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A wrought iron railing top

A quantity of books about houses, building and related subjects including three Pevsner editions, together with a folio entitled Seventeen Additional Plates to the first edition of The New Elements of Hand railing by Robert Riddell

A Victorian oak extending dining table with extra leaf, raised on substantial acanthus carved baluster supports to castors, length when extended 189cm, and seven chairs (8).Additional InformationAdvised to be seen in person, marks and scratches to the top, one leaf is split, burn or ring mark to other, one railing detached and split, winding mechanism not working also bent, sever wear throughout, caning to one of the chairs is af, the chairs are not matching with general wear and losses throughout.

Ancient Near East, central Anatolia (Turkey), ca. 2nd millennium BCE. A delightful miniature bronze chariot or wagon, pulled by two solid cast oxen, featuring four large, flat, disc-shaped wheels, a rectangular cart with a hinged shaft ending in an attachment for the oxen. Around the body of the chariot is a small railing/balustrade composed of multiple thin bronze wires fixed together. Similar examples - see the Christie's listing below - show that this item would have once had bronze wires that formed reins. Votive chariots like this one are found throughout the ancient Near East and western Asia from this time period, but the Anatolian ones, in contrast to horse-drawn war chariots found in the Levant and Mesopotamia, are drawn by oxen. Are these farm carts? Do they signify the importance of agricultural production in Anatolian society? Whatever the meaning, this piece was made to be placed into a temple, cache, or tomb as an offering. Size: 7.5" W x 2.45" H (19 cm x 6.2 cm)See a similar example that sold at Christie's in 2014 for GBP 50,000 (approximately $70,000 USD): https://www.christies.com/lotfinder/Lot/an-anatolian-bronze-chariot-circa-mid-2nd-millennium-5776268-details.aspx Provenance: private East Coast, USA collection Condition: The piece is delicate, with some small losses/breaks on the railing on the top of the chariot. Rich, dark patina on surface with light deposits. Oxen are not attached to cart. Wheels still turn easily and the hinge of the yoke is also movable. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146692

*QUANTITY OF MIXED CAST IRON RAILING SECTIONS

A quantity of books about houses, building and related subjects including three Pevsner editions, together with a folio entitled Seventeen Additional Plates to the first edition of The New Elements of Hand railing by Robert Riddell

A run of reclaimed cast iron railing with alternating finials and mounted on a wooden block, 146 cm long

One lot of reclaimed cast iron railing support/sections of varying design with foliate and further detail and layers of painted finish

FOUR LIMA 00 GAUGE PASSENGER COACHES including; restaurant car and Hornby re-railing equipment coach, six boxed Hornby Railways items of rolling stock, a Replica Railways quantity of rolling stock, boxed, and two Model Railways items of rolling stock in ovb

SIX MATCHING RAILING SECTIONS AND TWO OTHERS

THREE MATCHING CURVED TOP RAILING SECTIONS

FIFTEEN MATCHING SPIKED TOP RAILING SECTIONS

Walter Frederick Osborne RHA ROI (1859-1903)A Bit of Sutton Courtney - A Village by the ThamesOil on panel, 41 x 32cm (16 x 12½'')Signed; inscribed versoProvenance: The Rowley Gallery stamp verso, 87 Campden Street, Kensington Church Street, London, whence purchased in the 1920s; hence by descent.Exhibited: The Dublin Art Club, 1887, Catalogue No.129.Literature: Sheehy, Jeanne, 'Walter Osborne', Gifford & Craven, Ballycotton 1974, p.121, no.174; Bodkin, Thomas, 'Four Irish Landscape Painters', Dublin and London, 1920, Appendix XI, p.133; le Harival, Adrian and Michael Wynne, 'Acquisitions, 1984-86, National Gallery of Ireland', Dublin, 1986, p.68, illustrated fig.60b.(note: Osborne titled this picture with the spelling ‘Sutton Courtney’ and this spelling will be used when referring to the painting. The correct spelling of the village is Sutton Courtenay.)Journeying along the river Thames, Cork-born artist Robert Gibbings wrote in 1940 that: “Sutton’s Pool by Sutton Courtenay is a fairy world of falling waters. By moonlight… it is a setting for the rarer moments in life”. Gibbings did not linger in the village, “leaving the last golden hours of evening to the boys fishing on the weirs” (1).In 1887, Walter Osborne had stayed at Sutton Courtenay (then in Berkshire but today in Oxfordshire) and painted the present picture A Bit of Sutton Courtney, A Village by the Thames. It shows a boy leaning against a wooden railing, fishing, while across the river a woman stands and tall red buildings are lit by sunlight. Walter Osborne observes the scene meticulously and the picture has a wealth of detail and a strong human presence. In spite of its rural setting, the painting is aflame with warm, glowing reds and browns, almost unprecedented in Irish art at this time.Having earlier studied in Dublin and Antwerp and painted in Brittany, Osborne spent much of the second half of the 1880s working in English villages and towns, painting a series of village, farming and coastal scenes. These are some of the finest pictures of his career. He painted much in Berkshire and Oxfordshire, for instance at Newbury, Uffington, Didcot and on the Downs. Sometimes he had the company of fellow artist Blandford Fletcher and his friend from Dublin, writer Stephen Gwynn, was in nearby Oxford, 1882-1886, and was teaching at Bradfield School in 1888 (2).Sutton Courtenay was a tranquil and picturesque village just south of Abingdon and north of Didcot, situated in a curve in the river Thames. It had been settled by the Saxons, who built a causeway on the river. In the twelfth century, the village took the name of the Courtenay family, who lived in the manor (3). All Saints’ Church and other fine buildings date from later centuries (4). In the mid-19th century, many villagers were employed in the local paper mill and in domestic service. The most striking features of the village were the causeway and weirs that separated the millstream from the Sutton Pools and Osborne was attracted to the streams where boys fished.From his early days in Ireland, he had depicted several pictures of lads fishing in a stream or canal (5). In A Bit of Sutton Courtney, the figure is placed close to the viewer, leaning against a wooden fence. He holds a fishing rod and looks down at the river. He wears a kind of deer-stalker hat, white shirt and brown waistcoat. Sunshine falls upon his cheek and sleeve. His figure is viewed from behind and his legs are cut by the lower edge of the picture, suggesting a photographic influence. Across the river, a woman with hat and violet apron stands upon the river bank looking at the barge. Even though the figures are separated by the river, visual and, perhaps, emotional affinities between them are evoked - both looking down and both holding a rod or a stick.There is a wealth of detail in the scene: the rough grain of the sturdy wooden fence, with an upright post just visible behind the boy's legs; the reflections and ripples in the river and the little fishing float; the tall buildings with steep roofs, including the uneven structure of the barn and an old cart with large wheels. Although the sky in the background is overcast, here Osborne was inspired by the rich tones of English buildings that glowed warmly in the sunshine: reds and russets of brick walls, brown of timber and maroons of roof tiles, as well as ochre clay and verdant foliage. A Bit of Sutton Courtney is enlivened further by little points of colour; the mauve of the woman’s apron, reds, greens, blues, whites and yellows in the barge and reflected in the water; the stripes of the upright post; red in the boy’s cheek and pocket; the mauve patch on the railing; and the blue of the float.Equally, Osborne’s brushwork is lively and varied: crisp and controlled in some areas, fluid and expressive in others. The ‘square brush style’ is employed, for example, in parts of the boy’s clothing, the woman’s apron and the walls of the barn. Meanwhile, the ripples are painted in a softer, more lyrical way and parts of the foliage and undergrowth are more ‘blurred’, for instance, in the rough grass draped over the river bank.If we look closely at the painting, we notice an interesting detail: the impastoed brushstrokes that depict the fence are visible beneath the figure of the boy. This suggests that Osborne may have added him to the picture at a later date than the landscape. This was not an unusual practice amongst painters, such as Canaletto or Caspar Friedrich (6), but Osborne may have decided to include the figure to give a greater sense of focus, psychological interest and human warmth to his composition. The motif of the figure, viewed from behind, looking into the picture, the Rückenfigur of German Romanticism, can be seen in the paintings of Caspar Friedrich and in Realist pictures by François Bonvin, Henri de Braekeleer and Joseph M. Kavanagh. As in several Osborne pictures of the period, for instance Counting the Flock, 1887 (sold at Adam’s, 30th May 2018) (7), the figure viewed from behind is an individual, but also an archetype, engaging the viewer and adding a sense of mystery.A Bit of Sutton Courtney is painted on a wood panel and is signed lower right with the squared capital letters which the artist employed in this period. Osborne exhibited the picture at the Dublin Art Club (of which he was a co-founder), in 1887, modestly priced at twelve guineas. He made a tiny pencil drawing after the painting, the figure being outlined in ink (in sketchbook in NGI, catalogue number 19, 202, p.14).Sutton Courtenay continued to attract Irish and other artists and writers. John Lavery painted Asquith in an 1891 Elizabeth boat on the river in 1917 (Dublin City Gallery, The Hugh Lane). George Orwell fished there as a boy. Francis S. Walker illustrated a book on the Thames in 1891 (8) and, as noted above, Robert Gibbings passed through Sutton Courtenay and wrote lyrically about it.I am very grateful to Niamh MacNally, Anne Hodge and Andrew Moore, National Gallery of Ireland; John Hutchinson; and Maria O’Mahony for assistance in my research.Julian Campbell, January 20191) Robert Gibbings, Sweet Thames Run Softly, London 1940, p.106.2) Jeanne Sheehy, Walter Osborne, NGI, 1983, p.77; and J. Sheehy, Walter Osborne, Ballycotton, 1974, p.22.3) https://en.wikipedia.org/wiki/Sutton_Courtenay4) Nikolaus Pevsner, The Buildings of England. Berkshire, Penguin 1966, All Saints’ Church and the Norman Hall were built in the late 12th century, and the Abbey about 1300.5) Eg. A Glade in the Phoenix Park, exhibited RHA 1880.6) Canaletto seems to have painted the background of his Grand Canal series first, then added the figures afterwards. See also Joseph M. Kavanaggh, Sheep in a Snowy Field, 1895, where the horizon line is visible beneath the bodies of the sheep. (‘Exhibition of Irish Paintings and Sculptures’, Gorry Gallery, Dublin 2018, no.50.)7) See Counting the Flock, 1887, Important Irish Art, Adam’s, 30th

Four sections of cast iron railing with gothic tracery detail, two 103 cm long x 88 cm high, the others slightly smaller in length (AF)

Ten sections/fragments of 19th century cast iron railing with decorative pierced anthemion and further detail

Two sections of 19th century cast iron railing with pierced anthemion and further detail, together with three arched sections with scrollwork detail

One lot of reclaimed decorative cast iron railing sections with scrolling foliage and further detail

A run of thirteen reclaimed cast iron railing supports/sections with shaped outline and pierced foliate detail and layers of painted finish, each panel 82 cm high x 20 cm wide (AF)

Four sections of cast iron railing of rectangular form with vertical open rails and pointed finials, each section approx 4ft long x 2ft in height

A COLLECTION OF 20TH CENTURY PAINTED WROUGHT IRON RAILING OR SUPPORTS of scrolling form, 98cm overall; a cast iron slat brazier standing on four legs etc (a quantity)

Architectural/Gates: An impressive Georgian style wrought entranceway last quarter 19th century with a central hinged gate, with overthrow incorporating a W for Warwick flanked by railings the gate 265cm high by 140cm wide, the overthrow 405cm high the railing pilasters 300cm high, approx 620cm wide See also lots 204 and 205 Provenance: Easton Lodge, Great Dunmow, Essex, England. It was one of many country houses destroyed during the 20th century. Part of the west wing (rebuilt as a separate house after a fire in 1918 for use as servants’ quarters) still stands; and the Grade II listed gardens designed by Harold Peto have been largely restored and opened to the public. Designed by Thomas Hopper, Easton Lodge replaced an earlier Elizabethan mansion built in 1597 by Henry Maynard, which had been destroyed by fire in 1847. The Elizabethan house had itself replaced an earlier hunting lodge, situated by the church, which had been granted to Henry Maynard in 1590 by Queen Elizabeth I. Most famous of those who lived at the house was Daisy Greville, Countess of Warwick, who was born Frances Evelyn Maynard at Easton Lodge in 1861 and inherited the estate when just four years old. She became a socialite and mistress to King Edward VII, and continued to live at Easton Lodge with her husband, the 5th Earl of Warwick after her marriage. As a result, the Lodge became famous for its society gatherings. Guests at Easton Lodge included George Bernard Shaw, Gustav Holst, Ramsay McDonald and HG Wells whose family lived in one of the estate properties. He, in turn, received visits from such notables as Dame Ellen Terry, AA Milne and Charlie Chaplin. In 1918, another fire severely damaged the Jacobean wings of the house. The fire is thought to have been started by one of the Countess’ pet monkeys. Major portions of the Estate were auctioned in 1919/20 and outlying parts had already been sold in the 1890’s. The Jacobean wing of the house was rebuilt after this second fire, and the Countess, having been widowed in 1924, eventually moved into the West Wing where she remained with her beloved animals until her death in 1938. In 1923, Daisy offered the whole estate to the Labour Party - they declined. She stood for Parliament as Labour candidate for Leamington & Warwick but lost out to Anthony Eden. Such was her commitment that in 1926 she then offered the entire estate to the TUC who were very keen to accept. Plans were made to develop Easton Lodge into a college and university but, after the General Strike in 1926 through which the TUC’s funds were severely depleted, the arrangement had to be abandoned as they were no longer able to finance such an institution. During World War II the estate was requisitioned by the War Office, leading to the destruction of some 10,000 trees to enable the construction of RAF Great Dunmow (also known as RAF Little Easton) in the former park. The house was largely demolished following its return by the military in 1950. After 30 years of abandonment the west wing was purchased in 1971 and is now used as a private house. The late 19th century stable cottages and a red brick water tower also remain, and are Grade II listed buildings. The Gardens of Easton Lodge are the only example in East Anglia of the work of the Edwardian garden designer, Harold Peto. Peto originally trained as an architect and brought to Easton Lodge his passion for Italianate, French and Japanese designs, including many architectural features. Peto’s 1902 designs for the Countess of Warwick included formal lawns, a sunken Italian garden, a yew walk, a treehouse, a glade and a Japanese garden. These impressive gates, which were the main in and out gates from the deer park to Easton Lodge, predate Peto’s involvement, but since they incorporate earl’s coronets and a ‘W’ for Warwick, for the 5th Earl of Warwick who moved into Easton Lodge following his marriage to Daisy Greville in 1881, they may have been part of an architectural scheme by the Scottish architect, William Young in 1884 most of which was never realised. Caption to B&W pic; Easton Lodge, showing one of the open pairs of gates.  

A Mauchline ware brooch, printed with a view of Burns' Monument, printed verso Warranted Made of Wood which grew within the Railing at Burns' Monument, together with another Mauchline ware brooch printed with a view of Moffat, a Mauchline ware book cover, printed with  a view of Ventnor from East and a Mauchline ware ring box decorated with ferns, together with three treen dice shakers, a wooden dome top box, with printed scene of two cats to the lid and trade label for Chadwick's Super Six Cord and three other treen items

Two sections of reclaimed iron work railing with central scrollwork panels, the longest 205cm long approx, together with further iron work pedestrian gate (3)

Galvanised Railing Panel

Six antique cast iron railing posts

A limited edition dry point etching, depicting two lovers, indistinctly signed, with Railing gallery label to verso, 44 x 52cm

Fine Quality 19thC Walnut Credenza, the breakfront top over a central cabinet and 2 glazed side cabinets, finely inlaid, with brass railing and mounts throughout, navy velvet lined interior with shelves, 4 neo-classically doric columns to the front and on 4 turned ebony feet, 72”w (6ft) x 45”h x 19”d

The Deane Butler Architectural Drawingsfor Morristown Lattin, Co. KildareButler (Wm. Deane) Architect. An important and significant collection of original hand-drawn Architectural Drawings for various parts of the proposed re-design to Tudor-Revival style, of Morristown Lattin, Co. Kildare, on behalf of G.P.L. Mansfield in 1845. The collection consists roughly of the following:1. Kitchen Window2. Details of Bower Windows3. Sketch of Dining Room Chimneypieces 4. Plan of the Hall Ceiling 5. Cornice for Bedroom6. Elevation of Gothic .. for Ceiling of Inner Hall 7. Details of Cut Stone Work and Principal Elevation 8. Details of Drawing Room and Dining Room Doors 9. Details of Hall sash Door and Shutters 10. Rear Elevation of Lutchen Wing 11. Details of Cut Stone Work for Bower Window on principal front 12. Details of Finishing for Door and Window in Hall 13. Bower Window for Garden Front 14. Details of Gallery Railing 15. Details of Stairs 16. Elevation and Plan of Proposed Arcade 17. Details of Library Fixtures for Morristown Lattin 18. Bound Set No. 1 - Principal Elevation No. 2 - Rear Elevation No. 3 - Plan of Principal Storey No. 4 - Plan of Second Storey No. 5 - Plan of Attic StoreyNo. 6 - Transverse Sections No. 7 - Longitudinal Sections, all signed and dated by Dean Butler (24 identified plans and drawings )19. Revised Sketches and other sketches for Furniture, unsigned for Morristown Lattin -Including Elevation of cast iron Parapets (indistinctly signed) -Longitude section of Sewer, Carvings, Stairs, etc. (14 additional architectural drawings).Approx. 40 drawings in all, mostly in fine condition. A rare collection. As a m/ss, w.a.f.Note: William Deane Butler was born about 1793, son of a Dublin Solicitor. He firstly studied at the Royal Dublin Society's School of Architectural Drawing. In 1836, he was awarded a premium by the R.D.S. for Plans and Estimates for Farmhouses and Buildings. In 1837 he published a book "Model Farmhouses and Cottages for Ireland". In 1844, he is named as Architect to the Royal College of Surgeons. In 1853, he was appointed architect in ordinary to the Lord Lieutenant. He specialised in Churches, Institutional Buildings and fine Country Houses, and his work is evident throughout Ireland.

Dianne Elizabeth Flynn (b.1939) - 'Three on the Railings', study of three girls wearing summer dresses beside a railing, signed also inscribed verso with the title and biographical details on the artist, gouache, 6" x 6.25"

Two boxes of signed Crewe Alexander football, Scalextric, modelling railing rolling stock and accessories, paints etc

A limited edition dry point etching, depicting two lovers, indistinctly signed, with Railing gallery label to verso, 44 x 52cm

A run/section of Regency iron work railing with decorative anthemion, scrolling wave pattern and further decorative detailing, 370 cm long x 80 cm in height including columns approx

Decorative extending brass fire fender with barley twist & ball raised railing to corner and sides. Together with a brass coal shovel and matching tongs. Measures approx. 163cm long unextended x 50cm deep.

ONE TALL RAILING SECTION AND A HEAVY DUTY GRILL PANEL

TWO SPIKED TOP CAST IRON RAILING SECTIONS

TWO TALL CAST IRON RAILING SECTIONS, 2400 HIGH

FOUR MATCHING SPEAR TOP RAILING SECTIONS

STACK OF EIGHT MIXED WROUGHT AND CAST IRON GATES AND RAILING SECTIONS

DECORATIVE WROUGHT IRON RAILING SECTION, 1810 X 520

TWO MODERN CAST IRON TALL RAILING SECTIONS, EACH 2330 HIGH

WROUGHT IRON RAILING SECTION, 1660 X 1300

DECORATIVE WROUGHT IRON RAILING SECTION, 970 X 1300

CAST IRON RAILING SECTION, 1800 X 1050

LARGE RUN COMPRISING SIX MIXED SIZED SECTIONS OF DECORATIVE WROUGHT IRON RAILING

LARGE RUN COMPRISING FIVE MIXED SIZED SECTIONS OF DECORATIVE WROUGHT IRON RAILING, TOGETHER WITH SEVEN ASSOCIATED POSTS

TWO CAST IRON RAILING SECTIONS, EACH 1150 HIGH, THE LONGEST 1500

DECORATIVE CAST IRON RAILING, 800 X 1000

DECORATIVE WROUGHT IRON RAILING WITH ATTACHED POST, 780 X 1020

DECORATIVE WROUGHT IRON RAILING, 2040 X 700

LARGE RUN COMPRISING NINE SECTIONS OF DECORATIVE WROUGHT IRON RAILING

LARGE DECORATIVE WROUGHT IRON RAILING, 2180 X 500

THREE MATCHING DECORATIVE GALVANISED RAILING SECTIONS, EACH 1830 X 820

SIMPLE CAST IRON RAILING SECTION WITH SPIKED TOP, 2370 X 1100

CAST IRON RAILING SECTION, 1480 X 1150

CAST IRON RAILING SECTION, 1140 X 940

CAST IRON RAILING SECTION, 1270 X 1320

SET OF TWO MATCHING DECORATIVE WROUGHT IRON RAILING SECTIONS, EACH 920 X 630

DECORATIVE STEEL RAILING SECTION, 1660 X 770

DECORATIVE CAST IRON RAILING SECTION, 1450 X 840

TWO MATCHING SECTIONS OF WROUGHT IRON RAILING, VARIOUS SIZES, TOTAL SPAN 2800 X 710 HIGH