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Lot 360
A pair of stained wooden planter chairs,of recent manufacture, each with a sloping caned seat and scroll arms,67cm wide93cm deep89cm high (2)Condition ReportSome slight surface wear, knocks and small scratches. Caning is tight and sound. Overall appear in good structural and cosmetic condition and are ready for use.
Lot 91
A collection of Chinese and Japanese blue and white,19th-20th century, comprising:a small planter, a plate, two stem bowls, two small vases, two jars, and an export mug, each decorated with blossom, floral scrolls, a bird, fruit, or a pagoda in a landscape,6cm to 23.5cm (10)Condition ReportPlanter - felt glued to base. Plate - chipped, riveted and restored in several places.Two jars - cover restored. Mug - chipped inside from manufacture.
Lot 1358
op steen gebracht door J.C. Greive. Amst., F. Buffa & Zn., n.d. (1865-72). Letterpress title-p. printed in black and red w. list of the plates verso, followed by 17 (of 24) chromolithogr. plates, partly finished by hand, hinged to mounts and loose as issued, each mount captioned w. a printed ticket on the outer right lower corner. Orig. giltlettered cl. portfolio w. remnants of ties. Large folio. Lacks plates 1-3, 5, 9, 10 and 12, plate 4 yellowed, lacking the ticket, perforated in margins and sl. smaller (from another copy), plate 19 loose from mount, mounts foxed, a few mounts w. marginal defects, portfolio waterst. and dam. Sold as a collection of prints, not subject to return. *Abram Salm (1801-76), a tobacco planter, spent 29 years in Indonesia and was a self-taught draughtsman and painter of num. landscapes in Java. 24 of Salm's works were copied by the painter and lithogr. J.C. Greive (1837-91) at the request of the publ. Frans Buffa. The quality and finish of the plates in 'Java' is generally held to be Greive's and Buffa's greatest effort, and thus represent some of the finest 19th cent. lithogr. book ills. to have been publ. in the Netherlands. Moreover, Salm's works were of rarely depicted Indonesian landscapes. 2 versions of this work exist: tinted and col. w. hand finishing. This is a copy w. hand finishing. Bastin & Brommer, p. 44-45 and note 659; Landwehr, Dutch Books w. Cold. Plates, 421; Tiele, Bibl. 954.
Lot 535
On Thursday evening, March 16th, 1826, will be presented the musical play of the slave (...). Letterpress program, single leaf of 22 x 14 cm printed on 1 side only, by Thomas Thopping in Hull, for the Theatre-Royal in Hull, 1826. Tiny portion of blank upper left corner lacking. Very interesting and ultra-rare program of a play on slavery (and a few other performances). The list of characters (all w. the actor mentioned) indicates that the location of the story is Surinam. Some characters: "The Governor of Surinam" (Mr. Hamilton); "Clifton (a captain in the English Army" (Mr. White); "Matthew Sharpset (a resident in Surinam)" (Mr. Crook); "Mr. Dearlove - First planter"; "Mr. Mills Second planter"; Mr. Davies - Gambia (an African slave); "Miss Von Trump (a rich lady of Surinam)" (Mrs. Macnamara); "Zelinda (a quadron slave beloved by Clifton) (Miss Stafford); "Slaves, mesdames Andrew, W.J. Hammond, Webster, French, &c." And a similar program for one day later: "On Friday evening, March 17th, 1826): Will be performed the opera, called My native land or, The return from slavery". (total 2)
Lot 603
TWO WOODEN 'BUTLERS BEER' CRATES, containing a large Wedgwood blue Jasperware planter, a small WW1 trench art shell case, height 9cm, a floral wash bowl and pitcher, a brass Asian style pedestal centrepiece dish, a vintage C.W.S. biscuit tin, a case of forty L.P records, artists include Queen, Gene Pitney, Val Doonican, etc. (2 wooden case + 1 record case)
Lot 460
ONE BOX OF METALWARE, to include a large arts and crafts repoussé planter decorated with a scallop design and floral border, five piece Roundhead Pewter tea set tray 8444, milk jug 8513, sugar bowl 8513, hot water pot 8513, teapot 8513, copper kettle, copper tray, a large pestle & mortar, green marble rolling pin and pastry board, a set of Victorian Libra Scale Co. kitchen balance scales with brass pans and weights, etc. (s.d) (1 box and loose)
Lot 544
A LARGE QUANTITY OF AYNSLEY 'HOWARD SPRAYS' PATTERN TEAWARE, LAMPS AND VASES, to include a boxed octagonal vase, ginger jar, table lamp with gold shade, photo frame, fruit bowl, five trinket dishes, bell, teapot, milk jug, sugar bowl, six cups, six saucers, six tea plates, cake plate, planter, a 'Wild Tudor' pattern ginger jar, etc. (Qty) (Condition Report: most pieces have original blue stickers and appear unused)
Lot 434
A QUANTITY OF WEDGWOOD 'HATHAWAY ROSE' PATTERN TEAWARE AND GIFTWARE, comprising six cups, six saucers, six tea plates, teapot, sugar bowl, milk jug, square cake plate, two vases, two bud vases, four trinket dishes, preserve pot, ashtray, ginger jar, planter, etc. (42) (Condition report: hairline crack in the teapot lid, signs of light use)
Lot 1083
with Greek key pattern above a continuous scene of figures on horse back brandishing weapons, amongst trees and foliage, on wood stand the planter 25cm high In overall good condition. Crazing throughout. Small section of flaking to rim. Small yellow stain to inside as well as a faded section. Turquoise coloured stain to inside. Stand in good condition. Part of the wooden lip is broken. Scratching to either side and on feet. Additional images now available.
Lot 263
An Arts & Crafts Pewter Mounted Oak Book Trough, embossed with Yorkshire roses and inscribed A BOOK, unmarked, 34cm wide, 16cm deep, 14cm high; An Arts & Crafts Copper Mounted Planter, embossed with thistles, on bun feet, 29cm high; An Art Nouveau Copper Fire Guard, embossed and riveted decoration, external 128cm wide, 32cm deep (3)Curb height is 13.5cm (this is excluding scrollwork handle etc).
Lot 379
Workshop of Robert Mouseman Thompson (Kilburn): An English Oak Octagonal Planter, contrasting fumed oak panels, penny moulded top, with a cylindrical removable steel bucket, on eight short feet, with carved mouse trademark, 38cm diameter, 38cm highIn good order with little use, dusty in the bottom. See extra images.
Lot 254
An Arts & Crafts Copper Planter, by John Pearson, repoussé decorated with fish, stamped J.P 1905 6020,45cm diameter, 26cm highSome tarnishing and scratches. With a thumbnail-sized bruise visible on one of the fish, this is just below the eye. The underside of the base is heavily scratched. The interior is tarnished.
Lot 56
A Victorian Imari patterned biscuit barrel, a salt glazed jug and a hand painted oval planter decorated with birds and branches, together with an aesthetic movement biscuit barrel, etc. CONDITION REPORT: The aesthetic bird barrel has no lid. The Imari patterned biscuit barrel has a lid. IT is structurally intact. No visible cracks or damage. There is wear to the lid with slight chips and also wear to the decoration in many places. The other ceramic items are also in used condition. The tureen has numerous chips to its lid. The body of the tureen is intact with no cracks, hairline cracks or damage. The other items include a stoneware jug very much in used condition with staining and ingrained dirt. The cachepot is structurally sound but with signs of use.
Lot 104
JOHN WILLIAM GODWARD (BRITISH 1861-1922)A BIRTHDAY PRESENTOil on canvasSigned and dated 'J. W. Godward 97' (lower left)46 x 56cm (18 x 22 in.)Provenance: Messrs. Thomas McLean, London 21 September 1897Private Collection, UKLiterature:McLean letter to Godward (21 Sept 1897) Mio-Turner CollectionSwanson, Vern Grosvenor, The Eclipse of Classicism¸ 1997, p.195Swanson, Vern Grosvenor, The Eclipse of Classicism¸ 2018, p.275John William Godward (1861-1922) was one of the last of the classical painters of the Victorian age. Slightly younger than his better-known counter parts: Sir Frederic Leighton (1830-1896), Lawrence Alma-Tadema (1836-1912), and John Poynter (1836-1919) he was working in the dawn of a new, modernist era at the end of the 19th century, one which had little place for the Classical ideals of Antiquity which had dominated art for the last 500 years. His career has been described by Swanson as the 'Eclipse of Classicism'. The author goes on to expand that Godward's career 'offers the clearest example of the demise of classical Greco-Roman subject painting' (Swanson, p.8). As a reclusive genius, and someone who almost certainly had Asperger's Syndrome, little is known about Godward's private life. This is partly due to his strict family upbringing and somewhat overbearing mother, Sarah Eboral, who outlived her son by 13 years, dying at the age of 100 in 1932. When Godward moved to Italy with one of his models in 1912, his family broke contact with the artist, destroyed many papers, and removed his image from family pictures. Indeed, only one photo of the artist is thought to exist. Although little is known about the young artist's schooling, as the eldest of five children, by all accounts Godward came from a respectable bourgeois family and ideal Victorian home. It is therefore likely that his family would have been able to afford to send him a private school, as was common for middle class children at that time. What is certain, is that there was pressure for all the Godward children to follow their father's lead into the family profession of insurance, investing and banking. Although his siblings all seem to have succeeded in this expectation, John William did not. Between 1879 and 1881, it is believed Godward studied under the architect William Hoff Wontner (1814 - 1881). This apprenticeship seems the likely source for Godward's ability to render perspective and architectural elements, as well as being able to realistically depict marble and porphyry. It was around this time that Swanson believes Godward turned his aspirations to becoming a fine artist. Whether Godward received any formal art training is purely a matter of speculation as there are no records, but given his family's insistence that he follow in his father's footsteps into the work of business, it seems unlikely that he would have had access to any instructional study. We do know however that by 1881, Wontner had died, and his son William Clarke had taken over the family business. By 1885, Wontner and Godward had become best friends, and the former had taken a post at St. John's Wood Art School. It is perhaps not too much of a leap then, to assume that at least some instruction was taken from his friend. It is most likely that Goward's exposure to specifically Graeco-Roman subject painting came through seeing contemporary work at the Royal Academy or Royal Society of British Artists. In 1887, his own debut work, A Yellow Turban, (No. 721) was accepted into the Royal Academy Summer Exhibition. He continued to exhibit with the Royal Academy until 1905. It was also during 1887, that Godward exhibited for the first time at the RBA, with a painting called Poppaea (No. 401). Three years later, he was officially elected as a member of the organisation. In 1888, Godward exhibited his oil, Ianthe (No. 941), at the Royal Academy. Upon seeing the painting, he was approached by the infamous art dealer Arthur Tooth who asked whether he might include it in his own Winter Show of that year. In addition to Ianthe, Godward produced nine further paintings for Tooth's show. His relationship with Tooth ultimately failed to extend beyond the exhibition however, as he decided to proceed with another dealer and Tooth's next-door neighbour, Thomas Miller McLean (1832-1909). Throughout his career Messers. Thomas McLean would deal hundreds of oils for the artist with great success.The present lot is no exception, and together with another work from the previous year, Winding the Skein (Sawnson, p.69, illustrated), is one of only a handful of works from this period to include more than one figure. Here, in a marble walled garden, we see the skill in which the artist depicts the red and grey tones in the smooth creamy stone set against a planter of poppies and blooming oleanders. Classical motifs are arranged throughout the work, including a small bronze statue of Venus, a white marble carving of Pan pulling a thorn from a hoofed Satyr, a variation of the sculpture in the Pio-Clementine Museum, and to the right of the work, a bronze vase atop a round marble table with lion monopodia leg. Centre stage are two figures dressed in beautiful turquoise and purple tunics. One woman seated on a tiger skin, a common motif in Godward's work, is presented with a birthday gift by her attendant: a beautiful Portland cameo glass vase. The first decade of the new century was one of the best for Godward as an artist. Imperial interest grew as prosperity throughout the British Empire rose. However, by 1911, the art scene in Britain had changed significantly, and this would shortly be echoed throughout the whole of society with the start of the Great War. The founding of the Camden Town Group in 1911, followed by the death of Alma Tadema in 1912, and the emergence of the Vorticist movement just before the start of World War I in 1913-14, as well as the Great War itself, marked the beginning of the end of the Classicist painters. It was amongst this backdrop that Godward moved to Rome, perhaps believing that he could escape the new dawn on the horizon which was already a reality in London. In Italy he found a seductive blend of ancient, medieval, and classical cultures. Unsurprisingly, little is documented of Godward's time in Italy, however by 1916, the new way of painting which he had so hoped to escape in London had made its way to the Continent. Nonetheless, Godward stayed in Rome until 1921. He spent most of his time working out of a studio at the Villa Strohl-Fern despite the villa's one hundred or so studios being filled with younger, more modern looking artists. He returned to England briefly in 1919, to attend his nephew's funeral and again in 1920 to attend his brother's wedding. Returning to Rome, his mood was low. The following year his health deteriorated, affected by Spanish influenza and depression. As a result, he only produced five paintings. This reduced to two in 1921. London was much more hostile to his art than Rome had been, and his depression and ill health did not improve once home. He became a recluse, and failing to feed himself properly, soon became malnourished and fell ill to a peptic ulcer. Rather than continue in his misery, and see his art suffer further at his inability to paint, the artist committed suicide on 13 December 1922, aged 62.
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