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Lot 3
ORME & SONS OAK BREAKFRONT BILLIARD LIFE POOL ROLLER IN CABINET, C. 1890, BILLIARD / LIFE POOL ROLLER SCOREBOARD IN MEDIUM / DARK OAK, THE RARE DESIGN OF BREAKFRONT CABINET HOUSING BALL STORAGE FOR 33 BALLS BEHIND HINGED CENTRE SLATE. FLANKED ON EACH SIDE BY 5 X LIFE POOL SLIDES, ROLLERS IN WHITE WITH BLACK LETTERING, EBONY POINTERS SLIDING WITHIN INSET GROOVES, APPROX. 108CM (W) X 70CM (H) (42 X 28), BOTTOM SHELF NOT INCLUDED
Lot 5
Rackham, Arthur (ills)"The Rhine Gold and the Valkyrie" by Richard Wagner, William Heinemann 1939, colour frontis, vignette on tp, colour plates, blue cloth, black titles, backstrip rather stained, corners and backstrip bumped with shelf ware to the base of the boardsAldin, Cecil (ills) and Sewell, Anna "Black Beauty the Autobiography of a Horse", Boots the Chemist published by Jarrolds, colour frontis tipped in with tissue guard, colour plates tipped in, blue and gilt pictorial cloth nice and bright, shelf ware to the base of the spine and the corners bumped, edges slightly foxed, another copy published Jarrolds, colour frontis, colour plates, front hinge cracked, pictorial ep, pale blue or grey cloth with gilt titles, some foxing to top edgeBritton, C E and Brock, C E (ills) and Blackmore, R D"Lorna Doon", Boots the Chemist, n.d., colour frontis tipped in, plate is creased, colour plates tipoped in, some foxing to all edges, offsetting on ep, bright blue and gilt pictorial cloth, shelf ware to base of spine, backstrip and boards, dj not price clipped, pictorial pastedown to front coverGoble, Warwick (ills)"The Green Willow and Other Japanese Fairytales", Macmillan & Co 1926, colour front, colour plates, red cloth with pictorial figure to front board, gilt titles, shelf ware to the base of the boardsLucas, E V"A Book of Verses for Children", Chatto & Windus, July 1926, pictorial tp, vignette on half-title, pictorial ep, colour plates, red cloth with gilt image of children on front board, gilt titles, teg and foxing to other edges Holmes, Wendell OliverBrock, H M (ills)"The Autocrat of the Breakfast Table", "The Professor at the Breakfast Table" and "The Poet at the Breakfast Table", JM Dent & Co 1902, limited edition 193/250, blue backstrips with grey boards, teg, edges slightly foxed Fielding, Henry"The History of Tom Jones Foundling", illustrations by Roland Wheelwright, George G Harrap 1925, colour frontis, colour plates, front hinge cracked, offsetting to ep, brown cloth with gilt decorations, deckle edges, all rather bumped and rubbed (10)
Lot 92
Morris, William "The Story of the Glittering Plain..." Longmans Green & Co. 1894, front hinge cracked, foxing to edges, backstrip and boards faded from shelf wear, "The Sundering Flood" Longmans Green & Co. 1898, the decorative edges rather worn, map, ink name and date 1898 on ffep, red cloth, paste down, some wear "The Water of the Wondrous Isles", Longmans Green & Co. 1897, foxing, front hinge cracked, section cut from ffep, Bell, Malcolm "Sir Edward Burne-Jones A Record and Review" George Bell & Sons 1898, the plates, illustrations the book, has become disbound, pictorial boards and gilt titles, backstrip faded, Hueffer, Ford M. "Ford Madox Brown A Record of his Life and Works", Longmans Green & Co. 1896, sepia frontis with lettered tissue guard, plates, illustrations, foxing throughout, pictorial boards, backstrip faded, Reynolds, Graham "Painters of the Victorian Scene" Batsford 1953, dustjacket, not price clipped, Thorold, Anne (compiled by) "A Catalogue of the Oil Paintings of Lucien Pissarro" 1983, numerous illustrations throughout, green cloth, green slipcase, "Wigs" "The Work of Ambrose McEvoy..." published by Colour Magazine and printed by the Morland Press 1923, frontis small folio, colour plates tipped in and other illustrations, the grey boards are rather stained and backstrip worn, and two other volumes (10)
![Rackham, Arthur (ills)"Comus" by John Milton, William Heinemann [1921], no.241 of limited edition of 550 signed by the artist](https://cdn.globalauctionplatform.com/ea96eb8e-b9f0-4004-8242-ae7e0117f369/94e8871f-fa69-452c-aa51-ae9500bad351/468x382.jpg)
Lot 141
Rackham, Arthur (ills)"Comus" by John Milton, William Heinemann [1921], no.241 of limited edition of 550 signed by the artist 'Arthur Rackham', col. frontis tipped in with lettered tissue guards, colour plates tipped in with lettered tissue guards, black and white illustrations throughout, pictorial ep, original vellum backed boards , boards with toning to the edges, gilt decorations to front board, gilt titles, some shelf wear, deckle edges
Lot 155
Fine bindings Carlyle, Thomas"The History of Friedrich II of Prussia called Friedrich the Great", 4 vols, 2nd edition, Chapman & Hall 1858 and two other volumes, half-morocco, red boards, t.e.g., corners all rather bumped and rubbed and top of the spineCarlyle"The French Revolution", red half morocco over marbled boards"The Greville Memoirs being a journal of the reigns of King George V, King William IV and Queen Victoria", edited by Henry Reeve, 8 vols, Longmans Green & Co 1899, frontis portrait, bkpl inside front board, half-brown morocco with marbled boards, marbled ep and t.e.g., corners all rather bumped and spines have some shelf ware"The Works of Alexander Pope Esq", in 6 vols complete ... with his last corrections and additions and improvements together with all his notes as they were delivered to the editor, a little before his death; printed verbatum from the octavo edition of Mr Warburton, London printed for C Bathurst, W Strahan, J & F Rivington, etc 1777, rebound half-leather, marbled boards, pastedowns, gilt titles and raised bands"The Works of Francis Bacon, Baron of Verulam, Viscount St Albans and Lord High Chancellor of England", 10 vols, printed for W Baynes & Son 1824, frontis portrait, vol 1, half-brown calf, brown boards, gilt rules, raised bands and gilt titles on red pastedowns to backstrip, all edges speckled"The Canterbury Tales of Chaucer" completed in a modern version - in 3 vols, Oxford, printed for J Cooke in 1795, rebacked, full brown leather, gilt titles on red pastedowns, the top of the backstrips worn and pulledMoore, Thomas (ed) "The Works of Lord Byron; with his letters and journals and his life", in 17 vols, engraved frontis to all vols, engraved vignette on tp, John Murray 1835, rebound half-morocco, gilt titles, raised bands, t.e.g., all a bit bumped and worn, tops of spines all rather worn ( 51 vols in total)
Lot 1983
Victorian ebonised amboyna gilded and painted Aesthetic movement side cabinet, the mirrored shelf back above two drawers and a pair of panel doors, flanked by open shelves above an undertier, 60ins widePainted panels have slight cracks to the veneer and the whole thing needs a good clean and polish, otherwise in generally sound condition. Mirror also in good condition
Lot 100
ADAM JABIOUSKI (POLISH, B.1902) - A STUDIO GLASS SCULPTURE Blue, pink and transparent glass crystal vase centrepiece, signed to the base 25cm high Condition: Some light shelf wear to the base, a very small nick to the central hole in the base, some very light scratches in places but overall in good condition
Lot 187
A BESPOKE HARDWOOD GLASS CABINET With tempered glass doors and dark hardwood handles, the interior fitted with three hardwood glass hanging shelves, and a further solid top shelf 180cm x 84cm x 47cm Condition: Signs of wear commensurate with age and use, glass slightly scratched from previous use. One leg missing rubber cushion
Lot 164
TWO SIMILAR PERANAKAN CARVED CONSOLE TABLES Serpentine front with carved fronts depicting floral motifs, the cabriole supports joined by stretcher rails and central shelf 83cm x 118cm x 57cm Condition: A split to the top of the smaller example, which has lifted slightly, some general age related wear to both
Lot 694
A book full of stunning images of Pininfarina concepts and production cars. Reflecting a long and illustrious history between Ferrari and Pinifarina, who between them, produced some of the most beautiful cars to grace our roads. Presented with some light bruising, shelf wear and scuffs. ISBN 88 85128009 printed in 1988.
Lot 276
A Louis XV style cupboardRosewood, jacaranda and other timbers veneered Marble top Shelf with sliding doors Central clock of enamelled dial with Roman numbering Three drawers and lower section with two doors and three shelves display case Gilt bronze hardware Europe, 19th / 20th century (signs of wear)151x102x40 cm
Lot 21
Nicholas Condy (1793-1857)Interior of an Irish Inn at BallyboylebooOil on canvas 47 x 63.5cm (18½ x 25”)SignedExhibited: London, Royal Academy, 1843, No. 415Exhibited at the Royal Academy in 1843, Condy’s recently rediscovered depiction of an Antrim interior populated by twenty very different individuals and with a rich variety of objects on display is an invaluable portrayal of Ulster country life in the middle of the nineteenth century. Although he described the picture as Interior of an Irish Cottage at Ballyboyleboo, what is shown is an inn, tavern or shebeen, making it a rare early depiction of an Irish public house. In contrast, however, to the small body of work showing Irish pubs by artists such as Charles Henry Cook, Erskine Nicol and Nathaniel Grogan, which invariably feature the Catholic Irish peasantry in stereotyped attitudes often verging on the caricature – here the clientele seems distinctly more mixed in terms of class and confession with a noticeably military flavour. The primary interaction in the painting is between the doubly amputated figure standing on the right in smart but sober attire and the seated black man at left who has suffered the loss of just one foot and who leans back in his chair as he raises a toast. This is an extraordinarily rare image of racial equality in an Irish genre scene of this date. Where black figures appear at all in Irish painting of the period it is invariably as marginal, often servile, subsidiary figures as, for example, in Erskine Nicol’s The 16th, 17th (St Patrick’s Day), and 18th March (National Gallery of Ireland). It seems likely that equality – or at least the superficial appearance of equality – has been gained through shared endeavour on the battlefield, and that the seated black man is a veteran toasting his former commanding officer. Certainly the deportment and dress of the man standing, very comfortably it must be said, on his double prosthetic limbs, suggests his elevated social position. The gathering includes both army and naval elements. An advertising bill on the right seeks able seamen, while the format of Condy’s signature, ‘Lt. Condy bf 43rd regt’ reminds us that he had begun his career as an army officer, serving in the Peninsular War, and retiring on half-pay at Christmas 1818. Continuing the military theme, a bust of the Duke of Wellington looks down from a shelf at upper left in the somewhat indecorous company of candlestick and brass kettle (and with a canoodling couple directly beneath his gaze). Prints of naval victories adorn the walls while to the side of the chimney hangs a toleware candle box and pair of bellows. A drunken sailor has passed out under the table his clay pipe and glass lying smashed in front of him while a serving woman brings more refreshments to those at table – a punch bowl, small glasses for toasting and pipes. Music is provided by a fiddler in the background.Claudia Kinmonth notes that Condy’s Ulster subjects ‘convey a real sense of how poor people’s homes in Antrim may well have been in the 1840s’ (Claudia Kinmonth, Irish Rural Interiors in Art (2006) p. 94). However, he also mixes Irish and English elements within his work, sometimes reusing still-life motifs or even whole figurative groups with which he was pleased. On the shelf to the left, the silver-plated vessel with a pouring spout and a handle on the side was used for serving hot chocolate, a delicacy unlikely to be widely available in Irish pubs of the 1840s, and indeed it, and other elements of the composition, appear again in Estate Workers in a Kitchen Interior (Mount Edgcumbe House). Similarly, a small work in the Royal Albert Memorial Museum and Art Gallery, Exeter, repeats almost verbatim the seated man shown here smoking a pipe. This is clearly a reduction from the present work, rather than the other way round, as the man’s motivation for turning round and looking upwards is lost when the figure is shown in isolation and removed from its context.Condy’s composition is artfully created and rather than the mere ‘slice-of-life’ recording of an interior and the objects within it, he offers knowing and witty allusions to the art of the past and also perhaps to that of his contemporaries. He relishes the chance to paint textures as different as scaly fish, metal, glass and ceramics and to record the differing way that light falls on each. The beautifully painted still-life in the lower right corner consisting of earthenware jug, crutch and broom resting on a barrel offers a deliberate reference to the art of David Teniers who time and again places a similar grouping of objects with a prominent diagonal formed by a brush or similar object to lead the eye into the composition. Similarly the still-life of fish may reference Teniers’s ‘well-kept kitchen compositions’ (‘de welvoorziene keuken’). The quotation of Teniers would have been recognised widely, as the seventeenth-century Flemish artist was synonymous with ‘low-life’ genre scenes such as this and his work was avidly collected and frequently engraved.Even more fundamental as a source of inspiration, however, was the phenomenally successful career of David Wilkie who applied the compositional dynamics of Teniers to modern-life subjects. Like Wilkie, Condy here deliberately echoes Teniers earthy ‘old master tonalities’ and shows a similar ‘delight in details and in rough irregular surfaces’ (David Solkin, Painting out of the Ordinary, Yale University Press, 2008, p. 12). Wilkie had also introduced a black soldier into his famous Chelsea Pensioners (Apsley House). Unlike Cushendall, the subject of another Ulster work by the artist, there is no townland in Antrim called Ballyboyleboo. It seems to be an Anglicization – exaggerating the Irishness of the name – of Ballyboley. In the rich account of life in Ulster of a couple of decades earlier written by John Gamble (published as Society and Manners in Early Nineteenth-Century Ireland, edited by Brendán Mac Suibhne, Dublin, 2011, p. 280, n. 4), Gamble records how he stopped ‘at a lone public house between Larne and Ballymena’ and enjoyed a session in which tall stories were narrated. Mac Suibhne suggests that this may be ‘the premises now call the Ballyboley Inn’. An earlier building on this site may also be the setting for Condy’s work, though an older inn only a few miles distant at The Battery is also a possible candidate.
Lot 107
A Victorian mahogany chiffonier or sideboard, shaped half-gallery carved and applied with acanthus above a shelf and two small drawers, shaped top with moulded edge above an arrangement of drawers and a pair of panel doors, each enclosing a shelf, turned feet, 154cm high, 165cm wide, 54cm deep
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96580 item(s)/page