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Lot 9102
(Tax), An 1827 Post Horse Duty One day within eight miles ticket (unused). A duty first imposed in 1779 on anyone travelling, by hired horse or chaise, on a post road. The duty was payable at the inn where the horses were hired, which could be by the mile or by the day. The mile rate was 1 1/2d per mile for each horse, with special rates for travel within eight miles, as here; together with a newspaper 3d Proof stamp duty (2)
Lot 314
COINS - ASSORTED comprising a United Kingdom Elizabeth II (1952-2022), Royal Wedding five pounds, 2011, in case of issue (silver with gold plating, 28.28g); Cook Islands Elizabeth II, Diamond Wedding five dollars, 2007, limited edition 502/1947, in case of issue (gold plated cupronickel); various, Queen Elizabeth Diamond Jubilee Collection, twelve coins, boxed (copper with gold plating); various, Queen Elizabeth Diamond Wedding Photographic Portrait Collection, twelve coins, boxed (cupronickel with gold plating); and others, including coin and stamp covers.
Lot 83
THO RUSSELL & SON 20 SLATER STREET, LIVERPOOL MARKED 18 YELLOW METAL CASE POCKET WATCH the signed white enamel dial with black Roman numerals and cathedral hands, key wound with key, engine turned case, vacant cartouche, rubbed markings to inside case, date letter T, crown marked 18 (with crown stamp), case measurement 4.5cm, gross weight 82g Condition Report : good, working condition when wound, time keeping not guaranteed, movement case cannot be removed, no glass, age related wear to gold case Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 2485
A Brucciani plaster cast 'From the Head of David by Michaelangelo, Florence', impressed details and maker's stamp, width 17.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2617
Louis Riche - a 20th century French patinated bronze model of a recumbent Alsatian, cast signature and Jollett & Cie foundry stamp, height 16cm, width 28cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 30
Various Artists First Great Weston Artist Let Them Hang, 2008 Limited Edition Collaboration Print Signed and A/P in pencil by each artist (apart from Banksy and Nick Walker) Published by Let Them Hang with blind stamp 50 x 70 cm (19.5 x 27.5 in) Artists who participated: Mau Mau, Dicy, (Graham) Paris, Mr Jago, China Mike, Eco, Mudwig, Ziml, Will Barras, Richt, Darren Groucutt, Xenz, Banksy Nick Walker, What Collective?, Sickboy.
Lot 38
L S Lowry (British b. 1887) Group Of People, 1959 Limited edition gouttelette Embossed Chelsea Green stamp and numbered 12/75 in pencil Accompanied with certificate of authenticity Framed and glazed 71 x 53 cm (28 x 21 in) Laurence Stephen Lowry RBA RA (1 November 1887 – 23 February 1976) was an English artist. His drawings and paintings mainly depict Pendlebury, Lancashire (where he lived and worked for more than 40 years) as well as Salford and its vicinity. Lowry is famous for painting scenes of life in the industrial districts of North West England in the mid-20th century. He developed a distinctive style of painting and is best known for his urban landscapes peopled with human figures, often referred to as "matchstick men". He painted mysterious unpopulated landscapes, brooding portraits and the unpublished "marionette" works, which were only found after his death. He was fascinated by the sea, and painted pure seascapes, depicting only sea and sky, from the early 1940s.
Lot 39
L S Lowry (British b. 1887) Ferry Boats, 1960 Limited edition gouttelette Embossed Chelsea Green stamp and numbered 27/75 in pencil Accompanied with certificate of authenticity Framed and glazed 56 x 71 cm (22 x 28 in) Laurence Stephen Lowry RBA RA (1 November 1887 – 23 February 1976) was an English artist. His drawings and paintings mainly depict Pendlebury, Lancashire (where he lived and worked for more than 40 years) as well as Salford and its vicinity. Lowry is famous for painting scenes of life in the industrial districts of North West England in the mid-20th century. He developed a distinctive style of painting and is best known for his urban landscapes peopled with human figures, often referred to as "matchstick men". He painted mysterious unpopulated landscapes, brooding portraits and the unpublished "marionette" works, which were only found after his death. He was fascinated by the sea, and painted pure seascapes, depicting only sea and sky, from the early 1940s.
Lot 49
James Cauty (British b. 1956) Suicide Bunny 2 Giclee print Unsigned, numbered 29/321 with stamp Framed and glazed 41 x 30 cm (16.5 x 12 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.
Lot 51
Mudwig (British b. 1980) That’s All Folks, 2008 Giclee print Signed and numbered 16/50 in pencil with gallery blind stamp (Pictures on Walls) 50 x 70 cm (19 x 27 in) Daniel Sparkes-(Mudwig) (Born England-1980) works out of the Comic Abstraction genre; by applying visual interventions to found imagery with his dark painted and drawn motifs that stylistically falter between the worlds of Dr Seuss, Philip Guston and bunker architecture. Through his depictions of, what he calls, ‘Spoof Monuments’ the artist creates a thematic oddball merger in oil paint and graphite. By traversing a stylistic void between 16th century Dutch still life painting and early Disney cartoon background, he composes visions of historically unhinged shrines to paradoxical cultures. His comic character subjects, with facial features misplaced, are abstracted and fused into warped statue-esque forms adorned in esoteric symbolism. Sparkes cut his teeth as Müdwig in the Bristol street art scene during the 00’s, gaining recognition for his playful spraypaint-subverted advertising billboards (his ‘Müdverts’) and his graffiti work as part of the Wet Shame Krew. His early gallery work saw him continue this idea of editing existing imagery by painting directly onto found photographs, often from such mundane sources as cookery books, pet grooming magazines and old copies of National Geographic. His surreal post-apocalyptic Dr ‘Seussian’ additions saw him welcomed into the folds of the Comic Abstraction movement.In his distinctive visual world, modern trademarks become primitive hieroglyphs and forest dwellers become two-dimensional mossy-facades as the line between object and character is blurred, amalgamated to form dilapidated totems. Viewing Sparkes’ painterly oils creates within the viewer a strange dichotomy, the feeling of not wanting to inspect too closely (for fear of what one might find) while simultaneously being drawn to the recognisable. Both comical and disturbing in an unsettling yet comforting world, one in which both Seuss and Guston might feel right at home. His gallows subversion induces an arcane, yet a awkwardly recognisable visual language that simultaneously warps the recognisable and blurs the distinction between the character- totem, & its landscape. Sparkes has been nominated for the prestigious Jerwood drawing prize, and the ING Discerning Eye. He has created artwork for brands such as Nike, Medicom, Givenchy and Warp Records and exhibited extensively across the globe. Sparkes is currently based in Cornwall, England.
Lot 52
Mudwig (British b. 1980) Pluto's Licking 2008 Giclee print Signed and numbered 35/50 in pencil with gallery blind stamp (Pictures on Walls) 50 x 70 cm (19 x 27 in) Daniel Sparkes-(Mudwig) (Born England-1980) works out of the Comic Abstraction genre; by applying visual interventions to found imagery with his dark painted and drawn motifs that stylistically falter between the worlds of Dr Seuss, Philip Guston and bunker architecture. Through his depictions of, what he calls, ‘Spoof Monuments’ the artist creates a thematic oddball merger in oil paint and graphite. By traversing a stylistic void between 16th century Dutch still life painting and early Disney cartoon background, he composes visions of historically unhinged shrines to paradoxical cultures. His comic character subjects, with facial features misplaced, are abstracted and fused into warped statue-esque forms adorned in esoteric symbolism. Sparkes cut his teeth as Müdwig in the Bristol street art scene during the 00’s, gaining recognition for his playful spraypaint-subverted advertising billboards (his ‘Müdverts’) and his graffiti work as part of the Wet Shame Krew. His early gallery work saw him continue this idea of editing existing imagery by painting directly onto found photographs, often from such mundane sources as cookery books, pet grooming magazines and old copies of National Geographic. His surreal post-apocalyptic Dr ‘Seussian’ additions saw him welcomed into the folds of the Comic Abstraction movement.In his distinctive visual world, modern trademarks become primitive hieroglyphs and forest dwellers become two-dimensional mossy-facades as the line between object and character is blurred, amalgamated to form dilapidated totems. Viewing Sparkes’ painterly oils creates within the viewer a strange dichotomy, the feeling of not wanting to inspect too closely (for fear of what one might find) while simultaneously being drawn to the recognisable. Both comical and disturbing in an unsettling yet comforting world, one in which both Seuss and Guston might feel right at home. His gallows subversion induces an arcane, yet a awkwardly recognisable visual language that simultaneously warps the recognisable and blurs the distinction between the character- totem, & its landscape. Sparkes has been nominated for the prestigious Jerwood drawing prize, and the ING Discerning Eye. He has created artwork for brands such as Nike, Medicom, Givenchy and Warp Records and exhibited extensively across the globe. Sparkes is currently based in Cornwall, England.
Lot 53
Mudwig (British b. 1980) Dogmatix Best Chum, 2008 Giclee print Signed and numbered 29/50 in pencil with gallery blind stamp (Pictures on Walls) 50 x 70 cm (19 x 27 in) Daniel Sparkes-(Mudwig) (Born England-1980) works out of the Comic Abstraction genre; by applying visual interventions to found imagery with his dark painted and drawn motifs that stylistically falter between the worlds of Dr Seuss, Philip Guston and bunker architecture. Through his depictions of, what he calls, ‘Spoof Monuments’ the artist creates a thematic oddball merger in oil paint and graphite. By traversing a stylistic void between 16th century Dutch still life painting and early Disney cartoon background, he composes visions of historically unhinged shrines to paradoxical cultures. His comic character subjects, with facial features misplaced, are abstracted and fused into warped statue-esque forms adorned in esoteric symbolism. Sparkes cut his teeth as Müdwig in the Bristol street art scene during the 00’s, gaining recognition for his playful spraypaint-subverted advertising billboards (his ‘Müdverts’) and his graffiti work as part of the Wet Shame Krew. His early gallery work saw him continue this idea of editing existing imagery by painting directly onto found photographs, often from such mundane sources as cookery books, pet grooming magazines and old copies of National Geographic. His surreal post-apocalyptic Dr ‘Seussian’ additions saw him welcomed into the folds of the Comic Abstraction movement.In his distinctive visual world, modern trademarks become primitive hieroglyphs and forest dwellers become two-dimensional mossy-facades as the line between object and character is blurred, amalgamated to form dilapidated totems. Viewing Sparkes’ painterly oils creates within the viewer a strange dichotomy, the feeling of not wanting to inspect too closely (for fear of what one might find) while simultaneously being drawn to the recognisable. Both comical and disturbing in an unsettling yet comforting world, one in which both Seuss and Guston might feel right at home. His gallows subversion induces an arcane, yet a awkwardly recognisable visual language that simultaneously warps the recognisable and blurs the distinction between the character- totem, & its landscape. Sparkes has been nominated for the prestigious Jerwood drawing prize, and the ING Discerning Eye. He has created artwork for brands such as Nike, Medicom, Givenchy and Warp Records and exhibited extensively across the globe. Sparkes is currently based in Cornwall, England.
Lot 90
Inkie (British b.1969) Beauty Is In The Eye Of The Beholder, 2009 Limited edition print on tintoretto paper with 24 carat gold leaf Signed and numbered A/P 2/2 with blind stamp Framed and glazed 75 x 56 cm (29.5 x 22 in) Inkie is a London based painter and street artist, originally from Clifton, Bristol. Inkie began working as part of Crime Incorporated Crew (CIC)or the Crime inc.crew in 1983, along with Felix and Joe Braun. He was the head of the many artists arrested in 1989 during "Operation Anderson", the UK's largest ever graffiti bust. He arranged 1998's Walls on Fire event with Banksy, on the site of the future At-Bristol centre. He has subsequently worked in the video game industry, including some time as head of creative design at Sega.
Lot 69
A unique and extremely interesting late 18th century ebonised longcase timepiece with additional counting featureWright, PoultryThe hood with serpentine arched cresting supported on freestanding brass-mounted Doric columns, with gilt-heightened gothic-arched glazed side doors over an elaborately stepped and moulded throat section, the long arched door with gilt-heightened raised moulding over a conforming stepped moulded section to the plain base on shaped apron. The 12-inch one-piece silvered arched dial centred by a Roman chapter ring with matching pierced blued steel hands, wound at VI, surmounted by a series of four subsidiary dials - the furthest to the right-hand side set with two hands simply giving running seconds and the hour in a 24-hour day. The remaining three are directly geared and mark the passing of each individual hour, their dials marked as 100; 1000 and 20,000.The large weight driven movement with plates measuring 21.5cms x 18cms (8.25ins x 7ins) united by four substantial knopped pillars, the large diameter barrel driving a four wheel train terminating in an anchor escapement set to the top right hand side of the plates, directly behind the subsidiary seconds dial, the plain pendulum suspended from a centrally-mounted cock, thereby necessitating a pivotted right-angled linkage to the crutch. Together with the pendulum with steel rectangular-section rod terminating in a brass bob, later crank winder, case key and brass-clad weight. 2.07m (6ft 10ins) highFootnotes:Thomas Wright was born around 1744 and was made Free of the Clockmakers Company in 1770, establishing himself in the Poultry likely at number 13, and moving later to number 6. At some point between 1770 and 1781, he was appointed watch and clockmaker to the King, though how he obtained this distinction is unknown. Around 1781, Thomas Earnshaw approached Wright to finance his patent for a detached spring chronometer escapement, the former having previously had a falling out with his previous financer. After much discussion, it was decided that Wright would file the patent on Earnshaw's behalf, and Earnshaw would recompensate Wright the 100-guinea patent fee, by charging an additional guinea for each of the first 100 chronometers sold. The patent, 1354, was filed by Wright in 1783. It has been claimed, by Earnshaw, that Wright insisted these first 100 chronometers bear the stamp Wright's Patent on the movement. One such chronometer is known which carries this stamp, though the others seem to use T. W. Pt. 34, with the T.W. presumably standing for Thomas Wright. In 1784, Earnshaw developed a bimetallic compensation balance, and the first watch this was used on was signed Thomas Wright in the Poultry, London, No. 2228. Thomas Earnshaw was not the only famous colleague Wright had, as he also worked with Matthew Boulton, of Lunar Society fame, beginning around 1770. Boulton and Wright produced a clock for King George III in 1771; Boulton supplied the gilt bronze and Blue John case, while Wright supplied the movement. It is possible that this is how Wright received his Royal warrant, though why Boulton contacted Wright in the first place is not clear. Although the clock was made for the King, the design was used by Bolton to manufacture at least six other 'King's clocks'. The escapement was originally verge but was replaced with a pin wheel in the 1820's by Benjamin Vulliamy. Wright is known to have had at least one child, George William, who was apprenticed to his father in 1785. Unfortunately, Wright died in 1792 on a visit to Birmingham, possibly to meet with Boulton, and his son does not appear to have been made free. There also does not seem to be a record of a 'George William Wright clockmaker' and it is possible he pursued a different career after his father's death. There is some indication that Wright's shop was taken over by a horologist named Thorp and the shop name became 'Wright & Thorp', though this hasn't been confirmed. Watches from Wright seem to be more prolific than his clocks, though some of Wright's work can be found at the Palace Museum in Peking.There was also a Thomas Wright of Fleet Street working between 1718-1748 as a scientific instrument maker. This Thomas Wright was also Mathematical Instrument Maker to His Royal Highness, George, Prince of Wales and famed as one of the best instrument makers of the day. Whether this was a relation of Thomas', possibly his father, remains unknown.Weaving, A. H. (1991) 'Clocks for the Emperor', Antiquarian Horolgy, Vol. 19 (4), pg. 389.Randall, A. G. (1984) 'An Early Pocket Chronometer by Tomas Earnshaw, signed Robert Tomlin', Antiquarian Horolgy, Vol. 14 (6), pgs. 609-615.Crisford, A. (1976) 'Thomas Wright in the Poultry London No. 2228', Antiquarian Horolgy, Vol. 9 (7), pgs. 785-788.Science Museum Group (2022) Thomas Wright. Available at: https://collection.sciencemuseumgroup.org.uk/people/cp38979/thomas-wrightSotheby's (2005) An important English ormolu musical and quarter chiming table clock, Thomas Wright and, Matthew Boulton, London and Birmingham, circa 1772. Available at: https://www.sothebys.com/en/auctions/ecatalogue/2005/fine-clocks-watches-barometers-mechanical-music-scientific-instruments-l05881/lot.77.htmlHobbins, J. H. (1912) 'The Chronometer: Its History and Use in Navigation', The Horological Journal, Vol. 55 (4), pgs. 57-65.The British Museum (2022) Thomas Wright. Available at: https://www.britishmuseum.org/collection/term/BIOG81737Atkins, C. E. (1931) The Company of Clockmakers: Register of Apprentices 1631-1931, London: The Clockmakers Company.Royal Collection Trust (2022) Mantel Clock. Available at: https://www.rct.uk/collection/30028/mantel-clockThis lot is subject to the following lot symbols: TPTP Lot 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
Lot 8
DAMIEN HIRST (Bristol, UK, 1965)."Circle spin Painting, 2009.Spin painting. Acrylic on paper.Signed on the back with the artist's wet stamp and embossed seal.Size: 52 cm (diameter).This work was conceived for the exhibition "Requiem", held at PinchukArtCentre, Kiev, Ukraine, in 2009. The exhibition included over 100 works by the artist, including 'A Thousand Years' (1990), 'With Dead Head' (1991) and 'Loving in a World of Desire' (1996), 'Requiem' presented the first exhibition of works from Hirst's series of oil paintings on canvas, which had begun in 2006.Damien Hirst was born in Bristol on 7 June 1965, in a financially troubled suburban environment. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to educate himself from the bottom up, which is perhaps the main reason why Damien Hirst argues that art has no class. He trained at the University of Leed while combining his studies with a job at the local mortuary, which he later left to move to London. During this time he was working in construction while also applying to various art schools such as St Martins and the Welsh College. He was eventually accepted at Golsdmiths College, which at the time, due to the economic recession in England, was a school that attracted bright students and creative tutors. While studying, Hirst financed his expenses by working on telephone surveys, a direct cause of his ability to fake any emotion over the phone. During his studies he also worked at McDonald's, and part-time at the Anthony D'Ofray gallery, where he learned the mechanics of the art market. Already in his second year of his degree, Hirst took on the role of artist and curator, and managed to stage an exhibition that would change the course of British art, his first solo exhibition at the age of 26. Four years later, in 1995, he won his second Turner Prize nomination for Mother and Child. At the age of 32, the Larry Gagosian Gallery offered him a major retrospective, after which he declared that there was nowhere left for him to exhibit, he had done it all and too quickly. As a result, he was soon dubbed Hooligan Genius by the media. Although he became a millionaire at the age of 40, Hirst's hypersensitivity became suspect: wrapped in an aura of romanticism, he made revolutionising the art world look easy. On several occasions he has acknowledged his desire to be famous and in the face of criticism he has defended himself with phrases such as "they couldn't admit to themselves that they wanted to be famous and resented not being famous" or "I think my desire was to be more famous than rich, I think the desire to create art and be famous is like the desire to live forever with two obsessions: death and celebrity".
Lot 207
Oil painting on canvas signed lower right with the inscription LI YUEN CHIA "GESTO" 1960 on the back of the canvas. The frame bears numerous stamps of the Numero Gallery. It also bears the stamp of the 1960 International Abstract Art Exhibition held at Palazzo Pretorio in Prato. Provenance: -Galleria Numero, Florence. § Lot subject to Right of Resale.
Lot 182
Roger Bliss (20th Century) British, A Continental landscape with a town in the distance, oil on board, with Roger Bliss studio collection stamp, 14.75" x 18", Still life with a bowl of flowers on a table, oil on board, with Roger Bliss studio collection stamp, 16" x 20", A seated man wearing a hat, oil on board, with Roger Bliss studio collection stamp, 24" x 18", A still life of a try with objects and fruit on a table covered with a cloth, oil on board, with Roger Bliss studio collection stamp, 24" x 20", (all unframed) (4).
Lot 351
AFTER ANTOINE LOUIS BARYE (FRENCH, 1795-1875), A BRONZE ANIMALIER FIGURE OF A SEATED LION LATE 19TH/EARLY 20TH CENTURY Signed to cast and with Auguste Delafontaine cold stamp to underside 19cm high, base 15.8cm wide Condition Report: Mild ear to surface as per age, handling and use- notably to edge of base- slightly greenish hints to patina- mild rubbing to nosePlease refer to additional images for visual references to condition which forms part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Lot 394
A WILLIAM IV MAHOGANY TALL CHEST OF DRAWERSIN THE MANNER OF HOLLAND & SONS, CIRCA 1835122cm high, 61cm wide, 46cm deepCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. There is no sign of maker's stamp- the inside of the top drawer front is inscribed in pencil "6259"Drawers run well- no key- old wear to surface to top and sides from use- small edge loss around drawers and 1 escutcheon with small infill Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 93
AN IRISH GEORGE II MAHOGANY DROP LEAF HUNT DINING TABLEMID 18TH CENTURYThe hinged single plank leaves supported by a twin gateleg action, the underside of one leaf stencilled 'HODGES DUBLIN'72cm high, 238cm long, 123cm wide (with leaves extended)Provenance: Private Collection, LondonThe stencilled title 'HODGES DUBLIN' is almost certainly the trade stamp of the 19th Century Dublin Auction House of this name on Grafton Street. These Irish oval-topped drop-leaf tables are traditionally known as 'hunt' tables. The term hunt table originated from their use for hunt meets, when they were carried outside for dining at or to hold the food and drink. Examples still in situ in houses in Ireland are in the Dining-Rooms of Leixlip Castle, Co. Kildare, Bellamont Forest, Co. Cavan, Mount Stewart, Co. Down and in the hall at Luggala, Co. Wicklow (see J. O'Brien and D. Guinness, Great Irish Houses and Gardens, London, 1992, p. 23, 68, 157 and 192). A very similar hunt table was sold Christie's London, Out of the Ordinary - Christopher Gibbs & Harris Lindsay, 10 May 2005, lot 225 (£60,000 including premium). Another hunt table was sold Christie's, London, The Legend of Dick Turpin, 9 March 2006, lot 254 (£38,400). For a further comparable Irish hunt table see Dreweatts, Fine Furniture at Barnwell Manor, lot 81 (£31,250 hammer). Condition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Old chips and splits. The top with some sun fading and additional dark marks and scratches. Later screws to the interior of the carcass. Screws to the hinges also appear to be later. Some evidence of old worm to underside. Some glue reside visible to supporting blocks of the frieze/interior of carcass. The two cross stretchers to the underside (which the hinged legs join into) are later replacements. One leg with very neatly executed old plugged repairs - see images. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 93
Taxidermy: A Cased Barn Owl (Tyto alba), dated 2008, by Adrian Johnstone, Taxidermist, Gainford, Co Durham, a high quality full mount adult with head turning to the left, perched atop a small tree stump, above soil and moss covered groundwork beneath, enclosed within an oak framed five-glass table display case, 31cm by 21cm by 49cm, bearing taxidermist's trade stamp to underside.With CITES Article 10 (non-transferable) licence no.619566/01Taxidermist's confirmed log number to underside 7716, Bird was an RTA picked up on the side of the road between Sedgefield and Darlington, Co Durham, on 08th 01st 2008 by vendor.
Lot 116
Extremely rare and important poured wax Lucy Peck all original portrait doll of a young Queen Victoria, English circa 1900, the well moulded tinted wax shoulder head with deep blue glass eyes, moulded lids and finely painted feathered brows, open mouth with tinted lips and showing upper row of teeth, moulded ears and inserted light brown hair with original side plaits held by blue and black ribbon rosettes and with black glass bead and ribbon headdress, sloped shoulders to cloth body with individually posed poured wax lower arms with well defined moulded hands, legs with moulded toes, wearing original magnificently detailed blue plaid pure silk of the shoulder dress with black velvet and lace detail, bustle to rear and matching jacket, underclothes and choker with original gold pendant incised VR (Victoria Regina), 29” (74cm) tall, body with stamp ‘ From Mrs Peck, The Doll’s House, 131 Regent Street’, (condition: excellent, museum quality). Lucy Peck who’s doll shop specialised in Royal portrait dolls including Queen Victoria as a young Lady, and are extremely rare to find, this example probably being one of the best to be offered for sale at auction.
Lot 120
A Montanari poured wax shoulder head doll, English circa 1860, the nicely moulded head with inserted blue glass eyes, moulded lids and painted brows, painted smiling mouth and rouged cheeks, with inserted light brown shoulder length hair and on a cloth body with poured wax lower arms and legs, with faint stamp, wearing a white cotton dress with broderie- anglaise detail to bodice and underclothes, 25” (61cm) tall, (condition: good).
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