A COLLECTION OF TWENTY-FOUR LILLIPUT LANE SCULPTURES, comprising of, Collectors Club, Woodmans Retreat, (some rubbing to the front), Teapot Cottage, L2993, Candy Floss, L2933, (rubbing on the roof and the tree at the front of the roof), The Toy Menders, L2665, (the roof looks a little dirty), The Pottery, L2123, (damage to the tree's at each side of the house, damage on the base at the back), Beekeeper's Cottage L2316, Old Scrumpy Farm, L2394, 21st Birthday collectors club, Happy 21st Birthday L2587, Collectors Fair, Caesar's Tower & The Barbican, L2888, Visitor's Centre Special, Moot Hall-Keswick, L2504, Exclusive to Penrith retail outlet, Penrith Town Clock, Anniversary Cottage collection, April Cottage, L3020, (rubbing on the roof), Club Symbol of Membership, Cabbage Patch Corner L2831, (rubbing to the corner of the roof), Little Scumpy, L2395, Parsley Cottage, L3406, Fresh Today, L2256,(some chips around the bottom edge), Fruits of the Sea, L3174, Kiln Cottage, L2124, Petticoat Cottage, Sugar Mouse L2932, The Spinney, The World of Beatrix Potter collection Tabitha Twitchit's, L2271, (chips in the roof and a broken chimney), Hill Top, L2273, (rubbing to the tree up the side of the house and roof edge), Ginger & Pickles shop, L2268, (Condition Report: all sculptures have signs of rubbing and lightly dusty, all have boxes and deeds with them which show age wear, see main description for specific damage and more severe rubbing), (24)
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A collection of 1971, 1972, two 1973, and 1974 San Francisco Mint Eisenhower Silver Proof Dollars. The obverse side features a profile portrait of the 34th US President, Dwight D. Eisenhower. The reverse side features a bald eagle landing on the moon surface, clutching an olive branch. The reverse side is based on Michael Collins' Apollo 11 Mission Patch design. Each coin is in a protective case. A protective case approximately measures: 3.25"L x 0.5"W x 5.25"H. One of the 1973 silver dollar is in an original box: 5.25"L x 0.75"W x 7.25"H. Artist: Frank Gasparro, Michael Collins & James CooperIssued: 1971 - 1974Dimensions: See DescriptionManufacturer: United States MintCountry of Origin: United StatesCondition: Age related wear.
West Point Mint. The obverse side features an Allied Forces storming the beaches of Normandy. The reverse side has a quote by General Dwight D. Eisenhower and a flaming sword patch. The coin is in a protective case and displayed in an original US Mint box. The box is approximately: 6"L x 3.5"W x 0.75"H. Artist: Thomas D. Rogers, Sr. Issued: 1995Dimensions: See DescriptionManufacturer: United States MintCountry of Origin: United StatesCondition: Age related wear.
Formerly the property of the late Bud Ekins1913 Flying Merkel 995cc Twin Seventy-one 471Registration no. BS 9860Engine no. 2X9397•Pioneering American marque•Extremely rare survivor•Highly original•Purchased by Vic Norman from Bud Ekins in 1998•Many-time Pioneer Run participant•Substantial history fileJoseph Merkel founded the Merkel Motor Company in Milwaukee, Wisconsin in 1902, its first product being a bicycle powered by a 'clip on' engine attached to the front down tube. In 1908 Merkel merged with the Light Manufacturing and Foundry Company of Pottstown, Pennsylvania, which had been making motorcycles since 1901. Merkel production shifted to Pottstown and the range - marketed as 'Merkel-Light' - expanded to include chain-driven types and large v-twins. The latter were among the most advanced designs of their day, some of which featured front and rear suspension. Motive power was provided by a 996cc 45-degree v-twin with inlet-over-exhaust valve gear. In 1911 the Miami Cycle and Manufacturing Company of Middletown, Ohio purchased Merkel-Light and transferred production to Middletown.Merkel made much of its use of ball bearings: 'The celebrated Merkel Ball-Bearing Motor is our sure foundation; a motor which has never been equalled in its simplicity and durability; a motor which will develop more actual horsepower under accurate test than any other motor of its size in the world.' Given the Flying Merkel's racing record, this seemingly extravagant claim may not have been too far from the truth; indeed, in its day the Flying Merkel was said to be fastest production motorcycle in the world.The 1908 move to Pottstown had signalled a serious commitment to racing and the hiring of factory supported riders, while the slogan 'The Flying Merkel' began to appear in the company's advertising. And fly they did, winning countless races over the next few seasons before new owners Miami Cycle and Manufacturing Company pulled the plug on the factory's racing programme in 1911.Limited support continued for employees that wanted to go racing, and the 1915 catalogue contained a list of 1914-season race wins extending to a page-and-a-half. When Miami ceased production of Merkel motorcycles in 1915, Joseph Merkel designed and patented the 'Merkel Motor Wheel'.This incredible time-warp 1913 Flying Merkel 996cc Twin Seventy-one 471 was acquired by Vic Norman in 1998 from none other than Bud Ekins (receipts on file). Vic's work routinely took him to California for the air show season, and he and his dear friend Alain De Cadenet would often ride over to Bud Ekins' place. A consummate off-road racer, bike restorer, motorcycle dealer, occasional stunt rider, and all-American hero, Ekins was a close friend of actor Steve McQueen and performed the famous motorcycle jump (as McQueen's stunt double) in the movie The Great Escape. (Although the movie was set in WW2, Bud's bike was in fact a post-war Triumph dating from 1962).The Great Escape was being shot in Germany in 1962 and Ekins thought it would be a good idea to combine his film work with participation in that year's ISDT, held at Garmisch Partenkirchen. Triumph agreed to supply a suitable factory-prepared machine, which was flown to Germany and first registered there. After the event, in which Bud not only gained a Gold Medal but also won the Unlimited Capacity Class, the Triumph was flown back to his home in California and registered there as 'CAL 142080'.In his autobiography, Norman Conquest, Vic recalls: 'I fell in love with his (Ekins') 1913 Flying Merkel, still in its 100-year-old original paint. It was only after my many visits over a three-year period, chatting and talking to Bud, that he finally agreed to sell me the Merkel. Plus, I think he rather liked the fact that I was an air show pilot flying 1940s Boeing Stearman aircraft with wing-walkers.' No doubt the Flying Merkels' 'world's fastest' reputation was one of the many reasons Vic Norman was drawn to this particular machine; that and his passion for all things automotive and aeronautical, including a special penchant for Americana and heroes of the bygone era.Bud told Vic that the Merkel had been bought new by a wealthy man living in New Mexico and that he used it daily on the road until 1923 when it ended up in his emerald mine, with its back wheel taken off, being used to power the electric lights. Bud bought the bike and found the back wheel. According to the 1923 State of Mexico Owner's Certificate on file, it was registered to a Walter McBaren, and later transferred to a Ronald Bonner of Sunland California in 1958.Bud owned several Merkels throughout his life and Tiger Joe Michiels (author of the Tiger Joe Michiels website and member of the so-called 'Hollywood Gang' of classic vehicle enthusiasts) has kindly supplied a 1975 photograph of Bud on another of his Merkel's, as well as an image of the assembled gang.According to Vic: 'We rebuilt the engine and it's still in its original paint and goes like a rocket every year during the London to Brighton Pioneer Run. Merkel's advertising slogan was 'The Next Thing To Flying', and in 1913 it really was. Maybe that's what hooked me.''It's a bloody quick bike,' says Vic, and it does not have much in the way of brakes, hence Vic and his team upgraded the rear brake internals. To this day, the machine bears an old scar/badge of honour: a patch repair to the crankcase, probably done early in the engine's life, which specialist Fred Smith left intact when overhauling the engine for Vic. Vic and Fred also took the decision to change the wheels and tyres for a re-spoked set with black Coker tyres. The old white Coker tyres and wheels are offered with the machine (see image).Vic's Flying Merkel has featured in various articles, including a vivid 'riding impressions' piece by Richard Heseltine for MOTOGEO (copy on file), and has been campaigned by Vic on countless Pioneer Runs since acquisition (see file for images). Unused in recent years due to Vic's advancing years, countless other projects and the change in the Sunbeam Motor Cycle Club's Pioneer Run 'finish' from Madeira Drive in Brighton to Shoreham airport, the machine will require careful recommissioning before returning to the road. The Merkel is dated 1913 by the Sunbeam Motor Cycle Club and was added to their Pioneer Register in 2006 (Pioneer Register Number 1734). It should be noted, that despite the V5C Registration Certificate listing a frame number, the frame is not numbered, as is correct for Flying Merkels of the period.This wonderful machine is offered with a substantial history file containing, among other documents, various 'rare-as-hen's-teeth' Flying Merkel brochures (for 1914 and 1916) and the all-important Sunbeam MCC Pioneer Certificate.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.REQUEST A TRANSPORT QUOTEPlease click the link to request a transport quote from our recommended transport company, Moving Motorcycles.To request a UK or European shipping quote - Moving MotorcyclesTo request an International shipping quote - ShippioThis Lot will be auctioned on Sunday 13 October starting at 11am GMT.For further information on this lot please visit Bonhams.com
A quantity of mainly Crummles enamel Patch Boxes, to comprise animal scenes, winter scenes, flora, etc. together with a quantity of other enamel Patch Boxes and other boxes including Halcyon Days, Staffordshire Enamels, two miniature Coalport Shoes, two Royal Crown Derby paperweights etc. 35 pieces approximately (a lot)
RAOUL DUFY (1877-1953)La Tamise signed, inscribed and dated 'à Madame MacDonald souvenir de Raoul Dufy avril 1932' (lower left)watercolour on paper49.9 x 61.7cm (19 5/8 x 24 5/16in).Executed in London in April 1932Footnotes:ProvenanceElizabeth M. MacDonald Collection, London (a gift from the artist in April 1932); her estate sale, Sotheby & Co., London, 6 May 1959, lot 151.Patch Collection (acquired at the above sale).Clune Gallery, Sydney (acquired by 1962).Private collection, Sydney. Annandale Galleries, Sydney, no. RD1.Private collection, Sydney (acquired from the above in July 1999).ExhibitedSydney, Clune Galleries, 1962.LiteratureF. Guillon-Laffaille, Raoul Dufy, Catalogue raisonné des aquarelles, gouaches et pastels, Vol. I, Paris, 1982, no. 746 (illustrated p. 273).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Royal Worcester Porcelain Tea Cup, Saucer, and Side Plate, painted with fruit, signed Price and Ayrton, printed puce marks (3)No chips, cracks or repair. No crazing. Gilding slighty worn and scratched. Side plate with a short scratch in the left side of the border. Saucer with a wear patch at the same spot.
A Victorian Silver Teapot, by Charles Gordon, London, 1837, compressed circular and with ivory-insulated handle, the hinged cover with melon and foliage finial, 21cm wide over handle, gross weight 10oz 13dwt, 331grWith non-transferable standard ivory exemption declaration number VDDHR6LG. Fully marked underneath. Further part marked on handle and inside cover with conforming marks. There is some wear to the marks but each is generally legible. There is some overall surface scratching and wear, consistent with age and use. There is a repair/patch around the top handle junction and a small split in this area. There is some cracking and discolouration to the ivory, though there is no sign that the ivory has been added or altered in any way.
SEVEN VARIOUS ENGLISH ENAMELS OVAL PILL OR PATCH BOXES FOR THE BATH SOUVENIR TRADE CIRCA 1800 Including printed views of the Guildhall; Prior Park; North Parade; General Hospital; New Rooms, The Abbey and a blue 'Trinket from Bath' exampleProvenance: The Leonard Fuller Collection Condition Report: Some old damage and restoration generally. Please see additional images for clarification. These are available from the Dept. upon request.Condition Report Disclaimer
FOUR ITEMS OF ENGLISH ENAMELS, STAFFORDSHIRE OR BILSTON FOR THE BATH SOUVENIR TRADE CIRCA 1800 Comprising: a miniature measuring tape; an egg-shaped nutmeg grater; and two various Bath related pill/patch boxesProvenance: The Leonard Fuller Collection Condition Report: Some damage. Please see supporting images for clarification.Condition Report Disclaimer
SEVEN VARIOUS ENGLISH ENAMELS OVAL PILL OR PATCH BOXES FOR THE BATH SOUVENIR TRADE CIRCA 1800 Including printed views of The Abbey; Laura Place: The New Rooms; The New Bridge; and three generic Bath gift/trifle boxesProvenance: The Leonard Fuller Collection Condition Report: Some old damage and restoration generally. Please see additional images for clarification. These are available from the Dept. upon request. Condition Report Disclaimer
![Birds.- Wytsman (P., editor) Genera Avium, 26 parts [all published], first edition, 43 chromolithographed plates, occasional](https://cdn.globalauctionplatform.com/39360469-0db9-4271-8365-b1fc00cb3067/5f7eda21-f0e3-488a-a676-b1fc00ce8d1a/468x382.jpg)
Birds.- Wytsman (P., editor) Genera Avium, 26 parts [all published], first edition, 43 chromolithographed plates, occasional toning or light spotting to margins, original printed wrappers, most stapled but with staples removed (leaves loose), some slight toning and a few tiny tears to extremities, rust-staining around staples, the odd small patch of soiling, housed within a custom morocco-backed box, 4to, [Nissen 1028; Wood p. 638 "monumental work"], Brussels, V. Verteneuil & L. Desmet, 1905-14.
CIRCLE OF JOHANN ELIAS RIDINGER (GERMAN 1698 - 1767) EQUESTRIAN PAINTINGS OF A HORSE AND PAGE Oil on panel, a pair, in carved giltwood frames Each 18 x 22cm (7 x 8½ in.) This pair of Southern German Equestrian Portraits are influenced by the likes of Christoph Resch and Johann Falch. Their subject matter can be assumed to have been inspired by a scene from the riding school in Regensburg, at which Johann Elias Ridinger developed a taste for hunting scenes. (This lot is offered without reserve) Condition Report: Sizes including frames approximately 28 x 33cm The picture with the spotted horse under UV light reveals an evenly applied varnish across the whole surface, a small dotted retouch of about 0.5cm is present to the upper left corner, a few targeted retouches present on the eyebrows and eyes, and on the horses neck, to conclude a few scattered retouches in the background, other than a very thin 5cm superficial crack to the right of the horse, no evident signs of damage are presentThe other picture under UV light reveals an evenly applied varnish across the whole surface, a few scattered retouches are present in the sky, as well as a 4cm patch of restoration on the rear thigh of the horse, to conclude the panel is slightly warpedthe frames present a few scattered damages as well as loss of the gilding, please see images for extentCondition Report Disclaimer
This eclectic grouping features an Eagle Breastplate, a Seabees patch, two military Waterbury and Co. buttons, and an elk pin. Also included is a 2-blade Camillus pocketknife, with both blades measuring approximately 2.75" long, and a Campfire and Battlefield book. The largest piece measures 11"L x 1.5"W x 13.25"H. Dimensions: See DescriptionCondition: Age related wear. Book is missing its exterior boards.
CIRCLE OF DENIS VAN ASLOOT (FLEMISH 1570-1628) A FROZEN RIVER Oil on copper 23 x 15.5cm (9 x 6 in.) Provenance: Brian L. Koetser, Fine Art Dealer, London, as Denis Van Asloot Exhibited: London, Brian L. Koetser, Fine Art Dealer, Autumn Exhibition, 1970, as Denis Van Asloot Condition Report: The copper presents a few superficial indents and scratches, especially near the borders. UV light reveals a thin layer of varnish and dirt, and a few scattered retouches, such as on the clothing of the ice skaters, a few vertical retouches on the trees, a few on the land in the bottom right corner, and a 2cm long patch on the bottom border, just right to the lake, in the area of shade. Framed measurements: 23.2 x 31 cm Condition Report Disclaimer
THOMAS DANIELL R.A. (BRITISH 1749-1840) VIEW IN THE KOAH NULLAH Oil on canvas 58 x 45cm (22¾ x 17½ in.)In August 1788, Thomas Daniell began to plan a tour up-country, passing through Cawnpore, and then on to Agra and Delhi, before heading further north to Amroha and Najibabad. The rocky valley of the Khoh river, that leads into the Garhwal hills, was the route that the Daniells followed on the final outbound leg of their journey from Kotdwara to Srinagar in April 1789. Parts of the journey were perilous because of the difficult roads, and much of the terrain was unknown to the British. The Daniels were in fact the first Europeans ever to visit Garhwal. They wrote: 'We all four were carried in our jampans [hill palanquins] by four bearers to each who seemed to take us with the greatest ease.' (Archer, p.86) However, it was often too steep to use their palanquins and they had to climb up the rocky watercourse.Described by the pair, 'The Koah Nullah [Khoh River] is a mountain stream that in the season of rain must be a furious torrent, but in the month of April was a delightful rivulet, that, sparkling in the sun, gave animation and beauty to the rude scenes through which it pursued its course' (Oriental Scenery, Part 4, Plate 15).The enthusiasm for sparkling streams was apparently not shared by the Daniells' remaining Bengali servants who, as well as being hostile to the wheat eaten in this region, these lowlanders were also prejudiced against 'beautiful transparent water' flowing in the hills: their stagnant reservoirs, and even the turbid waters of the Hooghly at Calcutta, appeared to them much more inviting' (Archer, p.87).In the autumn of 1791, the pair of artists arrived back at Calcutta, having travelled many miles since their departure in August 1788. Their arrival was noted by William Baillie, who informed Ozias Humphry (November 3rd, 1793) that 'Mr. Thomas Daniell returned to Calcutta with a collection of about 150 pictures.' On the 5th January 1792, the Calcutta Gazette announced a 'Lottery of pictures painted during the extended tour'. (Sutton, p.66-67) One hundred and fifty pictures and paintings were exhibited at the Old Harmonic Tavern, with the draw taking place on March 1st. Although no catalogue of this lottery survives, it is likely that the present, unrecorded, lot, was one of the hundred and fifty works produced for this financial venture. If this is the case, we can date the work to circa 1790-1791 when the Daniells were working on pictures for the Calcutta Lottery. Much of the works produced by the Daniells during their time in India include buildings or ruins; both a reflection of their own artistic ideals, and of the idea that India itself was the scene of ancient civilisations. However, the foothills of the Himalayas presented the pair with the opportunity to paint pure landscapes. The present lot is not completely free of buildings, but the humble dwelling at its centre is quickly dwarfed and overshadowed by the sublime rugged mountains and spirited waters which surround it. A watercolour sold at Christie's, London, The P&O Collection of Watercolours of India by Thomas and William Daniell, 24 September 1996, lot 62, entitled The Khoh River, near Diosa, Garhwal, Uttar Pradesh (Oriental Scenery vol. IV, engraving No.18) appears to offer a similar view to the present lot but from a vantage point further down the Khoh River, omitting the house, but with the same mountain range easily identifiable. In addition, the artist depicted the same view in one of a pair of drawings entitled Old Lungoor Ghur: Near Nytana, Srinagar Mountains (Sale, Christie's London 29th October 2019, lot 91).A comparable oil painting, The Koh Valley in Garhwal, Northern India, was sold at Bonhams Travel and Topographical Pictures auction on 10 May 2005, lot 67. We are grateful to Charles Greig for his assistance in preparing this catalogue entry. Condition Report: The canvas is relined and presents an unevenly applied varnish. UV light reveals few scattered retouches in the section of the sky, which, for the most part are infills for the craquelure. The most visible retouches in the sky are three dotted restorations of a bout 0.5 cm in diameter, two of which are near the right corner, while one to the left. A threaded patch of restoration is present in the bottom left corner, such restoration is about 5cm wide. To conclude, a few scattered infills a present in the mountains and foliage, and a subtle craquelure is visible across the whole surface, and most evident in the section of the sky. Framed measurements: 69.5 x 55.5 cm Condition Report Disclaimer
HENRY GARLAND (BRITISH FL. 1854-1890) HIGHLAND CATTLE Signed and dated '1881' (lower left) 94 x 174cm (37 x 68½ in.) Condition Report: Framed measurements: 213 x 137 cm - depth 14 cm The canvas is relied and presents an uneven craquelure across. UV light reveals an unevenly applied varnish and a 60 cm long retouching to the left of the light brown highland cow. A further patch of of about 7cm retouching is present in the bottom border. Further smaller scattered retouches are present on the cattle. Condition Report Disclaimer
CIRCLE OF GEORGE BARRET (IRISH CIRCA 1728-1784) FISHING SCENE AT SUNSET Oil on canvas 86 x 107.5cm (33¾ x 42¼ in.) Provenance: Sale, Sotheby's, 28 November 2002, lot 121 Condition Report: The canvas has been relined, and presents a subtle craquelure across the whole surface, most evident in the section of the sky. UV light reveals various infills in the sky, and various retouches, the most evident to left of the castle, where a patch of about 8cm in length is visible. In addition, a few retouches are present on the animals and greenery. Framed measurements 106 x 128cmCondition Report Disclaimer
GEORGE VICAT COLE (BRITISH 1833-1893) THE HARVESTERS Oil on canvas Signed and dated '1881' (lower left) 43 x 64cm (16¾ x 25 in.) Condition Report: The canvas has not been lined and is a little slack. There is a small area to the lower left corner where the stretcher support is pushing on the canvas causing some undulation. There is an uneven varnish. Stretcher marks visible. Craquelure throughout, however the paint surface appears stable. Some brown spots of surface dirt scattered throughout. There is a small patch (verso) at the centre of the upper edge which corresponds with a small area of repair (approx. 2cm) (recto). This area of repair with some over-paint which is visible in a natural light. Inspection under UV light reveals a small area of retouching to the aforementioned area of repair. Framed dimensions 63 x 82cmCondition Report Disclaimer
CIRCLE OF DAME LAURA KNIGHT (BRITISH 1877-1970) A GYPSY CARAVAN Oil on canvas 61 x 51cm (24 x 20 in.) Condition Report: The canvas has not been lined and is a little slack. There is a small patch (verso) which corresponds with a very small area of repair to the right edge (recto). Some light surface dirt and craquelure. Inspection under UV light reveals light scattered retouching throughout.Condition Report Disclaimer
ARTHUR WILLIAM DEVIS (BRITISH 1762-1822) A DOUBLE PORTRAIT OF TWO BOYS, ONE POINTING TO INDIA ON A GLOBE: A DOUBLE PORTRAIT OF TWO BOYS, PRACTICING ARCHERY Oil on canvas, a pair The former inscribed `Miss Kensington No.106' (on the reverse of the frame); and the latter inscribed `Miss Kensington No.105' (on the reverse of the frame) Each 79.4 x 56.5cm (31¼ x 22 in.) (2)Provenance: Private collection, UK Philips, Son & Neale, 1st December 1969, lot 30 Richard Green, London Dr Norman PowerArthur William Devis inherited his talent from his father, the portrait painter Arthur Devis (1712-1787). He led an adventurous life and in 1782 was `appointed Draftsman by a private committee of the East India Company to pursue a voyage around the world' (2) aboard the Antelope. He was wounded by arrows in New Guinea and shipwrecked off the Palau Islands in the Pacific. Devis reached Calcutta in 1785, hoping to make his fortune as a portrait painter. Handsome, charming and generous, he plunged into the extravagant, febrile world of Calcutta society, where East India Company officials lived with all the elegance of Europe and the glamour of the East. One of Devis's first sitters was the Governor-General of Bengal, Warren Hastings and he went on to paint Marquess Cornwallis Receiving the Hostage Prince of Mysore before Seringapatam: and The Finding of the body of Tippoo Sahib, The Sultan of Mysore. Devis returned to England in 1795, intending to publish his series of twenty-six paintings of Indian Manufacturers. He built up his reputation as a portrait painter, often executing commissions for families with connections to India. He became renowned for portraits of children: his gentle, warm personality put them at their ease. Sydney Pavière, Devis's biographer, comments: 'That he was fond of little children cannot be doubted. He painted them so lovingly and well' (3) . This can be seen in the present pair of portraits of four brothers. The elder pair stand in an interior with a table globe and the younger of the two boys' points to India, making clear the family's connection with that country. The elder boys, engaged in learning about the world, have the gravity of approaching manhood. Their young brothers live still in a world of outdoor play and sunlight. They are depicted practicing archery in the shade of a huge tree, the vastness of which suggests the tropics and is similar to the Banyan Tree in Devis's portrait of Colin Shakespeare, of the Bengal Civil Service (4). Both portraits are inscribed `Miss Kensington' on the reverse of the frames. It is possible that the boys are members of the Kensington family who are recorded in Madras in the early nineteenth century. For example, Henry Kensington (d.1825) began his career as a Writer (or clerk, the first rung of an East India Company career) in 1808 and rose to be Registrar to the Provincial Court, Southern Division by 1822 . There may well have been earlier generations of the family living in India. Devis visited Madras in 1793. 1. Sydney H Pavière, The Devis Family of Painters, Leigh-on-Sea 1950, p.102 2 Ibid p.104 3 Ibid p.113 4 Ibid p.114, no.134, plate 46 Condition Report: Framed measurements: 91 x 71 cm The portrait of boys practicing archery: The canvas is relined and presents a very subtle craquelure, which is hardly noticeable. UV light reveals various retouches yet mostly subtle. Starting from the boy on the left, the are restorations next to the right leg, a patch of retouching in the background just to to his left, of about 1.5 cm in diameter; further retouching near the right section of the bow, and very subtle targeted retouching to the white frilled collar, on the lip, and to the right of the hair; there also seems to be some reinforcing on his right eyebrow. The boy on the right, on the other hand, has a few retouches on the hand, and small, hardly noticeable retouching near the eye, and on the locks of hair to the left. Further retouching is present on the left border, and various restorations are present in the foliage to the right border. To conclude, a suable varnish covers the whole surface. The portrait of boys pointing to India: The canvas is relined, and presents a subtle, and hardly noticeable, craquelure across the whole surface. UV light reveals a few minor retouches. Starting from the boy on the left, there are some dotted restorations on the hand pointing to the globe, a few on the legs, while a thin 7 cm long retouch is situated diagonally to the left of to the froward leg. In addition, there might be some white paint restoration, which though does not fluoresce, on the stockings. The boy on the right instead presents a few retouches on the stocking, and a few, yet hardly noticeable and visible restorations on the hair and nose. To conclude, a 0.5 cm long retouching is present on he left of the boy's head. Further scattered retouches are present in the background, most notably near the brooders. Condition Report Disclaimer
Digby (Kenelm). Two Treatises. In the one of which, the Nature of Bodies, in the Other the Nature of Man's Soule is Looked Into....1st edition, Paris: Gilles Blaizot, 1644, title bearing manuscript annotation (leaf regarded), diagrams to text, early annotations and markings, leaf 3G3 misbound before 3G2, manuscript list to verso of final leaf (3N3), lacking blank leaf 3N4, worming mostly to lower blank margins and lower outer corners (occasionally affecting few marginal notes) with some adhesive tape repairs, toning throughout, some light damp-staining, margins frayed mostly to first and last few leaves, modern blind panelled calf, diced spine compartments with maroon morocco title label, folioQTY: (1)NOTE:Norman 639; Wing D1448.Digby's Two Treatises was intended to prove the immortality of the rational soul and its distinction from the material body, a dualistic view shared by many of his contemporaries. The work is noteworthy on several counts: it contains the first fully developed atomistic system of the seventeenth century, the first important defence in English of Harvey's theory of the circulation, important discussions of reflex action and embryological development, an account of the first recorded patch test for allergy, the fullest early account in English of teaching the deaf to lip-read, and material on behavioural conditioning that anticipates the work of Pavlov. Digby's introduction of Gassendian and Cartesian atomism into England provided Boyle and Newton with the foundation for their achievements in chemistry and physics. (Norman).
A Coalport coffee cup and saucer, circa 1860, painted by John Randall in his earlier style with small exotic birds below a raised gilt scroll and trailing foliage border, divided entwined handle to the cup, unmarked, saucer 14cm diameterCondition:Some crazing to the cup throughout and a small patch of crazing to the saucer. No damages or repairs. Both pieces ring when tapped. Some gilt wear to teacup rim.
A George III inlaid mahogany brass dial longcase clock The dial signed Thomas Pierce, Bristol The hood with arched top and 3/4 turned columns, the case with arched door inlaid with star patera above an inlaid base box on plinth foot, the 11 3/4in brass arched dial with silvered Roman and Arabic chapter, subsidiary seconds dial below 12, engraved calendar aperture above 6, scroll and rocaille spandrels, the arch with engraved silvered boss having an armorial bird and motto Tempus Fugit between dolphin spandrels, the eight day movement with four knopped pillars striking on a bell. With two weights, pendulum and winder. 52.5cm wide x 25.5cm deep x 230cm high Footnote:Thomas Pierce is recorded as a clockmaker in Bristol, active until 1792. Condition:Hood: Minor signs of age.Case: Generally good with some minor cosmetic marks and signs of age. Small veneer patch to cornice corner. Fine splits to base box sides.Dial: Negligible signs of age. Possible refinishing but if so it is to a high standard and sensitively done.Movement: Winds, sets, runs and strikes.Ancillaries: Pendulum, two weights, case key and winder present and in good order. Winder probably a later replacement.Unless otherwise stated, all clocks are likely to have been serviced and/or repaired in their lifetime and may have had parts replaced. While a clock may be described as 'working' at the time of the report, they are not guaranteed for timekeeping or durability - it is advised that all clocks are inspected and serviced by a qualified horologist before full use.
The Anthony William Walter Gass Collection, born 1918, WWII RAF Bomber Squadron in Japan, India, and China, to include a Japanese 'Hinomaru' Prayer Flag, white silk with red sun surrounded by prayers and signatures of friends and family, a traditional gift for Japanese servicemen deployed during WWII, a piece of Japanese plane shrapnel, an inscribed road map of India, a cloth patch with RAF Bomber Squadron insignia, a Royal Air Force India 1942 card, RAF service and relief book, photographs, papers, and magazine clipping on POWs. (12).
Derby group, Time Clipping the Wings of Cupid, patch marks, 21cm.Condition report:There are substantial cracks to the underside of the base, extending from the base hole (not effecting the figure when stood upright though). Time's left wing has been professionally restored, with the top crest looking to have been rebuilt. There are a number of underglaze firing lines on the figure - mainly the crest of Time's right wing, and on Cupid's right hip. The big toe on Time's right foot has a slight chip which almost pass as the toe nil, but it is chip nonetheless.
A set of six silver gilt and Harlequin enamel coffee spoons, Turner & Simpson Ltd, Birmingham 1929, cased; and a silver presentation spoon and fork, engraved initials to back, cased. Qty: 2Condition report:There is a semi-circular discoloured patch to the back of the pink spoon and a small nick to the handle of the purple spoon. Please see additional uploaded images.
Royal Worcester dessert service, circa 1912, painted with fruit and blossom by Harry Martin, within an elaborated royal blue border, gadrooned outline, comprising six dessert plates, diameter 24cm., two serving dishes and a comport, the latter painted by Horace Price, some damage. (9) Condition report:Plates: Plums and strawberries - hairline travels through the well of the plate, evident to both surfaces, no ingrained, approx 8cm to the painted surface, 15cm to the underside. Very fine crazing throughout, some surface scratches. Pears and blackberries - some faint scratches across the fruit. No chips, restoration of hairlines. A small patch of grey paint (possibly) to the gilt rim could be difficult to remove without affecting the gilding underneath. Apples and damsons - No chips, hairlines or restoration. Some faint surface scratches and fine crazing throughout. Plums and blackberries - Quite a heavy scratch across the blackberries. A small patch of grey paint (possibly) to the gilt rim could be difficult to remove without affecting the gilding underneath. No chips, restoration or hairlines. Pears and damsons - there is a crack running around the circumference of the foot, and in places it travels through to the inner border on the painted surface. The painted surface is quite noticeably scratched and scuffed. Pears and grape-like fruit - no chips, hairlines, or restoration. Light surface scratching and fine crazing throughout.Dishes: Oval - good condition, no chips, hairlines, or restoration. Some surface scratching and crazing. Some of the gilt borders are slightly rubbed. Square form - good condition, no chips, hairlines, or restoration. Some surface scratching and crazing. Some of the gilt borders are slightly rubbed. The underside is very dirty but just on the surface.Short comport - the plate is broken clean off from the junction of the pedestal. No other damages other than some random surface scratches. Fine crazing to the underside of the plate and pedestal.
Follower of George Armfield,Two dogs ratting,indistinctly signed, oil on canvas,24x30cm.Condition report:There is a small patch repair towards the right hand margin, two thirds of the way up the work (see image with UV light spot shining on the area in question). The patch is evident to the back of the canvas. No other damages to the canvas as such but the canvas is a little slack. Cracquelure to the oil. Some random spots of surface dirt.
General Service 1918-62 Medal (QEII), 1 clasp, Malaya, awarded to '1922703 CPL. R. W. Wealleans RAF., Campaign Service Medal with 'Northern Ireland' Clasp engraved to SGT. R. W. Wealleans (M1922703) RAF and QE11 Long Service Good Conduct Medal to M 1922703 SGT. R. W. Wealleans, RAF. Together with paperwork and patch.
A Moorcroft Eventide small ovoid vase, c.1925, impressed marks and decorator’s mark, 9cm high There is a minute loss to the glaze on the tube lining near the base of the vase, there is an over glazed tiny white patch to the edge of the foot, typical fine crazing to the glaze, otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
An 18th century Brussels or Antwerp tapestry depicting the Judgement of Paris, with the figures standing before a stream, attended by Cupid, lovebirds and a dog, floral bordered, 390 x 297cmCondition: Looks to have a later join running along the entire right side of of the main image. Colours fair. Holed in multiple areas, some re-stitching and patch repairs.Re-backed within the past 10 years or so, some staining showing at the back.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
An Arca Swiss Pro III 5 X 4 Monorail Camera, all moves freely, G-VG, with Fujinon W 150mm f/5.6 lens, in copal shutter, shutter working, elements G-VG, Schneider Kreuznach 180mm f/5.6 Symmar-S lens, in Copal 1 shutter, working, elements G, fungus patch to rear element, Schneider Kreuznach 90mm f/8 Super Angulon lens, in Synchro Compur shutter, shutter working, elements G-VG, all with front & rear caps, wide angle bellows, standard bellows, reflex viewing hood, five Polaroid backs, 120 roll film back, in fitted aluminium case
Three South Staffordshire enamel patch boxes, late 18th c, the lid painted with birds and inscriptions Keep this for my Sake or In Remembrance of a Friend, the third inscribed Love the Giver, in yellow border, each with mirror to the underside of the lid, 39 and 41mm l Some typical faults as evident from image
English School, late 18th-early 19th century - Portrait of a Lady of the Maling family of Northumberland, seated half length in a lace headdress, pearls and lace-trimmed blue gown, her left arm resting on a stone ledge, oil on canvas, 57 x 70cm Provenance: The sitter and by descent in the Maling family to John Ford Maling (1858-1923) earthenware manufacturer of Newcastle on Tyne; thence by descent to the present vendor Short horizontal tear lower left; two old small patch repairs otherwise unlined, varnish dirty, in what is probably the original contemporary gilt cavetto frame, with small losses
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