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![Cary (J), CARY'S SURVEY OF THE HIGH ROADS FROM LONDON TO HAMPTON COURT [...] RICHMOND ON A SCALE OF ONE INCH TO A MILE : WHER](https://cdn.globalauctionplatform.com/aa975ce7-035d-424a-901a-ae4c011e831d/d8328eb4-c9a2-4b5a-a950-ae5300ffbb85/468x382.jpg)
Lot 321
Cary (J), CARY'S SURVEY OF THE HIGH ROADS FROM LONDON TO HAMPTON COURT [...] RICHMOND ON A SCALE OF ONE INCH TO A MILE : WHEREIN Every GENTLEMAN'S SEAT, situate on, or seen from the ROAD, (however distant) are laid down, with the Name of the Possessor; to which is added the number of INNS on each separate route; ALSO, the different TURNPIKE GATES, shewing The Connection which one trust has with another, 1/2 leather, marbled boards, "Explanation" and "Advertisement" page, foldout engraved "General Map" of London and environs, full-page "General Plan for explaining the different Trusts of the Turnpike Gates.", and eighty hand coloured engraved strip-maps to 40 plates, printed for J Cary, London 1790 (at fault)
Lot 439
A selection of shaped serving dishes by Booths, each decorated with gilt bordered reserves of exotic birds in the manner of James Giles against a cobalt blue scale ground, comprising: two square dishes, each 20cm x 20cm, a circular dish, 22cm diameter, and a navette shaped dish, 29.5cm wide, with a similarly decorated charger, 33.5cm diameter, a similarly decorated Booths green scale coffee pot, 19cm high, two further Booths navette shaped dishes and three blue and white meat plates (11)
Lot 243
George de Forest Brush (American, 1855-1941)The artist's familysigned 'Geo de Forest Brush' l.c., oil on board152.5 x 183.5cm, unframedThis group portrait depicts (from left) Georgia, Tribbie, Mrs Brush holding Mary, Gerome and Nancy. The artist’s daughter Nancy Douglas Bowditch describes in her book, ‘George de Forest Brush: Recollections of a Joyous Painter’, how her father, a pupil of the celebrated Jean Leon Gerome in Paris, began painting ‘The Family Group’ in 1898 when they were living in a small village near Fontainebleau; he continued working on it when the family moved to Florence later the same year and it was finished by the time they returned to America in 1899. According to his daughter, Brush then ‘painted almost exclusively his wife and children, except for commissioned portrait orders’. Our picture is very similar in composition to the ‘Family Group’ of 1898, as illustrated in the book (fig. 22), but with minor differences in detail. It is unlikely to be a preparatory sketch on such a scale, but may well be another version of the portrait painted at a later date. A copy of the book is included with this lot. Condition report: The painting is executed in oil on a large flat wooden board which has been nailed through the front surface onto a wooden stretcher. The board is largely in plane, there is some delamination around the edges. The paint layers have numerous textural issues. Vertical lines of cracks in have occurred related to the wooden support, most areas are stable but some places the paint is lifting and flaking. Drying cracks have formed as the paint layer dried creating an uneven surface texture. There is extensive overpaint across the surface. In the lighter paint passages, the over paint has become pale and obvious, for example in the face of the central figure. The varnish layer is fairly even and semi-glossy. There are numerous scuffs and a layer of surface dirt present
Lot 598
A George III mahogany longcase clock,by John Holmes, London, with a white enamelled dial and strike/silent, inscribed to the dial ‘Holmes, 156 Strand, London’, enclosing an eight-day movement, striking the hours, surmounted with a finial, with an arched top, fish scale side panels, and an arched case door with original receipt to the door,41cm wide25cm deep215cm highJohn Holmes worked from 156 Strand in London between 1761 and 1802. Holmes was regarded as one of the finest clockmakers of his time and F J Britten comments 'he seems to have been one among the leading mechanicians and when the turret clock at Greenwich Hospital was destroyed by fire in 1779, he was given the order for a new one. The Wetherfield Collection contains two long mahogany case clocks of his manufacture, one a particularly choice example of Chippendale dating from about 1770'. The Ludlum pendulum was used by Holmes and enabled the user to make very fine adjustments, and in turn, gave improved timekeeping.Condition report: Case: front has discolouration to concave surface of moulding beneath hood. Veneer on carcass around arched top of door with multiple cracks and jagged split. Veneer on door has extensive shallow cracking and small splits. Also some apparent later added colouration. Lower flame veneered panel has multiple vertical cracks which appear unslightly. Back of case has long vertical split and signs of old woodworm. Two wing pieces replaced at some stage. Moulding piece detached from one side but present. Hood - top split in two places. Both sides have splits emanating from top of brass grill 'windows', one side more pronounced.Dial: chip to right winding hole. Brass spandrels and flat plan backplate quite tarnished and original lacquer perished.Backplate: both main drum holes have been alternately rebushed (raised bush) and 'hammered'. Both weights very tarnished.
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