A CAUCASIAN FRAGMENTARY CARPET OF 'HARSHANG' OR 'BLOSSOM' DESIGN FIRST HALF 18TH CENTURY Approximately 465 x 179cm This beautiful carpet, woven with exceptionally lustrous wool, retains extraordinary depth of colour. The "Harshang' design, with repeating large-scale flowers and angular leaves, was widely used in the Caucasus, Trans-Caucasus and North West Persia during the 18th and 19th centuries. It is also known as the 'Blossom' or 'Crab' design. This particular example is likely to have come from the Karabagh area of the southern Caucasus. For related examples please see: Sotheby's, London, 16 October 2002, lot 48 Sotheby's, London, 4 October 2000, lot 81 Christie's, London, 25 April 2002, lot 41 Condition Report: Sewn on to red linen/cotton backing material.Extant areas mostly in good pile. Old moth damageNumerous holes, some big. End border missing, but rug mostly complete. Probably just a small portion of the field missing.Retaining wonderful depth of colour. Condition Report Disclaimer
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λ MELITA DENARO (IRISH B. 1950) EVE OF ST. PATRICK'S DAY, 2007 Oil on board Signed, inscribed, titled and dated (verso) 15 x 19cm (5¾ x 7¼ in.)Whether Melita Denaro is watching a squally cloud, filled with water, change colour as it joins the sea; or a sunbeam illuminating a golden cow in a green corner of a meadow, she brings to her paintings a spiritual intensity that one has seen in the translucent Scapa Flow sunsets of Turner or when a kneeling woman is transformed into the Queen of Heaven by a Tiepolo shaft of sunlight. Robert Kime Melita Denaro's small scale panels are packed with energy and excitement. Denaro who grew up on the Isle of Doagh in County Donegal captures the wild landscapes, weathered surroundings, and extremes of nature. Denaro moved to London to study, training at the Central School of Art and Royal Academy Schools. She has been represented by John Martin Gallery since 2002 and has exhibited widely across London, New York and Ireland. Every year Denaro takes the pilgrimage from Hackney, where she lives to her childhood haunts on the Isle of Doagh. These weeks are spent recording moments in time directly onto the panels which trigger childhood memories and experiences growing up in the changeable atmosphere beside the Atlantic coast. The titles of the works Denaro produces draw on stories from the islanders and conversations held on this wild and free island. Condition Report: In good original condition. Condition Report Disclaimer
λ MELITA DENARO (IRISH B. 1950) LANDSCAPE Oil on board Inscribed and dated '18 May 15' (verso) 11 x 16cm (4¼ x 6¼ in.) Unframed Painted in 2015. Whether Melita Denaro is watching a squally cloud, filled with water, change colour as it joins the sea; or a sunbeam illuminating a golden cow in a green corner of a meadow, she brings to her paintings a spiritual intensity that one has seen in the translucent Scapa Flow sunsets of Turner or when a kneeling woman is transformed into the Queen of Heaven by a Tiepolo shaft of sunlight. Robert Kime Melita Denaro's small scale panels are packed with energy and excitement. Denaro who grew up on the Isle of Doagh in County Donegal captures the wild landscapes, weathered surroundings, and extremes of nature. Denaro moved to London to study, training at the Central School of Art and Royal Academy Schools. She has been represented by John Martin Gallery since 2002 and has exhibited widely across London, New York and Ireland. Every year Denaro takes the pilgrimage from Hackney, where she lives to her childhood haunts on the Isle of Doagh. These weeks are spent recording moments in time directly onto the panels which trigger childhood memories and experiences growing up in the changeable atmosphere beside the Atlantic coast. The titles of the works Denaro produces draw on stories from the islanders and conversations held on this wild and free island. Condition Report: Appears to be in good original condition. Condition Report Disclaimer
λ MELITA DENARO (IRISH B. 1950) LANDSCAPE WITH SHEEP IN THE FOREGROUND Oil on panel 13 x 17cm (5 x 6½ in.)Whether Melita Denaro is watching a squally cloud, filled with water, change colour as it joins the sea; or a sunbeam illuminating a golden cow in a green corner of a meadow, she brings to her paintings a spiritual intensity that one has seen in the translucent Scapa Flow sunsets of Turner or when a kneeling woman is transformed into the Queen of Heaven by a Tiepolo shaft of sunlight. Robert Kime Melita Denaro's small scale panels are packed with energy and excitement. Denaro who grew up on the Isle of Doagh in County Donegal captures the wild landscapes, weathered surroundings, and extremes of nature. Denaro moved to London to study, training at the Central School of Art and Royal Academy Schools. She has been represented by John Martin Gallery since 2002 and has exhibited widely across London, New York and Ireland. Every year Denaro takes the pilgrimage from Hackney, where she lives to her childhood haunts on the Isle of Doagh. These weeks are spent recording moments in time directly onto the panels which trigger childhood memories and experiences growing up in the changeable atmosphere beside the Atlantic coast. The titles of the works Denaro produces draw on stories from the islanders and conversations held on this wild and free island. Condition Report: In good original condition. Condition Report Disclaimer
AN ISFAHAN FRAGMENTARY CARPET CENTRAL PERSIA, 17TH CENTURY Approximately 240 x 302cm A large section from a grand and early carpet from the looms of Isfahan. The large scale of the palmettes in both the field and border, together with their sophisticated, curvilinear drawing, are illustrative of Persian carpet design at its most confident, which coincided with the pinnacle of Safavid power during the late 16th and 17th centuries. For related examples at auction, see: Christie's, London, 18th October 2001, lot 257 Christie's, London, 18th October 2016, lot 49Saleroom notice:Bidders are advised that some countries prohibit or restrict the import of Iranian-origin "works of conventional craftsmanship". For example, the USA prohibits the import of this type of property. Prospective buyers are strongly advised to familiarise themselves prior to bidding with the laws of the country they intend to import the lots. We will not be able to cancel your purchase if your lot may not be exported, imported or it is seized for any reason by a government authority. Condition Report: Comprising a large fragment from what would have been a substantial carpet at least 4m in length. The pile is heavily and unevenly worn . With numerous holes patches and restorations. The patches are likely to be removed sections from the same carpet. The whole piece is sewn down on linen backing and overall it is in quite a fragile state. Condition Report Disclaimer
λ MELITA DENARO (IRISH B. 1950) LAGACURRY BEACH Oil on board Inscribed and dated '9 April 95' (verso) 28 x 35cm (11 x 13¾ in.) Whether Melita Denaro is watching a squally cloud, filled with water, change colour as it joins the sea; or a sunbeam illuminating a golden cow in a green corner of a meadow, she brings to her paintings a spiritual intensity that one has seen in the translucent Scapa Flow sunsets of Turner or when a kneeling woman is transformed into the Queen of Heaven by a Tiepolo shaft of sunlight. Robert Kime Melita Denaro's small scale panels are packed with energy and excitement. Denaro who grew up on the Isle of Doagh in County Donegal captures the wild landscapes, weathered surroundings, and extremes of nature. Denaro moved to London to study, training at the Central School of Art and Royal Academy Schools. She has been represented by John Martin Gallery since 2002 and has exhibited widely across London, New York and Ireland. Every year Denaro takes the pilgrimage from Hackney, where she lives to her childhood haunts on the Isle of Doagh. These weeks are spent recording moments in time directly onto the panels which trigger childhood memories and experiences growing up in the changeable atmosphere beside the Atlantic coast. The titles of the works Denaro produces draw on stories from the islanders and conversations held on this wild and free island.
λ MELITA DENARO (IRISH B. 1950) BIG ANNE'S WAKE, 2ND JANUARY 01 (II) Oil on board Titled and inscribed (verso) 13 x 18cm (5 x 7 in.) Whether Melita Denaro is watching a squally cloud, filled with water, change colour as it joins the sea; or a sunbeam illuminating a golden cow in a green corner of a meadow, she brings to her paintings a spiritual intensity that one has seen in the translucent Scapa Flow sunsets of Turner or when a kneeling woman is transformed into the Queen of Heaven by a Tiepolo shaft of sunlight. Robert Kime Melita Denaro's small scale panels are packed with energy and excitement. Denaro who grew up on the Isle of Doagh in County Donegal captures the wild landscapes, weathered surroundings, and extremes of nature. Denaro moved to London to study, training at the Central School of Art and Royal Academy Schools. She has been represented by John Martin Gallery since 2002 and has exhibited widely across London, New York and Ireland. Every year Denaro takes the pilgrimage from Hackney, where she lives to her childhood haunts on the Isle of Doagh. These weeks are spent recording moments in time directly onto the panels which trigger childhood memories and experiences growing up in the changeable atmosphere beside the Atlantic coast. The titles of the works Denaro produces draw on stories from the islanders and conversations held on this wild and free island. Condition Report: In good original condition.Condition Report Disclaimer
λ MELITO DENARO (IRISH B. 1950) CHASING ME (NOT), 12 MAY 06 Oil on board Inscribed and dated (verso) 13 x 17cm (5 x 6½ in.) Whether Melita Denaro is watching a squally cloud, filled with water, change colour as it joins the sea; or a sunbeam illuminating a golden cow in a green corner of a meadow, she brings to her paintings a spiritual intensity that one has seen in the translucent Scapa Flow sunsets of Turner or when a kneeling woman is transformed into the Queen of Heaven by a Tiepolo shaft of sunlight. Robert Kime Melita Denaro's small scale panels are packed with energy and excitement. Denaro who grew up on the Isle of Doagh in County Donegal captures the wild landscapes, weathered surroundings, and extremes of nature. Denaro moved to London to study, training at the Central School of Art and Royal Academy Schools. She has been represented by John Martin Gallery since 2002 and has exhibited widely across London, New York and Ireland. Every year Denaro takes the pilgrimage from Hackney, where she lives to her childhood haunts on the Isle of Doagh. These weeks are spent recording moments in time directly onto the panels which trigger childhood memories and experiences growing up in the changeable atmosphere beside the Atlantic coast. The titles of the works Denaro produces draw on stories from the islanders and conversations held on this wild and free island.
MELITA DENARO (IRISH B. 1950) CATTLE GRAZING ON THE WINDY CLIFF Oil on panel 18 x 23cm (7 x 9 in.)Whether Melita Denaro is watching a squally cloud, filled with water, change colour as it joins the sea; or a sunbeam illuminating a golden cow in a green corner of a meadow, she brings to her paintings a spiritual intensity that one has seen in the translucent Scapa Flow sunsets of Turner or when a kneeling woman is transformed into the Queen of Heaven by a Tiepolo shaft of sunlight. Robert Kime Melita Denaro's small scale panels are packed with energy and excitement. Denaro who grew up on the Isle of Doagh in Count Donegal captures the wild landscapes, weathered surroundings, and extremes of nature. Denaro moved to London to study, training at the Central School of Art and Royal Academy Schools. She has been represented by John Martin Gallery since 2002 and has exhibited widely across London, New York and Ireland. Every year Denaro takes the pilgrimage from Hackney, where she lives to her childhood haunts on the Isle of Doagh. These weeks are spent recording moments in time directly onto the panels which trigger childhood memories and experiences growing up in the changeable atmosphere beside the Atlantic coast. The titles of the works Denaro produces draw on stories from the islanders and conversations held on this wild and free island. Condition Report: In good original condition. Condition Report Disclaimer
λ MELITA DENARO (IRISH B. 1950) THE DAY AFTER FATHER DIED Oil on panel Inscribed and dated '23 Sept 02' (verso) 15 x 19cm (5¾ x 7¼ in.)Whether Melita Denaro is watching a squally cloud, filled with water, change colour as it joins the sea; or a sunbeam illuminating a golden cow in a green corner of a meadow, she brings to her paintings a spiritual intensity that one has seen in the translucent Scapa Flow sunsets of Turner or when a kneeling woman is transformed into the Queen of Heaven by a Tiepolo shaft of sunlight. Robert Kime Melita Denaro's small scale panels are packed with energy and excitement. Denaro who grew up on the Isle of Doagh in County Donegal captures the wild landscapes, weathered surroundings, and extremes of nature. Denaro moved to London to study, training at the Central School of Art and Royal Academy Schools. She has been represented by John Martin Gallery since 2002 and has exhibited widely across London, New York and Ireland. Every year Denaro takes the pilgrimage from Hackney, where she lives to her childhood haunts on the Isle of Doagh. These weeks are spent recording moments in time directly onto the panels which trigger childhood memories and experiences growing up in the changeable atmosphere beside the Atlantic coast. The titles of the works Denaro produces draw on stories from the islanders and conversations held on this wild and free island. Condition Report: In good original condition. Condition Report Disclaimer
λ MELITA DENARO (IRISH B. 1950) MOMENT OF BEAUTY, I HAVE ALL I NEED, EYES, HEALTH, HAND AND PENCIL Oil on panel Inscribed and dated '23 July 09' (verso) 18 x 22cm (7 x 8½ in.)Whether Melita Denaro is watching a squally cloud, filled with water, change colour as it joins the sea; or a sunbeam illuminating a golden cow in a green corner of a meadow, she brings to her paintings a spiritual intensity that one has seen in the translucent Scapa Flow sunsets of Turner or when a kneeling woman is transformed into the Queen of Heaven by a Tiepolo shaft of sunlight. Robert Kime Melita Denaro's small scale panels are packed with energy and excitement. Denaro who grew up on the Isle of Doagh in County Donegal captures the wild landscapes, weathered surroundings, and extremes of nature. Denaro moved to London to study, training at the Central School of Art and Royal Academy Schools. She has been represented by John Martin Gallery since 2002 and has exhibited widely across London, New York and Ireland. Every year Denaro takes the pilgrimage from Hackney, where she lives to her childhood haunts on the Isle of Doagh. These weeks are spent recording moments in time directly onto the panels which trigger childhood memories and experiences growing up in the changeable atmosphere beside the Atlantic coast. The titles of the works Denaro produces draw on stories from the islanders and conversations held on this wild and free island. Condition Report: In good original condition. Condition Report Disclaimer
TWO 1/18 SCALE MINICHAMPS DIECAST MODEL CARS comprising a No.100 046404, 2004 Porsche 911 GT3 RSR, blue metallic, near mint (model dusty from display), boxed (box lacking base half of polystyrene packaging); together with No.100 066483, Porsche 911 GT3 RSR 'Seikel Motorsport' - 24H Le Mans 2006, Nielsen/Ehret/Farnbacher, white, boxed (model dusty from display and with pronounced metal fatigue crack to roof).
SIX 1/18 SCALE DIECAST MODEL WILLIAMS FORMULA 1 RACING CARS comprising a Minichamps No.180 000010, B.M.W. FW22, Jenson Button; Minichamps No.100 030003, B.M.W. FW25, J.P. Montoya; Minichamps No.100 020005, B.M.W. FW24 (2002), R. Schumacher; Minichamps No.180 990006, Supertec Fw21 (1999), R. Schumacher; Minichamps No.511 981802, Williams Mecachrome FW20, H.H. Frentzen; and another, each mint or near mint and boxed, (6).
Six boxed 1/64 scale Corgi Guinness truck sets to include 3 "Past & Present" 2 vehicle box sets (59563 Renault/Leyland Comet, 59564 Scania Tanker & Karrier Dropside and 59565 Volvo Rigid & Commer Flatbed) and 3 single truck sets (59529 ERF Curtainside, 59530 Volvo Tanker and 59531 Scania 4 Wheel Rigid & Close Couple Trailer). All contents as new and un-displayed, boxes at least excellent with some storage wear
Three boxed 1/50 scale limited edition Corgi Guinness diecast truck models to include 76403 Scania Curtainside (2249/4000), 75407 Leyland DAF Curtainside (1902/4000) and 55801 Kenworth T925 With Semi Box Trailer (2889/3200, model still factory sealed). All contents as new and un-displayed with paperwork and sealed accessory packs, boxes near mint with very minor storage wear
Eight boxed 1/50 scale and 1 x 1/43 scale limited edition Corgi Guinness truck models to include 50703 Mack LJ With Fruehauf Trailer (2942/4000), 22302 Leyland Super Comet, Trailer & Vats (5821/7000) etc (please refer to photos for details/further item specifics). All models checked and all are in mint un-displayed condition with CoA's, sealed accessory bags etc. Boxes at least excellent (mostly near mint) with light storage wear (9)
Seven boxed 1/50 scale limited edition diecast Corgi brewers related truck models to include 27701 Whitbread Seddon Atkinson Horse Transporter Set (2410/9900), 97367 Pointer Scammell Highwayman & Tanker Trailer (missing figure set), 97317 Scottish & Newcastle Breweries Foden Flatbed With Barrels & Chains (missing figure set), 97371 Cameron Brewery Bedford O Series Van (missing figure Set) etc. All remaining models complete with figures and sealed accessory bags where included, condition of all models at least near mint (mostly mint) with CoA's etc, boxes vary from excellent to near mint. Also included a City diecast Watney's Cream Stout Morris LD150 van with clear plastic display case. (8)
Seven boxed 1/50 scale Corgi limited and Premium edition truck models to include 73101 Heritage Collection Berliet GLR8 Brasseur "Vini-Prix" (2494/4000), 97334 Lucozade Atkinson 8 Wheel Rigid With Crates (8728/11000, missing figure set), 97319 Bass Pale Ale ERF Tanker (contents factory sealed), Corgi Premium 23601 Robson's Of Carlisle Albion Reiver etc. All models checked and all are in mint/sealed un-displayed condition with CoA's, sealed accessory bags (except where noted above) etc. Boxes at least excellent with light storage wear
Nine boxed 1/50 scale Corgi limited edition diecast truck models to include 9802 ERF 8 Wheel Rigid August 1995 Corgi Milestone Anniversary (3932/9200 with figure set), CC11608 Albion (LAD) Cameronian 8 Wheel Tipper-Russell Of Bathgate (1539/2400), 97956 Pickford's Foden Flatbed (contents factory sealed) etc (please refer to photos for further details/item specifics). All models checked and all are in mint un-displayed condition with CoA's, sealed accessory bags etc. Boxes at least excellent with light storage wear
Six boxed 1/50 scale Corgi diecast limited edition "Whiskey Collection" truck models to include 16001 John Jameson Scammell Highwayman Ballast & Trailer (3464/6500), 11401 Black & White ERF KV Artic Box Trailer (2267/4300), 21303 Bell's AEC Ergomatic With Box Trailer (2909/7700) etc. All models inspected and in mint un-displayed condition with accessory bags where included, CoA's etc. Boxes at least very good, mostly excellent
Eight 1/50 scale diecast North American brewers truck models from Corgi and Matchbox to include Corgi 50702 Mack LJ Schaefer Brewing Co and 52304 Mack B Ballantine's Ales & Beer, 2 x Corgi Canadian Collection limited edition models, Matchbox limited edition 32110-0911 1948 Budweiser Diamond T Tractor Trailer and KS201/A-M "The Spirit Of Budweiser 18-wheeler etc. All models in mint condition with accessory packs where originally included, CoA's etc, boxes vary, please refer to photos
Ten boxed Lledo Vanguards British brewers related diecast models to include 9x 1/64 1950's-1960's Classic Commercial Vehicles series models and 1x 1/43 scale diorama set with ceramic pub background with Austin A40 and Ford Anglia vans . All contents inspected and models in mostly mint condition (Flowers Bitter Commer Dropside has some minor decal damage to left side, possibly a factory fault). Mostly limited editions with CoA's, number plate choices and other paperwork, boxes at least excellent
Collection of 26x 1/76 scale (OO gauge suitable) diecast model vehicles to include Lledo and Corgi Trackside, Lledo "Brewing In Britain" (including BB1002, large tinplate brewery diorama set with Whitbread Scammell 6 Wheel Box Van), EFE Brewery Series, Oxford Haulage/Commercials and BT Models. Contents appear mint and un-displayed, boxes/packaging varies from very good to mint, refer to photos
Collection of 12x 1/100 scale diecast Matchbox North American and International Brewmasters truck models to include Moosehead Kenworth, Budweiser Peterbuilt, Dos Equis Aeromax etc. Also included 2x 1/87 scale plastic Herpa Kuhne & Nagel models, a Corgi Superhaulers Scania Car Transporter (ECM) etc. (17)
An Art Pottery garden or conservatory double bench, late 19th Century, of naturalistic rustic design with triple Gothic arched back, the whole in the form of branches and tree stumps with foliage, green and brown glazes, apparently unmarked, 100cm high, 113cm wide, 58cm deep. Note: the 19th Century Skey Pottery of Tamworth, Staffordshire is noted for its 'rustic' wares, some of which bear a passing similarity to this bench albeit not on such a large scale. It has also been suggested the origin of the piece could be Scotland and made as a special commission or exhibition piece
Omega. A stainless steel automatic triple calendar chronograph wristwatchModel: Speedmaster Automatic MK40Reference: 38205300Date: Circa 1995Movement: 25-jewel Cal.1151 automaticDial: Grey, luminous Arabic numeral hour markers, white outer 1/5th second divisions, white outer calendar markers, subsidiary dials at 6, 9 and 12 for seconds and 24 hour indication, 30 minute and 12 hour recording, day and month apertures below 12, white pointed baton hands with luminous hands, red centre chronograph hand, further jet tipped calendar handCase: Brushed and polished tonneau form, screw down back inscribed 'ROGER MOORE 23-11-1996', crown flanked by twin chronograph pushers, tachymetre scale to bezel, No.55327256Strap/Bracelet: Black leatherBuckle/Clasp: Signed steel buckleSigned: Case, dial & movementSize: 39mmThis lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
A Corgi 'icon' figure of Sir Roger Moore as James Bond, and an Eaglemoss die-cast scale model of the Citroen 2CV in For Your Eyes OnlyA Corgi hand-painted figure of Sir Roger Moore as James Bond, in a double-breasted suit, on clear base, from the Corgi 'Icon Collectible Figures' Collection, dated 1998, in original box with foam padding; together with a James Bond 007 Car Collection magazine publication (issue 5) 1:43 scale car in diorama scene and original box, the car: 15.5cm (6in) long; the figure: 7.5cm (3in) high (2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A GEORGE I OAK BOOKCASE POSSIBLY BY THOMAS RIPLEY CIRCA 1725 The fabric lined glazed doors enclosing adjustable shelves, the panelled doors enclosing drawers with gilt metal ring handles and handwritten ink labels 'Leases...Cottage Agreements... Farm Agreements...Papers relating to the leasehold lands under Christ Church...', inscribed in paint twice to the back 'RW' 270cm high, 198cm wide, 62cm deep Provenance: Almost certainly supplied to Sir Robert Walpole, later 1st Earl of Orford (1676-1745) or his son, Robert, 2nd Earl of Orford (1700-1751) for Houghton Hall, Norfolk and by descent at Houghton. Property of the Marquess of Cholmondeley, Houghton Hall, Norfolk, Christie's, London, Important English Furniture and Carpets, 24 November 2005, lot 29, where purchased by Robert Kime. Literature: G. Nares, 'Wolterton Hall, Norfolk - II: The Home of Lord Walpole', Country Life, 25 July 1957, pp. 166-169. A. Bowett, 'Thomas Ripley and the Use of Early Mahogany', The Georgian Group Journal, 1997, pp. 140-145. A. Moore, E. Bottoms, 'A New Walpole Discovery', The Burlington Magazine, January 2006, pp. 34-37. ed. T. Murdoch, Noble Households: Eighteenth-Century Inventories of Great English Houses, Cambridge, 2006. In 1722 building commenced of Houghton Hall for Sir Robert Walpole, Britain's first Prime Minister. From 1725 William Kent decorated the interior and designed furniture for the state rooms. This bookcase is probably the 'wainscot bookcase with plate glass doors' recorded at Houghton Hall in 1792 in room 'No. 86 Stewards office' (Murdoch, p. 198). In 1722, building on Houghton began for Sir Robert Walpole, 1st Earl of Orford (1676-1745), Britain's first Prime Minister. From 1725, the Palladian architect and designer, William Kent (c. 1685-1745), was employed to design the interiors and furniture of the state rooms. However, this bookcase was possibly designed by Thomas Ripley, who prior to becoming an architect and Surveyor in the Royal Office of Works trained as a carpenter. Ripley acted as building supervisor at Houghton, and from 1727, designed Wolterton Hall, Norfolk, and in the 1730s, a house in the Cockpit, Whitehall, for Walpole. Ripley used mahogany extensively for the interior wainscotting, doors, door-cases and stairs at Houghton, all of which were heavily carved and richly detailed (Bowett, p. 142). The use of mahogany on such a scale suggests that in the early years mahogany was considered suitable for joinery being no more costly than wainscot. Walpole's mahogany was shipped from Jamaica to King's Lynn via London from mid-1724, and it was Ripley who organised the freight, lighterage (transferring cargo between vessels of different sizes) and storage for the shipments. After the 1720s, the fashion for mahogany as a furniture wood superseded its employment as architectural joinery. The Houghton archives show that after the initial phase of building was completed, Ripley was paid the substantial sum of £500; this probably included payment for further alterations to the house and stable block and the designing of the church tower (PRO C101/19). As the payment is not itemised, presumably it may have also included furniture. Certainly, Ripley's correspondence in the Wolterton archive shows he was responsible for the hanging of the pictures, and possibly designed frames for the royal portraits there suggesting he may have designed furniture as well (Nares, p. 166). Condition Report: Overall there are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are some losses, restorations and observations including:There are some chips, splits and loose sections of wood in particular to some corner and edge sections, and to the bracket feetSome sections are missing, for example the lower border beneath the wood panelled doors, and some other elements are later, for example the side moulding between the top and the base.There are traces of white paint, presumably from when the room this bookcase was in was painted.There is some evidence of worm.Three of the shelves are later pine replacements, all shelves have a front moulding and two shelves to the glazed section have metal hinged latches to hold fast the doors.One of the backboards has a circular hole cut to it, possibly for an electric cable.The interior oak drawers have oak linings and gilt brass ring handles, one of the rings is missing. Each drawer front has a pale filled hole to each corner which is probably original filler over the nail or peg construction of the drawers.Lacking some original handles to the glazed doors. There are two keys for the glazed doors, one of which turns one of the locks. The locks to the glazed doors are Georgian but later to this bookcase cast with the maker's name 'PATENT UNION LOCK / ROBT. KEMP PATENT / G.R. under a coronet / R&T FARMER / PROPRIETORS AND MANUFACTURERS ' Lacking three handles to the panelled doors, there are no keys for the lower door locks, and there are filled holes from previous fittings.The brass hinges are of notable quality, they are substantial, have chamfered edges, are wide opening and have an extra outset section that is inset into the doors.The glazed doors have almost imperceptibly bevel cut glass, the subtle almost slightly rounded cuts, rather than sharp angular bevelled edges. The green fabric is a chintz or glazed cotton of almost paper like quality, still with distinct folds where the fabric has been previously folded. It has faded, in some places, to an almost golden colour, with some splashed fading. The fabric has some repairs including later sewn tape to the base of one door and another, possibly original, inset sectionThe cut of the oak whether dark or pale displays exceptional medullary rays.Please see the additional condition report photographs as a visual reference of condition. Condition Report Disclaimer
A NOTTINGHAMSHIRE CARVED ALABASTER RELIEF PANEL OF THE RESURRECTION MID/LATE 15TH CENTURY Depicting Christ rising from the tomb, his foot on a sleeping soldier panel 47.5 x23cm, frame 58.5 x 36cm Provenance: Private collection in Jersey Sotheby's London, The Ronald A. Lee Collection, 28 Nov 2001, lot 8, where purchased by Robert Kime Literature: Francis Cheetham, "English Medieval Alabasters With a Catalogue of the Collection in the Victoria and Albert Museum", Boydell Press, 2005This panel belongs to a group of small-scale altarpieces and panels produced by the 'alabastermen', 'kervers' and 'marblers' working in and around Nottinghamshire from the 14th century up until the early 16th century. The alabaster was mined from a small area in the middle of England- from South Derbyshire and into Staffordshire. These hand carved devotional pieces would usually have been painted and sometimes part gilded with areas of natural polished alabaster left in contrast. Like the examples at Compton Verney, the Walters Art Museum, and the panel sold from the collection of Sir Nicholas Goodison at Christie's in 2022, each shares the same composition layout- the figure of Christ rising from the tomb, his right leg stepping over a braced fence to step onto a sleeping soldier, his cross-staff in his left hand and right hand raised in blessing (missing from this example). Cheetham records at least 130 surviving examples of this Passion scene- perhaps the most popular chosen devotional subject. For similar examples please see: Christie's London, The Collection of Sir Nicholas Goodison, 25th May 2022, lot 66 Christie's London, London Living - Wilton Crescent, Belgravia & Avenue Road, Regents Park, 26th October 2011, lot 1070 Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. As per the extra images the panel has old breaks and various levels of repairs and restoration. The main breaks seem to have occurred in a diagonal shape from the knees of seated right hand figure and down leftwards. The lower section looks to have been in at least three pieces with old glue and some surface repair, infill and restoration. Additionally there are areas, in a different colour tone, notably both upper corners and lower left corner that are later remedial infill. Some of the raised details such as the axe blade are almost certainly later and there are fault lines, cracks and flaws. The panel is in a sealed frame making reverse inspection and confirmation impossible. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
PAUL NASH (BRITISH 1889-1946) SILBURY HILL Watercolour and pencil Signed (lower right) 38.5 x 57cm (15 x 22¼ in.)Executed in 1938. Provenance: Private Collection, C. Allsopp, by whom sold Christie's, London, Modern British Drawings, Paintings and Sculpture, 20 March 1970, lot 180 Agnews, London (by 1971) Private Collection, Harold Riley Christie's, London, 20th Century British Art & Irish Art, 19 November 2004, lot 97, where purchased by Robert Kime Exhibited: Newcastle-upon-Tyne, Northern Arts Gallery, Paul Nash 1889-1946, September-October, 1971, no. 34 London, Tate Gallery, Arts Council of Great Britain, Paul Nash Paintings and Watercolours, November-December 1975, no. 175 (loaned by Harold Riley) Literature:Andrew Causey, Exhibition Catalogue, Paul Nash 1889-1946, Newcastle, Northern Arts Gallery, 1971, p. 15, no. 34 pl. 12 Andrew Causey, Paul Nash, Oxford, 1980, pp. 265-6, cat no. 952, pl. 312 Silbury Hill, located near Avebury in Wiltshire is the largest artificial mound of its kind in Europe. It is believed to have been completed around 2400BC and is similar in scale to the pyramids in Egypt. The purpose and significance of the mound are unknown and remain the subject of much speculation. Given Nash's fascination with pre-historic sites and the spiritual qualities of the English landscape, it is unsurprising that Silbury Hill was of interest to him. Nash first visited Silbury Hill and the nearby stones at Avebury in July 1933 whilst on holiday in Marlborough. According to Ruth Clarke, who travelled with him, Nash was 'excited and fascinated' by the landscape which appealed to his 'sensitiveness to magic and the sinister beauty of monsters' (cited in Andrew Causey, Paul Nash Landscape and the Life of Objects, 2013). The ladder laid against the hill in the present work was a figment of Nash's imagination which derived from his interest in the idea of something rising out of the earth or up from the water and creating a new form above ground. A postcard found in Nash's collection depicts a ladder inside a pit at the excavation of Maiden Castle leading upwards from the ground beneath. This postcard alongside the watercolour of Silbury Hill, is discussed by Andrew Causey in his 1980 publication on the artist:.:'Silbury, as might be expected, intrigued Nash: its clear, plain, and - to Nash - symbolic shape was both palpable and inscrutable. In the oil painting Silbury Hill [Causey no. 880] he hinted at its symbolical meaning, its special, reserved ambience, with the closed gate and the pyramidal tumulus beyond, while constructing at the same time elaborate formal congruences of triangles within the over-all design. In the slightly later watercolour [the present work] he revealed a little more of his reaction to the hill's shape by adding a ladder leaning against the mound in front of it. This was no more than a now familiar Nash image, but there could be special interest in this if the idea was suggested by a postcard he had of Maiden Castle [Causey pl. 313]. It is not just that both are sites of ancient occupation, but that the postcard and watercolour are complementary images: in one the ladder comes up out of a dark pit, in the other it seems to continue its journey up the side of the hill; the sequence seems a characteristic product of Nash's mind' (see A. Causey, Paul Nash, Oxford, 1980, p. 265). Condition Report: Examined out of glazed frame. The sheet is stuck down to the card backing along each edge. Staining to the extreme edges of the sheet. Very slight undulation to the sheet. Light spotting scattered across the sheet most notable to the sky and to the upper landscape, however this does not appear to be a result of moulding or foxing. This damage does appear to be treatable. Please contact the department on pictures@dreweatts.com for more details. The colours are strong and there appears to be no other significant condition issues. Condition Report Disclaimer
GEORGE GASCOYNE (ENGLISH 1862-1933) THE TURN OF THE PLOUGH Oil on canvas Signed (lower left), further signed, inscribed with artist's address and titled (verso) 195 x 409cm (76¾ x 161 in.) Provenance: The Junior Carlton Club, London, where it hung on the main staircase Acquired from the above by Professor Bernard Nevill, West House, Glebe Place, Chelsea (purchased for £7.10) Christie's, South Kensington, Robert Kime and Piers von Westenholz: An English Taste, 26 September, 2012, lot 206, where purchased by Robert Kime Exhibited: London, Royal Academy, 1894, no. 879Literature: L. Lovatt-Smith, London Living, London, 1997, p. 183George Gascoyne was a painter and engraver. He studied at The Slade and from 1884 exhibited at the Royal Academy. The Studio Magazine, writing in 1915, stated '...the horse that serves the worker in the fields [is where] Mr Gascoyne is pictorially most intimate...and in this vein..is seen at his best' (Vol.63. p.144). The Turn of the Plough exemplifies this subject matter and is painted in the social realist tradition. Heavy horses working the land was a subject that artist Lucy Kemp-Welch was to make her own, as seen in such works as Ploughing on the South Coast (London, Royal Academy, 1902, no264.), but the present picture, in it's scale, composition, dynamism and grandeur arguably shows George Gascoyne as her equal. Condition Report: The canvas has been relined and is slightly uneven on it's stretcher. There is some fine surface cracking and paint shrinkage in places. Under UV light there are broad washes of inpainting in the sky and more selective areas on the horses and figures. There is also an `L' shaped area in the lower left corner which most probably covers a repaired tear in the canvas. The restoration has been very well executed and is not apparent to the naked eye. It has been cleaned and revarnished. 248 x 463cm approx. measurements inc. frame Condition Report Disclaimer
A CARVED GILTWOOD MIRROR 18TH CENTURY AND LATER The architectural pediment and frame carved with a pierced shell, foliate scrolls and a trellis ground, the bevelled plate re-silvered and possibly original, the gilding revealing a yellow and red bole ground 274cm high, 142cm wide, 20cm deepProvenance:Gerald Tyrwhitt-Wilson, 14th Baron Berners (1883-1950), Faringdon House, Oxfordshire; and by descent from Lord Berners's companion Robert Heber-Percy toSofka Zinovieff (b. 1961), by whom sold; Christie's, London, 12 April 2018, lot 50, where described as George IV, with a subsequent saleroom notice analysing the two layers of gilding strataWith Jamb, London, (who undertook the removal of the late 19th century gilding by dry-stripping to reveal the 18th century gilding), where purchased by Robert Kime, 2022. It is difficult to attribute the mirror to a particular carver / gilder, though it is likely that the maker was London-based, and probably well-established as the scale, complexity and quality suggests that it was probably part of a major commission for a large house from an established maker. The British and Irish Furniture Makers Online lists ten carvers and gilders active in London in the second quarter of the 18th century, any of whom may be candidates for the manufacture of this mirror: of the group, perhaps the most likely is William Walters or Waters (fl. 1732-42), who supplied giltwood furniture and mirrors for Benjamin Mildmay, Earl Fitzwalter at Moulsham Hall, Essex, for Charles Wyndham at Petworth House, and for the Earl of Leicester's London house; also to be considered is Henry Joris (fl. 1739), who worked with Paul Petit on the magnificent frame for Frederick the Great of Prussia; the other makers' reputations are less prominent, although Robert Johnson (fl. 1737-49) who was recorded at the Golden Head, Frith St, St Ann's, made frames for Petworth House; Charles Groves, fl. 1750, 'at the Golden Head, the further End of Brownlow Street from Drury Lane'; Robert Pulsford (fl. 1749), of Knightsbridge; Thomas King, carver and gilder of Long Acre (his stock-in-trade sold in October 1742); Christopher Mason, carver and gilder of Charles Court (fl. 1749); Stephen Maren, carver and gilder of New Compton St, Soho (fl. 1749); Christopher Hammond, frame maker and gilder of Phoenix Court, Long Acre (fl. 1732); Godwin Prince, who advertised 'all sorts of cabinet & Upholsterers work in General, Likewise Carving & Gilding ... near Durham Yard, in the Strand' (fl. c. 1749) (British Museum, Heal 28.181).The rectangular 'tabernacle' design of mirror frame is derived from designs of the 1720s by the architect James Gibbs (1682-1754). These depend on overmantel designs by Inigo Jones which were published in Isaac Ware's Some Designs of Mr Inigo Jones and others (1731) - notably pl.31. Ware's book was highly influential in the development of English architecture and interiors in the 18th century. It brought together a collection of designs by two of the most important architects of the 17th and 18th centuries: Inigo Jones and William Kent. Jones was a leading figure in the introduction of Italian Renaissance architecture to England, while Kent was a leading exponent of the Palladian style, as promoted by his patron, the influential Italophile Lord Burlington: many of the books' designs were taken from interior schemes devised by Kent at Burlington House.FOR THE FULL DESCRIPTON AND PROVENANCE, PLEASE CLICK HERE.SALEROOM NOTICE:The catalogue entry is now 'A CARVED GILTWOOD MIRROR, 18TH CENTURY AND LATER' Condition Report:Overall there are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are some losses, restorations and observations including:Holes to the back from previous wall fixings and some other vacant holes, with later modern hooks.The mirror plate is later and is backed with paper.There are some repairs including a later strut support to the back of the crest.There is evidence of old worm. There are some chips and knocks, for example to the tips of leaves, some with restoration.The overall patina has vestiges of the stripped gilding, bole, gesso and underlying wood.The not inconsiderable process of dry stripping means that some old repairs have restricted the extent of removal of the gesso so that the level of carved detail revealed has slight variances (for example the left side of the architectural pediment, compared to the right side). Some inaccessible areas of carving retain a little more gilding than other more accessible areas.The upper ledge is later ebonised with vacant holes and marks to the centre suggesting that there was previously a carved element corresponding to the carving directly below this area.As per the provenance note, the surface was dry stripped of gilding circa 2018-2021. Please see the condition report additional images for the document of analysis dated April 2021.Please see the additional condition report photographs as a visual reference of condition.Condition Report Disclaimer
A CARVED GILTWOOD OVERMANTEL MIRROR NORTH ITALIAN, SECOND QUARTER 18TH CENTURY The crest with feathers, scrolls, leaves, flowerheads and grapes above a triple mirror plate and mirrored borders 135cm high, 143cm wide Condition Report: Overall there are some scratches, marks, knocks, cracks and abrasions consistent with age and use.There are some losses, restorations and observations including:The mirror would originally have been taller in height and portrait in shape, it has been reduced in height to it's current form.There is evidence of old worm.There are cracks and repairs to the carved giltwood with some missing parts, some later carved repair sections with later gilt finish and some later pins and nails. The rectangular side borders show signs of the reduction in size with non-flush mitred joints and later nails.It is possible that some sections beneath the crest were not in their current positions, for example the vertical gilt scrolls over the mirror plate joins and the smaller scale section under the central arch.There is a wash to the mirror sides.Some of the wood backing is later, to strengthen the mirror.The backboards have not been removed to inspect the back of the mirror plates. They look to have some age, and have speckled grey hazing to the silvering, but are probably not original to the mirror. The mirror plates have some cracks.Please see the additional condition report photographs as a visual reference of condition. reduced in height, sizeCondition Report Disclaimer
WILLIAM NEDHAM (ENGLISH, ACTIVE 1815-1849) A MASTIFF, A POMERANIAN, A NEWFOUNDLAND AND A SPANIEL BY A DARK BROWN AND A GREY HUNTER IN THE GROUNDS OF CLOPTON HOUSE, WARWICKSHIRE Oil on canvas Signed and dated '1838' (lower right) 142 x 233cm (55¾ x 91½ in.) Provenance: Almost certainly commissioned by Charles Thomas Warde, Clopton House, WarwickshireWilliam Nedham (active 1815-1849) was a provincial equestrian painter working predominantly in the Leicestershire area. He was a pupil of John Ferneley Senior (1781-1860) and included a Mr V. R Pochin of Barkby Hall amongst his patrons. A comparable work, painted on a smaller scale but dated from the same year is A Hunter and A Dog in the Grounds of Quenby Hall, Leicestershire, Leicestershire County Council Museums Service. Clopton House is a 17th century country mansion near Stratford-upon-Avon, standing on the site of the earlier Clopton Manor, home to Hugh Clopton and dating from the 13th century. The present house was built around the core of the earlier manor by Sir John Clopton during the 17th century. In 1824 the Cloptons sold the estate to Charles Meynell, who in turn sold it to George Lloyd of Welcombe in 1830. After only one year in his new home, George died, and the house passed to his brother John Gamaliel Lloyd in 1831. He remained there until his death in 1837. The house was then inherited by Lloyd's nephew, Charles Thomas Warde who remained in the house until his own death in 1865. Warde was responsible for significant extensions during the 1840s including the now Grade II listed coach house, and Clopton tower. Dated 1838, it is likely that this rare portrait of the family dogs and hunters in the grounds of Clopton, was commissioned by Charles Thomas Warde upon inheriting Clopton house the previous year. Condition Report: The canvas has not been lined but is a little loose. There are two tears to the canvas. the first (approx. 10cm), lower left to the right of the white dog's back paws. The second, (approx. 3cm), upper left to the sky. There is an isolated area of paint shrinkage to the lower right corner around the signature. Stretcher marks visible. Light rubbing and abrasions. including some spots of paint loss throughout, but particularly to the framing edges. Inspection under UV reveals scattered retouching throughout. Condition Report Disclaimer
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