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Lot 206
Dayton Albatross 250cc Scooter 1958 - Like a sketch from Monty Pythons the voice on the phone said “ I would like to put my Albatross in your Auction” Ok I said, thinking the obvious that April 1st had come early but no the vendors wife meant an incredibly rare British built scooter from the 50’s a 1958 “Dayton Albatross”. Now after 40 years or so of dealing with motorcycles and scooters this was a new one on us! This particular bike was registered to the supplying dealer 01.04.1958 (see April fool’s day!!) Then sold to a Gent from Chelmsford on the same day. He used it through to 1984 when he laid it up and never used it again. In the history are old MOTs these show mileage when tested in 84 as 37,774, it now has 38540 on the clock, so not many miles had passed after the MOT. Eventually it was sold to the vendor’s husband, also from Chelmsford in 2003, who was determined to get it back on the road and use it. Unfortunately nature struck and this never happened so another 14 years later and it is being offered here. The bike has actually survived miraculously well, it must have been stored correctly for the 33 years it was hidden away. It has that lovely patina all over, nothing nasty just un-molested and original 59 year old metal and paint! The non-standard seat cover is exactly that an elasticated over cover that has been on there for a very long time. We have lifted it and had a look, the original seat cover is there buy damaged on the sides where your legs would rub in use. The 250cc Villiers twin engine is not locked up and rotates easily with the kick start, but obviously will need to be looked at prior to trying to start it. The brakes operate and the bike wheels freely. When we lowered the side engine inspection panels there is evidence of grease on the inside of them, leading us to believe this was done to stop rust. Well it worked as it all looks good in there. The bike is one hundred percent complete and apart from the handle bar brake/clutch levers looks to be original. The original screen complete with vintage AA badge is with it but not fitted as are the original handbooks and even the original bill of sale and warranty certificates!! Plus old tax discs MOTs. This is probably a once in a lifetime chance to own one of these Scooters, especially one with this peerage and what a perfect candidate for either a restoration or keep as is and just get it back on the road. Remember “It is only original once”. We will not be cleaning it just presenting it exactly as it was when we collected it.
Lot 349
HENRY SPENCER MOORE. Pencil drawing on paper, side profile of Mr William Loughlin in WW1 service uniform, signed H.S Moore, 14cm x 9cm.Provenance: Mr William Loughlin reputedly undertook military training with Henry Moore in 1917 where this portrait was drawn by Henry Moore and given to Loughlin as a gift. A letter signed by Mr Loughlin`s daughter (who is also the vendor) recalls that, during the blitz of WW2, when Glasgow was being bombed, her father pointed to the sketch of him by Henry Moore, saying "that the picture would be worth something someday as Henry Moore was starting to make a name for himself". She also states in the letter that he had told her that he had been called up at about the same time as Moore and that they had trained together (A copy of the letter is available for inspection and will be included in the lot). William Loughlin later was awarded an OBE for services to the ministry responsible for shipping. This previously unseen sketch is, of course, not in the Catalogue Raisonne of Moore`s works.
Lot 112
Chaim Topol signed b/w 6 x 4 inch sketch card. Israeli theatrical and film performer, singer, actor, comedian, voice artist, writer and producer. He is best known for his role as Tevye the dairyman in the production of Fiddler on the Roof on both stage and film. He has been nominated for an Academy Award and a Tony Award, and has won two Golden Globe Awards. Milos Columbo in the James Bond movie For Your Eyes Only. Good condition.
Lot 412
Samuel John Lamorna Birch R.A., R.W.S. (1869-1955), "The Sands of Dee from Caldy, Cheshire", signed, titled on verso, oil on canvas, 50 x 60cm.; 19.75 x 23.75in. * This painting is likely to date from 1916 when Birch was the house guest of Percy Eccles at Caldy Manor in the Wirral. Birch's diary entry for 8 December recalls that he ... 'had a strenuous day ... I think I have done a real masterpiece ... certainly the best thing I've done since I came here. It is a sketch overlooking the Dee, a sunset effect with the channels reflecting the sky and a suggestion of a town in the middle distance. I did make paint fly, and no mistake!' Percy Eccles was a great admirer of Birch's work and it seems probable that he bought the painting from the artist. The subsequent provenance is the London dealership Frost and Reed and an auction at Christie's King Street as their old stencil mark is on the stretcher. Some time thereafter it is understood that the painting formed part of the collection of Lord Sheppard, Bishop of Liverpool and former England cricketer who lived with his wife in West Kirby and whose property enjoyed views not dissimilar to that of the painting's subject. Artists' Resale Right ("droit de suite") may apply to this lot.Condition Report: The painting is in good, cleaned and restored condition. There is one patch on the back of the canvas together with corresponding overpainting on the front of the canvas. There are a few minor areas of overpainting visible under UV light. The stretcher marks are visible around the edge of the canvas as shown in images 3 and 4. The painting is reframed but not glazed as can be seen. The frame has the odd knock and dent as can be seen in the images.
Lot 165
*Flemish School. Head of a bearded male figure in profile, looking right, circa 1650-1675, oil on heavy paper, impressed with the imprint of canvas from a previous relining on canvas (now removed), with extensive contemporary manuscript list of accounts and instructions for payments in brown ink to verso, apparently dated at head 1651, with numerous recipients' names, some discolouration and staining, strip to head of the sheet detached, some chips and minor loss to edges, 45 x 32.5 cm (17.75 x 12.8 ins) Provenance: Private Collection, Oxfordshire. On the reverse are 51 lines of detailed accounts for payments, written in brown ink by a contemporary hand in French and apparently dated Paris 1651. These accounts relate to a number of different people in Antwerp, Amsterdam, Ostend, Rotterdam, Middelbourgh, Rouen, Liege, London and elsewhere. Amongst those named are Jean Baptiste Lunden (1636-1703), the husband of Rubens' granddaughter Helene Francoise Rubens, Cornelis Goedjdbroeck (possibly Cornelis Gysbrechts, 1630-1683), Martin Bisthoven d'Anvers (probably Martin Janssens de Bisthoven of the Antwerp Mint), Jacob de Bie, Gouvaert Lammers, John Robben of London, Philippe de Surmont, and many others. Despite its fragile condition, this intriguing oil sketch and conjoined manuscript document may shed important light on the commercial activities of artists and merchants working in Flanders after the deaths of Rubens and Van Dyck in 1640 and 1641 respectively. (1)
Lot 193
*Hulton (William Stokes, 1852-1921). Venetian Facade, watercolour on paper, signed with initials lower right, 42.5 x 24 cm (16.75 x 9.5 ins) mount aperture, framed and glazed, with typewritten note to verso: William Hulton, A Sketch of Venetian Architecture. Circa 1900. (Hulton lived in Venice, and this drawing bought from the Artist's daughter in 1971.) Provenance: Purchased from the artist's daughter, Teresa Hulton, Lady Berwick (1890-1972). Private Collection, Gloucestershire. The artist William Hulton was the son of the Lancashire coalmine owner and magistrate who ordered the Peterloo Massacre in 1819. The younger Hulton lived in Venice and was a friend of Sargent and Sickert. (1)
Lot 216
*Varley (Cornelius, 1781-1873). South Pinnacle, Newstead Abbey, Nottinghamshire, September 28, 1824, pencil on wove paper, signed, titled and dated lower left, some overall toning, closed tear repaired to left margin, 46.5 x 33.5 cm (18.25 x 13.25 ins) mount aperture, framed and glazed The home of Lord Byron, this sketch of Newstead Abbey is poignantly dated shortly after the poet's death on 19 April 1824. (1)
Lot 341
*Pegram (Frederick, 1870-1937). 'Caged', A Sketch in the Jakoutsk Prison, circa 1900, pen, black ink and grey wash on paper, signed lower left, and titled upper right, 25.2 x 19.8 cm (9.9 x 7.8 ins) mount aperture, framed and glazed Jakoutsk Prison (Yakutsk in modern spelling) was one of the Siberian prisons for political prisoners and dissenters, established in the late 19th century. (1)
Lot 342
*Reed (Edward Tennyson, 1860-1933). The Bearded Don, pencil on paper, signed with monogram lower, sheet size 37.5 x 30 cm (14.75 x 11.75 ins) mounted on card A noted contributor to Punch, Tennyson Reed also contributed regularly to The Sketch, and later on The Bystander, for which the present work may be an example. (1)
Lot 395
*Hamnett (Nina, 1890-1956). Dancer, 1952, red crayon on sketch book paper, watermarked British Oak Parchment, signed and inscribed 'To R. Swingler Nina Hamnett March 18th 1952', some light creasing, sheet size 29 x 22.7 cm (11.4 x 8.9 ins) Provenance: Randall Swingler (1909-1967), English Poet. Private Collection, Bristol. (1)
Lot 282
Joseph Foster Wood (1855-1917) architect A travelling sketch book, various watercolours and drawings to include 'Asbolt 1888', 'Aberdovey 1886', a folio of looses sketches and watercolours, to include 'Bude', 'Stowe Hill', seaside scenes, etc (32 loose approx in folio.), various sizes and a quantity of loose unframed prints (qty)
Lot 303
Bede (Cuthbert, i.e. Edward Bradley). Scraps Collected from All Books, at All Times, in All Places and on All Subjects, by Edward Bradley, 1847, a collection of drawings in watercolour, sepia, pencil and pen & ink, many signed, mostly of humorous subjects, several being unfinished sketches, some from letters or other documents (sometimes tipped-on enabling the verso to be viewed), few drawn for "Punch", seventy-one leaves with items attached to rectos only (often more than one per page), supporting leaves spotted and some sketches lightly affected, one sketch loosely inserted, marbled endpapers with armorial bookplate 'Michaelis Tomkinson Franche Hall Worcestershire' to pastedown and bookplate 'Ken Tomkinson High Habberley House Kidderminster...' to front free endpaper, all edges gilt, half morocco gilt, [by Riviere], spine faded, 4to Edward Bradley, best known under the pseudonym Cuthbert Bede, was born in Kidderminster in 1827, where Michael Tomkinson, founder of Tomkinson Carpets, was also born in 1841. (1)
Lot 46
Carnegy (Patrick & Woodburn, J. & Noble, C.S.). A Historical Sketch of Fyzabad Tehsil, including the Former Capitals, Ajudhia and Fyzabad, [Lucknow, 1870], caption title, coloured map frontispiece, 10 albumen print views with printed captions beneath and including 4 back to back, images 15.5 x 21.5 cm, some horizontal creasing, occasional spotting or soiling, some chipping to blank foremargins, scattered marginal pen or pencil marks, contemporary pencil ownership inscription of Reverend James Elliott, Wesleyan missionary at Fyzabad to front flyleaf, institutional ink library stamp of Society for the Propagation of the Gospel in Foreign Parts to first free endpaper and bookplate to front pastedown, contemporary limp morocco with gilt-titled upper wrapper, rubbed and some corner wear, split to upper margin of upper cover without loss, slim folio Pagination: pp. 27[1],xi[1],v[1],iii[1],12,12,[2],ii,7[1]; colour map & 10 photographs. Rare. (1)
Lot 132
Bree (Charles Robert). A History of the Birds of Europe, not Observed in the British Isles, volumes II-IV only, 1867, 178 hand-coloured wood-engraved plates of birds and eggs, a few detached, a few spots, original cloth gilt, spines defective, covers detaching, 8vo, together with The Natural History of Birds, by Count Buffon, volumes II, IV-IX only, 1793, numerous copper plates and wood engravings (after Bewick), some light spotting, bookplates, contemporary diced calf, spines a little rubbed and chipped at ends, 8vo, plus R. Bowdler Sharpe's Sketch-Book of British Birds, 1898 (11)
Lot 207
D.W. FIELDING AND OTHERS, FOUR ARTIST SKETCH PADS CIRCA 1930's AND 1950's architecture and other studies including animals, small SELECTION OF UNFRAMED PRINTS AND SOME SMALL WATERCOLOURS including nineteen hand colour plates from a late nineteenth century BIBLE Published by A. H. Payne, Leipzig and Dresden
Lot 25
Sir John Lavery RA RSA RHA (1856-1941) AN EAST WIND, 1912 oil on canvas laid on board inscribed [To The Countess Becdelievre from John Lavery 1912] lower left; signed and titled on reverse 10 x 14in. (25.40 x 35.56cm) Adam's, 1 April 2009, lot 131;Private collection 'Exhibition of Irish Art', Milmo-Penny Fine Art, Dublin, June 1991, catalogue no. 5 In the autumn of 1912 Lavery sent his recently completed full-length portrait of Cécile Marie Ernestine Roger de Villers, Countess Becdelièvre, to the annual Autumn Exhibition at the Walker Art Gallery, Liverpool. Nothing is known about the circumstances of the commission and the portrait in which the countess wears, 'a wonderful Parisian creation in shimmering satin' remains unlocated. The present seascape, probably given to the countess at the time of the sittings, is the only evidence we have of the friendship that was formed as a result of the commission. Sketches, personally inscribed to favoured sitters, are not uncommon in the Lavery oeuvre. The fact that this represents a familiar group of rocks on the shore at Tangier may also indicate that the painter and his subject met in the 'White City'. In March 1912 while Lavery was working at his Tangier studio, and anticipating the wedding of his daughter, Eileen, General Lyautey invaded Morocco, making it a French protectorate. The numbers of diplomats and military personnel in the city immediately increased. Since the illustrious Becdelièvres were a military family, it is possible that the portrait commission resulted from this intervention - it was one of a number of portraits of the French nobility painted around this time, when the painter's reputation in Paris was consistently high. Between March and September 1912, at the International Society's exhibition in June, the painter had exhibited five small recent seascapes to which the present example may relate. All of these were 10 x 14 canvasboards, of which he had an ample supply. In the present case, the rocks on the left, stretching into a choppy sea, are likely to be those depicted on other occasions - most notably in A Rough Sea (Paisley Art Institute). At low tide, on a calmer day, these same rock pools would attract his wife and step-daughter, and their presence would be used to punctuate compositions that would then be re-worked on a larger scale. The beach also became a convenient thoroughfare for passers-by as in The West Wind 1911 (Private Collection). Few beach scenes however, apart from the Paisley picture and possibly, Tangier Bay, Rain 1910 (Ulster Museum), show inclement or potentially stormy conditions - as here. During the early months of 1912, as Lavery noted in a letter, the weather was colder and less predictable than usual, and strong easterlies swept the Straits of Gibraltar. While his painting activities were restricted, he was nevertheless a seasoned campaigner and small studies such as the present example were always possible. While the wind may whip up the sands on the shore, and threaten to overturn a larger easel, it made no impact upon the delightful freshness of the present sketch held securely in a field-box. Professor Kenneth McConkeyJanuary 2017
Lot 27
Sir John Lavery RA RSA RHA (1856-1941) PORTRAIT SKETCH OF C.L. LIDBURY oil on canvas laid on board with sitter's name lower right; with note relating to provenance on reverse 8½ x 6in. (21.59 x 15.24cm) Collection of George and Maura McClelland On reverse: "This was a group of 5 sketches 4 similar to this and one costume sketch of cloths by Royal Dressmaker. The 3 men and 1 woman were all named similar to this one. The costume sketch and the bottom right of these 4 were signed. All sold separately, except this one later" signed by George McClelland and dated (1973)
Lot 32
Jack Butler Yeats RHA (1871-1957) FRESH HORSES, c. 1914 oil on panel signed lower right; inscribed on reverse; with Waddington Galleries [London] exhibition label on reverse 14 x 9in. (35.56 x 22.86cm) Sold by the artist to L. Smith, 1946; R. MacGonigal, Dublin; Victor Waddington, London, 1965; Peter O'Toole, London; Waddington Galleries, London; deVeres, 27 November 2012, lot 51; Private collection 'Pictures of Life in the West of Ireland', Walker Art Gallery, London, 29 June to 18 July 1914, catalogue no. 25; London Allied Artists, 1917; 'Pictures of Life in the West of Ireland', Mills Hall, Dublin, 23 March to 6 April 1918, catalogue no. 13; 'Paintings', Waddington Galleries, London, 11 February to 13 March 1965, catclogue No. 1 Pyle, Hilary, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Andre Deutsh, London, 1992, Vol. I, page 78, catalogue no. 91 (illustrated in black and white) Fresh Horses depicts a night-time scene of a well-dressed horseman bringing out new animals. These are intended for an unseen cart that has stopped temporarily for this purpose on its long excursion. The freshness of the horses is evident from their prancing legs and the frisky movement of their heads. This is especially obvious in that of the brown horse whose upturned eye reflects a night-time light and on whose rein the man has a firm hold. (The same light is reflected on the nose and body of the dun (beige) horse and on the jacket of the man, uniting the group and suggesting their vivid intrusion into the peaceful evening). The experienced coachman in his black cap and white muffler contrasts with the horses in his steady gait. The dramatic cut-off composition adds a note of modernity as well as elevating the sense of forward movement. The long empty road leading across a barren landscape behind the group suggests the long journey ahead and the ordeal of nocturnal travel. But the particular austere nature of the landscape dominated by the broad expanse of sky, also evokes the peculiar nature of coastal Mayo where sea and sky constantly intrude into the land. Hilary Pyle has traced Fresh Horses to an earlier drawing in one of Yeats's sketchbooks dating to 1905 when the artist was travelling in north Mayo in the company of J. M. Synge. The drawing is inscribed 'Changing Horses on the way to Belmullet'. Yeats referred to another sketch from this visit to Belmullet in his creation of The Country Shop (1912, National Gallery of Ireland). The experience of visiting this region was clearly very memorable and important to him. Yeats's interest in horses is evident from other paintings of this period including The Circus Wagon (1912, Private Collection), that shows the night-time arrival of a horse-driven coach into a sleeping town. The composition of Fresh Horses is however more intimate and more focused on the relationship between the animals and their minder. The painting has a very prestigious provenance. Having been acquired by the Dublin gallerist and admirer of Yeats's work, Leo Smith, it was subsequently owned by the collector and barrister, Richard MacGonigal and by the distinguished stage and screen actor, Peter O'Toole. 1. Hilary Pyle, Jack B. Yeats. A Catalogue Raisonné of the Oil Paintings, Andre Deutsch, 1992, I, p.78.
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32316 item(s)/page