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Lot 143
oil on board, signedframedimage size 50cm x 60cm, overall size 57cm x 67cmNote: William Norman Gaunt was born in Leeds In 1918 and studied at Lancaster School of Art under Walter Bayes RWS. He gained his National Diploma in 1949 and was made a Fellow of the International Institute of Arts and Letters in 1959. His work is well renowned for his characterful depictions of figures, coastal scenes and equestrian portraits. Gaunt worked in oils but was also a gifted watercolourist. It's not known how often he visited Scotland but he is known to have painted in Kirkcudbright, Sutherland, Loch Earn, in Glasgow and around the Clyde. His Scottish paintings were sold by T&R Annan & Sons (Glasgow). Norman Gaunt's Scottish paintings rarely appear at auction but we sold "Kite Flying" lot 18, 27th November 2016, for £900 (hammer) and "Boats On The Clyde" (lot 30, 24th January 2021) for £2800. Most recently, a relatively small watercolour "Boats on the Clyde" sold for £1200 (lot 256 29th September 2022).
Lot 126
SILVER AND GUILLOCHE ENAMEL TRINKET BOX The oval trinket box fitted with a yellow sunburst Guilloche enamel lid, make M N W B control mark 925 date letter r, measurement 7.5cm x 5cm x 1.8cm, weight 65g Condition Report : Excellent, no wear to the enamel Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 94
ANTIQUE FOOTED SILVER SALVER OF OVAL SHAPE With beaded rim, four hoof feet, hallmarked Leopards head crowned date letter e, maker R.1, length 16cm, width 12.7cm, weight 145g Condition Report : Age related wear Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 158
THORNTON-PICKARD; a triple Imperial extension brass bound mahogany plate camera with two mahogany plates in leather case, width of the camera 20.5cm, with an associated tripod, a Voigtlander camera, a R&J Beck lens and a Cinecraft title maker.Condition Report: The bellows on the Thornton Pickard camera has minor rubbing to the side otherwise in fair condition.
Lot 203
A late 19th century/early 20th century silver plated oil lamp with bulbous etched glass shade, cut glass reservoir and silver plated base modelled as a Grecian urn, on tapering square columns, height including chimney 86cm.Condition Report: The lamp is slightly leaning to one side, very minor rim chips to the shade, tarnishing and wear. The piece has been engraved and inscribed Ranger F.C Sports 1903, 120 yards flat handicap, won by R. MacIntyre.
Lot 412
BOOKS, MISCELLANEOUS. To include: TINNE, R., 'Irish Country House Cooking', 4th imp., Gill and Macmillan, 1980; HOUSTON BOWDEN, G., 'Morgan First and Last of the Real Sports Cars', Gentry 1st, 1972; MARTIN, H. and COOPER, A.W. (illus.), 'Stories of Irish Life', Partridge and Co. Undated, but late 19th century, probably. some splitting and general fragility but looks complete (a rare book); SMALLEY, G.W., 'Anglo-American Memories', Duckworth, 1911 (bookplate of Baron Barrymore); PADFIELD, P., 'An Agony of Collisions', Hodder and Stoughton, 1st 1966; with four other volumes.
Lot 437
CHILDREN'S BOOKS: An interesting group to include: WILLCOX SMITH, J., 'A Child's Book of Verses', Chatto 1st ed. 1910. This is a very nicely preserved copy (with the exception of one detached illus.). No annotations/names/scribbling. Has clearly been 'respected'; with SAMIVEL, 'M.Dumollet sur le Mont Blanc', Lyon, 1946 1st thus. In superb clean condition internally; and WELCH, R., 'Nicholas Carey', OUP 1st 1963, a child's neat name and one tiny 'shamrock-like' stamp on the ffep under the name. Otherwise clearly VG/VG. D/J protected. With seven other volumes.
Lot 449
VOLTAIRE: 'Histoire de Charles XII, Roi de Suede par M. Voltaire Fait sur l'edition de Geneve', Printed 'A Londres' Jean Joseph Stockdale, 1807. Nicely bound, internally VG. A bookplate has been removed. In French. Comes with: WHATELY, R., 'Bacon's Essays with Annotations', Longman, 1864, full calf binding and bookplate of Henry Peto. Similarly with Peto bookplate: LAING PURVES, ed., 'The Canterbury Tales and The Faerie Queen etc etc', Nimmo, Edinburgh, 1875. 3 VOLUMES.
Lot 4
Colin Middleton RUA RHA (1910 - 1983)Seated Figure with Yellow Coffee Pot (1972)Oil on board, 92 x 91cm (36 x 36")Signed; also signed, inscribed with title and dated 1972 versoProvenance: With David Hendriks Gallery, Dublin, January 1973; Collection R. W. Wilson, DublinThe early 1970s was a period of significant recognition for Colin Middleton. He held a number of exhibitions with the Arts Council of Northern Ireland in the 1960s, culminating in a major retrospective covering the decade 1960-1970 that toured in Northern Ireland and Scotland. Middleton was also awarded a bursary by the Arts Council that allowed him to retire from teaching and to undertake some journeys that became highly significant to the development of his art at this time, first to Australia and then to Barcelona. Seated Figure with Yellow Coffee Pot appears to have been completed shortly before Colin and Kathleen Middleton departed on the long sea voyage to Australia which was partially to inspire the Wilderness Series of paintings. It continues aspects of his figure painting from the 1960s but the complexity and concentration of Middleton’s development also means that it foreshadows the last decade of his figure painting and connects with later paintings that are often seen as emerging from his visits to Barcelona, where his daughter Jane was living. This is particularly notable in the yellow that dominates the painting and recalls a group of paintings inspired by a visit to Bruges in 1965, while also prefiguring the dramatic use of high-pitched colour in Middleton’s later work, which was primarily influenced by the light of Spain and Australia. There is a classical division of the picture space, and shapes that form the female figure are repeated in the coffee pot, creating movement across the composition.The figure appears to be writing, introducing a suggestion of narrative that connects it with paintings in the 1960s of Middleton’s wife and daughters quietly engaged in activities such as reading or playing the piano. This painting also demonstrates the crucial role that Middleton’s design training and experience came to play in his art, with patterning and decoration creating balance and activity around the picture space and allowing the artist to maintain an ambiguous and almost mysterious mood without overbalancing it with the description of specific objects within the composition.Dickon Hall, January 2023
Lot 71
Property of The Daughters of the Cross Italian, 16th Century, after Leonardo Da Vinci (1452-1519) 'Le Cenacolo' A very rare, early copy of Da Vinci's Last Supper Oil on panel With an extensive inscription on vellum attached to the reverse bearing several wax seals, including the Imperial seal of the Royal Academy, Milan. Executed possibly pre 1515, certainly 16th century. Recorded by Domenico Pino, the author of the first monograph dedicated entirely to Leonardo’s Cenacolo and the Prior of the monastery for which the original Last Supper was made. He writes in 1796 as this painting being in the Santa Maria Delle Grazie di Milano and Guillon writes as “…l’autre petit, et non moins ancienne, mais peinte sur bois…elle était au temps du P. Pino dans le chambre de l’un de ses confreres†Provenance: Santa Maria delle Grazie; Francis II, Holy Roman Emperor (1768 - 1835); Christie's London, 7th June 1865, as Leonardo da Vinci; Gift of John Law to St. Wilfrid's Convent of London, Tite Street, Chelsea. (Attributed to Andrea Salai). Literature: Dominica Peno, Storia genuina del Cenacolo insigne dipinto da Leonardo da Vinci nel refettorio de’ padri domenicani di Santa Maria delle Grazie di Milano, 1796. Published by Cesare Orena. Giuseppe Bossi, Del Cenacolo di Leonard da Vinci, 1810 Dimensions: 14.2 in. (H) x 25.6 in. (W) 36 cm (H) x 65 cm (W) Oil on wood 14 1/4 by 25 1/4 inc. ;36 by 65 cm.  First mention of this panel is by Padre Maestro Dominica Peno in his “ Storie. Genuine del Cenacolo insigne â€, published at Milan in 1796 he mentions it as being in the possession of one of his brotherhood quoted again in l’ Abbé Aimée Guillon’s “ Le Cenacle de Leonard de Vinci†Milan, 1844, page 200, where he states: “ L’autre petite, et non moins ancenne, mais peinte sur bois… Elle étoit au temps du P.Pino dans la chambre de l’un de sen confreres.†The original mention is in Pino, p. 85.  According to l’Abbé Guillon, it was then in the collection (1811) of the owner of the large copy on canvas from the Certosa at Pavia (later R.A), and of a lesser copy on the two sheets of paper. Guillon notes this panel as no. 13 of his list of copies of Leonardo's original. The text in the original reads: “ et maintenant elle appartient au proprietaire du Cenacle de Chartreuse… †The present work bears a number of small mutilated wax seals. One of these is the official Imperial seal of the. “ R. Accademia di Milano â€; , the words (partly missing) “ per… si azione †(for Collezione). Showing the Imperial arms with the monogram of Emperor Francis II (thus dating between 1792 and at latest 1855) it is thus likely that for some time it was in the state collection of the R.Accademia di Milan, better known as the Reale Accademia di Belle Arte, and later known as the Palazzo di Scienze, Lettere ed Arti. Thus it appears to have followed the fortunes of the large R.A canvas for some time. The next mention of this little panel is its being one of the valuable works in the sale of a Gentleman by Messrs. Christie in London, Sat. June 7,1856. Described was having "been mainly acquired during travels on the continent, the collection was not only an important one, but flattering to the discernment of its collector."
Lot 178
Fleet Bank in England, 50 Pence, 11 May 1811, serial number 4310, signature of R. Denton, some toning and small stains but a nice looking example, very fine and very scarce Outing 4018d £100-£150 --- Richard Denton was an engraver who appears to have produced these ‘Fleet Bank’ notes from his cell in Fleet Prison! When a copper printing plate was discovered in his possession he was sentenced to six more months for the offence. He claimed he was doing it to make ‘a few pence for his family while confined’.
This is a very passable imitation of a Bank of England note, the ‘Fleet’ part of the title being printed in tiny lettering, and the vignette incredibly similar to that on genuine examples. There are numerous contemporary court cases where people (innocently or otherwise) were imprisoned or even transported for uttering (paying with) these notes.
Lot 475
Clydesdale Bank PLC, commemorative £5 (4), 21 July 1996, serial numbers R/B 0000034, R/B 1000034, R/B 2000034 and R/B 3000034, Goodwin signature, each featuring a different opening set of lines from a Booby Burns poem, uncirculated and a scarce matching low number set for this special prefix (4 notes) PMS CL 49a,b,c,d £120-£160
Lot 547
Commonwealth of Australia, 10 Shillings (2), ND (1949 and 1952), prefixes A/31 and B/26, Coombs and Watt, and Coombs and Wilson signatures, £1, ND (1939), prefix O/21, Sheenan and McFarlane signatures, also £5, ND (1941), prefix R/37, Armitage and McFarlane signatures, all original very fine examples (4 notes) TBB B131cd, B132a, B133b, Pick 25c,d, 26a, 27b £100-£150
Lot 600
Government of India, Burma issue, 10 Rupees, ND (1937), serial number R/42 686877, Kelly signature, black LEGAL TENDER IN BURMA ONLY overprint, with overprint scrapped off on reverse, presumably in an attempt to use it in India, overall about fine and scarce regardless TBB B102a, Pick 2a £150-£200
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297893 item(s)/page