DICKENS CHARLES: (1812-1870) English novelist. A very fine, extensive A.Q.S., Charles Dickens (an excellent example, with paraph), one page, 4to, n.p., 28th April 1858. Writing in his characteristic blue ink Dickens has neatly penned a twenty-three-line quotation from David Copperfield, in full - -"We had only one check to our pleasure, and that happened a little while before I took my leave, when Miss Mills chancing to makesome allusion to tomorrow morning, I unluckily let out that, beingobliged to exert myself now, I got up at five o'clock. WhetherDora had any idea that I was a Private Watchman, I am unableto say; but it made a great impression on her, and she neitherplayed nor sang any more."It was still on her mind when I bade her adieu; and shesaid to me in her pretty coaxing way - as if I were a doll, I usedto think:"Now don't get up at five o'clock, you naughty boy. It's sononsensical!""My love", said I, "I have work to do""But don't do it!" returned Dora, "Why should you?"It was impossible to say to that sweet little surprised faceotherwise than lightly and playfully, that we must work to live."Oh! How ridiculous!" cried Dora"How shall we live without Dora?" said I"How? Anyhow!" said Dora.She seemed to think she had quite settled the question,and gave me such a triumphant little kiss, direct from herinnocent heart, that I would hardly have put her out ofconceit with her answer, for a fortune" - David Copperfield, by……' Signed and dated by Dickens at the foot of the quotation. Autograph Quotations Signed by Dickens are extremely rare, and this is a particularly handsome and desirable example, both for the physical size of the paper and length of the quotation. A few light stains to the right edge, only very slightly touching the concluding letters of three words, all of which remain perfectly legible. About VG The present quotation is taken from towards the end of A Little Cold Water, the title of chapter 37 of David Copperfield, published in 1850. The passage illustrates, for the first time, how a shadow is temporarily cast over David's love for Dora Spenlow, his future wife. Copperfield is deeply in love and does not quite comprehend what the reader sees: Dora, in her present childlike state, unable to cope with the responsibilities of a household, will prove little more than a hindrance to him. Maria Beadnell, Dickens's first love whom he met in 1830 is thought to have been the model for the character Dora in David Copperfield. Dickens regarded David Copperfield, a largely autobiographical work, as his favourite amongst all the novels he wrote. The quotation was written and signed by Dickens at a significant time in his life, making his choice of passage an interesting one. A year earlier, in 1857, Dickens had fallen in love with the actress Ellen Ternan, and his passion for her was to last the rest of his life. Dickens was increasingly finding his wife, Catherine, to be an incompetent mother and housekeeper, causing him financial worries. In May 1858, after Catherine accidentally received a bracelet meant for Ellen Ternan, Dickens and his wife separated, and Catherine would never see her husband again. After separating from his wife Dickens undertook a series of hugely popular and remunerative reading tours, and the present quotation was signed during the first such tour, which lasted from April 1858 to February 1859 and consisted of 129 appearances in 49 towns throughout England, Scotland and Ireland. The original manuscript of David Copperfield was bequeathed by Dickens to his friend the biographer and literary critic John Forster (1812-1876), who in turn bequeathed the manuscript (together with other books, pictures and important manuscripts) to the Victoria and Albert Museum in London. American Book Prices Current record only three other examples of quotations from David Copperfield signed by Dickens as having appeared at auction in the last 25 years.
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![[CATHERINE DE' MEDICI]: (1519-1589) French and Italian noblewoman, Queen of France 1547-59 by her marriage to King Henry II.](https://cdn.globalauctionplatform.com/490e7209-4b7e-4aa3-9ba4-afab011e768f/bfdb0b01-cb2b-4bb0-b2fa-afac00d95611/468x382.jpg)
[CATHERINE DE' MEDICI]: (1519-1589) French and Italian noblewoman, Queen of France 1547-59 by her marriage to King Henry II. A good, historic A.L.S., Loise de bretaigne, by Louise de Bretagne (d.1602; Baroness of Castelnau and of Clermont-Lodeve, one of the ladies of honour who accompanied Elisabeth of Valois to Spain for the festivities following her marriage to King Philip II), three pages, folio, Toledo, Second Day of Lent [15th February?] 1561, to Catherine de' Medici, in French. Louise de Bretagne sends news to the Queen on a variety of events including Elisabeth of Valois's recovery from small-pox, the death of Francois II and Queen Mary's return to Scotland, in part, 'Madam, the health of the queen your daughter grows better and better since I wrote to you; because two days after I sent you the last despatch they made her take a little medicine to finish purging her, which has done her so much good that she has no ailment in the world since……It is now several days since she complained of anything; and the day before yesterday, which was Shrove Tuesday, she went to dine in the garden, by order of the doctors…..I fomented her with milk and saffron, and was obliged then and there to give her a clyster…..the doctors have bidden her to begin every meal with Prunes from Tours…..which makes me beg of you, Madam, to send us some of them by every courier. They have ordered her a bath today to make her menses come on, the date of passing we had noted, the ninth of this month…..Her face is quite free of crusts now, and we wash it every day with asses milk; and yesterday we began to anoint her nose with balm, where she has some pits. I hope the balm will make them disappear. The reason for these is that when she got the small-pox she had a cold and blew her nose so much that the pustules got broken. She is much freer of the migraine than she used to be, but I am in great need of marjoram seeds……the season for sowing them here has passed, and it is not possible to get any more. The King has not come to sleep with her yet, for which I am very glad for she is not quite well enough…..The Prince [Don Carlos] has his fever again rather badly, the cause being I think the great army which they say the Turks are preparing to bring this summer to Goletta [Tunis]……From the last couriers who came…..there is much comment here about the story that the funeral of the late King [Francis II] was conducted with one little candle, which is thought very strange. It is also said for about a fortnight, that Monsieur the Cardinal of Lorraine is going to Metz after Easter, and Queen Mary either to Joinville or to Scotland……Our Lenten services last five hours every morning, and they do not finish until between one and two, which makes fasting easier for us. The Queen your daughter is dispensed from it this Lent on account of her illness and eats meat. They make no difficulty about it. However, none of the Frenchwomen eat it except her and mademoiselle, who is very well. We are told here that she is soon to be married. They are very anxious to know the truth about it, for the King is resolved to make her a very handsome present…..You will be informed of everything. At present I know of nothing more except that all are very well at this court and very glad at the power you have, and greatly wish that it may last long…..' With the address panel to the verso of the final page, 'A La Raine, ma souveraine daime'. Loosely contained within a dark brown morocco presentation folder (slight wear and damage to the inside) with gilt decorations to the borders of the interior and exterior and with a gilt stamped title to the front Louise de Bretagne - Letter to Catherine de Medicis relative to the Queens of Spain & of Scotland 1561. Also included are a series of interesting typed research notes and a French transcript and English translation of the letter, apparently prepared for (or by) Frank Lester Pleadwell (1872-1957) American physician and autograph collector. A letter of fascinating content, including intimate details from within the Royal court. Neatly inlaid and with some minor slits and a small area of paper loss to the left edge as a result of the letter having originally been tied with ribbon. About VG A remarkable, intimate letter relating to Elisabeth of Valois, Queen of Spain, who was recovering from small-pox, the death of Francis II, and Queen Mary's return to Scotland. Elisabeth, the daughter of Henry II of France and Catherine de' Medici, was born at Fontainebleau in 1545. Henry VIII was her Godfather and she was at first destined to be the wife of Edward VI, who had previously, by Treaty, been engaged to marry Mary, Queen of Scots. Edward's death, in 1553, put an end to this project, and a marriage was then arranged between her and Don Carlos, the son of Philip II of Spain. Philip's wife, Mary I, died in 1558, and in the year following he himself married Elisabeth, ignoring the engagement to his son, to whom Elisabeth appears to have been attached. The marriage was an unhappy one. The bride was not yet fifteen years of age and had been brought up with every care in a refined and luxurious Court. Philip, although only thirty-two years old, was morose and severe. The marriage took place (by proxy) in the Church of Notre Dame at Paris in June 1559, Philip being represented by Ferdinand de Toledo, Duke of Alba. Elisabeth first met her husband in the following year, on 2nd February 1560, at Guadalaxara, but the meeting was unfortunate. She died in October 1568, and the cause of her death was not without suspicion, especially as her former lover, Don Carlos, had died under very suspicious circumstances just a few months earlier. Francis II, whose funeral is mentioned in the present letter, had died on 5th December 1560, and the occasion was perhaps the most important event in the life of Mary, Queen of Scots, when her power and prospects in France were shattered in one blow, and her life-long enemy Catherine de' Medici again placed in a position of authority. Hence forward the struggles between Catherine and the Guises went more in her favour since she possessed absolute power over her young son, Charles IX, who succeeded to the throne, and usurped complete control of the Kingdom. The forecast given in the present letter regarding Queen Mary's future movements proved correct. Mary, who had lived in complete seclusion since her husband's death, spent Easter at Rheims and then set out to Joinville to visit her grandmother, Antoinette de Bourbon, dowager Duchess of Guise. Thence she returned to Rheims and spent some weeks in seclusion in the Convent of St. Pierre with the Abbess, her aunt, Renee de Lorraine. Finally, she went to Paris where she stayed until July, when she set out for Scotland. At the time when the present letter was written, early in 1561, great endeavours were being made by Mary's relatives to bring about a marriage between her and Don Carlos, a scheme very nearly concluded, in which case she would have become a step-daughter-in-law of Elisabeth, Queen of Spain, who was still supposed to be in love with her stepson herself. This scheme was strongly opposed by Catherine de' Medici, who wanted Don Carlos to marry her younger daughter, Margaret, who is referred to in the present letter as 'Madame your little daughter' Louise de Bretagne was one of the maids-of-honour who accompanied Elisabeth to Spain. The 'mademoiselle' of the letter was another maid-of-honour, Anne de Bourbon Montpensier.
RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist Artist. A fine and good association A.L.S., `Renoir´, two pages, written to the first and third page, small 8vo, Cagne, 8th January 1908, to Claude Monet, in French. Renoir writes to his long life friend Monet `Mon cher ami…´ ("My deaf friend…"), and first asks about his correspondent´s health `Tu me diras si tu as toujours mal à l´estomac, c´est une maladie qui rend triste, il faut vite guérir´ ("Tell me if you still have a stomach ache, it's a disease that makes you sad, you have to heal quickly") Renoir further refers to Vollard, their art collector supporter, stating `Vollard est ici, je le portraiterai´ ("Vollard is here, I will make a portrait of him") Further again Renoir thanks Monet and his daughters for the letters they often send him, and before concluding makes a sharp critic of a colleague´s exhibition, stating `Une pièce que je n´irai certainement pas voir c´est celle de Geoffroy à l´Odéon…´ ("A painting that I will certainly not go to see is the one of Geoffoy at the Odeon") To a post-scriptum Renoir referring to the new year 1908, states `Ce 8 me fait bien vieillir´ ("This 8 makes me feel older") VG Claude Monet (1840-1926) French Impressionist Painter.Ambroise Vollard (1866-1939) French art Dealer. One of the most important dealers of his time in French contemporary art. He supported many painters such as Cézanne, Renoir, Gauguin, etc… Jean Geoffroy (1853-1924) French Painter and Illustrator, best known for his scenes with children.
‘I cannot resist the desire to repeat these words from your burning pen and adapt them to friendship although traced by love’ FERNIG THEOPHILE: (1775-1819) French military officer who, with her sister Felicite, enlisted in the French Army dressed as men during the French Revolutionary Wars, Once their gender was discovered they were granted permission to remain in service, becoming celebrities frequently mentioned in the contemporary French press. Appointed aide-de-camp officers under General Charles Francois Dumouriez, the Soeurs Fernig were sentenced to exile after Dumouriez’s treason of 1793. A rare A.L.S., Theophile (twice), four pages, 4to, Brussels, 18 Fructidor an 9 (5th September 1801), to Isidore Audeval, her cousin, in French. Fernig writes a lengthy letter, in essence a love letter, flowing with warmth and affection, stating, in part, ‘Oui, je suis encore ici..... Console-toi, mon ami, ta cousine n'etait point gaie quand tu t'affligeais, et s'il existe une heureuse sympathie entre les gens qui se conviennent, les notres en sont une preuve.......vous savez combien je me proposais de plaisir a vous y rencontrer.......Guilleminot n'arriva point, et au lieu de lui, je recus une lettre qui m'annoncait le retard de son voyage de 15 jours, trois semaines! J'ecrivis a ta soeur, je t'ecrivis aussi, et je dechirai ma lettre. Je te croyais a Mortagne, au milieu de tes amies, oubliant les absentes. Je t'accusais meme d'etre passe par Bruxelles sans etre venu les voir....que sais-je ce que je ne pensais pas!......La douleur est mere de l'injustice, et par elle je suis excusable: n'est-ce pas, mon ami? J'ai senti tout mon sang s'agiter, courir dans mes veines et refluer vers mon coeur, en apprenant votre chute de cheval. J'espere qu'elle n'aura pas de suite, mais prenez toutes les precautions et les menagements possibles: vous vous devez a vos amis autant qu'a vous-meme. Pourquoi trouverais-je mauvais le rapprochement de nos deux noms, quand l'amitie nous lie si etroitement?........Que ton ame honnete, delicate et sensible se penetre, se convainque bien de la purete de la mienne dans mon acquiescement a ce que tu fais, et de mon plaisir a faire le tien: Dieu m'en est temoin, et j'implore du ciel toute sa colere si ma candeur n'egale pas ma protestation. Croiriez-vous que je n'eprouve plus l'ombre de mes regrets de ne point avoir partage les plaisirs de Mortagne depuis que je sais que vous n'y etiez pas? C'est cependant la verite! Je n'ai de ma vie ete plus triste qu'en voyant ecoule le premier jour de cette fete, ne pouvant y aller et vous y croyant......Ne n'apesentis point sur le desagrement de ton metier. Tu es esclave, oui; mais tu l'es de l'honneur, et c'est le plus supportable des tyrans. Tu marches a travers de mille contrarietes, mais elles te couvrent de glorie et ton noble devouement fait triompher le myrte sur le laurier. Tu le sais, mon ami, le myrte est l'embleme de l'amitie. Jusque dans le moindre de tes sacrifices, il n'est point un sentiment qui ne t'en tienne compte, et tous ces sentiments sont dans le coeur de ceux qui t'aiment. Nous nous sommes vus trop peu de temps, il est vrai, et j'en ai ressenti la verite, mais il y a un moyen de nous en dedommager......je ne puis resister au desir de repeter ces mots sortis de ta plume brulante et les adapter a l'amitie quoique traces par l'amour: "Ecris-moi je le veux: ce commerce enchanteur, Aimable epanchement de l'esprit et du coeur, Cet art de converser sans se voir, sans s'entendre, Ce muet entretien, si charmant et si tendre. L'art d'ecrire. Abelard, fut sans doute invente, Par l'amante captive et l'amant agite, Tout vit par la chaleur d'une lettre eloquente". Comme eux, que notre amitie profite de cet art divin, de cette faculte celebre, et trompons l'espace, qui nous separe en nous communiquant toutes nos pensees, nos peines et nos plaisirs: nous adoucissons par a les premiers en doublant les derniers’ (Translation: ‘Yes, I’m still here…..Console yourself, my friend, your cousin was not cheerful when you were upset, and if there is a happy sympathy between people who suit each other, ours are a proof of it……you known with how much pleasure I intended to meet you there…..Guilleminot did not arrive, and instead of him, I received a letter which informed me of the delay of his trip by 15 days, three weeks! I wrote to your sister, I wrote to you too, and I tore up my letter. I thought you were in Mortagne, among your friends, forgetting the absent ones. I even accused you of having passed through Brussels without having come to see them……what do I know what I was not thinking!........Sorrow is the mother of injustice, and through it I am excusable: is it not, my friend? I felt all my blood rushing, running through my veins and flowing back to my heart, on learning of your fall from a horse. I hope it won’t be followed up, but take all the precautions and consideration possible: you owe yourself to your friends as much as to yourself. Why would I find the bringing together of our two names wrong, when friendship binds us so closely?.......Let your honest, delicate and sensitive soul penetrate itself, be well convinced of the purity of mine in my acquiescence in what you do, and of my pleasure in doing yours: God is my witness, and I implore heaven all his anger if my candour does not equal my protest. Would you believe that I no longer feel the shadow of my regrets at not having shared the pleasures of Mortagne since I learned that you were not there? It is however the truth! I have never been sadder in my life than when I saw the first day of this festival pass, not being able to go there and believing you were there……Do not dwell on the unpleasantness of your profession. You are a slave, yes: but you are one of honour, and that is the most endurable of tyrants. You walk through a thousand annoyances, but they cover you with glory and your noble devotion makes the myrtle triumph over the laurel. You know, my friend, the myrtle is the symbol of friendship. Even in the least of your sacrifices, there is not a feeling that you do not take into account, and all these feelings are in the hearts of those who love you. We saw each other for too little time, it is true, and I felt the truth of it, but there is a way to compensate us for it…..I cannot resist the desire to repeat these words from your burning pen and adapt them to friendship although traced by love: “Write to me I want it: this enchanting trade, Amiable outpouring of mind and heart, This art of conversing without seeing each other, without hearing each other, This mute interview, so charming and so tender, The art of writing, Abelard, was undoubtedly invented, By the captive lover and the agitated lover, Everything lives by the warmth of an eloquent letter”. Like them, let our friendship profit from this divine art, from this famous faculty, and let us deceive the space which separates us by communicating to us all our thoughts, our sorrows and our pleasures: we soften the former by doubling the latter’). A letter of beautiful content. Some light staining and minor discolouration (largely to the first page) and with a few minor, neat splits to the edges of folds. G Isidore Audeval served with the 16th Dragoon Regiment and Theophile’s correspondence with her cousin spans a period of five years from October 1797 to January 1803. The thirty-three letters were published by Honore Bonhomme under the title Correspondance inedite de Mademoiselle Theophile de Fernig, aide de camp du General Dumouriez (Firmin Didot, Paris, 1873), Bonhomme observing ‘We are surprised to find the grace, the playfulness, the candour of the young girl where we expected to meet perhaps only the roughness and the dark energy of the soldier’.
‘Now know well that, wherever I meet you, I will chase you away with all the forces in my power….’ [FRENCH CONQUEST OF ALGERIA]: NEGRIER FRANCOIS-MARIE-CASIMIR (1788-1848) French General who fought in the Napoleonic Wars and later contributed to the French conquest of Algeria, in particular at the Siege of Constantine in 1837. An extraordinary L.S., Gal. Negrier, one page, 4to, n.p. (Constantine?), 1838, to Ahmed Bey, in Arabic. The letter states, in part, 'Ta lettre nous est parvenue et la demande aussi. En ce qui concerne ta penetration dans le pays je la considere comme celle de l'ennemi. Tu as razzie les oued.....et ravage leur pays; tu semes aussi le desordre dans les tribus qui sont nos amies et nous sont soumises. Tu cherches a les gagner a ta cause. J'ai eu la preuve de la corruption que, sur toutes ces choses, tu repands parmi eux. Maintenant sache bien que, partout ou je te recontrerai, je te chasserai de toutes les forces en mon pouvoir et avec le concours de mes amis. La seule chose qui soit susceptible de t'epargner la mort, et cette mort n'est pas lointaine mais proche, c'est de demander l'Aman au prealable et sauver ta vie avec l'aide des Francais qui sont connus dans le monde entier pour avoir le coeur compatissant. Ils sont humains, accordent le pardon, est leur parole est unique. A cette condition je t'accorde la vie et celle de tes gens, ta fortune et tous tes biens. Je n'accepterai aucune condition. C'est impossible. Je te considere comme un homme malheureux. (Translation: 'Your letter has reached us and the request too. As regards your penetration into the country, I consider it as that of the enemy. You have raided the wadis…..and ravaged their country; you also sow disorder in the tribes who are our friends and subject to us. You seek to win them over to your cause. I have had proof of the corruption which, in all these things, you spread among them. Now know well that, wherever I meet you, I will chase you away with all the forces in my power and with the help of my friends. The only thing that is likely to save you from death, and this death is not far away but near, is to ask for Aman [the Islamic law concept of guaranteeing the security of an individual] beforehand and save your life with the help of the French who are known over the entire world to have a compassionate heart. They are humane, grant forgiveness, and their word is unique. On this condition I grant you your life and that of your people, your fortune and all your property. I will not agree to any conditions. It is impossible. I consider you an unhappy man'). With integral address leaf. A letter of remarkable and forthright content in which the French General offers a brutal ultimatum to the Bey of Constantine. A small area of the upper right corner has been neatly excised, and with a few minor, light spots of foxing, otherwise VGAhmed Bey ben Mohamed Cherif (c.1784-c.1850) Bey of Constantine in the Regency of Algiers 1826-48.The 1837 Siege of Constantine took place under the instructions of King Louis Phlippe I of France as part of the French conquest of Algeria which had begun under King Charles X in 1830. The intense siege lasted from 10th - 13th October 1837 when the French conquered the territory. Ahmed Bey managed to escape and retreated into the Aures Mountains from where he was able to organise resistance and continue to wage a low intensity conflict against the French using the tribes still loyal to him. It was not until 1848, a decade after the present letter, that Ahmed Bey and his forces finally capitulated.
UNITED KINGDOM. Victoria, 1837-1901. Gold sovereign, 1853. London. Proof. Extremely rare, R4.- Rated R4, extremely rare. There are only 11-20 examples. No example is present in the thorough and extensive Slaney Collection.- One of the rarest issues of the extremely sought after, proof sovereign series. - Featuring a strong and full cameo that is so rare for the issue. Second young head left, hair tied in fillet, with W.W incuse on truncation; date below truncation; VICTORIA DEI GRATIA [Victoria, by the grace of God]. / Crowned shield within wreath; thistle, rose and shamrock below; BRITANNIARUM REGINA FID: DEF: [Queen of Britain, defender of the faith].In secure plastic holder, graded NGC PF63 ULTRA CAMEO, certification number 2124460-041. A very attractive example with stunning cameo. The devices are clear of any distractions and the surfaces appear fresh and true. The reverse is superior still. Extremely rare and highly sought after. 11-20 examples known.NGC Census in this grade: 2.NGC Census in higher grade: 11Total NGC Census: 15Reference: Fr-387f; KM-736.1; Marsh-36A [R4]; S-3852C; WR-305 [R3]Diameter: 22.05 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.The CoinDescribed as “impressive and very elusive” in the Bentley Collection, the 1853 proof sovereign is a wonder of British numismatics. It was originally issued both in sets and singly either for or on behalf of the Royal family through the Court Jeweller “Hunt and Roskell”. The 1853 proof sets are the rarest ever produced by the Mint in all of British pre-decimal coinage. It is quite possible that these sets, with their altered initials, were issued in memoriam of their late designer, the great William Wyon (1795-51).Described conservatively as R3 by Wilson and Rasmussen and later more accurately as R4 by Marsh, the 1853 proof sovereign is very rarely offered and extremely sought after. So rare is this popular issue that no example was included in the extensive Slaney Collection, so praised for its near exhaustive completeness. The coin itself is extremely attractive, featuring a full cameo very rarely seen on other examples. The fields are flashy and unworn perfectly showing the surface texture of the polished dies. Moving the coin around in one’s hand the dark and deeply mirrored surfaces jump to life and glow with a new shade of gold at every angle, while the satiny devices shimmer with a controlled and delicate lustre. The true beauty and rich contrast of a cameo proof is on full display in this so skilfully struck example. No graded example with an Ultra or Deep Cameo designation has been offered publicly in recent history. There are no serious marks or distractions to the design, only light chatter as indicated by the grade. This is a premium example of a legendary proof issue.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
4x unmade American 1:25 AMT Plastic Race Car Kits. A Richard Petty STP Grand Prix Pontiac (#6728). A Miller Genuine Draft Grand Prix Pontiac (#6969). A Miller High Life Special Penske PC-17 (#6881). Plus a Amway-Speedway Lola/Cosworth (#6827). All boxed, minor wear/creasing. 2 still sealed, others appear to be complete. £60-80
Robert Beesly, English Naive Artist, second-half 18th c - Still Life with a Blackbird, a Robin Feeding its Nest of Hatchlings, a Spilt Basket of Strawberries, a Pewter Dish of Peaches, with Plums, Grapes and Vine Branches, signed and dated 1785, oil on canvas, 62 x 74cm Relined with former hole/puncture discernible below the strawberries. Cleaned with some localized portions of scrubbing. Otherwise good condition.
Dutch School, 17th/18th c - Still Life of Ripe Peaches, Plums, Grapes and Vine Leaves, oil on canvas, indistinctly inscribed and dated ?1690 to verso, 36.5 x 43.5cm Relined, discreet repair. The former lining preserved and loosely tacked to verso, with various size holes - but not severe. Old dirt and in need of a clean. Some craquelure. General wear. One or two small spots of paint. Chipped gilt frame.
Alice Hedley Neave, British 1903-1977 - Still Life, 1957; oil on canvas, signed and dated lower right 'A. H. Neave 1957', 36.3 x 45.7 cm (ARR) Exhibited: with The Fine Art Society, London, December 1964 (according to the label attached to the reverse of the frame) Note:the artist studied with Henry Tonks at the Slade School of Art and has works in the collection of Hastings Museum and Art Gallery, where she lived.
Peter Gauld, oil on board, still life of a pink rose in a glass vase, dated '58, framed, 24cms x 19cms, together with another oil on canvas, yellow roses in a green jug, signed and framed, 54cms x 40cms and another watercolour, 17cms x 19cmsIn good condition on main image. Watercolour also in good condition. Other oil of yellow roses has small hole, please see image.
Vincent Clare, signed 19th Century oil on canvas, still life with flowers and birds nest on a mossy bank, 20cms x 30cmsNot relined, generally in good condition - only in slip frame. No areas of overpainting. Overall in good original condition but has had a gentle clean and possible re-varnish.
John Frank Swingler (British, 1850-1900) Still life of fruits, a gold vessel and a mandolin upon a table topoil on canvassigned and dated '93136 x 95cm***CONDITION REPORT***Oil on canvas relined 20 to 30 years ago or so, canvas remains tight, paint perhaps slightly dirty with some fine but stable craquelure throughout, signed and dated lower right, housed in a painted framed which has some old rubbing.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Ingrid Bergman (1915-1982) - a signed black and white photograph, inscribed, ‘’To Jeff, Ingrid Bergman, 1948’’, [“Jeff’’ being Lionel Jeffries] 23.5 x 18.5cms; and a further image of Ingrid Bergman and Lionel Jeffries, titled - ‘’That famous dancing partner - Ingrid Bergman’’, a still from This is Your Life, Lionel Jeffries, 21st April, 1971, (2) The story being that a young Lionel danced with Ingrid Bergman, during the war and she kissed him on the cheek, after which he said that he ‘’didn’t wash his face again’’. Provenance: Lionel Jeffries (1926-2010) - all items from the personal collection of his son, Ty Jeffries.***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Cressida Campbell (Australian, 1960-) Jacaranda in full blossomwatercolour on incised marine plysigned lower right, created in 200380 x 66cmCressida Campbell was born in Sydney, Australia in 1960, and has since become one of the country's most successful artists. While studying at what is now the National Art School, Cressida developed her idea to combine printing and painting, but she wouldn't fully embrace this technique until several years later. Her work plays with colours and shapes through the portrayal of domestic life and tranquil landscapes. Her still life subjects often incorporate plants, furniture, and everyday decor.Cressida’s process involves engraving a woodblock, and then painting it with layers of watercolour, resulting in both an engraving and a mirror-image print.***CONDITION REPORT***Overall in honest untouched condition, some fine craquelure running vertically through the paint in line with the grain of the board, the base colour of the board shows through the thinner painted areas of the picture, otherwise some light dirt but no real faults noted. Signed lower right, housed in a parcel gilt cream frame, stamped to the stretcher, no other labels verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
§ § André Vignoles (French, 1920-2017) Table top still life with basket of cherries and other fruitoil on canvassigned and dated '5953 x 64cm***CONDITION REPORT***Oil on original canvas in good untouched condition, a little light craquelure in places and would benefit from a clean, housed in the original gilt frame which is now a little grubby, Exhibition label for Arthur Tooth & Sons with title 'Nature Morte 1959'.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Attributed to PIETER II CASTEELS, Dutch School (act 1650 - 1674), Oil on canvas, Still Life Vase and Flowers on a Ledge in an Architectural Landscape, 122cm X 86cm in a gilt frame, with name plate to frame, Unsigned Provenance: from Country House ClearanceCONDITION: VERY FEW LOSSES - the odd couple of spotsTHE ODD SMALL white PAINT SPECKLEDON THE TOP AND RUNNING DOWN THE LEFT HAND SIDE WE ASSUME THE MARKS ARE STRETCHER MARKS AS THEY LINE UP WITH THE WOODEN SLATS VERS0; WE DON'T THINK THESE are restoration or splits, but they are noticeable; otherwise ok condition with light signs of wear; the frame is in poor order and losses to edges and beading, NEEDS A GOOD CLEAN.
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