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Lot 903
A collection of military and rescue service vehicles and aircrafts. To include Heller 1:35 scale AMX 30 AU F1, Revell 1:35 scale Leopard 1 AIAI-AIA4, Revell 1:144 scale Mil Mi 24F, Heller 1:48 scale Écureuil Bombardier d’eau, Academy Minicraft 1:48 scale Beechcraft V35A Bonanza, Italeri 1:72 scale Antonio AN-2 Colt and a Airfix 1:72 scale RAF Recovery Set.
Lot 904
A Revell 1:25 scale Corvette C6 Le Mans Winner 2006 with original packaging and instructions together with Revell 1:25 scale 1960 Corvette sports car with instructions and original packing, a Precision Miniatures Die-cast 1:43 scale 1954 Corvette (opened), Record M.R.F 1:43 scale Porsche 356 and a Record M.R.F Ferrari 250 SWB.
Lot 1523
TRAIN CATALOGUES & BOOKS - BASSETT LOWKE an interesting group including catalogues by Bassett Lowke (Scale Model Engines, Steam Locomotives, Model Ships, Model Railways, etc. Also with books including The Bassett Lowke Story, Great Toys of Georges Carette, Hornby, also with Meccano booklets, Scalextric, Dinky Toys etc.
Lot 1586
RACING CAR KITS 14 boxed plastic racing car kits and kit built models, includes first issue Airfix 1/32 scale Lotus Cortina in illustrated header carded bag, 4 assembled Merit Racing Car Assemble Kits (1956 GP Ferrari, Lotus MK XI, GP Maserati, GP Connaught), Tamiya Lotus Honda 99T, and sealed STP Grand Prix Series Lotus Indy Turbine Car. (14)
Lot 41
Aardman Animations - Unknown Productions - an assortment of props and related production used items, all likely relating to Aardman Animations' projects (possibly some BolexBrothers), includes; a pair of miniature metal bar stools in yellow, a large 'miniature' wooden packing crate, a Creature Comforts style crab's hand (AF), a model crab, a lifesize plate of soup with accompanying toast (possibly from The Secret Adventures Of Tom Thumb), an unused scale model door and wheel (believed to be from the Wallace & Gromit Renault television adverts), and other related items. Interesting collection.
Lot 9
Aardman Animations - Creature Comforts (1989) - a screen used production miniature scale model of a human hand. The hand of resin construction, formed to hold a microphone with a metal armature protruding from the wrist. This hand (and others like it) were often seen in the corner of frame, holding microphones for the 'Creatures' to speak into. The arm would be mounted on a fixed stand, to allow to animators to manipulate the plasticine puppets on the set. Some light wear from production use, but generally in excellent condition. Measures approx; 28cm long.
Lot 128
Aardman Animations - Wallace & Gromit - The Animation Art Gallery - a rare limited edition 1/1 studio scale figurine / statue of Wallace and Gromit from 'A Close Shave' (1995). Superbly highly detailed, depicting the duo atop their motorcycle and sidecard, with base and garden gnome. Limited to just 100 made, the edition sold out very quickly. Exclusive to the Animation Art Gallery. This example undisplayed, housed within its original box with all original inner packing present and in mint condition. 1/1 studio scale (same size as the original puppets) and sculpted by Patrick Haines of Aardman Studios, approx 11" tall. An impressive display piece that really needs to be seen to be appreciated.
Lot 136
Aardman Animations - Morph - a beautiful unique and bespoke resin statue of Morph, as created by Aardman co-creator Petr Lord. The statue signed to the base by Lord in black ink, adding a sketch of Morph alongside his autograph. 1/1 studio scale (same size as the Morph puppet used by Aardman). Undamaged, and a fabulous display piece which looks just like plasticine. With certificate from the original to which it was donated by Mr Lord. Measures approx; 17cm tall.
Lot 155
Doctor Who - John Leeson (Voice) and Bob Baker (creator) - a large 1/4 scale model of K9 from Dr Who. Autographed to the side by Leeson and Baker. Both neatly signed in black ink, Leeson adding the character name and catchphrase. Signed to the removable side panel. Autographs obtained personally by the vendor. Fantastic display piece. Approx 14" long.
Lot 206
A charming hand made 1/16 scale Circus ' Fun Fair ' related showman's Scammell vehicle. The wagon named ' Devon Lady II ' and comes well made and highly detailed with tools visible to the rear section, and a driver seated in the cab. Static model, and very well made. Wired for lights (via a battery). Housed in its original custom built wooden carry case, with some accessories. Measures approx; 27cm long.
Lot 236
A collection of x5 Steam interest Fairground / Circus related boxed diecast models by makers Corgi Vintage Glory of Steam and Oxford The Great Dorset Steam Fair. Examples to include x3 1/50 scale models 80101 Showmans Locomotive Anderton & Rowland, 80108 Fowler Crane Engine Wolverhampton Wanderer, 80105 Fowler Showmans Locomotive A.Deakin & Sons Modern Amusements and x2 1/76 scale 76GDSF001 Burrell Showmans Engine John Coles Electric Leaping Horses and 76TK005 Bedford Fairground Organ. All models appearing mint within original boxes.
Lot 247
A collection of x7 Oxford ' Showtime ' range 1/76 scale trackside Billy Smart's and Bertram Mills Circus related diecast model vehicles. The collection to include Billy Smarts Commer Commando, Bedford OX Booking Office, Land Rover Hard Top Speakers and Bertram Mills Tricycle Van, Morris 1000, Bedford QLD and Showman's Trailer. All models appearing mint within original boxes.
Lot 249
A collection of x7 Oxford ' Showtime ' range 1/76 scale trackside Circus related diecast models comprising models No. 76AEC007 American Circus AEC Matador Generator, 76DTR001 Dodgem Trailer Whiteleggs, 76SP003 Traylens Funfair Pioneer Recovery Tractor, 76SST001 Scammell Showtrack Anderton & Rowland Amusements and others. All models appearing mint within original boxes.
Lot 254
Billy Smarts Circus - a charming hand made 1/16 scale Billy Smart's Circus related showman's caravan vehicle. Painted in typical livery, and made to a very high standard. Complete with a host of small accessories including gas bottles, sign, steps etc. Housed in its original custom-made carry case. Measures approx; 40cm long.
Lot 263
A large collection of assorted vintage Circus related diecast model vehicles of various scales and makers to include Hornby Circus Vehicles 1/76 scale Bedford Circus Booking Office, Corgi Commercials J. Ayers Amusements AEC Mercury Truck & Trailers, Matchbox Models of Yesteryear Billy Smart's Fowler Showman's Engine, Corgi Classics Blackpool Tower Circus Bedford O Series Pantechnicon and others. Some loose and boxed examples.
Lot 265
A beautiful hand made 1/16 scale Circus / Fun Fair ' Fair Organ ' AEC truck / wagon. Painted in traditional livery with sign writing to the front. The van section opens to reveal a fully detailed Fun Fair organ, with large amounts of detail. Wired for battery operated lights and sounds, with various accessories present. Static model, and very well made. Housed in its original custom built wooden carry case, with some accessories. Measures approx; 38cm long.
Lot 292
A charming hand made 1/18 scale (believed) Circus / Fun Fair related Steam Wagon ' Amusements On Tour '. Wood and metal construction, well made and highly detailed. Hand painted in traditional livery in red and yellow. Wired with lights (battery operated). With a selection of scale figures present, and various other accessories. Housed within its own custom made wooden carry case. Model measures approx; 31cm
Lot 299
A charming hand made 1/16 scale Circus / Fun Fair related Steam Wagon ' Pendle Princess '. Very likely a modified kit, of plastic construction with metal additions. Well detailed, complete with figure to cab and drive belts. On a small display stand. Housed in its original foam lined wooden display case. Model measures approx; 31cm long.
Lot 300
A charming hand made 1/16 scale Circus ' Fun Fair ' related Steam Wagon and Trailer ' Golden Gallopers On Tour '. Wooden construction, well made and highly detailed. Both with canvas awnings, static wheels and various loose accessories. Housed within its own custom made wooden carry case. Model measures approx; 66cm long when assembled.
Lot 350
A charming hand made 1/16 scale (believed) Circus / Fun Fair related showman's live-in Caravan vehicle. The caravan superbly detailed to the interior, fully decorated with miniature accessories and figures. Painted in typical livery, with a lift-off roof. Includes the steps and flower beds, as well as other accessories. Housed in its original custom-made carry case. Wired with battery-operated lights. The model measures approx; 49cm long.
Lot 9211
BREITLING: a Top Time stainless steel cased gent's chronograph wristwatch, ref. 810, silvered dial with tachymetric scale and three chronograph registers for 60 seconds, 30 minutes and 12 hours. Venus calibre 178 manual wind 17 jewel movement with column wheel chronograph drive, case diameter 38mm
Lot 102
Follower of Paolo UcelloPortrait of a woman in side profileOil on panelInscribed ALZETATIN (lower right)25.3 x 17cm (9¾ x 6½ in.)Provenance: From the private collection of Sir David and Lady ScholeySir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting. Condition Report: The panel is bowed. There is a large area of loss approx. 1cm diameter to the right edge. There are a number of repairs throughout the panel, the most prominent being one to the sitter's left shoulder and one to the sitter's chest where there is associated loss, flaking and protruding blobs of a brown substance, presumably this was applied during the repair process. There is an area of lifting and uneven paint surface to the lower left edge. Significant surface cracks and scratches throughout. Areas of retouching visible in natural light. Inspection under UV reveals retouching throughout, the true extent of which is possible masked by a green cloudy varnish. Condition Report Disclaimer
Lot 153
Italian School (18th century)A Venetian capriccioOil on canvas57.5 x 90.5cm (22½ x 35½ in.)Provenance:Mrs George DrewFrom the private collection of Sir David and Lady Scholey Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting. Condition Report: The canvas has been relined. There is some light surface dirt throughout, rubbing to the framing edges and light stretcher marks visible. There is a surface scratch visible to the lower left edge and some lines of faint scarring to the paint along the lower quadrant, possibly caused by the relining process. There is a slightly uneven paint surface to the upper corners. Ultraviolet light reveals some scattered retouching throughout and traces of a varnish.Condition Report Disclaimer
Lot 154
Follower of Johan Anton RichterSan Giorgio Maggiore from the Guidecca; The Church of the Redentore from the ZattoreOil on canvas, a pair Each 36 x 51cm (14 x 20 in.) (2)Provenance: From the private collection of Sir David and Lady Scholey Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting.
Lot 188
French School (19th century)Portrait of a gentleman wearing a white waistcoat and black coatOil on canvas60 x 48cm (23½ x 18¾ in.)Provenance: From the private collection of Sir David and Lady Scholey Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting.
Lot 191
William Moore Sr. (British 1790-1851)Portrait of Mr George Keyworth Baker of YorkOil on canvasSigned, inscribed and dated 1834 (verso)75 x 62cm (29½ x 24¼ in.)Provenance: From the private collection of Sir David and Lady Scholey Mr George Keyworth Baker of York depicted in the present lot, married Ellen Severs of Bath.Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting. Condition Report: The canvas has been relined. Faint stretcher marks visible. Craquelure predominantly to the upper left quadrant. Some minor surface dirt and blemishes, including some surface scratches and a spot of retouching visible to the naked eye (centre left). Inspection under UV reveals retouching throughout with a heavy green masking varnish. Ready to hang.Condition Report Disclaimer
Lot 239
Samuel Pepys Cockerell (British 1844-1921)Magdalen from the Cherwell, OxfordWatercolour Signed with initials, inscribed and dated 66 (to mount) 19.7 x 24.8cm (7¾ x 9¾ in.)Provenance:The artistBy descent to the sitter, the artist's daughter Frederica Lucy CockerellBy family descent to the present owner Samuel Pepys Cockerell (1844-1921) | lots 237-241The following group of works from the collection of Samuel Pepys Cockerell (1844-1921) have passed through descent to the present owner and are coming to market for the first time since leaving the artist's studio. Cockerell was the youngest son of architect, archaeologist and writer Charles Robert Cockerell, RA, RIBA (1788-1863). Samuel Cockerell established a career as a sculptor, painter and like his father, a writer. After studying a B.A. honours degree at Christ Church, Oxford Cockerell entered the Royal Academy Schools and exhibited at the Academy almost annually between 1875 and 1903. Cockerell had a particular interest in sculpture but also depicted a range of broad subjects from literary and biblical references and portraiture. His range of works were exhibited widely not only at the Royal Academy but further afield at the Grosvenor Gallery, the New Gallery, the Walker Art Gallery in Liverpool. Cockerell was also an avid art collector who was particularly fond of works by the Pre-Raphaelites.One of the most influential figures in Cockerell's life and career was his dear friend Frederic, Lord Leighton. Cockerell and fellow painter Valentine Cameron Prinsep were Leighton's executors and were present alongside family at Leighton's bedside on his death on 25th January 1896. Leighton trusted Cockerell's opinion and according to G. Ulick Browne's article in The Studio Leighton asked 'Cockerell's advice about the design and composition of his picture, and, what is more to the point, almost always took it.' Included in the collection is a series of landscapes by Lord Frederic Leighton depicting views of Lindisfarne Castle. Cockerell's close relationship with Frederic Leighton had a strong influence on both his work and personal life especially from 1875 until Leighton's death in 1896. Works by Cockerell himself show his sensitive nature through two endearing small scale studies of his daughter Frederica Lucy and his interest in sculpture is evident through his detailed portrayal of the statue of Pope Julius III in Perugia.
Lot 240
Samuel Pepys Cockerell (British 1844-1921)Frederica Lucy Cockerell, the artist's daughter, in profileOil on panel 21 x 15cm (8¼ x 5¾ in.)Provenance:The artistBy descent to the sitter, the artist's daughter Frederica Lucy CockerellBy family descent to the present owner Samuel Pepys Cockerell (1844-1921) | lots 237-241The following group of works from the collection of Samuel Pepys Cockerell (1844-1921) have passed through descent to the present owner and are coming to market for the first time since leaving the artist's studio. Cockerell was the youngest son of architect, archaeologist and writer Charles Robert Cockerell, RA, RIBA (1788-1863). Samuel Cockerell established a career as a sculptor, painter and like his father, a writer. After studying a B.A. honours degree at Christ Church, Oxford Cockerell entered the Royal Academy Schools and exhibited at the Academy almost annually between 1875 and 1903. Cockerell had a particular interest in sculpture but also depicted a range of broad subjects from literary and biblical references and portraiture. His range of works were exhibited widely not only at the Royal Academy but further afield at the Grosvenor Gallery, the New Gallery, the Walker Art Gallery in Liverpool. Cockerell was also an avid art collector who was particularly fond of works by the Pre-Raphaelites.One of the most influential figures in Cockerell's life and career was his dear friend Frederic, Lord Leighton. Cockerell and fellow painter Valentine Cameron Prinsep were Leighton's executors and were present alongside family at Leighton's bedside on his death on 25th January 1896. Leighton trusted Cockerell's opinion and according to G. Ulick Browne's article in The Studio Leighton asked 'Cockerell's advice about the design and composition of his picture, and, what is more to the point, almost always took it.' Included in the collection is a series of landscapes by Lord Frederic Leighton depicting views of Lindisfarne Castle. Cockerell's close relationship with Frederic Leighton had a strong influence on both his work and personal life especially from 1875 until Leighton's death in 1896. Works by Cockerell himself show his sensitive nature through two endearing small scale studies of his daughter Frederica Lucy and his interest in sculpture is evident through his detailed portrayal of the statue of Pope Julius III in Perugia.Condition Report: Light surface dirt throughout. Some surface scratches throughout, most noticeably to the upper third of the panel, largely confined to the background and the very top of the sitter's head, and to the sitter's chin area. There is a very small scuff and associated loss (approx 1mm) to the upper left edge. Inspection under UV reveals light scattered retouching throughout, together with a green cloudy varnish.Condition Report Disclaimer
Lot 242
Frederic, Lord Leighton, P.R.A. (British 1830-1896)Lindisfarne Castle with Horse and Rider in the foregroundOil on canvas laid down on artist's board5.5 x 15.5cm (2 x 6 in.)Provenance:Gift from the artist to Samuel Pepys CockerellBy descent to his daughter Frederica Lucy CockerellBy family descent to the present ownerWe are grateful to Richard Ormond and Daniel Robbins, Senior Curator of Leighton House Museum, for confirming the attribution.Samuel Pepys Cockerell (1844-1921) | lots 237-241The following group of works from the collection of Samuel Pepys Cockerell (1844-1921) have passed through descent to the present owner and are coming to market for the first time since leaving the artist's studio. Cockerell was the youngest son of architect, archaeologist and writer Charles Robert Cockerell, RA, RIBA (1788-1863). Samuel Cockerell established a career as a sculptor, painter and like his father, a writer. After studying a B.A. honours degree at Christ Church, Oxford Cockerell entered the Royal Academy Schools and exhibited at the Academy almost annually between 1875 and 1903. Cockerell had a particular interest in sculpture but also depicted a range of broad subjects from literary and biblical references and portraiture. His range of works were exhibited widely not only at the Royal Academy but further afield at the Grosvenor Gallery, the New Gallery, the Walker Art Gallery in Liverpool. Cockerell was also an avid art collector who was particularly fond of works by the Pre-Raphaelites.One of the most influential figures in Cockerell's life and career was his dear friend Frederic, Lord Leighton. Cockerell and fellow painter Valentine Cameron Prinsep were Leighton's executors and were present alongside family at Leighton's bedside on his death on 25th January 1896. Leighton trusted Cockerell's opinion and according to G. Ulick Browne's article in The Studio Leighton asked 'Cockerell's advice about the design and composition of his picture, and, what is more to the point, almost always took it.' Included in the collection is a series of landscapes by Lord Frederic Leighton depicting views of Lindisfarne Castle. Cockerell's close relationship with Frederic Leighton had a strong influence on both his work and personal life especially from 1875 until Leighton's death in 1896. Works by Cockerell himself show his sensitive nature through two endearing small scale studies of his daughter Frederica Lucy and his interest in sculpture is evident through his detailed portrayal of the statue of Pope Julius III in Perugia.Condition Report: Some light surface dirt throughout. Inspection under UV shows no evidence of restoration or retouching. Overall the work appears to be in good condition.Condition Report Disclaimer
Lot 243
Frederic, Lord Leighton, P.R.A. (British 1830-1896)Rowing Boats on the Shores of Lindisfarne CastleOil on panel 11.4 x 19.4cm (4¼ x 7½ in.)Provenance:Gift from the artist to Samuel Pepys CockerellBy descent to his daughter Frederica Lucy CockerellBy family descent to the present ownerWe are grateful to Richard Ormond and Daniel Robbins, Senior Curator of Leighton House Museum, for confirming the attribution.Samuel Pepys Cockerell (1844-1921) | lots 237-241The following group of works from the collection of Samuel Pepys Cockerell (1844-1921) have passed through descent to the present owner and are coming to market for the first time since leaving the artist's studio. Cockerell was the youngest son of architect, archaeologist and writer Charles Robert Cockerell, RA, RIBA (1788-1863). Samuel Cockerell established a career as a sculptor, painter and like his father, a writer. After studying a B.A. honours degree at Christ Church, Oxford Cockerell entered the Royal Academy Schools and exhibited at the Academy almost annually between 1875 and 1903. Cockerell had a particular interest in sculpture but also depicted a range of broad subjects from literary and biblical references and portraiture. His range of works were exhibited widely not only at the Royal Academy but further afield at the Grosvenor Gallery, the New Gallery, the Walker Art Gallery in Liverpool. Cockerell was also an avid art collector who was particularly fond of works by the Pre-Raphaelites.One of the most influential figures in Cockerell's life and career was his dear friend Frederic, Lord Leighton. Cockerell and fellow painter Valentine Cameron Prinsep were Leighton's executors and were present alongside family at Leighton's bedside on his death on 25th January 1896. Leighton trusted Cockerell's opinion and according to G. Ulick Browne's article in The Studio Leighton asked 'Cockerell's advice about the design and composition of his picture, and, what is more to the point, almost always took it.' Included in the collection is a series of landscapes by Lord Frederic Leighton depicting views of Lindisfarne Castle. Cockerell's close relationship with Frederic Leighton had a strong influence on both his work and personal life especially from 1875 until Leighton's death in 1896. Works by Cockerell himself show his sensitive nature through two endearing small scale studies of his daughter Frederica Lucy and his interest in sculpture is evident through his detailed portrayal of the statue of Pope Julius III in Perugia.Condition Report: Light surface dirt throughout. Some light rubbing to the upper framing edge visible. Inspection under UV reveals no evidence of restoration or repair. Overall the work appears to be in good condition.Condition Report Disclaimer
Lot 244
Frederic, Lord Leighton, P.R.A. (British 1830-1896)Lindisfarne CastleOil on panel 11.4 x 17.8cm (4¼ x 7 in.)Provenance:Gift from the artist to Samuel Pepys CockerellBy descent to his daughter Frederica Lucy CockerellBy family descent to the present ownerExhibited:London, Leighton House, 1903-4. no. 61 (titled Holy Island Castle)London, Royal Academy, Frederic Leighton 1830-1896, 13 February - 21 April 1996, no.101Literature:I. and R. Ormand, Lord Leighton, New Haven and London, 1975, p. 177, possibly no. 480 or 490 (both titled View of Holy Island, 5 x 7 3/4in., Provenance: S.P.Cockerell)S. Jones, C. Newall, I. and R. Ormond, B. Read, Frederic Leighton 1830-1896, Royal Academy, exhibition catalogue, 1996, pp. 210-1, no. 101, illustrated p. 210We are grateful to Richard Ormond and Daniel Robbins, Senior Curator of Leighton House Museum, for confirming the attribution.Samuel Pepys Cockerell (1844-1921) | lots 237-241The following group of works from the collection of Samuel Pepys Cockerell (1844-1921) have passed through descent to the present owner and are coming to market for the first time since leaving the artist's studio. Cockerell was the youngest son of architect, archaeologist and writer Charles Robert Cockerell, RA, RIBA (1788-1863). Samuel Cockerell established a career as a sculptor, painter and like his father, a writer. After studying a B.A. honours degree at Christ Church, Oxford Cockerell entered the Royal Academy Schools and exhibited at the Academy almost annually between 1875 and 1903. Cockerell had a particular interest in sculpture but also depicted a range of broad subjects from literary and biblical references and portraiture. His range of works were exhibited widely not only at the Royal Academy but further afield at the Grosvenor Gallery, the New Gallery, the Walker Art Gallery in Liverpool. Cockerell was also an avid art collector who was particularly fond of works by the Pre-Raphaelites.One of the most influential figures in Cockerell's life and career was his dear friend Frederic, Lord Leighton. Cockerell and fellow painter Valentine Cameron Prinsep were Leighton's executors and were present alongside family at Leighton's bedside on his death on 25th January 1896. Leighton trusted Cockerell's opinion and according to G. Ulick Browne's article in The Studio Leighton asked 'Cockerell's advice about the design and composition of his picture, and, what is more to the point, almost always took it.' Included in the collection is a series of landscapes by Lord Frederic Leighton depicting views of Lindisfarne Castle. Cockerell's close relationship with Frederic Leighton had a strong influence on both his work and personal life especially from 1875 until Leighton's death in 1896. Works by Cockerell himself show his sensitive nature through two endearing small scale studies of his daughter Frederica Lucy and his interest in sculpture is evident through his detailed portrayal of the statue of Pope Julius III in Perugia.Condition Report: Very light surface dirt throughout. Some light rubbing to the framing edges. Inspection under UV reveals no evidence of restoration or repair. Overall the work appears to be in good condition.Condition Report Disclaimer
Lot 253
William Powell Frith (British 1819-1909)Kate Nickleby at Madame Mantalini'sOil on canvasSigned and dated 1856 (lower left)55 x 44cm (21½ x 17¼ in.)Provenance:Henry Cooper Esq, 1885William Rome Esq, 1907Sir Alexander Walker KBE, 1948Walkers Gallery, LondonFrom the private collection of Sir David and Lady Scholey Exhibited: Royal Academy, London, 1857, No. 125Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting. Condition Report: Canvas has been wax relined. Light cracking to the surface but Paint surface appears to be in general. Inspection under UV reveals one or two spots of retouching across the image and some areas of retouching to the darker pigments of the sitter's dress. Minor abrasions to the edges but generally appears in good original condition. Condition Report Disclaimer
Lot 254
William Powell Frith (British 1819-1909)Twelfth NightOil on panelSigned and dated 1852, further signed and inscribed Repainted 1862 (lower left)22.5 x 30cm (8¾ x 11¾ in.)Provenance:John A. Cooling, LondonFrom the private collection of Sir David and Lady Scholey Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting.
Lot 255
Edward Clifford (British 1844-1907)A group portrait of The Broadlands Conference Pencil, watercolour and bodycolour with scratching out Signed and dated 1887 (lower right) 169 x 263cm (66½ x 103½ in.)Provenance:The Church Army, by 1887The Keswick Convention, by 1964Private Collection. Literature:Mrs R Cholmeley, Edward Clifford, London: The Church Army Book Room, 1907, p 42 and pp 86-94, reproduced opposite p 87.Edward Clifford, Father Damien and Others, London: The Church Army Book Room, 1904(?), p 34.This impressive group portrait, painted on a monumental scale, celebrates the Broadlands Conferences of the Higher Life which took place between 1874 and 1888 at Broadlands in Hampshire the country estate of the William and Georgina Cowper-Temple. In the picture he is seen in a tweed suit seated at the table with his wife in the upper right corner. William had an illustrious political career as a member of Parliament for over forty-five years, Private Secretary to his uncle Lord Melbourne and groom-in-waiting to Queen Victoria. With his second wife he shared an interest in Evangelical Christianity and embarked on a search for religious enlightenment. Georgina had a particular interest in mysticism and mixed with leading spiritualist figures from Britain, American and Europe, attending several séances. The annual conferences they founded brought together their religious interests and the beautiful surroundings at Broadlands aimed to create a "foretaste of heaven" with many of the services taking place under the Beech trees or in the orangery.Their interests were precipitated by the Holiness movement in America and the 1870s saw the emergence of the Higher Life movement in England which was named after William Boardman's book The Higher Christian Life (published in 1858) the main aim of the movement was to help in advancing the Christian's progressive sanctification, and enable one to live a more holy, less sinful, life. Though principally Evangelical, the movement was seen as non-denominational. Together with William Boardman, two other key figures helping to spread the holiness message in England were Robert Pearsall Smith and his wife, Hannah (the central standing figure in the composition), both of whom were acquainted with the Mount-Temples and were involved in the conferences at Broadlands.Edward Clifford was well placed to paint the picture. He had a strong faith, was honorary Secretary of the Evangelical Church Army (the first owners of the picture) and attended the conferences. He was a gifted artist and alongside Robert Bateman, Walter Crane and others, was part of a group of followers of, the Pre-Raphaelite painter, Edward Coley Burne-Jones and exhibited at the Dudley Gallery in the late 1860s and 1870s. Clifford's works often took passages from the Bible as its subject and according to Angela Thirkell, Burne-Jones's granddaughter `He had a peculiar gift for copying his paintings so that my grandfather himself could hardly tell the difference.' He also produced fine pencil portraits, a talent he used to much effect in the present work. Clifford has helpfully named many of the sitters and they reflect the social and geographical diversity of those that attended the various Broadlands conferences. The most notable includes several members of the Wilberforce and Gurney families including Canon Basil Wilberforce, the Church of England Bishop, and Emilia Gurney, the feminist reformer, suffragist, and abolitionist. Amanda Berry Smith is also included, and she spoke at the conference in 1879. She was born into slavery in Maryland and joined the African Methodist Episcopal Church. The Rev. H.B. Macartney vividly recorded his attendance at one of the conferences in his book England, Home and Beauty, 1878, p.73-90. A reprinted copy is included with this lot. The figures are identified, left to right:1 - The Hon Ion Keith Falconer (1856-1887), 2- The Reverend Barton Brown, 3 - Mrs Sumner, 4 - Boyd Carpenter, Bishop of Ripon (1841-1918), 5 - The Rev Evan Hopkins (1837-1918), 6- Mrs Wilberforce (Caroline Charlotte Jane Langford,1840-1909), 7- Rev Charles Armstrong Fox, (1836-1900), 8- Rev R Corbett, 9- Edward Clifford (1844-1907) Artist and Hon Secretary of the Church Army, 10 - Vernon Bayley (Perhaps the gardener at Broadlands), 11 - Stanley P Smith, 12 - Lt Herbert Wilberforce, (see 6 and 32 for his mother and father), 13- Mrs Charles, 14 - Sir Stevenson Arthur Blackwood (1823-1893), 15 - The Rev William Hay Macdowall Hunter Aitken (1841-1927), 16 - Lady Ashburton 1844-1930 (The Hon. Leonora Caroline Digby), 17 - Amanda Berry Smith (1837-1915), 18 - Canon Body, 19 - Hon. Mrs Butts, 20 - Ernest Gerard Leycester (1849-1914), 21 - Countess Dowager of Gainsborough, 22 - Rev. Alfred Clifford (1849-1931), 23 - Lord Chichester, 24 - Miles Tyndale, 25 - Countess of Darnley (1829-1905), 26 - Wilson Carlile, CH (1847-1942), 27 - Dr George MacDonald (1824-1905), 28 - The Rev. Andrew Jukes (1847-1931), 29 - Unknown Sitter, 30 - Mme Juliet Latour Temple (later Deschamps) (Possibly), 31 - Canon (Albert) Basil (Orme) Wilberforce (1841-1916), 32 - The Rev. Alfred Gurney (1843-1898), 33 - George Howard Wilkinson, (1833-1907), 34 - Mary Clifford (1842 - 1919), 35 - J W Farquhar, 36 - Hannah Tatum Whitall Smith (1832-1911), 37 - William Francis Cowper-Temple, 1st Baron Mount Temple (1811-1888), 38 - Théodore Monod (1836 - 1921), 39 - Theodor [sic] Monod, 40 - Emilia, Mrs Russell Gurney (1823-1896), 41 - Georgina Tollemache (married 1848, died 1901)For more information on the sitters please refer to our blog which can be found in 'News & Insights' on www.dreweatts.com
Lot 289
Portugese School (late 19th century) Portrait of Viscondessa Beatriz d'Arneiro, later Mrs Edward JohnsonOil on canvas 198 x 122 cm. (78 x 48 in.)Provenance: From the private collection of Sir David and Lady Scholey In 1909 Viscondessa Beatriz d'Arneiro, married Edward Johnson, the operatic tenor and manager of The Metropolitan Opera in New York. Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting. Condition Report: The canvas has been relined. There are light surface scratches and minor scattered abrasions throughout. There is some light scattered craquelure throughout. UV light reveals scattered patches of retouching throughout and in-filling to old craquelure. There is also a green masking varnish. In good, clean condition, ready to hang.Condition Report Disclaimer
Lot 55
Frederick Lee Bridell (British 1831-1863)The Temple of Saturn, the Forum and the Colosseum, RomeOil on canvasSigned and dated 1862 (lower right)87.5 x 123.5cm (34¼ x 48½ in.)Provenance:Joseph MorbyArthur Tooth and Sons, LondonBerwick House, Shropshire Frederick Lee Bridell (British 1831-1863)Like his mentor Richard Parkes Bonnington, a generation before him, Frederick Lee Bridell died young, in his case at the age of thirty-two. Had he lived he may well have enjoyed the success of the greatest British landscape painters of the 19th Century such as Edward Lear and David Roberts, whose monumental Italian pictures can be favourably compared to the two works in our sale. From the early 18th Century, the lure of Italy and the ruins of Classical Antiquity has proved irresistible to artists and travellers. The Grand Tour became a rite of passage, but the Napoleonic Wars disrupted travel and the Continent was effectively cut off from Britain for many years. With the end of hostilities in 1815 travellers returned and Rome became the epicentre for a new generation, drawn to the ruins of an ancient world and a favourable climate. Artists moved away from mere topographical representation towards a Romantic vision. The landscape is seen as a link with the classical past but there is an increasing emphasis on the subjective experience of the artist. With the inclusion of shepherds, herdsman and townspeople going about their everyday work they vividly capture the atmosphere of life in the eternal city. Bridell was born in Southampton in 1830 and was the son of John Bridle a carpenter. From the age of nine he was avidly drawing and writing verse and his early promise was spotted by Edwin Holder a picture restorer, to whom he was apprenticed. By eighteen he was painting portraits and signing his works Frederick Lee Bridell and in 1851 exhibited his first picture at The Royal Academy. With Holder's support he spent three years on the Continent, copying pictures in the Louvre, then in Munich and the Tyrol where he was inspired by the Alpine landscape. On returning to England, he worked up his studies into large scale studio pictures which he exhibited at the Royal Academy, the British Institution and the Liverpool Academy and attracted the attention of many wealthy collectors in his hometown. James Wolff, a shipping merchant became his most notable patron and built a Bridell gallery, to house twelve of his large-scale landscapes, at his home at Bevois Mount, in the outskirts of the city. In 1858, buoyed by his commercial success, Bridell travelled to Italy, with a copy of Byron's Childe Harold for inspiration, he wrote back to his patron James Wolff 'I am now settled, as far a studio is concerned, most capitally on the Pincian Hill overlooking Rome - the best lighted, most healthy and most agreeable quarter possibly to be selected.' He met a young artist, Eliza Fox, one of a large community of British artists and writers who had travelled to the city. They married soon afterwards, and the writer Elizabeth Barrett Browning recorded in a letter `We have a wedding here and Robert (Browning) has "given away" the bride who is no other than Miss Fox. She came here this winter for the purposes of art & chose to begin my portrait, as I think I told you - and fell in with Mr Bridell a landscape-painter of much talent'. The four years he spent in Italy from 1858 were the most successful and productive of his short career. He painted the present pictures at this time and for his patron James Wolff he produced The Coliseum at Rome by Moonlight which is now in Southampton City Art Gallery. He also travelled to the Italian lakes where is painted grand landscapes such as The Woods of Sweet Chestnut above Varenna, Lake Como(Tate Britain). The lake air was seen as beneficial to his health, but he returned to England in 1863 and succumbed to the tuberculosis that he had suffered from for several years. In his obituary in The Art Journal in 1864, the poet Sir Theodore Martin lamented 'Had he lived, he must have earned a European reputation; and numerous and fine as are the works he has left, his early death is, in the interests of Art, deeply to be deplored'. His wife held a studio sale of his pictures at Christie's the following year and his patron Wolff, who had run into financial difficulties, sold this `Bridell Gallery' at Christie's the previous year.Condition Report: The canvas is not relined. There are some fine lines of craquelure running through the work, predominately noticeable in the sky but also extending in the lower half of the composition. There are faint stretcher marks visible. Ultraviolet light reveals scattered retouching throughout, in particular to the figures, the edges of the arches upper left and other areas in the foreground. Framed under glass. In overall good, clean condition.Condition Report Disclaimer
Lot 56
Frederick Lee Bridell (British 1831-1863)The Arch of Titus at Rome looking towards the capitalOil on canvasSigned and dated 1862 (lower right), titled (to label attached verso)86.5 x 123.5cm (34 x 48½ in.)Provenance:Joseph Morby Arthur Tooth and Sons, LondonBerwick House, Shropshire Frederick Lee Bridell (British 1831-1863)Like his mentor Richard Parkes Bonnington, a generation before him, Frederick Lee Bridell died young, in his case at the age of thirty-two. Had he lived he may well have enjoyed the success of the greatest British landscape painters of the 19th Century such as Edward Lear and David Roberts, whose monumental Italian pictures can be favourably compared to the two works in our sale. From the early 18th Century, the lure of Italy and the ruins of Classical Antiquity has proved irresistible to artists and travellers. The Grand Tour became a rite of passage, but the Napoleonic Wars disrupted travel and the Continent was effectively cut off from Britain for many years. With the end of hostilities in 1815 travellers returned and Rome became the epicentre for a new generation, drawn to the ruins of an ancient world and a favourable climate. Artists moved away from mere topographical representation towards a Romantic vision. The landscape is seen as a link with the classical past but there is an increasing emphasis on the subjective experience of the artist. With the inclusion of shepherds, herdsman and townspeople going about their everyday work they vividly capture the atmosphere of life in the eternal city. Bridell was born in Southampton in 1830 and was the son of John Bridle a carpenter. From the age of nine he was avidly drawing and writing verse and his early promise was spotted by Edwin Holder a picture restorer, to whom he was apprenticed. By eighteen he was painting portraits and signing his works Frederick Lee Bridell and in 1851 exhibited his first picture at The Royal Academy. With Holder's support he spent three years on the Continent, copying pictures in the Louvre, then in Munich and the Tyrol where he was inspired by the Alpine landscape. On returning to England, he worked up his studies into large scale studio pictures which he exhibited at the Royal Academy, the British Institution and the Liverpool Academy and attracted the attention of many wealthy collectors in his hometown. James Wolff, a shipping merchant became his most notable patron and built a Bridell gallery, to house twelve of his large-scale landscapes, at his home at Bevois Mount, in the outskirts of the city. In 1858, buoyed by his commercial success, Bridell travelled to Italy, with a copy of Byron's Childe Harold for inspiration, he wrote back to his patron James Wolff 'I am now settled, as far a studio is concerned, most capitally on the Pincian Hill overlooking Rome - the best lighted, most healthy and most agreeable quarter possibly to be selected.' He met a young artist, Eliza Fox, one of a large community of British artists and writers who had travelled to the city. They married soon afterwards, and the writer Elizabeth Barrett Browning recorded in a letter `We have a wedding here and Robert (Browning) has "given away" the bride who is no other than Miss Fox. She came here this winter for the purposes of art & chose to begin my portrait, as I think I told you - and fell in with Mr Bridell a landscape-painter of much talent'. The four years he spent in Italy from 1858 were the most successful and productive of his short career. He painted the present pictures at this time and for his patron James Wolff he produced The Coliseum at Rome by Moonlight which is now in Southampton City Art Gallery. He also travelled to the Italian lakes where is painted grand landscapes such as The Woods of Sweet Chestnut above Varenna, Lake Como(Tate Britain). The lake air was seen as beneficial to his health, but he returned to England in 1863 and succumbed to the tuberculosis that he had suffered from for several years. In his obituary in The Art Journal in 1864, the poet Sir Theodore Martin lamented 'Had he lived, he must have earned a European reputation; and numerous and fine as are the works he has left, his early death is, in the interests of Art, deeply to be deplored'. His wife held a studio sale of his pictures at Christie's the following year and his patron Wolff, who had run into financial difficulties, sold this `Bridell Gallery' at Christie's the previous year.Condition Report: The canvas is not lined. There are some fine lines of craquelure predominately to the sky and upper corners and very faint stretcher vertical stretcher marks. Ultraviolet light reveals some light scattered retouching, predominately to the foreground. Framed under glass. In overall good, clean condition.Condition Report Disclaimer
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