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Lot 652
Vix et al: Vix, Genevieve: Pathé 0315 Hoffmann / Louise; 0316 Sapho; von Koreh, Endre: unpub. Columbia CHAX 468-2 Im Spatboot; von Skilondz, Adelaide: Schallplatte 043233/4 Huguenots / Robert der teufel;Vorotinsky: Beka R-11107/8 Ruslan & Ludmilla; von Scheele-Muller: Polydor 3-44135/6 Merry Wives; von Maowarda: Polydor B2036/7 Rheingold / Siegfried; DGG 23158 Brahms; Viamonti, Violetta: Romeo & Juliet (9)
Lot 185
Six: MEMBER BRITISH EMPIRE MEDAL, 2nd Type (King/Queen`s head), 1939-45 STAR, DEFENCE MEDAL, WAR MEDAL, GENERAL SERVICE MEDAL 1918-62., 1 Clasp "Palestine 1945-48" (Major P.M. Miller R.A.P.C.), LONG SERVICE & GOOD CONDUCT MEDAL (Unnamed and impressed "R" for replacement). Complete with corresponding set of dress miniature medals. (Medals housed in purpose made glazed frame)¦
Lot 100
Lalique Naiades clock, relief decoration of sirens with free flowing hair. depicted in swathes of waves and bubbles, etched signature R Lalique France. Doxa eight day movement PROVENANCE: Presented to 14 year old Alice Farr as first prize in a 100 metre breast stroke swimming competition in 1927 4½ x 4½in. (10 x 10cm) Pin head size nick to bottom edge reverse. Marked twice, top of moulded mark visible only on left hand corner. Signed on underside R Lalique. Easel type stand is detached, evidence of crude attempt at re-attaching. Clock not believed to be working. Slight discolouration to centre of clock face.
Lot 105
Lalique atomizer scent bottle "Figurines et Garlandes" figures of female nudes with floral garlands, floral decorated gilt metal mount marked Le Parisien, made for Molinard c 1930, moulded R Lalique mark 5in. (13cm) Glass in good condition no damage found but can not see under mount mount some loss of silver plate brass showing through
Lot 61
AN IMPORTANT VICTORIAN COROMANDEL BRASS BOUND DRESSING CASE RETAILED BY MILLER OF LOWNDES STREET, presentation cartouche to cover reads `Presented to The Lady Augusta Shirley on her marriage to Sir Archdale R. Palmer Bar by the tenantry of the Staunton Harold Estate and the Tradesmen of Ashby de la Zouch and Melbourne employed by the Ferrers Family as a mark of their respect and esteem, August 19th 1873`, fully fitted retractable interior with gilt framed looking glass to the inner lid concealing a stationery compartment, clear cut glass cosmetic bottles and jars with bright cut engraved silver mounts by William Neal, London 1865/68, silver gilt/steel implements by Henry Holland, Betjemann, S. Mordan & Co, brush and jewel drawers, large and two miniature gilt hand held looking glasses etc, height 24cm, width 34cm, depth 27cm, (key) (Notes: The Lady Augusta Amelia Shirley was the only surviving daughter of Washington Sewallis, 9th Earl Ferrers (1822-1859) by his wife, Augusta Annabella, daughter of 4th Marquess of Donegall. She died 10th February 1933. George Betjemann of Pentonville Road, whose name is to be found on the propelling pencil and penknife were probably the manufacturers of this case)
Lot 466
A BOXED TRI-ANG RAILWAYS DIESEL SWITCHER LOCOMOTIVE, No.R.155, No.5007, green Tri-ang Railways Livery (R.155), a boxed Hornby Railway Dock Shunter, No.R253, a boxed Hornby Railway B.R. composite coaches built up from the CKD Kit,( R.382), locomotive boxes complete with interior but all boxes damaged
![ROBERT SOUTHEY (1774-1843), a hand written letter which reads: 15 Queen Anne Street, Cavendish Square, 17th June [1820]. Dear](http://lot-images.atgmedia.com/SR/15/2893650/89-2014210144849_468x382.jpg)
Lot 89
ROBERT SOUTHEY (1774-1843), a hand written letter which reads: 15 Queen Anne Street, Cavendish Square, 17th June [1820]. Dear Sir. Will you allow me to request a favour for which request the care itself will be the best excuse & apology. My fathers sister, almost in her seventieth year, has been at length prevailed upon to undertake a journey from Taunton to Keswick, to see mine and my brothers family. I am to meet her at Birmingham, with my friend Mr Nash, and we shall proceed from there by chaises, at such a rate as may not fatigue her. I should feel it as an act of particular kindness is you would receive her for one night under your roof, because she would not be likely to obtain much rest at an inn in your great and busy city. She will arrive in this stage from Bristol on Wednesday the 28th and we intend to join her by the London mail on the day following. I write this in great haste, or I would reply to some parts of the last letter with which you favoured me & for which I can not only return my thanks. I am so ? in engagements of various kinds that I have scarcely time ? for food or sleep. I saw Charles some days ago, and was delighted at ? him in all respects so well. Sophie also was looking in better health & happier that I had seen her for many years. Believe me my dear Sirs, respectfully and truly yours Robert Southey. It is believed that the letter is written to Charles Lloyd 'The Poet' (1775-1836). Dated in another hand on the right of the page R. Southey 17/6 1820. The paper water marked for 1817. Robert Southey was a Romantic poet and Poet Laureate from 1813-1843 but is also renowned as a literary scholar and biographer, indeed he wrote a biography of Horatio Nelson in 1813 which has scarcely been out of print. He is also remembered for writing the famous children's story 'The Three Bears', the original Goldilocks story. Provenance: The letter is entered for auction by The Lloyd family of Dolobran, Quakers, iron merchants and founder partners of Taylors and Lloyds bank, now Lloyds TSB.
Lot 86
PASSE (CRISPIJN VAN DE), HORTUS FLORIDUS IN QUO RARIORUM & MINUS VULGARIUM FLORUM ICONES AD VIVAM VERAMQUE FORMAM ACCURATISSIME DELINEATAE, five parts in one, engraved title, title in English, dedication; part one - spring with nine text pages and 51 plates, (41 as per list and 43-51 followed by garden plate (lacking a plate 42); part two - summer with four text pages and 21 plates (20 numbered plus garden plate); part three - autumn with six text pages and 22 numbered plates and Epigramma plate (lacking plate 9, 16, 19); part four - winter with four text pages and 12 numbered plates followed by a poem initialled T.W., Arnhem, J. Jansson 1614 and Utrecht, Salmon de Roy, 1615; bound with, ALTERA PARS HORTI FLORIDI INQUA PRAETER FLORES VARIA ETIAM COMPRAEHENDUNTUR, with 60 plates (lacking plate for numbers 104/105), all plates with later hand colouring, contemporary full tan calf with embossed and gilt diamond to both boards. Provenance: THE LLOYDS COPY. The book is entered for auction by The Lloyd family of Quakers, iron merchants and bankers. It is inscribed twice on the engraved title 'Charles Lloyd of Dolobrans' book', again on the English title and also 'Sampson Lloyd, Jun ex done S. Gulson, 2 January 1749'. Charles and Sampson II were the sons of Sampson Lloyd I, a Welsh Quaker. Sampson Lloyd II (1699-1779) was the co-founder, with John Taylor, of Taylors & Lloyds bank in 1765. Tipped in on the front fly leaf is a 19th century note which reads: This book is supposed to have belonged originally to the Charles Lloyd of Dolobran, Montgomeryshire (1st of that name born 1613) which is mentioned in Meyrick's edition of Lewis Dwyn Heraldic Visitations of Seats (Vol 1. Page 332) as a well known genealogist and antiquarian. *Richard Lloyd of Allesley Warwickshire (see name back of this page) died 1830 and left it to his son Richard Harman Lloyd of London who died 1867. Henry Lloyd ?? of the last named R. H Lloyd owned it from 1873. Book plate armorial for Henry Lloyd, Dolobran on the front board.
Lot 3068
BINDINGS – Joseph BINGHAM. The Works… edited by… R. Bingham… a new edition. Oxford: 1855. 10 vols., 8vo (216 x 135mm.) (Occasional light spotting.) Contemporary calf gilt, the covers with centrally placed armorial of the Hulme Bequest (Munificentia Hulmiana), the spines in six compartments with raised bands, lettering pieces to the second and third compartments, the others with repeat decoration in gilt (extremities lightly scuffed, spines slightly darkened). Provenance: J. Arthur Whitlock (signatures to preliminary blank). – And six others of similar interest, leather-bound (Thomas Fuller. The Church History of Britain… a new edition. Oxford: 1845. 6 vols., 8vo) (16).
Lot 3245
RAILWAYS, MIDLAND RAILWAYS. – Robert GRATTON & Stuart R. BAND. The Ashover Light Railway. Didcot, Oxon: 1989. 4to (174 x 213mm.) Numerous illustrations. (Light browning.) Original cloth, dust-jacket (soiled). – And a quantity of others, the majority relating to the Midland Railway (a quantity).
Lot 29
George “AE” Russell (1867-1935) CONTEMPLATION oil on canvas signed in monogram lower left; titled on reverse; with handwritten label also on reverse [reads, A wedding present from a Mr Hogg to Rev. Geo. Townshend, 1981"]" 21.25 by 32.25in., 53.125 by 80.625cm. L with the Oriel Gallery, 1989;Where purchased by the present owner`s father;Thence by descent `George Russell ~ AE… at The Oriel`s 21st Anniversary`, Oriel Gallery, Dublin, 13 November to 2 December, 1989, catalogue no. 32a It was fitting that the Oriel Gallery should choose to highlight the work of AE for the gallery`s 21st anniversary as it was with George Russell`s work that it launched onto the arts scene in Dublin in 1968.In the catalogue for the 1989 anniversary exhibition, Oliver Nulty writes, Given AE`s awareness of the other world it is small wonder that he painted so many pictures of it and its inhabitants. Even his paintings of ordinary landscapes seem to be so influenced by it we often find it difficult to be certain whether the figures belong to this world or another, were it not for the fact that all those other worldly beings have colourful radiances coming from them. Of course there is no doubt about some of the poses - the half crouched or kneeling figures gazing with awe at some great being radiantly aflame. But others, such as those of children frolicking on a shore or playing in the water can recall some happy memories." Thereafter his clientele was drawn from wealthy Scots industrialists and ship-owners who included the families of wool and yarn manufacturers, the Fultons, the McKeans and the Clarks, as well as the renowned collector, William Burrell and the adventurer-laird of Gartmore, RB Cunninghame Graham. Now in 1895, he was admitted to the ranks of the Royal Scottish Academy with a portrait of Mrs Christie Smith, entitled The Rocking Chair, as his Diploma piece. (10) At this point, at the height of his fame in Scotland, Lavery`s magisterial Lady in White, thought to represent Mrs Park Lyle, a member of the Abram Lyle dynasty, took its place in the cavalcade of dignitaries associated with `the second city of the empire`. (11)Deliberating on Lavery`s achievement at the end of that important year, Moore`s avant-garde comrade, D. S. MacColl pressed the painter to extend himself further: When he paints a pretty woman, he seizes upon one or two obvious points of likeness, fixes the general allure of the figure, and makes a striking assertion of the éclat of fair flesh. A painter who can imagine the beautiful harmony of colour in the draperies of one of those portraits, and whose appreciation of the principles of picture making is evidently so high, owes it to his talent to try for other virtues. (12)MacColl was looking for more and so too was the painter. Glasgow was no longer enough for him. Rome, Berlin, Paris and London were calling. The international success of the Glasgow group continued and while there were `Glasgow Boys` exhibitions in St Louis and Chicago, its members, Lavery among them, were defecting. In March 1895 Blackwood`s Edinburgh Magazine carried an article chauvinistically declaring the new Scottish painting `the most vital art movement` of the day, conveniently neglecting the fact that Lavery, its most ambitious member, did not hail from the Glasgow hinterland. He was nevertheless singled out for praise and `elegance of arrangement and style` were regarded as the chief characteristics of his work. (13) The writer could indeed have been thinking about the picture then in his studio and nearing completion - A Lady in White. Prof. Kenneth McConkeyJanuary 2014Footnotes:1. See for instance, Two Art Critics, Pictures at Play, 1888 (Longmans, Green & Co); also William Sharp, Fair Women in Painting and Poetry, 1894 (Seeley and Co), quoted in Kenneth McConkey, Memory and Desire, 2002 (Ashgate), pp. 90-94. 2. George Moore, `The Royal Academy`, The Speaker, 11 May 1895, p. 516.3. Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp. 63-8. Having painted Mrs JJ Cowan and her daughter, Laura, Lavery recommended Whistler to her husband for a small full-length portrait (National Galleries of Scotland).4. JS Little, `A Cosmopolitan Painter: John Lavery`, The Studio, vol xxvii, 1902-3, p. 118.5. McConkey, 2010, p. 68. It was not unusual for paintings to be photographed for Royal Academy Pictures, while still in progress. Although there is no evidence to suggest that changes to the picture were made prior to, or shortly after its showing, this is likely to have been the case. 6. Lavery had used a similar motif in the portrait of Miss Mary Burrell, in the previous year and for this reason as much as any, he may have sought to reduce its effect in the present composition. 7. `The Royal Academy, Fourth Notice`, The Athenaeum, 22 June 1895, p. 811. 8. Anon, `The Glasgow School of Painting`, The Edinburgh Review, no. 398, 1901, p. 498.9. Charles M Kurtz, `The Glasgow School, The Men and their Work`, Modern Art, vol 4, no. 1, 1896, p. 8.10. McConkey, 2010, p. 68. 11. Walter Shaw Sparrow, John Lavery and His Art, n.d., [1912], (Kegan Paul, Trubner, Trench and Co), p. 177. Abram Lyle, the Greenock sugar refiner and ship-owner, merged his company with that of Henry Tate, founder of the Tate Gallery, London, to form the world famous Tate and Lyle sugar manufacturer. The Lyle company specialised in syrup and its motto, taken from the Old Testament story of Samson, remains `Out of the strong cometh forth sweetness`. Mrs Park Lyle is thought to be either of Abram Lyle`s daughters-in-law, Grace Eleanora Moir (1855-1918), who married his son, Sir Alexander Park Lyle (1849-1933), in 1880 or Agnes Jaimeson (d 1943) the wife of Alexander`s elder brother, Robert, 1st Baron Lyle of Greenock. A further complication arises from the fact that Harrington Mann, a successful portrait painter and one of Lavery`s Glasgow associates, produced a portrait of Mrs Park Lyle c. 1910 (National Trust, Barrington Court), this time, the wife of William Park Lyle, also of the sugar refining dynasty. 12. The Spectator, 23 November 1895, p. 725.13. Anon., `The Scottish School of Painting`, Blackwood`s Edinburgh Magazine, vol CLVII, March 1895, pp. 339, 344.
Lot 42
George Mounsey Wheatley Atkinson (1806-1884) H.C.S. WARREN HASTINGS OFF ASCENSION ISLAND oil on canvas signed and indistinctly dated lower right; with inscribed gallery label on reverse; also with Parker Gallery [London] label on reverse 18 by 26in., 45 by 65cm. L Private Collection, France; Private Collection, Co. Down There were five Honourable East India Company Service ships named Warren Hastings. John Pascal Larkins, along with other family members, were part owners of all five ships named Warren Hastings from 1781 to 1833. To confuse matters, Warren Hastings number two, [There was a major incident with number three, which was captured by the French.], was on the high seas at the same time as number five. Number two was built in 1808 was 154ft and weighed 1000 tons. She was on the seas at least until 1833 and one of her captains was Thomas Larkins.From extracts of the journal and ship`s log of the Warren Hastings (East India Docks, London, England) written by the Captain, Commander R. Rawes - Voyage to the Far East [1825-1826] - that the vessel passed the Island of Ascension at 3.39pm on Friday 12 May.For further reading on its voyages see: ed., Farrington, Anthony, Catalogue of East India Company Ships` Journals and Logs 1600-1834, British Library, Euston, London, 1999The Crawford Gallery, Cork holds an example by Atkinson in their collection entitled A Boating Party in Cork Harbour, 1840, purchased from Mills Antiques Paul St., Cork, 1986.
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297893 item(s)/page