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Lot 130
BINDING - IRELAND, CIVIL AND MILITARY ACCOUNTS'An Establishment for Irleand. Commencing ye 24th June for Civil Affaires and 1st July for Military 1702', manuscript in ink, written in a neat secretarial hand, in 4 sections comprising 53pp., 32pp., 18pp. and 6pp. respectively, ruled in red throughout, first 2 sections written vertically, general title-page in pen and wash with fine armorial border, bound in elaborate contemporary dark blue morocco gilt, sides with outer border of repeated acorn tools and large centre panel filled with tulip and other floral decoration, and a large centrepiece with larger acorn tools at corners, gilt panelled spine with acorn and other floral tools and raised bands, some wear to extremities and lower cover, small 8vo, 1702--'The Regulation of the weekly subsistance for ye forces in Ireland... William R.', 114pp. (a few blank), mostly written in a similar neat hand, ruled in red throughout, contemporary red panelled morocco gilt, gilt panelled spine, worn with 2 holes in upper cover, 1690 (2)Footnotes:The first is an attractive volume listing payments relating to Irish and West Indian affairs under the reign of Queen Ann, prepared under the direction of Sidney Godolphin, 1st Earl of Godolphin, the first two sections being headed 'Signed Ann R.' and several pages in the first three sections ending with 'By Her Majestie's Command Godolphin' or similar. The third section, written in a different hand, is headed 'Regulation of the Pay for the Three Regiments in the West Indies according to the Establishment./ Anne R...', and lists payments made 'out of ye revenue of Ireland'. The last section, again in another hand, lists 'An Estimate of the Yearly Change of Salaryes for Looking after ye Barracks.. [in Leinster, Ulster, Munster and Conaught]'.These original volumes relate to Thomas, Lord Coningsby's service as joint-Receiver and Paymaster-General for King William's army during the campaign in Ireland in 1689-90. Coningsby remained thereafter as one of the Lords Justice of Ireland, and framed the Treaty of Limerick (1691).With thanks to Catherine Beale for her historical guidance and research on this Lot.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 153
FATIO DE DUILLIER (NICOLAS)Fruit-Walls Improved, by Inclining them to the Horizon: or, a Way to Build Walls for Fruit-Trees; Whereby they May Receive More Sun Shine, and Heat, than Ordinary, FIRST EDITION, engraved frontispiece and 2 folding plates by Grebelin, engraved device to title, initials, head- & tail-pieces, errata leaf, contemporary panelled calf, covers with gilt armorial stamp, raised spine bands, rubbed, joints splitting, spine ends worn/chipped [ESTC R5191], 4to, R. Everingham; and are to be sold by John Taylor..., 1699Footnotes:Innovative work on fruit trees by the Swiss mathematician Nicolas Fatio de Duillier, known for his study of the Zodiacal light problem and for his close working relationship with Isaac Newton. With a view to increasing productivity, he devised a system of sloping walls and later a mechanism which could pivot to track the movement of the sun.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 174
LANGLEY (BATTY)Pomona: or, the Fruit-Garden Illustrated, FIRST EDITION, title-page printed in black and red, 79 engraved plates (some 2 per page, engraved head- and tail-pieces, some damp-staining, occasional offsetting to some plates, small wormholes in lower margins not affecting text, contemporary speckled panelled calf, gilt tooling to covers, spine with six raised bands, gilt ruling and gilt red morocco label, rebacked, minor shelf-wear [ESTC T44033; Dunthorne 175; Henrey 928; Hunt 478], Folio (397 x 251mm.), G. Strahan, R. Gosling, W. Mears and others, 1729Footnotes:A very good copy of this 'interesting and important work on fruits, rarely seen...' (Dunthorne).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 181
MASON (SIMON)The Nature of an intermitting Fever and Ague, FIRST EDITION, some old ink marginalia, contemporary calf, gilt, rubbed, J. Hodges, 1745--GAY (JOHN) Fables, 2 vol., title with engraved vignette, illustrations, bookplate of the Countess of Tyrconnel, contemporary mottled calf, spines gilt with red and green morocco labels, J. and R. Tonson & J. Watts, 1753--WOODWARD (JOSIAH) An Account of the Societies For Reformation of Manners, in London and Westminster... With a Persuasive to Persons of all Ranks, to be Zealous and Dilligent in Promoting the Execution of the Laws against Prophaneness and Debauchery, engraved portrait, contemporary panelled calf, joints split, B[rabazon] Aylmer, 1699; and another, 8vo (5)Footnotes:The first book is a rare work on malaria, only two copies of which have appeared in auction records over the last fifty years.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 182
MASON (WILLIAM)The English Garden: a Poem, 4 parts in 1 vol., second edition, finely bound in purple straight-grained morocco by Bayntun, covers with gilt line and roll tool borders, gilt panelled spine with raised bands, inner gilt dentelles, g.e., 4to, R. Horsfield etc., 1772; York, A. Ward for J. Dodsley, 1777; H. Goldney for J. Dodsley 1779; York, A. Ward for J. Dodsley, 1781Footnotes:Each part with a different imprint.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 82
Edward R. Taylor (British, 1838-1912)A portrait of a young boy, traditionally identified as John 'Jack' Stanhope Arkwright aged three or four, ovalSigned and dated 'E Taylor/1876' (lower left) Watercolour 38 x 32cm (14 15/16 x 12 5/8in).Footnotes:Lucy's letters reveal that in 1887 she returned, while in London, to Edward Taylor's studio to organise pictures of the children. 'On a little easel in the passage leading to the studio was a little picture of a child in a cap done from the photograph of Wee Wee' [Evelyn, Jack's younger sister, born 1876].With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
Lot 249
CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S ARGYLE STREET TEAROOMS CHAIR, 1898 oak, with original drop-in rushed seatDimensions:48cm wide, 99.5cm high, 43cm deepProvenance:Provenance: Private Collection, GlasgowNote: Literature: Billcliffe, R. Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, pp.62 and 63, 1898.45, ‘Chair with curved top rail for the Argyle Street Tea Rooms’ (with later horsehair seat), illustrated. Note: In 1898, early in the career of renowned Scottish architect Charles Rennie Mackintosh (1868-1928), entrepreneur Catherine Cranston - known simply as Miss Cranston - commissioned him to furnish her new rooms at her tearooms on Argyle Street, Glasgow. Miss Cranston was to be an important patron for the young architect, who came to rely on a relatively small number of patrons throughout his career. The commission afforded Mackintosh a new freedom to experiment, whilst leading to further projects, including the Ingram Street Tea Rooms (1900) and the Willow Tea Rooms (1903). The work at Argyle Street followed on from his previous work at Miss Cranston's new Buchanan Street Tea Rooms, which had been conceived two years earlier in 1896, in collaboration with designer George Walton who designed the furnishings. In this new undertaking, however, Mackintosh found himself in a role reversal, being fully in charge of the furnishings whilst Walton was preoccupied with designing the interiors. Walton had just opened his new offices in London and his involvement with new projects in the south probably curtailed his ability to take on the commission of designing all of the furniture for Miss Cranston's new venture. The furniture Mackintosh designed for these new rooms exhibit a new, more robust evolution of his repertoire and established a style for much of his work up to 1900. Combining English Arts & Crafts and Scottish vernacular design, Mackintosh produced furniture in a bold and simple aesthetic which marked him out from his contemporaries. The distinctive furniture he produced was also employed to define and separate the rooms as designed by Walton. Their collaboration suggested that they were ‘moving away from each other’. The rather delicate refinement of Walton’s scheme was not emulated by Mackintosh, and his furniture for the Argyle Street Tea Rooms demonstrates a far more robust manner. All the pieces are made of oak with an emphasis on broad, unmoulded planes, the timber being clear-varnished or, more usually, dark-stained and waxed as in the present example. The use of broad laths to the backs and subtle tapered elements to the top rail and legs enliven the rectangular blocked outline. Used at one end of the Luncheon Room about twenty chairs of the present design appear in contemporary photographs, of which five are known to survive. Mackintosh went on to develop this chair design for a chair at Ingram Street. Related chairs, probably produced as replacements but with design differences including a kidney-shaped handle, were produced later but it is thought not with Mackintosh’s involvement. The Argyle Tea Rooms closed in 1920, and much of the furniture was dispersed.
Lot 250
CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON'S INGRAM STREET TEAROOMS WRITING TABLE, 1909 oakDimensions:91cm diameter, 70cm highProvenance:Provenance: Messrs Coopers Tearooms (Ingram Street Tearooms), Glasgow, from whom purchased by the present owner, circa 1960.Note: Literature: Billcliffe, R., Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, p. 249-251, illus. 1909.16 and 16ANote: This table formed the base of a writing table made by Frances Smith for the Ladies' Rest Room at Miss Cranston's Ingram Street Tearoom in 1909. The Rest Room formed one of two new adjacent rooms created by Mackintosh for the Ingram Street Tea Rooms: The Oval Room and the Ladies Rest Room. This latter room was dark stained and panelled with recesses for couches and other furniture. The fireplace was surrounded by gold mosaic tiles and open columns supported the mezzanine of the Oval Room above. The desk originally had a superstructure with dividers which allowed for four people to sit at the desk at any time and may in any case have been removable. Although the original layout of the room is not known, it may be that the circular writing desk offered here sat in the bow window next to the fireplace at one end of the room.
Lot 253
CHARLES RENNIE MACKINTOSH AND MARGARET MACDONALD INTEREST A BOOK OF ELFIN RHYMES BY NORMAN (PSEUD.) with 40 drawings in colour by Carton Moore Park published by Gay and Bird 1900. Inscription in pencil to front endpaper: TO HENRY STEEL DAVIDSON FROM/ MARGARET MACDONALD MACKINTOSH AND/ CHARLES RENNIE MACKINTOSH CHRISTMAS 1900, together with a folded 4-page notepaper headed ‘Windyhill/ Kilmacolm’ containing a handwritten list of “Kitty’s Books” from 1883 to 1928Note: Literature: Davidson, Hamish R. Memories of Charles Rennie Mackintosh, Scottish Art Review, 11, no. 4, 1968, from p. 2.Note: Charles Rennie Mackintosh became acquainted with the Davidson family around 1894/95 and was commissioned in 1900 to design their new home, Windyhill in Kilmacolm. The Davidson’s remained lifelong friends and supporters of Mackintosh and his wife Margaret MacDonald.William and Jean Davidson had three sons, William Cameron (1890–1975); Hamish Reid (1893–1972) and Henry Steel (1896–1915), who was killed in action in France. From 1898 (or earlier) until 1905 (or later) Mackintosh gave Mr and Mrs Davidson and each of their sons, Christmas gifts of books inscribed by Mackintosh until 1899 and, following their marriage, inscribed by Charles and Margaret Mackintosh from 1900.In 1968, looking back more than 60 years, Hamish Reid Davidson refers to some of these books in his Memories of Charles Rennie Mackintosh. Up to 1899, gifts to the boys were from “Uncle Tosh” and from 1900 were inscribed by Charles and Margaret in the form as can be seen in ‘A Book of Elfin Rhymes’. He also says that the joint inscription from 1900 was probably by Margaret rather than Charles as it was less flamboyant than the earlier Uncle Tosh inscriptions.In 1967, Hamish Davidson compiled a list of seven Mackintosh inscribed books then in his possession (but since dispersed), a copy of which is in the Glasgow School of Art collections. This is very incomplete as the books given over the years by the Mackintoshs to the Davidson family must have numbered more than thirty. The list of seven includes only one for 1900 (to Hamish); A Child’s London by Hamish Hendry, published in 1900, with the same illustrator as A Book of Elfin Rhymes, Carton Moore Park; and only one gift to his youngest brother, Henry Steel Davidson for 1902. A Book of Elfin Rhymes is not among the seven on the list, nor are the gifts for 1900 to Mr and Mrs Davidson or William Cameron.Other than the book in this lot, only one other Christmas gift to any member of the Davidson family appears to have survived which has a pasted-in inscription for Christmas 1899 from Mackintosh to Mr and Mrs Davidson. It was donated to the Glasgow School of Art in 2014. With the book in this lot is a folded 4-page notepaper on Windyhill, Kilmacolm letterhead, headed “Kitty’s Books” and with a handwritten list of one book title each year from 1883 to 1928 and concluding with the words “The forty-fifth milestone of our friendship. The End”. How the notepaper and the book are connected is unclear. One possible, but unproven, explanation is that Mrs Davidson kept the Mackintosh-inscribed book after the death in 1915 of her youngest son Henry, and that like the Mackintosh exchange of books, the Davidsons were also in the habit of giving books to friends and the notepaper records one such series of annual gifts.Frederick William Carton Moore Park (1876-1956) was born in Stewarton, Ayrshire. He was a student at the Glasgow School of Art from 1893-97. He exhibited a painting in Vienna at the 1900 Secession Exhibition which also provided Charles and Margaret Mackintosh with their first major European exposure. His early career focused on the illustration of children’s books. In a letter of 24th December 1898 from Mackintosh to the 8 years old Cameron Davidson, he says….”I am sending you this little book of animals which has been illustrated by a young friend of mine in Glasgow…..”. Perhaps this anonymous illustrator is Carton Moore Park and the book An Alphabet of Animals, newly published by Blackie.
Lot 367
GORDON RUSSELL (1892-1980) FOR RUSSELL & SONS, BROADWAY CHEST OF DRAWERS, DATED 1929 Cuban mahogany, inlaid with cherry and ebony, model 598, with maker’s label under drawer DESIGNER: GORDON RUSSELL/ FOREMAN: EDGAR TURNER/ CABINET MAKER: R. FRANCE/ DATE: MAY 22ND 1929 Dimensions:76cm wide, 91cm high, 54.5cm deep
Lot 131
Collection of three watercolours in different hands, to include: Mary F Williams 'farm near cannal bridge Myton', 'Attributed to J Priddey 'Derwen Water, Lake District', Fanny Gwynne Price, 'Priory tower and farm buildings, Caldy', together with R Wilson, waterfall scene with distant mountains, oil on metal. All Framed. (4)(B.P. 21% + VAT)
Lot 113
HOAGY LANDS - THE NEXT IN LINE 7" (US SOUL - LAURIE LR-3381). A powerful vocal performance on this mid-60s soul classic by Hoagy Lands - The Next In Line/ Please Don't Talk About Me When I'm Gone (LR-3381, original US pressing on Laurie. U4KM-901-1C-A1A R/ U4KM-1006-1C-A1M R matrix. The label has some age-related handling/ storage wear. The record is in stunning, glossy Ex condition).
Lot 128
UK NORTHERN/ 60s SOUL - ORIGINAL 7". Another quality pack of 6 soul 7", mostly original UK pressings. Artists/ titles include James Brown And The Famous Flames inc Night Train/ Why Does Everything Happen To Me (45-R 4922, some pen on labels. Record has some light surface marks, strong glossy VG condition), These Foolish Things/ Can You Feel It (HL 9775, London demo. Ex+). Phillip Mitchell - I'm Gonna Build California/ The World Needs More People Like You (BOY 37, record is Ex), Barbara Mason - Yes, I'm Ready/ Keep Him (HL 9977, London demo press. Ex), Solomon Burke - Only Love/ Little Girl That Loves Me (AT.4061, Atlantic demo. Ex+), Chuck Jackson - Any Day Now/ The Prophet (7N.25276, Ex+).
Lot 131
BLUES - LP COLLECTION. Another fantastic selection of 29 blues LPs. Artists/ titles include Otis Rush - This One's A Good 'Un (7-63222, record is Ex), BB King - The BB King Story (7-63226, Ex), Snooky Pryor (LP100), Little Esther - Bad Bad Girl, Luke Jones/ Red Mack - West Coast R&B, Lightning Hopkins - The Blues, Bessie Smith - Empty Bed Blues, Elmore James - The Legend Of, Muddy Waters - Rare & Unissued, Leadbelly - The Midnight Special, Memphis Jamboree - 1927-1936, Son Sealed - Midnight Son. Buck Wheat, Rocking Dopsie, Julie Lee, Gabriel Brown, Lowell Fulson, Professor Longhair, Memphis Minnie, Cousin Joe, Clarence Gatemouth Brown, Johnny Copeland, John Hammond. Condition is generally VG+ to Ex+.
Lot 132
BLUES - LP COLLECTION. Another fantastic collection of 30 blues LPs. Artists/ titles include Elmore James - Something Inside Of Me (MBLL 104, record is Ex/ sleeve VG), Howlin Wolf - Moanin' In The Moonlight (PLP-806, Japanese press. Record Ex/ sleeve Ex), BB King - The BB King Story (S7-63216, Ex/ Ex), VA - Fded Picture Blues (Juke Blues 4), Joe Louis Walker - The Gift, St Louis Town - 1927-1932, Jimmy Witherspoon - The Federal Sessions, Lightning Hopkins inc Historic Recordings, Dirty Blues. Muddy Waters - The Best Of, Leadbelly - S/T. Clarence Gatemouth Brown, Ma Rainey, BB King, The Robert Cray Band, Chess Masters Sampler, Barrence Whitfield & The Savages, Elmore James, Lowell Fulson, Lake Michigan Blues, Amos Milburn, Professor Longhair, Classics R&B Vols 1 & 2. Condition is generally VG+ to Ex+.
Lot 148
THE DEALERS - YOU GOT IT/ (WE'RE SO) GLAD THAT WE MADE IT 7" (US NORTHERN - BIG BUNNY BB-507). A superb, scarce slice of mid-60s soul by The Dealers; You Got It/ (We're So) Glad That We Made It (BB-507, 1966 US pressing on Big Bunny. T4KM-4174--1 R/ T4KM-4175--1 R matrix. Labels are lovely, bright and clean. The record is in superb Ex condition).
Lot 150
BOB RELF - GIRL, YOU'RE MY KIND OF WONDERFUL 7" (US NORTHERN - TRANS-AMERICAN TA-0010). A scarce slice of classic US northern from 1970 by Bob Relf - Girl, You're My Kind Of Wonderful/ Blowing My Mind To Pieces (TA-0010, 1970 US pressing on Trans-American. TA-10-A [stamped drum logo] R-3211/ TA-10-B [stamped drum logo] R-3212 matrix. Labels are lovely, bright and clean. The record is in wonderful VG+ condition, displaying a small number of hairline paper marks).
Lot 226
JAZZ/R&B/SOUL - LP COLLECTION. Excellent offering of 17 x LPs full of deep grooves! Artists/titles include Charles Mingus - The Black Saint And The Sinner Lady (late 60s US stereo RE, AS-35, with Impulse logos at 12/3/6/9 o clock - sharp Ex record/Ex some minor foxing on the inside gatefold section) and Right Now (Original Jazz Classics RE), Michael Gibbs - S/T (UK stereo Deram og, SML 1063 - very nice Ex record/VG sleeve with creasing), Miles Davis (x3) - 1951 & 1953 (XTRA 5018, also XTRA 5050) and The Original Quintet (PR 7254), Art Farmer - Modern Art (UAL 4007), Muddy Waters - Hard Again, James Brown - Live At The Apollo Volume II (2612 005), Oscar Peterson, Chuck Jackson, Various - The Jazz Life, Helen Merrill and Billy Boy Arnold. Largely presented in well kept VG+ to Ex+ condition.
Lot 23
US SOUL / FUNK / DISCO / R&B / JAZZ - 7" COLLECTION. Fantastic collection of around 100 x 7". Titles / Artists include Betty LaVette - He Made a Woman Outy Of Me, The Marvelettes - Marionette, Betty Everett - Chained To Your Love, Geraldine Hunt - Look All Around, Leon Huff - I Ain't Jivin', I'm Jammin' (Part 1), Loleatta Holloway - Cry To Me, Ojay's - Don't You Know A True Love, Starpoint - I Just Wanna Dance With You, The Dells - When I'm In Your Arms, Gloria Gaynor - Honeybee, Jackie Wilson - The Girl Turned Me On, Betty Wright - Where Is the Love, Black Ivory - Time Is Love and William Bell - Born Under a Bad Sign. The condition is generally VG to Ex / Ex+.
Lot 231
GARLAND GREEN - AIN'T THAT GOOD ENOUGH 7" (ORIGINAL US COPY - REVUE R-11030). A Northern Classic from Garland Green with this original US styrene copy of Ain't That Good Enough c/w Love Now, Pay Later. The record is in solid VG condition showing some light surface marks though no heavier feelable scratches. Matrix/runout: Δ73247 557-T5 MR[circled] & Δ73247-X 558-T5 MR[circled].
Lot 44
ALBERT AYLER - LP PACK. Superb pack of 5 x LPs. Titles include Spirits (UK OG - TRA 13 - Ex / VG+), Spiritual Unity (R-65-2857 - Italian Reissue - Ex+ / Ex), Spirits Rejoice (US RE - ESP 1020 - Ex+ / VG+), My Name Is Albert Ayler (DEB 140 - JP RE - Ex+ / Ex+) and Ghosts (DEB 114 - JP RE - Ex+ / Ex+).
Lot 237
BERNARD LENS (BRITISH, 1682-1740)Portrait miniature of a gentleman in armour, with a long curling wigsigned in gold with monogram and dated ‘BL / 1723’ (lower left)on ivory (ref UT44GGAX)oval, 80mm highin turned wood frameProvenanceLeo R. Schidlof Collection;Acquired from Gertrude Rudigier-Ruckert, Olympia Art Fair,London, 14 June 2000Private collection, UKCondition reportSmall abrasions to upper centre edge and upper left edge.Otherwise appears generally good.Under glass and not examined out off frame.Inspection under uv light reveals flecks of fluorescing in the hair, upper centre edge and upper left edge and a few flecks in the armour.
Lot 266
SAMUEL COTES (BRITISH, 1734-1818)Portrait miniature of a gentleman with the initials R. L. J., in a spotted red coatsigned with initials and dated ‘SC / 1771’ (lower right)on ivory (ref AVR7NXVE)oval, 43 mm highin a gilt-metal frame with paste surround, engraved with initials 'RLJ' (to the reverse)ProvenanceF.A. Ashcroft Esq & Mrs O.S. Ashcroft;Sotheby’s, London, 7 May 1946, lot 66, acquired by Mikel Papier;Mikel Papier Collection, thence by descent via his granddaughterLiz Field. ExhibitedLondon, Palace of Arts, Wembley, British Empire Exhibition,1924, no. 60.London, Victoria & Albert Museum, long-term loan, 1924-1939.London, Royal Academy, Exhibition of British Art, 1934, no. 1009. LiteratureB. Long, British Miniaturists 1520-1860, p. 104, illustrated fig. 90.
Lot 496
ROBERT ANSCOMB (BRITISH, 20TH CENTURY)Mickey the Greeksigned, titled and inscribed 'R ANSCOMB NEWMARKET' (lower right)oil on canvas41 x 51cmProvenancePrivate collection, UKCondition reportSurface and ingrained dirt. Two white marks upper centre.Various other small marks, spots and stains throughout. Inspection under uv lights reveals areas of retouching to sky and around horse's head.
Lot 508
RICHARD SIMKIN (BRITISH, 1840-1926)The Crimeasigned 'R SIMKIN' (lower right)pencil and watercolour24 x 60cmProvenanceSale, Bonhams London, 17 December 2008, lot 99;Property from a deceased estateCondition reportAcidic mount.Loose bit of paper (possibly from backing paper (not from work itself)) under glass, could be easily removed.Discolouration/yellowing to paper, can see to left edge where it was previously mounted the change in colour from white to discoloured.Otherwise appears overall generally good.Under glass and unexamined out of frame.Not inspected under uv light.
Lot 530
ATTRIBUTED TO ROBERT NIGHTINGALE (BRITISH, 1815-1895)The After Dinner Table - Still life with grapes, walnuts and a wine glassbears signature and date 'R Nightingale 1875' (lower right); further signed, titled and indistinctly dated (on an old label attached to the backboard)oil on canvas24.5 x 19cm
Lot 14
Christopher Richard Wynne Nevinson ARA., British 1889-1946 - The Thames, 1911; oil on canvas, signed and dated left edge 'C. R. W. Nevinson. 1911', bears further inscriptions to the reverse, 40.5 x 50.7 cm Note: this rare and early example of Nevinson's work was completed during his later years at the Slade School of Art. As a student at the prestigious art school from 1909-1912, Nevinson was part of a new wave of British Art studying alongside the likes of Stanley Spencer, Paul Nash, David Bomberg, William Roberts and Adrian Allinson, whilst building close friendships with Mark Gertler and Dora Carrington. During his period at the Slade, Nevinson's style was predominantly in the Impressionist format (noticeable in the present work), with close associations to the French Impressionists and Post Impressionists. He would even go on to attend the exhibition; 'Manet and the Post Impressionists' in 1910 with Charles Lewis-Hind and Gertler, contributing to the merging of French and English traditions in his future artworks. In his 1937 autobiography, he mentions that he often sketched in the Impressionist manner by the banks of the Thames while he was a student at the St John's Wood School of Art (1908-09), and had a tendency to pick London and Paris scenes, especially those involving water for his larger works. The present work seems to depict a view along Cheyne Walk & Chelsea Embankment. To the left there are iron railings which are still there today, above is the Old Anglican Church which was bombed during WWII. In the middle distance are buildings of the industrial area of Battersea, later replaced by the Power Station. Very few paintings of this period have been located, making this oil a unique example of the artist's early style. The composition closely resembles 'The Railway Bridge, Charenton', completed in the same year, now held at Manchester Art Gallery. The handling of the paint and impasto surface on both works are similar, capturing a fleeting moment along the banks of the river. Nevinson cleverly explores the play of light on moving water in the present work, whilst capturing an everyday scene from contemporary society, void of any specific narrative. Nevinson's style evidently changed in the years after his period at the Slade. By mid-1913 he had discovered Futurism which he remained closely associated with for the next few years. A large proportion of his most well known war art were executed in this style, and remains today a moving insight to the traumas of war. We are grateful to Dr. Jonathan Black for his assistance with the cataloguing of this work. Please refer to department for condition report
Lot 6
Ruston Vicaji, British/Indian 1856-c.1928 - Harbour scene; pastel and monotype on paper, signed lower left 'R Vicaji', 25.6 x 34 cm: together with another signed gouache and monotype on paper by the same artist, 25.5 x 34.5 cm (2) Note: the Artist was the father of the portrait painter Dorothy E. Vicaji Please refer to department for condition report
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