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Lot 185
A Chinese carved rosewood side chair, late Qing DynastyThe shaped top rail above a carved and pierced splat modelled as a fruiting vine with Ruyi form inset with dreamstone, the moulded and shaped seat raised on cabriole style supports united by plain turned stretchers, seat height 45cm.Provenance: Purchased in 1970 in Kuala Lumpur by the vendor's late husband while working in South East Asia as a representative of Jebsen & Jessen.Repair to left top rail joint. Otherwise good and sturdy throughout with only very minor signs of age and use. Refer to images.
Lot 186
A Chinese carved rosewood armchair, Qing Dynasty, late 19th centuryThe scroll-carved top rail above an openwork splat with shou symbol between Ruyi septres, the square arms with carved bird supports over a plain seat, raised on square section supports terminating in scroll feet, with later patterned silk seat cushion, 64cm wide x 49cm deep x 98cm high, seat height 51cm.There is a little movement to the leg joints. Generally good with minor cosmetic marks and signs of age and use throughout.
Lot 327
A rare oak side chair designed by Charles Francis Annesley Voysey, the oak frame, back with extended uprights to the arched top, with carved grove , the back splat with carved heart-shaped motif, over square legs joined with stretchers, drop in rush seat, paper exhibition label C.18 Dining Chair (Vic Soc), 102cm. high Provenance The Victorian Society Exhibited Blackwell House, The Arts and Crafts House, Windermere, on loan from 2001. Literature Wendy Hitchmough C.F.A Voysey, page 130 no.26 for a comparable example illustrated The Best of British Design from the 19th and 20th Centuries- Paul Reeves The Auction, Sotheby's London, lot 109 for a comparable chair. Karen Livingstone C.F.A Voysey, Arts and Crafts Designer, V&A Publications, page 197 catalogue number 251 for an example of this chair design from The Crabtree Collection illustrated. The maker attributed to F C Nielsen. Catalogue number 250 for a comparable chair illustrated in the Library at Garden Corner, 13 Chelsea Embankment.
Lot 315
An unusual French bonbonniere in the form of a salon chair, executed in card, coloured paper and with raised gilt foil borders on four brass ball feet, the seat hinged and with inset reverse painted domed glass panel of a bird and two insects, 9.7cms high x 8.2 x 10.5cms. A Connoisseur's Collection
Lot 358
Two late 18th Century white wood boxes, comprising an elongated octagonal example, the lid painted with an insect and two butterflies around a fruiting branch, the sides with pen work borders, compartmentalised interior, lid warped, 22 x 15.5 x 7.5cms, and a sewing box of sarcophagol form in simulation of tortoise shell, lidded and compartmentalised interior, with internal lid print titled 'Letter Shuna, the Seat of The Laird of Appin Islands, 17.5 x 11.5 x 6.5cms. (2). . The print of the last after Paul Sandby published 1779.
Lot 194
Print Stands. Two stained Beech Print or Map folio stands, mid 20th century, two stained and hinged folio stands, central supporting 'seat' lined with green felt (worn) with later hinges, each with two brass carrying handles and restraining chains, slight wear to extremities, height 860 mm, width (when open) 530 mm, length 650 mmQTY: (2)
Lot 198
Reeve (George). Silver-Tail. A Favourite Gig Horse, circa 1827, aquatint after Marshall Lambert with contemporary hand-colouring, slight staining, trimmed to the image on three margins, 290 x 390 mm, framed and glazed in a near-contemporary maple frame with an Alfred Davis Gallery label to the verso of the frame, together with Reeve (Richard Gilson). London Royal Mail, A Four in Hand, A Stage Coach [and] A Stage Coach, S. & J. Fuller, 1st. December. 1827, four aquatints on one sheet (as published) after H. Alken, contemporary hand-colouring, slight toning, overall size 280 x 365, framed and glazed in a contemporary maple frame with a Samuel Jennings printseller's label to the verso of the frame, with Seymour (James, manner of). The Brown Boy Arabian, brought over by Mr Moscoe. Now the property of the Rt. Honble. the Ld. Vist. Cullen & kept at his Lordship's Seat at Rushton in Northamptonshire, circa 1750, uncoloured engraving, slight staining, trimmed to the image on three margins, 235 x 330 mm, framed and glazed in a near-contemporary 'Hogarth' frameQTY: (3)
Lot 23
Simpson (William). The Seat of War in the East, first & second series bound as one, 1st edition, Paul & Dominic Colnaghi & Co., 1855, tinted lithographic title-page and 79 plates with tissue-guards, scattered spotting, all edges gilt, contemporary half morocco gilt, rubbed, large folio (56 x 37 cm)QTY: (1)NOTE:Abbey Travel 237: 'These plates are indeed an impressive piece of work, not only artistically and technically, but also as pictorial reporting. Simpson must in this way rank as an early war correspondent.'Lots 20-36, which mostly concern the Crimean War of 1853-56 and include direct reportage on the war, are being sold in aid of Ukrainian journalism in the current war in Ukraine, the funds donated to journalists located with the support of British-Ukrainian Aid (Charity Registered in England and Wales 1164472).
Lot 24
Simpson (William, 1823-1899). Church in the rear of the Redan, looking north, showing the effects of shot and shell, September 1855, watercolour on paper, signed and dated lower left, 23 x 37.5 cm, mounted, framed and glazed QTY: (1)NOTE:Reproduced in William Simpson, The Seat of the War in the East, Series 2, 1856, plate 21.Exhibited Fine Art Society, 1987 (14). This drawing is supposed to represent the morning after the evacuation by the Russians of the South Side; the masses of smoke issuing from behind the arsenal come from the dockyard buildings and some of the ships which were on fire at that time.Lots 20-36, which mostly concern the Crimean War of 1853-56 and include direct reportage on the war, are being sold in aid of Ukrainian journalism in the current war in Ukraine, the funds donated to journalists located with the support of British-Ukrainian Aid (Charity Registered in England and Wales 1164472).
Lot 31
Simpson (William). A group of 10 tinted lithographic plates of Crimean scenes from The Seat of War in the East, 1855, all with printed captions and imprints retained, framed and glazed in frames of various sizesQTY: (10)NOTE:The plates are taken from Series 1: plates 13, 18, 21, 23, 28 & 35; Series 2: plates 8, 19, 28 & 38.Lots 20-36, which mostly concern the Crimean War of 1853-56 and include direct reportage on the war, are being sold in aid of Ukrainian journalism in the current war in Ukraine, the funds donated to journalists located with the support of British-Ukrainian Aid (Charity Registered in England and Wales 1164472).
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