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Lot 504
Donaldson (Julia) The Gruffalo, special tenth anniversary edition, signed by the author and artist with sketches of the Gruffalo and mouse, original wrappers, internal tearing to upper cover, 2009; Stick Man, first edition, signed by the author, original boards, dust-jacket, fine, 2008, illustrations by Axel Scheffler; and a signed fourth printing of Zog, 4to (3)
Lot 220
English Prisoner of War in Revolutionary France.- Hancock (Captain John, of Poole, Dorset) Diary as a prisoner of war in France & some French phrases, autograph manuscript, 59pp., some soiling, browned, margins creased, original paper wrappers, sm. 4to, 2nd May 1794 - 17th November 1795; and another, a later manuscript transcript of the above diary, sm. 4to (2).⁂ "... this morning we were all drove into the Garden and kept there untill Noon, the Mad Commissary driveing us about with A stick in his hands and striking every one he came across.""[1794] Saturday 21st several Letters from England for Different Prisoners but no News otherwise than their hoping an Exchange will take place soon, several prisoners brought back that had deserted a Number of Prisoners gott leave to goe into the Town to buy a few Necessaries, but which is taken from them by the door keepers without they are Very Careful in secreting itt from them... Friday 22nd about 800 Soldiers marchd Out of Town for Brest as we are Informd to Embark on board their fleet of Men of War. Salt beef with bread today, in the Afternoon several Women had Liberty to come into the Prison to sell Fruit to the Prisoners. A Captain Curtis of Ipswich gott Drunk and behaved in A Very Abusive Manner to his Messmates. Tuesday Octr: 27th 1795 This day myself and 254 other Prisoners was put on board the Cartel in order to be sent to England. Sunday the 8th Att 9 att Night Came to Anchor In Mounts Bay... all went on shore to Penzance here i found a Sloop bound to Portsmouth... Tuesday Nov 17th Landed in Swanage Bay And the same Evening gott to Poole After An Absence of Eighteen Months 17 of Which I had been a Prisone of War, thank God for My Safe Return to England."An account of how a merchant ship, sailing in a convoy from England, but falling behind the rest, was captured by the Courser, a French schooner and Captain Hancock and crew were taken prisoner. The captain and his crew were held prisoner in France for 17 months, being moved to various prisons. In the diary he comments on the towns and people of France and touches on the miseries and poverty prevailing following the revolution.
Lot 515
A VICTORIAN CAST IRON UMBRELLA OR STICK STAND CIRCA 1880 With central relief panel of winged figure, twin division bar above removable drip tray, kite registration marks to reverse, now white painted 62cm wide at base, 29.5cm deep, 94.5cm highCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some scuffing from use- notably to top bars but in good unrestored condition- will benefit from a light clean and be ready to go into domestic interior.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 description All 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 549
A VICTORIAN OAK AND BRASS MOUNTED HALL STAND ATTRIBUTED TO JAMES SHOOLBRED & CO, CIRCA 1883Headed by a baluster gallery above a shelf with a drawer below with handle and convex quarter-fillets, the lower shelf with baluster galleries, flanked by D-shaped stick stands with metal drip-trays, on tapering block feet, the drawer stamped with two lozenge marks for November 1883102cm high, 101cm wide, 31cm deep James Shoolbred and Co. was located on Tottenham Court Road, a thriving centre for fashionable furniture shops from the 1860s, and became one of the first large department stores in London. The company expanded from a small draper business and started to manufacture high quality furniture circa 1870, for which they were granted a Royal warrant by the mid-1880s. Much of the furniture designed by the company was influenced by the 'Aesthetic Taste' popularised by the architect E.W. Godwin.An identical hall stand was sold Christies London, Important English Furniture, 22nd Nov 2007, Lot 683 (£8125), and another identical example Christies London, Furniture Sculpture and Carpets, 11th September 2008, Lot 117 (£8750).
Lot 6174
Pop, Indie and Rock 7" Singles to include Bolan, Hot Love; China Crisis, African and White; David Bowie, Heroes; Dire Straits, Walk of Life; Eurythmics, Never Gonna Cry Again; heaven 17, Let Me Go!; Ian Dury and The Blockheads, Hot Me With Your Rhythm Stick; Madonna, Into The Groove; Roxy Music, Over You; Talking Heads, Road To Nowhere; T-Rex, Telegram Sam; The Who, Who Are You and many others. Conditions appear generally Very Good to Very Good Plus including sleeves (where applicable). (qty)
Lot 190
19th century pair of French Ormolu candlesticks.Tripod lion’s paw base, with central wooden column, the latter with applied acanthus leaf decoration.Topped with milled scones and drip trays.Approximately 30.8cm height.Condition: good.One sconce is a little crushed to the internal part (not seen when fitted in place).Some surface wear in place, especially the underside of the base.One stick has a slight lean.
Lot 303
A large Royal Worcester figural large table centre piece known as "10 years after"., modelled by James Hadley, blush ivory group depicting boy seated on a naturalistic fence with a girl brandishing a stick by his side, the opposite side depicting a young man offering a flower to his companion, rocky naturalistic oval base with tree stumps, moulded "Hadley" signature to base, the underside with puce factory mark above date code, model no:1167 & Registration No: 534821, also with impressed registration mark and numbering: 1167 / a3., approx overall length 51cm, approx 26cm at highest point
Lot 200
A pair of German porcelain figural three sconce candelabra, with tre stum stems mounted with a brightly dressed Dandy and his companion on rococo scroll bases bearing blue cross sword device to the underside. 25 cm wide x 31 cm overall height.A private estateThe female stick has restoration to the leaf collar just below the nozzle and the base has the end of a scroll missing, with slight chips to the flowers and leaves. The male stick has some slight chips to the flowers and leaves, and the candelabra section has some professional restoration to the tips of the leaves below the nozzles.
Lot 213
A large and impressive Lladro figure group, 'Cinderella's Arrival' No 263 (edition of 1,500?) modelled by the masters, F. Peloponnesus and J.Ruiz, mounted on its own wooden base. 114 cm long x 65 cm overall height.One flowerhead is loose and one drummer's stick may have been reduced in size. The whole would benefit from cleaning. Given the complexity of this piece, we do not guarantee that there are no other faults.
Lot 110
A large Japanese Fukagawa cylindrical porcelain stick stand, Meiji, late 19th century, painted with white cranes wading amidst blossoming peony and floating lotus, within iron red bands with raised stylized chrysanthemum boss and faux taotie head and ring handles detail, bearing red script marks to the underside. 23 cm diameter x 62 cm high.A private estateone raised boss missing
Lot 62
Albert Chevallier Tayler, RBC (British, 1862-1925)The caricature signed and dated 'A. CHEVALLIER TAYLER. 1887.' (lower left)oil on canvas53.5 x 76.5cm (21 x 30 1/8in).Footnotes:ProvenanceWith Williams & Son, London.Private collection, UK (acquired from the above the present owner, circa 1950s).'It is in their studies of interiors no less than in their open-air work that the Newlyn school prove their love of truth'1. So wrote Alice Meynell, the first serious chronicler of the painters in the west Cornwall fishing village in 1889, when addressing the work of Albert Chevallier Tayler. The artist had achieved a notable success at the Royal Academy in 1887, with Bless, Oh God, these Thy gifts to our use (sold Bonhams New York, 4 May 2016, lot 88) portraying a humble mealtime in a fisherman's cottage – a painting that was sometimes referred to as 'Grace before Meat'. Predating Frank Bramley's A Hopeless Dawn (1888, Tate) and Stanhope Forbes's A Village Philharmonic (1888, Birmingham Art Gallery), the telling details and subtilties of light and space made Tayler's work a classic for Mrs Meynell. She noted the singular beauty of the young mother and the accurate observation of the baby 'as it turns its head to sleep'. The Academy painting was immediately purchased by the dealer, Arthur Tooth, who clearly made visual connections between this work and his current stock of contemporary Venetian pictures, headed by those of Cecil van Haanen, Luigi Nono and Ettore Tito2. And while Italian comparisons were made at this time with Bramley's paintings, had Tooth delved deeper into the contents of Tayler's studio, the general affiliation would have been confirmed. In the summer of 1887, the dealer was prepared to sponsor Tayler's trip to Venice. Although, in the following exhibition season, pictures such as A Council of Three (sold in these rooms 23 January 2013, lot 96) and A Dress Rehearsal (Lady Lever Art Gallery, Port Sunlight) were sometimes thought to have been painted during his few months in Venice, the discovery of the present canvas tends to discount this3. While The Caricature shares the same setting as these two later paintings, it is likely to predate the artist's Venice expedition4. Furniture, crockery and prints differ in all three paintings; the samovar and drop-leaf table, seen in the present work, reappear in A Dress Rehearsal, while other details such as stick-back chairs, relate it more closely to earlier works – particularly Bless, Oh God, these Thy gifts to our use5. There are good reasons, therefore, for regarding the present canvas in which the eye is led into the space of the room by a seated figure on the left and debris placed on the floor, as a highly satisfactory prototype. Clearly what appealed to Tooth was Tayler's mastery of such naturalistic details. Few painters were more talented than he in orchestrating the mise-en-scène.The son of a solicitor, Tayler received a scholarship to the Slade School of Fine Art in 1879 where he met Henry Scott Tuke and Thomas Cooper Gotch. Like his classmates he spent the academic year 1881-2 in Paris at the atelier Julian and, in later expeditions to Devon and Normandy, became a summer painting companion of Tuke. In the autumn of 1884, he was one of an important group of painters who congregated in Newlyn and although he did not remain for more than a month, his subsequent arrivals and departures were logged with enthusiasm by Stanhope Forbes6. One other aspect of the present work is, however, both obvious and intriguing. Where other Newlyn maids and fishermen's wives are shown reading a letter or dressmaking, the figure on the right in the present painting is drawing a profile on the wall - perhaps that of her sailor husband, or boyfriend. In her left hand she holds a folded sheet of paper that has been removed from its envelope. The thought behind her drawing is probably contained in the primitive graphic representation on which she is engaged. She could almost be saying to her companion – 'this is what he looks like'. While one Newlyn painter, Fred Hall, was renowned for such simplified profiles of his comrades, Tayler's painting alludes directly to the impact this school of young image-makers must have had on an otherwise, unremarkable Cornish village. Yes, it supported one of the largest fleets on the south coast; yes, it had good access to markets by rail from Penzance and, yes, throughout the halcyon days of the Newlyn painters, its piers were constantly being extended and its harbour deepened to take the draught of steam trawlers, but the record of its life in the domestic sphere it owed to artists like Tayler. In this respect, the picture of an innocent unschooled draughtswoman, watched by her workmate, is both prescient and precise. 1Alice Meynell, 'Newlyn', The Art Journal, 1889, p. 102.2See for instance 'Messrs Tooth's Exhibition', The Era, 15 March 1884, p. 13; 'Mr Tooth's Gallery', The Graphic, 8 November 1884, p. 12. Tooth's interest in Tayler's work is reported by Stanhope Forbes (letter to Elizabeth Armstrong, dated 26 April 1887, Hyman Kreitman Archive, Tate).3A Council of Three and A Dress Rehearsal were shown at the New English Art Club and the Royal Academy respectively. Tayler's departure from Newlyn for his Venetian adventure and his return are reported by Stanhope Forbes (letters dated 14 June 1887 and 24 December 1887, Hyman Kreitman Archive, Tate).4It will for instance be noted that the present work contains a vase of what appear to be small narcissi – i.e. spring flowers. 5Exotic or foreign artefacts brought back by mariners were not uncommon in coastal dwellings – as are the double-page engravings from publications such as The Graphic, that are pinned to walls.6Letters written by Stanhope Forbes (dated 21 September 1884, 26 October 1884, Hyman Kreitman Archive, Tate, plus undated letters) include references to the difficulty Tayler was having in selling his work prior to 1887. It is clear from these that there was a close bond of friendship between Forbes and Tayler.We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Lot 1012
A STRIKING PAIR OF VICTORIAN SILVER-MOUNTED CHAMBERSTICKS maker C.G, London 1877, in South-American style, with carved wooden bodies, leaf-chased dished bases and zoomorphic-capped scroll handles. (2) 12cm highThe marks are reasonably clear. Both have matching full sets to the sconce and dished foot, and maker's mark to the handles. The bird finial to one handle is loose - held in place by one pin, the others deficient. The other stick has a dog head finial. Surface wear and marks, no solder repairs or damage to the wood. In generally fair condition.
Lot 408
A MAHOGANY AND BRASS BOUND STICK STAND LATE 19TH OR EARLY 20TH CENTURYOf coopered form 78cm high, the base 34cm diameter Please note, this stand probably dates to the later 19th or early 20th century period and not as originally catalogued.Condition Report: Please note: This stand is probably dates to the later 19th or early 20th century period and not as originally catalogued. There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: the blackened metal liner is not removable; some cracks and splits; some brass bands lifting from fixed position; some traces of stain to the brass bindings; split to the underside of the base.The brass binding is probably a later replacement. The handles are possibly associated. Each lion mask mount lacks a screw in one position of the three screw holes. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 174
The Rolling StonesA Pair of Vic Firth Drumsticks Signed By Charlie WattsMade in the USA, each stick is signed by drummer Charlie Watts in black ink and dated 2001, accompanied by the raffle tickets (2)Footnotes:ProvenanceWon by the vendor at a raffle organised by S.T.A.M.P in support of restoring The Ash Moor Pit in DevonFor further information on this lot please visit Bonhams.com
Lot 243
A collection of silver and costume jewellery,to include two silver butterfly wing brooches and a matching ring, a set of six silver teaspoons, Sheffield 1928, two Scottish silver hardstone brooches with metal pin, one hardstone plaque deficient, a pair of silver sugar tongs with bird claw design, Sheffield 1902, a silver napkin ring, two souvenir spoons, a set of six lobsters clips with textured handle, together with a quantity of costume jewellery, to include a bracelet, stick pins, brooches, etc. Silver- 124.56g (qty.)
Lot 241
A quantity of period gold, silver and costume jewellery,to include a Georgian cornelian memorial brooch, the oval shape cornelian with inset plaited hair glazed panel, to split pearl surround, with applied plate to the back, tested as approximately 9ct, to 'C' catch and metal pin, a Georgian coral Roman cross pendant, suspended on a two colour hand carved coral bead necklace, a pair of Georgian silver and paste shoe buckles, with later 'C' catch and pin fitting, tested as approximately silver, a fox head stick pin, with ruby cabochon eyes, possibly synthetic, in 'Dibdin & Co Ltd, 189 Sloane Street S.W.I.' case, tested as approximately 9ct gold, a set of gold plated mother of pearl buttons, and a metal miniature brooch, with cut steel bead surround, one bead deficient. Silver 63.31g, 9ct 2.42g (1)Condition ReportMemorial brooch: split pearls dirty. Pin bent but secure.Shoe buckles: chips and abrasions to the paste. Damage to some. Silver tarnished.Some tarnish and surface scratches to the fox head stick pin.
Lot 212
A quantity of gold and silver jewellery,to include a pair of 9ct gold earrings of swirl design with screw back clips, a paste and split pearl stick pin, tested as 9ct gold, a gold clasp with eight cut foil-backed paste to a silver top, tested as approximately 14ct and silver, a safety catch tested as 9ct, a pair of screw back clip fittings, 9ct, a pair of gold and pearl earrings with screw back clips, tested as approximately 14ct, a smoky quartz single earring, tested as approximately 14ct, and a silver single and peridot ring, 14ct 5.53g, 9ct 6.91g, silver 2.87g
Lot 209
A small collection of gold jewellery,to include a Victorian egg timer stick pin, tested as 9ct, a late Victorian 9ct gold knot ring, Chester 1897, finger size L, a three stone red paste bar brooch, tested as approximately 18ct gold, a pair of 9ct gold cufflinks with engine turned pattern plates, hallmark Chester, a 9ct split pearl brooch in a 'Hamilton & Co. 432 Strand London' case, a 9ct gold single stone paste pendant suspended on a trace link chain, tested as approximately 9ct, and a gold buckle marked 9ct. 9ct 13.27g in total, 18ct 2.65g Condition ReportDamage to the top of the egg timer.Bar brooch pin loose in clasp, pin slightly bent.Surface scratches to the knot ring, one dent to the side of the head.Split pearl brooch clasp loose.
Lot 31
A mixed lot of hallmarked gold and yellow metal comprising two lockets, a diamond ring (hallmarks rubbed) wt. 4.3g, a hallmarked 9ct gold cluster ring wt. 2.8g (stone missing), a stick pin marked '15ct' wt. 1.6g. and a chain wt. 3.5g, a cluster ring unmarked, together with a hallmarked silver Teachers medal. Condition - one cluster ring missing a stone, teacher's medal repaired at top, otherwise ok, general wear throughout, provenance - deceased estate.
Lot 51
Antique jewellery comprising a shell cameo brooch marked '9ct', a Etruscan Revival brooch set with turquoise marked '15c' and a similar stick pin. Condition - cameo with chip and hairlines, the mount also slightly split and evidence of repair, the turquoise brooch with splits to metal work and missing central stone, stick pin fine, provenance - deceased estate.
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122897 item(s)/page