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Click here to subscribeVarious 1950s -1960s Toys and Games, 1960 Etch a Sketch with instructions (working), Sooty Xylophone (lacks mallet), OK Hong Kong Trick Truck in yellow and white with clean battery compartment, Shove Ha'Penny wooden board with counters and instructions, and later Cheiza Sonic Control Skateboard, all in original boxes, F-VG, boxes F-G (5)
A George III stained beech open armchair attributed to Gillowsafter a design by James WyattCirca 1786, with a channelled shield shaped back and lotus-leaf clasped downswept arms, above a bowed fluted seat frame flanked by patera block angles, on stiff-leaf wrapped fluted tapering front legs and splayed rear legs, 61cm wide x 56cm deep x 94cm high, (24in wide x 22in deep x 37in high)Footnotes:The present lot is virtually identical in design to two armchairs which formed the core of a small suite of painted seat furniture attributed to Gillows which sold Christie's, London, 18th November 2010, 500 Years: Decorative Arts Europe, lot 160. This French form of 'cabriolet' chair with Roman 'pelta' shield back was introduced in the 1770s and merits comparison to a pattern by the architect James Wyatt (d.1813), as shown in a room elevation in J. Cornforth & J. Fowler, English Decoration in the 18th Century, 1974, p.29, fig.13.Also the offered chair relates closely to a drawing which appears in the Gillows Estimate Sketch Books. Dated 25th October 1786, this was evidently a Gillow's commission for Mr. Robert Peel, Esq., and the leaf carving was attributed to H. Gibson. This design features in both L. Boynton, Gillow Furniture Designs, 1760-1800, 1995, Herts, fig. 267 and S. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. I, pl.'s 146 and GG80.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Five coloured aquatints including: The Capture of Fort Armstrong, Feb 22nd 1851; The Battle of the Gwanga, Cape of Good Hope, June 8th 1848; The Conference at Block Drift, Jany 30th 1846; The South African Army Crossing The Great Orange River, December 1852, painted by Henry Martens from a sketch by Capt Carey, engraved by J Harris, published by Rudolph Ackermann London, 1852-1854; And The Attack on the Troops Under the Command of Lt Col Fordyce, painted by Henry Martens from a sketch by Mr Baines, engraved by J Harris and published by Rudolph Ackermann, Londoneach approximately 57cm by 81cm (5)
A pencil sketch of the Golden Temple of Amritsar Rajasthan, late 19th/early 20th Centurypencil on paper, inscribed in the upper border The Maharaja of Jaipur, with the Jaipur coat of arms, and Golden Temple, Amritsar in the lower border 228 x 293 mm.Footnotes:The coat of arms in the upper border is possibly that of Maharajah Sawai Ram Singh II (1835-1880).This illustration appears to be related to a set of views of monuments in Jaipur (and referred to as The Jaipur Folio), sold at Christie's South Kensington, Travel, Science & Natural History, 23rd April 2008, lot 462, dated to the early 20th century. All ten illustrations, which were a mixture of gouache and pencil on paper, were inscribed (including the coat of arms) in exactly the same manner as our illustration. The set of 10 works were later exhibited by the collector Habib Fida Ali at the exhibition Journey of Passion (January 2016).For further information on this lot please visit Bonhams.com
Viscount Hardinge of Lahore, Governor-General of India, accompanied by his two sons and his aide-de-camp Colonel Wood, on the battlefield after the victory at Ferozeshah during the First Anglo-Sikh War by Sir Francis Grant (1803-78), PRAoil on canvas, in the original gilt frame with hand-painted plaque 51.5 x 70 cm.Footnotes:ProvenanceChristie's, Visions of India, 5th October 1999, lot 239.The painting is based on a sketch executed on the spot at this significant moment by the Hon. Charles Stewart Hardinge (Lord Hardinge's eldest son). He appears in the painting, wearing a white solar topee, immediately behind Hardinge. He acted as his father's secretary throughout that time, and his drawings were mostly made during their official visits to various places, including Lahore and Delhi. He illustrated Recollections of India, one of the most important plate books on the Punjab and Northern India. This was published in 1847, funded by his wealthy friends, in a lavish large-folio in both coloured and uncoloured format.Behind Hardinge and his party are Indian lancers with their red and white pennants, probably members of his bodyguard as Governor General. The tents to the left of the work are a reminder that Hardinge bivouacked with his own troops before the battle began. In the background to the left can be seen the Sikh ammunition store exploding, which caused many casualties on both sides. The French gilt-hilted sword at Hardinge's waist had previously belonged to Napoleon. It had been presented to him by the Duke of Wellington after the Battle of Waterloo, at the Grand Review of the Prussian Army near Sedan in France in 1817. Wellington took the sword from his waist and presented it to Hardinge. The sword remained in the family and was sold at Christie's, Trafalgar Bicentenary: The Age of Nelson, Wellington and Napoleon, 19th October 2005, lot 164.A soldier and administrator, he served in the Peninsular and Napoleonic wars with distinction. The Duke of Wellington took Hardinge onto his personal staff for the Flanders Campaign. He was appointed as Wellington's liaison officer on Field Marshal Blücher's staff, and it was while with the Prussians at Ligny that on 16 June 1815 a stone driven up by roundshot shattered his left hand. The subsequent amputation prevented him from being present at Waterloo two days later, although he managed to compile a final report for the Duke.Later Hardinge became a Conservative Member of Parliament. In the administration of the Duke of Wellington, he served as Secretary of War (1828), and again in that of Sir Robert Peel (1841-1844). In 1844 Hardinge was sent to India to replace his brother-in-law, Lord Ellenborough, as governor-general. The appointment was made at the suggestion of the Duke of Wellington. As a result of the disorder in Punjab, he discreetly reinforced the garrisons on the North-West frontier. By November 1845 he had doubled the forces there, raising them to thirty thousand men and sixty-eight guns. On 11 December 1845 the Sikh army crossed the River Sutlej, beginning the first Anglo-Sikh war. Waiving the right to the supreme command, Hardinge offered to serve under Sir Hugh Gough as second-in-command. On 18 December Gough defeated the Sikhs at Mudki with the loss of several thousand men and seventeen guns. Then on 21 December as second-in-command Hardinge led the centre at Ferozeshah. He camped with the troops, under fire on the field, and commanded the left wing of the army in the long and bloody conflict the following day, which resulted in the withdrawal of the Sikhs behind the River Sutlej. 'Ferozeshah, though it had been so obstinately contested, convinced most of the Punjab notables that the war was lost. The Lahore Durbar opened negotiations with the British, and many individual chiefs tried to make terms for themselves'. (Sir Penderel Moon, The British Conquest and Dominion of India, London 1989, p. 599). In the same capacity, Hardinge was present when the Sikh entrenched camp at Sobraon was stormed, with heavy loss, on 10 February 1846. The autonomy of the Sikh nation, though diminished, was to be preserved with its army reduced in numbers. Its guns were to remain in the hands of the victors, with certain portions of territory annexed to the East India Company's dominions. A British Resident, Henry Lawrence, with ten thousand men to support him, was established in Lahore. So on 8 March 1846 the Kingdom of Lahore finally came to terms with the East India Company. The news of the British successes created an enormous impression at home. Hardinge received the thanks of Parliament, and was raised to the peerage under the title of Viscount Hardinge of Lahore and of Durham. In addition, at the behest of the Prime Minister Sir Robert Peel, Parliament unanimously voted him a pension of £3,000 a year and for his next two heirs. The East India Company also granted him a pension of £5,000 a year. He was however widely criticised for his subsequent cost-cutting which many blamed for the military failures during the Mutiny, or Rebellion, of 1857. He was also responsible for the introduction of the Lee-Enfield rifle, with its fat-covered cartridges, one of the inciting reasons behind the Rebellion.The painting was published by P.& D. Colnaghi in London in 1849, engraved by Samuel William Reynolds II (1794-1872).Sir Francis Grant (1803-1878), President of the Royal Academy, already enjoyed a distinguished reputation for equestrian portraits. In 1840 the acclaim given to his painting Queen Victoria and Lord Melbourne riding in Windsor Park (in the Royal Collection, Windsor) ensured his position as the most successful and fashionable portrait painter of his day. Some of the greatest politicians of the Victorian age sat for him, including Palmerston and Disraeli. Grant, a close friend of the Hardinge family, was a dominant figure in the Victorian art world, elected President of the Royal Academy in 1866. Grant painted a three-quarter length portrait of the Governor-General, which is still with the Hardinge family. Another version is in the National Portrait Gallery, illustrated in C. A. Bayly (ed.), The Raj: India and the British 1600-1947, London 1990, pp. 231-232, no. 302. In the same sale in 1999 in which this painting appeared, Christie's offered a group of lots (239-50) relating to Hardinge's grandson, Lord Hardinge of Penshurst (1858-1944), who was Viceroy of India 1910-16, and who was responsible when Viceroy for moving India's administrative capital from Calcutta to Delhi, and worked closely with Sir Edwin Lutyens, the chief architect responsible for the lay-out of the new capital.For further information on this lot please visit Bonhams.com
Original Manuscript Workbook. [Cowper, H. Swainson] - The History of the Essex Family of Raleigh Castle, Co. Essex. Radswell & Thackstead in the same county, &c. Not published, dated November 1886. Comprising approx. 40 pages of handwritten notes and prose regarding the history of the Essex family in the counties of Essex, Middlesex & Berkshire. Presumably Cowper was either preparing this work for publication or it may have been a private project. The work begins around the Norman period with Robert FitzWimarc, his son Swein of Essex and continues through into the 16th century. There are several family trees and illustrations of the family crest. At the rear is an unrelated pen and ink sketch of Hawkshead Hall. (1)
A Victorian Commonplace/Leisure Hours Book. Dates circa 1851. Initialed 'C. L. A.', presumed authoress as they have the first and final handwritten contribution. There appear to be other contributors, including some with the surname Apthorpe. Contains a varied selection of engravings, sketches, cuttings and verse, etc. Some coloured. Loosely tipped-in is a portrait sketch and poetic tribute to Georgiana Charlotte Abercromby, 4th daughter of Sir Robert Abercromby of Birkenbog. With; a smaller scrapbook of similar date containing a variety of pen and ink and pen and wash sketches, engravings, etc. Presumably copied from works of the period (one bears resemblance to a Tenniel illustration for Alice). Please refer to images for examples. (2) Approx. 30+ original illustrations in smaller book Approx. 12+ original illustrations in larger book
Artist: Roy Lichtenstein (American, 1923-1997). Title: "Sketch for Greene Street Mural". Medium: Color offset lthograph. Date: Composed 1983. Dimensions: Overall size: 9 x 28 3/4 in. (229 x 730 mm). Image size: 5 x 26 1/2 in. (127 x 673 mm).Lot Note(s): Signed in pencil, lower right. Edition of 500. Heavy white wove paper. Full margins. Fine impression. Fine condition. Literature/catalogue raisonne: Unknown to Doering/ Von der Osten. Provenance: Private collection, Toledo, Ohio. Comment(s): Published on the occasion of the exhibition "Lichtenstein" held at the Leo Castelli Gallery, December 3, 1983 - January 14, 1984. Rare when signed. Design by Smatt Florence, Inc. Printed by Rapaport Printing Corporation. Image copyright © Estate of Roy Lichtenstein. [25305-5-400]
Artist: Carlos Merida (Guatemalan/Mexican, 1891 - 1984). Title: "Boceto #04". Medium: Pencil and color pencil drawing on paper. Date: Composed 1960s?. Dimensions: Overall size: 5 7/16 x 8 7/16 in. (138 x 214 mm). Image size: 4 3/4 x 4 3/4 in. (121 x 121 mm).Lot Note(s): Signed in pencil, lower left. Cream wove paper. Very good condition. Acquired directly from the artist; from the estate of Estela Ogazon, Mexico City. Comment(s): Probably a sketch for a larger work. Mérida was one of the first to fuse European modern painting to Latin American themes, especially those related to Guatemala and Mexico. He was part of the Mexican muralism movement in subject matter but less so in style. Image copyright © The Estate of Carlos Merida. [28279-1-500]
FOLLOWER OF SIR JOSHUA REYNOLDS, PRA (1723-1792) THE HON. LEICESTER STANHOPE (1784-1862) Oil study en grisaille, on paper 25 x 22.5cm. Bears a label on the backboard, reading `This is an authenticated Study by Sir Joshua Reynolds & belonged with others to "Collins" the Miniature Painter by whom they were given to Mr Horrex (who was for many years assistant in the studio of Mr Collins) and by him this sketch was given to W. Money/ October 1869` * Probably derived from a print of the subject by S. W. Reynolds (1833), see illustration. The completed oil by Reynolds, 74 x 62cm, was exhibited at the RA in 1788 and is now in a private collection. ++ Some faint crazing of the paint near the edges
STANHOPE ALEXANDER FORBES, RA (1857-1947) BOATBUILDERS: A SKETCH Bears signature and indistinct inscription verso, oil on canvas 25 x 31.5cm. Provenance: Until 2013, by descent in the family of Forbes's student and friend, Kathleen Fraser. Photocopies of a letter and a reference written for Miss Fraser, each by Forbes and dated 10 November 1915, accompany the lot. Transcripts are available upon request. ++ Good condition
David Roberts, RA (British, 1796-1864)Sidmouth inscribed and dated 'Sidmouth June 20th 1845' (lower right); bears inscription 'Sidmouth from Salcombe Hill/D Roberts' (on the reverse)pencil and watercolour heightened with bodycolour on two joined sheets27.7 x 58.1cm (10 7/8 x 22 7/8in).Footnotes:Provenance(possibly) Gifted by the artist to his daughter and son-in-law, Christine and Henry Sanford Bicknell.(possibly) Henry Sanford Bicknell sale, Christie's, London, 7 April 1881, lot 92 [no size], bought by Permain.The Fine Art Society, Ltd., London, September 1952.J. B. Priestley Collection, UK.Private collection, UK. LiteratureDiary of Christine Bicknell, 1842-55 (National Library of Scotland, Edinburgh, acc. 7663).Helen Guiterman and Briony Llewellyn, David Roberts, London and Oxford, 1986, p. 103.PublishedLithograph by Robert Carrick published by John Harvey, Sidmouth, c.1845, as Sidmouth. From Salcombe Hill. Edinburgh-born David Roberts lived in London from 1822 but travelled extensively in Britain and abroad throughout his life. Many of his sketches, notably those of Spain and the Near East, became well known through engraved or lithographed reproductions. Among the latter are three views of Sidmouth, lithographed by Robert Carrick after drawings by Roberts and first published by the local 'Printer, Bookbinder and Librarian' John Harvey of Sidmouth, then republished in London.Sidmouth, on the south-west coast of England in Devon, lies at the mouth of the River Sid between two commanding cliffs, Peak Hill and Salcombe Hill. It developed as a fashionable resort and 'sea bathing' health spa in the early 19th century. Although it never became as popular as Brighton (which was closer to London and connected by train thirty years earlier), Sidmouth has similar elegant Regency buildings, many of which were available to rent. Roberts visited Sidmouth in June 1845 to stay with his daughter and son-in-law, Christine and Henry Sanford Bicknell, who were on a six-week holiday with their young children. 'I have no doubt the Attic will do famously,' he wrote to Henry on 27 May, 'so tell Christen [sic] not to put herself out of the way.' Henry must have mentioned the publishing proposal for views of Sidmouth, as Roberts added: 'My respects to the worthy Publisher, and if the subject is a good one tell him if he is a good fellow – I will do it for love but not all the houses' (Letter from Roberts to Henry Sanford Bicknell, 27 May 1845, private collection).After arriving on 12 June, Roberts found himself 'quite fascinated with the place,' according to Christine's diary note. On the following day Roberts made a sketch of Sidmouth looking eastwards 'from the verandah of Beacon Place, Peak Hill' (Yale Center for British Art, New Haven). This is likely the house where they were staying, as on similar holiday in 1848, when Roberts again visited, the family rented Beacon Cottage (probably the house now known as The Beacon). Carrick made an almost exact lithographic copy of Roberts's drawing. A similar view looking westwards along the beachfront (whereabouts unknown) was lithographed by Carrick and published by Harvey as Sidmouth. Western View. To get a more extensive view westwards and encompass 'the houses' that publisher Harvey appears to have requested, Roberts climbed up Salcombe Hill a week later and made the present lot. Christine and Henry accompanied him, and Christine also drew or painted. 'My Father made a beautiful sk[etch],' she noted in her diary on 20 June, '& H[enr]y read to us.' Whereas the other two lithographed views were contained on a single sketchbook page, Roberts here used a double-page spread: the join at the sketchbook seam is clearly visible (off-centre, as the right-hand page has been trimmed). This view extends from the English Channel across the town and inland, taking in the beach and Esplanade, with Chit Rocks jutting into the sea. Peak Hill is in the centre distance; behind are the highland of Otterton, and the eroded cliff stacks Big Picket Rock and Little Picket Rock. Along the central Esplanade are 'comfortable lodging houses, with every accommodation for large and small families,' as described in a mid-19th-century guidebook published by Harvey. 'The amphitheatre of ocean and mountain scenery, presented from this long and beautiful walk, where the pure and fresh breezes sweeping over the sea are inhaled, is . . . a favourite promenade of fashionable parties.' Some of the Regency buildings have copper-roofed balconies. 'The York, Bedford and Marine Hotels, together with a Library, Billiard, Reading, and Concert Rooms,' were situated in this part of the town, as well as 'shops of almost every description' and the London Hotel, in which were the Assembly Rooms.On the far right of the drawing is the distinctive tower of St Giles and St Nicholas church, which would be almost all that remained of the building when it was much altered and extended in 1859-60. Peak Hill behind is dotted with some of the 'mansions, villas and cottages' that 'form an attractive part of Sidmouth', according to the Victorian guidebook. Many were 'let as lodging houses ready furnished, with coach-houses, stables, &c.,' forming 'delightful abodes for small and genteel families' like the Bicknells.Harvey sold, printed and published many prints of Sidmouth and books relating to the area. Henry Sanford Bicknell may have been a customer and Harvey would have leapt at the opportunity of inviting Roberts to make images that were certain to be popular souvenirs. In addition to their publication in Sidmouth, the lithographs by Carrick after Roberts's drawings were hand-tinted and published by Harvey in London, in partnership with D. Bogue of Fleet Street. Smaller uncoloured versions were also published by Day & Haghe.We are grateful to Krystyna Matyjaszkiewicz for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Darlot (Henry, of the Foreign Post Office) Autograph Letter signed to Henry Holland of Gothenburg, 3pp., sm. 4to, [London], Foreign Office, 23rd September 1806, "I send you a sketch of your account exclusive of the PM G's warrant to your bill on Dennison...", folds; and c. 15 others, documents (1 printed) 16th - 19th centuries, v.s., v.d. (c. 15 pieces).
NO RESERVE Grimm (Jakob Ludwig and Wilhelm Carl) Fairy Tales, first edition, colour tipped-in plates by Arthur Rackham, captioned tissue guards, light browning to endpaper, occasional scattered spotting, original pictorial cloth, gilt, rebacked, spine worn, 1909 § Cruikshank (George) My Sketch Book, etchings and illustrations, original pictorial morocco, gilt, rebacked, lightly rubbed; and 9 others, v.s. (11)
λ John Ward (British 1917-2007)Girl touching toesPencil and inkSigned and dated 1984 lower right17 x 24cm (6½ x 9¼ in.)Provenance:From the collection of Tom CoatesCondition Report: Executed over traces of preliminary pencil sketch. Some discoloration to the mounted edges. Otherwise, in generally good condition. Under glass and unexamined out of frame.Condition Report Disclaimer
JOHN LENNON (British, 1940-1980); a signed lithograph, an erotic sketch of Yoko Ono, signed in pencil lower right, 34/300, Malcolm Bishop Fine Art Dealer of Manchester label verso, 57.5 x 75cm, framed and glazed (D). Provenance: purchased from London Graphic Art Associates with original receipt present following the famous exhibition held at the London Arts Gallery in 1970 which provoked uproar and was raised by the police; two newspaper clippings relating to the exhibition are also included.Additional InformationSome wear and scuffs to frame, some speckles to paper. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
LAURENCE STEPHEN LOWRY RBA RA (BRITISH, 1887-1976); a felt tip sketch of an industrial landscape, later signed in biro and dated 1965, executed on the reverse of an unused Royal Academy Soirée Invitation dated 1st July 1964, 11.7 x 15cm, later laminated, the Invitation inscribed ‘April 1971 (Presented to me, Alice J. Lowe, one of a choice of two, the other a biro drawing of a Derbyshire village which is now under a resvoire [sic])’. (D) This sketch is offered as part of the archive of Alice J. Lowe, a Northern artist and photographer who came to know and become friends with Lowry; Lowry encouraged her in her work, supported the inclusion of Miss Lowe in an exhibition held at Manchester City Art Galleries in early 1975 and offered this work to Miss Lowe as a 21st birthday present. The following are extracts from a letter included in this lot written in 2007 by the late Miss Lowe to friends discussing the circumstances in which she obtained the sketch: ‘(1970) I had my 21st birthday on 14th April and Mr. Lowry gave me a sketch on the back of the Royal Academy Banquet and Private View card, it is of the industrial landscape, Mr. Lowry choose [sic] 14th April for me to visit him and I said it will be my 21st Birthday on 14th April. Mr. Lowry had just been ‘broken into’ at the time of contact and he choose [sic] me to see him the following week. Mr. Lowry gave me a choice of two drawings, a sketch/roughs for a large painting, one was of the Industrial Landscape and the other sketch was of a cottage covered with roses, it is now under water of a lake, if I had this Birthday present auctioned it could also ‘fetch’ £4,000. I visited Mr. Lowry 3 or 4 times a year for six years until he died aged 88.’; ‘I made friends with his house keeper Mrs. Betty Swindells who lived at 13 or 15, Ash Lane, Mottram-in-Longdendale, and opposite a police station [...]’; ‘Mr. Lowry gave the sketch the Thumb Test on the sketch he had given me to show it wasn’t a fake, I still have the 21st Birthday present and lots of photographs taken over 6 years. Mr. Lowry also visited my studio [...]’. The extensive archive also includes: A handwritten letter from Lowry to Miss Lowe dated 6th October 1973 on The Elms, 23 Stalybridge Road, Mottram, Nr. Manchester letterhead paper: ‘Dear Miss Lowe, Thank you for your letter. I am glad to gather that you are very busy. I am sorry but I am extremely busy at the present & am away a lot & cannot be here on Tuesday. Let it [?] for the present until you please. Yours sincerely, L. S. Lowry’, the letter with original envelope addressed to Miss Lowe by Lowry bearing ‘Hyde Cheshire 8 Oct 1973’ postal stamp; A letter from Stanley Shaw of the City of Salford Art Galleries and Museums to Miss Lowe' dated January 1973 discussing Lowry’s interest in her work and desire to meet Miss Lowe to further discuss it along with the Keeper of Art Mr. H. Davies a well as further material including newspaper clippings relating to this exhibition and Lowry’s patronage of Miss Lowe; Photographs of Lowry in his home taken by Miss Lowe as well as correspondence relating to her work photographing a posthumous exhibition held on Lowry; A copy of ‘Drawings of L.S. Lowry’, pub. Cory, Adams & Mackay 1963, signed and dated 12 February 1974 to title page by Lowry, as well as numerous further books and booklet relating to Lowry’s work and exhibitions including ‘The Paintings of L.S. Lowry’, pub. Jupiter Books 1975, ‘Drawings by L.S. Lowry R.A. 4th February to 13th March 1971 The Lefevre Gallery’, ‘L. S. Lowry Respective Exhibition Arts Council 1966’, etc. Provenance: Miss Lowe sadly passed away earlier this year and the sketch, letter and archive have been consigned to auction by the executors of her estate; this is their first appearance on the open market. Additional InformationThe sketch has been laminated and we cannot speak to the possibility of ease of removal; the Invitation has a horizontal crease running across the card to the upper section, a stain to the central upper section, further imprints, scuffs and marks as well as some mottling to corners and edges. The remaining material varies in condition: the envelope addressed by Lowry folded and creased, the book inscribed by him with extensive notes to that and the opposing page by Miss Lowe or another hand, photographs variously folded, creased, bent, mottled, the other books with further notes, stains and foxing to covers and contents, etc. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
A FINE 19TH CENTURY FIDDLEBACK MAHOGANY TWIN PEDESTAL PARTNER'S DESK BY GILLOWS C.1860 the rectangular top with a moulded edge and inset with four panels of later gilt tooled green leather, one side with a central hinged slope, with a detachable rest, on a ratchet, the other side of the desk with a full length hinged slide-out slope on a ratchet and with a detachable rest, the front with three mahogany lined frieze drawers, the central drawer stamped 'Gillow', with three further drawers to each pedestal, with hinged Wellington-type locking bars, each with a sliding cover to reveal a key escutcheon, the sides with pull-out slides above twin panels, the back with three frieze drawers, the central one stamped 'Gillow', above a pair of cupboards, each enclosing a shelf, the kneehole with panelled corner brackets, on a plinth base with centrally located castors, with replaced gilt ring handles 81.8cm high, 149cm wide, 94cm deep Catalogue Note A design for a desk with the same configuration of hinged writing surfaces and pull-out slides, but with two legs to the front, features in the 'Gillows Estimate Sketch Books', 12th January 1860 pl.6397, City of Westminster Archives. It was produced for 'Messrs B & K for Rall Esq. A mahogany writing table.'
A pair of horse racing prints after A.C. Havell of Grand National winners Cloister and Manifesto, 39cm x 50cm, another after J.F. Herring and a pencil sketch by Charles Joseph Hullmandel entitled Rothenfeld Sept 10th, see verso, and three others to include work by equestrian artist Neil Cawthorne - being responsible for the portraits of champion race horses Mill Reef and Brigadier Gerard.
*Sir Eduardo Paolozzi RA (1924-2005)Untitledpencil29 x 22.5cmProvenance: The artist's estate;thence by descent.*Artist's Resale Right may apply to this lot.Condition report: Sheet is from a spiral bound sketch pad. Small tear to bottom left corner. Stuck down. A few dirty marks and staining to extreme edges.
PAINTINGS AND PRINTS ETC, to include 'Ted Battersea Saint Denoeux, France', a watercolour of a French village, approximate size 51cm x 71cm, with a pen and wash sketch of the same scene, approximate size 24cm x 33cm, watercolour of a church by R.W.Bardsmore, photographic print of Trinity College Cambridge, Rugby 1st XI, dated 1910, together with assorted prints, box canvas prints, photographs and maritime map 'Islay to Ardnamurchan'
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![Original Manuscript Workbook. [Cowper, H. Swainson] - The History of the Essex Family of Raleigh Castle, Co. Essex. Radswell](https://cdn.globalauctionplatform.com/33d6567b-dd41-465c-bd50-ac4701041779/ebc9df1e-b151-4841-88aa-ac4c00cf0049/468x382.jpg)
![Darlot (Henry, of the Foreign Post Office) Autograph Letter signed to Henry Holland of Gothenburg, 3pp., sm. 4to, [London], F](https://cdn.globalauctionplatform.com/3cc98721-b8ce-4047-a914-ac4700a5a9f3/06cd2a10-2dad-44d3-8af0-ac4700b737b4/468x382.jpg)
