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Lot 639
Borderland a Quarterly Review and Index edited by W. T. Stead vol.1-4 (all published) photogravure portrait of the editor other portraits and illustrations original cloth gilt the first three vol. titled “Borderland a Psychical Quarterly” on upper covers three spines and covers of one vol. faded folio 1894-1897. *** This short-lived periodical contains important articles on spiritualism astrology crystal gazing hypnotism palmistry clairvoyance spirit photography (with illustrations) haunted houses and other related subjects..
Lot 11
Commonplace Book manuscript in Latin in several hands reverse entries tsained and browned original calf gilt ink signature on cover of F. Butterfield rubbed sm. 8vo [c. 1620]. *** Contains short essays on classical texts and Erasmus and philosophical subjects with lists compilations (of knowledge) and poems (one on 5 November) mostly in one small seventeenth century hand with some entries in a nineteenth century hand probably by Fr Butterfield. The earlier subjects are syllogisms nature the rational spirit etc.
Lot 480
A mixed lot of silver items, various dates and makers, comprising: a silver mounted glass spirit flask with a pull-off drinking cup, a silver and tortoiseshell hand mirror and toilet jar, a pair of scent bottles, a toilet jar, a compact, and a three-piece silver mounted glass condiment set. (10)
Lot 46
Two 18th/ 19th century green glass wine bottles each of club form with vacant seal cartouche, 19cm high; a similar green glass wine bottle with vacant seal cartouche, marked `Benedictine`, 21.5cm high; and a green glass spirit bottle of square tapering form, marked `Ploopuyt & Co/ Distillers/ Schiedam`, 23cm high (4)
Lot 438
A small Victorian silver plated spirit kettle on stand with embossed scrolling foliage and part fluted detail, an EP coffee pot of baluster form with overall etched foliate, floral decoration and scrolled handle, an EP water jug with hinged lid, a small plated chaffing dish with lid and an oval serving dish with gadrooned rim
Lot 527
A selection of 1950s silver motoring trophies including two Clayton Trophy replicas, an EAMC Autocross trophy in the form of a spirit measure, three Brighton Rally Cups, and Isle of White Rally Hill Climb trophy and a cup awarded at the EAMC Regional Driving Test Rally in 1956. Various dates, approximately 20 oz of weighable silver (a qty)
Lot 566
Fine quality Edwardian Picnic Set supplied by The Sheffield Plate Co, 14 Rue de la Pepiniere, Paris, with silver plated fittings including spirit kettle and stand, teapot, sugar basin, tea caddy, milk jug, biscuit box, vesta box, set 6 teaspoons, 3 glass bottles with plated tops, 6 Royal Worcester teacups and saucers (date marks for 1907), all contained in suede covered frames on leather covered tray base and leather covered box top, 43cm wide, 22cm high, 29cm deep
Lot 260
CHRISTOPHER RICHARD WYNNE NEVINSON (1889-1946) "Bravo!", 1913, signed, oils on canvas, 17 ½" x 23 ¼", Ernest, Brown & Phillips gallery label verso. `You have a very good picture in "Bravo!", it is impressionism "rather squared-up"` reported Vogue magazine in October 1916. Last recorded in public in Christopher R. W. Nevinson`s inaugural solo show at the Leicester Galleries in 1916, "Bravo!" was part of the exhibition that made Nevinson a celebrity. The exhibition represented all the work Nevinson had produced upon a military theme, up to that date and as Michael Walsh has stated it was a `microcosm of the works of art that had led to his `coming of age``. (Walsh, 2001) The majority of work in the exhibition was representative and symbolic of the harshness and tragedy of a world at war - affording a glimpse to the viewer of one of the bloodiest pages in human history. The mechanical brutality of his painting set his work aside from his contemporaries and led critics to declare his work `one of the most notable contributions` to the art of his time. (Cambridge Magazine, 1917) "Bravo!", an early work from Nevinson`s career, might indeed as Michael Walsh has proposed be said to be his first war work. It represents a change of direction away from Impressionism towards structural as opposed to tonal importance, in his work. (Walsh 2001) In terms of the 1916 exhibition "Bravo!" should be seen as a counterpoint to other works in the exhibition representing a spirit of war - where the men march gaily on in perfect union to the cheers of the onlooking women and children. The foreword to the 1916 exhibition catalogue claimed that even the Pacifist would be compelled to cry "Bravo!" on seeing the French battalion on the march hinting at the significance of patriotism and participation in war. The catalogue continues `Force in full cry after Adventure; energy can be carried no further. And so we come away feeling that the Cup of War is filled, not only with blood and tears, but also with the elixir of life.` (Leicester Galleries Exhibition Catalogue, 1916, p.5) With many artists retreating to a sentimental and provincial reaction against the horror of war, "Bravo!" is part of what Nevinson called `Vital Art` in England overcoming `the insipid & sentimental`. His aim was to bring the viewer `closer to the heart of his experiences than his own eyes could have carried him`. (Exh. Cat., 1916) According to the Studio magazine in 1916 Nevinson`s employment of cubist geometric convention `has undoubtedly been a factor in conveying that the dynamic impression which it was the artist`s aim to give - especially in the pictures of troops in motion, such as "Bravo", `Road to Ypres`, and `A Column on the March` succeeded. It is we think subjects like these that the artist`s geometric method is seen at its best`. Exhibited: Ernest, Brown & Phillips at The Leicester Galleries, Exhibition of Paintings and Drawings of War by Christopher R. W. Nevinson, Exhibition No. 232. September-October 1916, No. 3 Literature and Reviews: Konody, P. G., Modern War Paintings by C. R. W. Nevinson, London: Grants Richards Limited, 1917, illustrated p. 73 Nevinson, Christopher R. W., Catalogue of an Exhibition of Paintings and Drawings of War by C. R. W. Nevinson, September-October 1916, No. 232 Rutherston, Albert (ed.), Contemporary British Artists: C. R. W. Nevinson, New York: Charles Scribner`s Sons, 1925, plate 3 Walsh, Michael, The Career and Work of C. R. W. Nevinson to 1924, PhD Dissertation, University of York, 1998-2001 Cambridge Magazine, Three Half Guineas, 3 February 1917 The Ploughshare, December 1916 Studio, November 1916 Vogue, October 1916 The Westminster Gazette, Mr. Nevinson`s War Pictures, 2 October 1916 Provenance: Bought by a friend of Vera Waddington and by family descent thereafter.
Lot 660
A Victorian E.P.N.S compressed globular spirit kettle, burner and stand, shaped scroll handle, ivory insulators, flower bud finial, hinged cover, chased and embossed with flowers and stiff leaf scrolls, centred to recto and verso by vacant C-scroll cartouches, leafy scroll legs, shell feet, Martin, Hall & Co, Sheffield c.1860
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