and complete with four tangs. The overall condition is good clean bright, with minor age wear. Blade length 17.3 cm
Lot 469
WW2 2nd pattern Fairbairn-Sykes Commando fighting knife. A good and rare example. The hilt with nickel grip of chequered design. Double edged spear point blade, the ricasso with etched panel Wilkinson Sword Ltd. London, the reverse side the F-S Fighting Knife. Oval cross guard. Housed in a brown leather scabbard with brass square chape. Tailored with elasticated retaining strap and complete with four tangs. The overall condition is good clean bright, with minor age wear. Blade length 17.7 cm
Lot 471
Tom Beasley Fairbairn and Sykes Fighting knife Two Scroll Example. A rare example of the early post-war de luxe Fairbairn and Sykes fighting knife with orange ivorine handle made by Wilkinson Sword. The blade etched with two-part scroll on one side Hand forged by Tom Beasley The Famous Sword Smith; the other bears panel with Wilkinson logo and by Appointment Royal Arms; another inscribed Commando fighting Knife World War 1939-1945. Scabbard absent GC More common to find the three scroll tribute with the additional text of Stalingrad Sword Fame.
Lot 1
* Joni (Icilio Frederico, 1866-1946). A pair of 'tavolette' painted and gilded panels imitating a 15th century Sienese binding, two separate bevel-edged boards with remnants of leather spine attached to each, upper board depicting a youthful male saint wearing a green tunic and metal breastplate, standing on a black and white checkered floor within a relief niche, a halo around his head, and his hands resting on the hilt of a sword, within a relief sectional border of gilt scrolling foliate volutes on a black or burgundy ground, the centre of each side with a heraldic shield, lower board similarly relief panelled and with matching volute decoration, with large heraldic shield in centre surrounded by 6 smaller heraldic shields, some surface loss of paint and gesso, and boards splitting to lower edge, verso of boards each with circular painting, that to upper board depicting a profile head and shoulders portrait of an angel, with pounced halo, on a gilt ground, that to lower board depicting a head and shoulders portrait of a devotional female figure with downcast eyes, dressed in a red robe and white wimple, diameter of each 9 cm (3 1/2 ins), each framed by a thick card mount overlay, painted with gilt foliate volute decoration on a black ground to match exterior of boards, with large pin holes to margins, detached and worn, with some loss, 19 x 12.5 cm (7 1/2 x 5 ins), overall dimensions of boards 19.8 x 13.2 cm (7 3/4 x 5 1/4 ins) QTY: (2)NOTE:For a similar example see that housed in the Beinecke Library, Yale University (GEN MSS 1452).Known as the 'prince' of Sienese forgers, Icilio Joni began work in a gilding workshop in Siena as a young man. He went on to set up his own restoration business which led him into the world of forgeries, finding that the market for such items in 19th century Italy was flourishing. Like a number of his contemporaries he forged panel paintings, triptychs, and wooden caskets, passing them off as fifteenth or sixteenth century originals, but, more unusually, he also forged bookbindings. He had read of the distinctive and highly decorated tavolette book covers used by the city of Siena and started to produce his own, layering wooden panels with plaster and painting them with tempera and gold. Although his bindings were somewhat different from the originals - since he had never been to the Archivio di Stato to study the originals - he was able to sell his work through associates in Florence and Rome, and his success was so great that he later claimed in his autobiography that a director from the Archivio di Stato had been convinced by an example of his work and declared it beautiful. Eventually, in the pursuit of fame, Joni revealed the truth, but his workmanship was such that he still received commissions for these bindings, which continue to be sought after today.The painted heraldic shields depicted on the panels are largely spurious, but tend to copy or are similar to medieval examples such as Henry I Count of Vaudémont in Aspilogia II (d. 1279), Aschfeld of Sussex, the King of Cyprus, Lusignan, Count de la Marche, Seigneur de Valence, the King of Germany, King of Bohemia, King of Rome, and Jean de Barres, Seigneur d'Oissorey (c.1230-1289, French knight and crusader). Further descriptions of the heraldic shields can be supplied.
Lot 107
* After Arthur d'Orsay (1801-1852). Duke of Wellington, oil on wood panel, depicting the Duke of Wellington standing by a small table, his right hand resting on top, 24.5 x 18 cm (9 5/8 x 7 1/8 ins), Henry Graves & Co. label, Christie's stencil and previous red wax ownership seal to verso, framed (39 x 32 cm), together with another portrait ofArthur Wellesley, 1st Duke of Wellington, by an unknown artist, circa 1870, oil on panel, mount aperture 25 x 19cm (9 7/8 x 7 1/2 ins), framed and glazed (43.5 x 36 cm)QTY: (2)NOTE:NPG 405.A larger version of the same painting by D'Orsay, dated 1845, is held by the National Portrait Gallery.
Lot 1006
Medieval, Anglo-Saxon, A bronze strap end, 9th century, 4cm long by 1.2cm wide, Trewhiddle style quadruped in a rectangular panel with an animal head terminal and split end at the top with two rivet holes. Very fine £50-£60 --- Provenance: Found in Norfolk Trewhiddle style is a distinctive design of animal motifs first discovered in a hoard in 1774 near St Austell in Cornwall; the animals are clearly defined and arranged singly in panels in a grotesque form.
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