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Click here to subscribeAttributed to Sir William Blake Richmond RA 1842-1921- Studies for the "Wise and the Foolish Virgins"; recto/verso, red chalk, bears inscription in pencil, 35x25.5cm, together with one further silver point study of a female nude, bears unidentified stamp verso, by the same hand, (2) (unframed)
Attributed to Richard Cosway RA 1742-1821- Cupid and Psyche; pen and brown ink wash, bears later inscription and collectors stamp, numbered 24 in an old hand, verso, pen and brown ink and wash on buff paper 18x25cm: together with one other 18th century study inscribed "Julian", pen and brown ink, touches of pencil and blue wash, by a different hand, 19.5x15.5cm, (2) (unframed)
William Lee-Hankey RBA RE ROI 1869-1952- Mother and child; etching, feigned vignette, signed with monogram within the plate, signed in pencil, bears artist's blind stamp, 23.5x19.3cm: together with an etching of a landscape subject by the same hand, signed with monogram within the plate,signed in pencil, bears artist's blind stamp, 15.5x23.7cm., (2)
Frank William Huline Dickens b.1932- "I Should have Been home Hours Ago"; pen and black ink, signed and captioned, stamped 2 Dec 1961, original artwork for publication 17x20cm (irregular); together with a quantity of further black ink, pastel and crayon studies, mostly original art work for publication, with six personal studies dedicated for friends or family, mostly stamp dated for the 1960s: Bill Tidy b.1933- "Thats Where I Met My Wife"; pen and black ink, original artwork for publication, signed and captioned, together with four other similar caricature pen and black ink studies, by the same hand: together with six further signed and captioned pen and black ink caricature studies by Hector Breeze b.1928- Original artwork for publication, (56) (unframed) Note: In December 1960 Dickens created the "Oddbod" strip for the Sunday Times. In 1961 he created the "Bristow" strip, about a bowler-hatted "ineffectual rebel" with a toothbrush moustache who works in the offices of R. L. Chester-Perry Co. Ltd. Originally developed from a character in his book, What the Dickens (1961), the strip first appeared in the Preston Journal and other regional papers before being taken up by the Evening Standard on 6 March 1962. (may be subject to Droit de Suite)
A set of eleven Wilkinson toby jugs of Allied War Leaders, designed by Sir Francis Carruthers Gould (1844-1925), comprising: Rt. Hon. David Lloyd George holding a shell inscribed "Shell Out"; Admiral Jellicoe (1917) holding a jug inscribed "Hell Fire Jack"; Lord French (1917) clutching a foaming jug inscribed "French Pour les Francais"; Field Marshall Sir Douglass Haig (1917) seated on a tank; Admiral Beatty (1917) holding a shell inscribed "Dreadnaught"; President Woodrow Wilson (1918) wearing an Indian Chief's headdress; Marshall Foch (1918) with foaming champagne bottle; General Botha (1918) with jug captioned "Loyalty"; Earl Kitchener with jug inscribed "Bitter For Kaiser"; Field Marshall Joffre with a shell inscribed "Ce Que j'offre"; King George V (1919) seated with a globe in his lap, all with facsimile Carruthers Gould signature and Soane & Smith stamp, 9 1/2in.-12 12in. See illustration
Dame Elisabeth Frink, Childhood, 1992. Cast bronze figure of a seated terrier, Ht. 11½in. (29 cm.). With the artist’s incised signature ‘Frink’ and the foundry stamp of Morris Singer. Note: the dimensions given in the catalogue are incorrect (as is the conversion from Imperial to Metric). The history of this sculpture is a little complex and still contains one or two unanswered questions. It was sculpted by Elisabeth Frink in aid of the Hospital for Sick Children, Great Ormond Street, London, in 1992. It was intended to be cast in an edition of 50 with 6 additional artist’s proofs, the main edition being cast by the Morris Singer Foundry and the six proofs by the independent foundry of Ken Cook in Gloucestershire, who cast many of Frink’s smaller pieces. However, it seems that only about 30 of the commercial edition were actually cast (the exact number does not appear to have been firmly established) as well as the full complement of artist’s proofs. There also appears to have been some inconsistency over the numbering of the edition. Excluding the artist’s proofs, only some of the thirty or so casts from the main edition seem to have been numbered and those that were tend to bear numbers at the higher end of the intended sequence, i.e. in the 30s and 40s. The majority of casts from the early part of the sequence do not bear numbers. Because the initial marketing of this edition had not been well handled (only about six casts were sold in the period 1992-5), in 1996, Great Ormond Street commissioned the Stockbridge Gallery of Courcoux and Courcoux, who had had previous connections with Frink, to take over the marketing of the edition; the hospital also authorised them to have 13 pieces cast at the Singer Foundry which, also on their instructions, were numbered 38-50 inclusive (although exactly why this particular sequence was chosen is not clear). This part of the edition, as well as the six Cook cast artist’s proofs, were all sold by the Gallery in the following years. The present lot is one of the earlier, unnumbered, casts in the sequence. Literature: an example of this edition appears in the second volume of the Elisabeth Frink Catalogue Raisonné by Edward Lucie-Smith, Elisabeth Frink Sculpture and Drawings from 1984, no. SC73. Note that both the title of the piece (‘Dog’) and the dimensions are incorrect in the relevant entry of this work. Please note that the estimate printed in the catalogue is incorrect; it should read
A George III silver drum shaped mustard, having bright cut decoration and pierced sides, with blue glass liner, London 1786; a silver pepper pot, AF; a continental fancy spoon with foliate embossed bowl and figure terminal, AF; a silver spoon inset with a stamp; various plated and white metal decanter labels etc., (8)
Joseph Alfred Terry, RBA (British, 1872-1939) Harvesters Returning Home at the End of the Day signed lower right "Joseph A Terry, 1906" oil on canvas 28 x 34cm Joseph Terry was a member of the famous York family of chocolatiers, who were Quakers and philanthropists. He began his studies in art at the York School of Art and in the early 1890s travelled to study at the Academies Julian and Colorossi in Paris where he won the Colorossi Silver Medal in 1895, the year after Peploe won it. On his return to England he settled at The Firs in Sleights, becoming a member of the Staithes Art Club in 1906. Joseph Terry worked equally well in both watercolours and oils and could turn his hand to any subject. His work demonstrates a great tactile pleasure in the application of paint and tends to be very strong and vibrant. In total contrast to this, he also painted some charming and romantic Italianate scenes in predominately pastel colours, similar to the watercolours painted at times by Frank Wasley which he usually entitled 'Idylls'. His studio sale was held in 1986 when Christies South Kensington sold 367 lots of his watercolours and oils. Most of his works which appear on the market are from this sale and bear a stamp giving their provenance.
Imperial Postage Stamp albums Vol. I and II 1840-1936, mint and used selection including mint sets of George V, good early Victorian imperfects including Cape of Good Hope, Triangles, Canada Jubilee issues to $1, Special Delivery and Postage dues, Australia including Roos to 10/- opt Specimen, Ceylon imperfects, Rhodesia double heads, GB overprints. The collection has been listed and has a total of 5800+ stamps, high catalogue value (2 vol)
DAFFY’S ELIXIR BOTTLE. 5.25 ins tall, aqua glass, rectangular sectioned bevelled corners, short neck embossed ‘TRUE/ DAFFY’S/ ELIXIR’ to front ‘DICEY & CO/ NO 10 BOW/ CHURCH YARD/ LONDON’ to rear ‘UNLESS THE NAME/ OF DICEY & CO/ IS IN THE STAMP/ OVER THE CORK/ THE MEDICINE IS/ COUNTERFEIT’ to corners. Good. NR
Frank Wright Bourdillon, NEAC (1851-1924) IN THE WHEAT-FIELD signed, 26 x 38cm Bourdillon's newly rediscovered In the Wheat-field, undoubtedly painted en plein air is likely to date from 1885, when he was living at Oxford. He left for Cornwall in May 1886 settling first at Polperro and moving soon to Newlyn where he became a respected and popular member of the small group of painters around Stanhope Forbes. In the Wheat-field is one of several 'lost' pictures, small lyrical landscapes, recorded in the artist's notebook, other titles of which include When the Lark Sings and A Cornish Lane. Bourdillon came from an old Huguenot family and was brought up in India. Fascinated by birds and drawing he travelled to England and entered the Slade School, prior to spending a year in Paris in 1883-4. Bourdillon's work is rare as, quite suddenly, in 1892 he gave up painting and returned to India to become a missionary. See Fox (C) and F Greenacre, Artists of the Newlyn School, exhibition catalogue, 1979, pp227-233. Mellors & Kirk acknowledges the assistance of Francis Greenacre, who has commented on the work on the basis of a photograph. ++Two or possibly three minor old gum repairs to small holes or tears which could be easily rectified. Some accretion of surface dust and grime but in generally fine condition. NoT relined or patched and on the original stretchers. On the reverse of the canvas the artist's stencilled initials and the oval ink stamp of PAUL FOINET the Parisian artist's colour man, in what is presumably the original giltwood and composition reeded frame with on the reverse an illegible fragmentary label
A silver rectangular card case, Birmingham 1901, bright-cut with central monogrammed cartouche; three other card cases, various dates and makers; an engraved envelope double stamp holder case by Adie & Lovekin Ltd., Birmingham 1912; and a Chinese silver-coloured metal curved rectangular card case, indistinct stamped marks, chased in relief with a four-toed dragon
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