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Lot 316
A late Victorian and later lady's illustrated drawing-room commonplace-friendship album, the property of Kath: Ada Campbell, inscribed in ink manuscript from 1889, colourful paper leaves illustrated with accomplished pen-and-ink caricatures and cartoons, a herbarium leaf of dried flora and foliage, watercolour and pencil still lives enclosing passages from belles-lettres, other leaves of prose and verse, friends' sentiments, loosely inserted mounted watercolour: "Corsica/as seen from Cannes before sunrise Jan:ry 1866/distant 155 miles"; cut-paper still life, mounted; other loosely-inserted ephemera, contemporary black roan gilt, all-edges gilt, 4to, [1]
Lot 337
Binding - a mid-Victorian lady's morocco folio of watercolours, illustrated by M. Louisa Marshall, dated 1859 (but containing some earlier and later works), in total 26 works on paper, of which 25 are mounted watercolours and 1 is a loosely-inserted pencil drawing still life, the watercolours are mostly landscapes, including Italian named-views in and around the Palatine and Alban Hills of and near Rome, British views include unnamed Scottish Highland landscapes, the Norman Adel Church near Leeds in 1839, coastal views, etc., there are two accomplished figural studies, however Marshall seems to be more inclined towards architecture, most pictures are 25cm x 36cm or vice-versa, finely bound in contemporary brown morocco gilt by Holloway, stamped, the covers with a graduating triple-fillet enclosing a scrolling foliate roll, the upper-cover gilt-metal mounted in relief with the owner's monogram, six-compartment spine of raised bands enclosing foliate tendrils, all-edges gilt, marbled endpapers, medium folio (48cm x 37cm), [1]
Lot 442
Tessa Newcombe (b. 1955), by and after, six etchings, mixed subjects, various sizes, loosely-inserted note inscribed: artist's proofs, (6); another, similar; Local Antiquarian School (20th century), a series of five, studies of Derbyshire toll bars, pen-and-ink on paper, (5); G.A.O. van Eck (1865-1943), View of Leiden, attributed and titled to verso in pencil, watercolour, 33cm x 25.5cm, (1); Contemporary School, still life of a conch seashell, watercolour on paper, 10cm x 17.5cm, (1); Old Manchester and District, a folio of prints, (1); sampler, (1); etc., [1 box]
Lot 207
A RARE FRENCH GILT BRASS MINIATURE CARRIAGE TIMEPIECE WITH FINE FLORENTINE PIETRA-DURA PANELSTHE DIAL SIGNED FOR H. BOZI, FLORENCE, LATE 19TH CENTURYThe rectangular eight-day single train movement with silvered platform lever escapement and stamped with number 6216 to the lower left-hand corner of the backplate, the rectangular white enamel Roman numeral dial with blued steel spade hands and signed H. BOZI, FLORENCE to lower margin, the frosted gilt corniche case of Mignonnettes No. 1 size with hinged carrying handle and bevelled top glass over cavetto cornice and caddy moulded uprights, the sides and rear door with fine Pietra-dura panels depicting floral still lifes including roses and fuchsia blooms, on moulded skirt base.7.5cm (3ins) high handle down, 5cm (2ins) wide, 4.5cm (1.75ins) deep. Provenance: Private collection, East Midlands. The current clock would appear to belong to a small group of carriage clocks incorporating fine foliate decorated pietra-dura panels which appear to have been made in a Florentine workshop. Others include a mid-size clock with alarm and push button repeat which was sold at Christies, King Street, London Important clocks and marine chronometers 20th February 2008 (lot 11) for £3000; another is pictured in Roberts, Derek CARRIAGE and Other Travelling CLOCKS pages 156 (Figure 9-33 a-d); a third example, by Drocourt, is illustrated in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development, (this time housed in an anglaise riche case) on page 180 (Plates VII/C13-14); and finally an example, also signed for Bozi, Florence, was sold in these rooms on 21st April 2021 (lot 112) for £2,800 hammer. It is perhaps appropriate to surmise that as many examples from this series are signed for H. Bozi of Florence it is likely that the panels for these were made in the city by workshops principally under this makers/retailer's direction to decorate clocks supplied by Parisian makers - perhaps mainly for retail in Florence to wealthy visitors continuing in the tradition of the 'Grand Tour'.Miniature carriage clocks are called Mignonnettes or 'little darlings' and come in three graded sizes with No. 1 being the smallest.Condition Report: The movement is in clean working condition; the escapement is of good quality and is engraved SWISS, T. Martin, London W., 15 Regent Street. From this it may be appropriate to suggest that the escapement may have been 'upgraded' early in the clock's life; the silvering to the platform is a tarnished/discoloured. The dial appears undamaged. The case is in very fine condition with no visible faults to any of the pietra-dura panels as well as the glasses. The gilding is also in fine condition with minimal discolouration.There is no winding key present. Condition Report Disclaimer
Lot 99
Talbot Kelly (Richard Barrett, 1896-1971). A portfolio of 27 watercolour studies, including 20 ornithological studies, on white or coloured papers, including 15 watercolours of birds signed with the artist's monogram device: A wader flying over a marsh; An Avocet (cut out and mounted on coloured paper); A Juvenile Nut Cracker; A Swooping Lapwing; A Standing Lapwing; A Lapwing in Flight; A Crested Tit; A Diver; Two Saw-Toothed Ducks and a Passerine; A Gull; A Male Kestrel; three unidentified bird watercolours; a Maribou Stalk, further inscribed 'after FB', black chalk drawing heightened with white; and the following 4 works, not featuring birds and signed by the artist: Two Medieval Courtiers, watercolour; Figure and fishing boat by the Nile, watercolour; Native boy with still life, a collaged watercolour; a Native American in a landscape, collaged watercolour; A Cricket, watercolour; 'Ground-Pattern, India', watercolour; The Barn, watercolour (by J.G.L. Roberts according to an inscription verso); and the following unsigned works: Swooping Barn Owl; Swimming Lapwing; one unidentified watercolour of a bird; and A wounded lion, paper collage, all loose in portfolio, green boards and green leather corners, with artist's initials 'R.B.T.K.' embossed in gold to upper cover (measuring 58 x 82.5 cm) Qty: (27)
Lot 278
ROYAL WORCESTER; a cabinet plate hand painted with still life of apples, grapes and a raspberry, Harry Ayrton, signed bottom right, printed marks to base, dated 1959, diameter 27cm. CONDITION REPORT No signs of restoration, no chips, cracks or crazing to glaze, no fading of colour . clear signature, no loss of gilding to the rim
Lot 31
A high-quality photo print depicting a still life scene, taken by photographer Martyn Goddard in 1979. The photo was used for the cover of The Cure's 'Three Imaginary Boys'. Measures 20 x 16". Signed by the photographer. Numbered 06/25. Martyn has previously said this about the shoot: "“The still life on the cover of The Cure’s debut album was conceived by Polydor sleeve designer Bill Smith. I had worked with Bill on The Jam’s In the City album and The Cure were another new act the label was about to promote. There was a problem however; the band didn’t want their portraits on the cover. We came up with using common household goods to represent the band members. The record’s title focusing in on “Imaginary” was a help with our final concept. I wanted to use the bright pink background as it would stand out in the point of sale record racks and I happened to have a roll of pink colorama paper in the studio.”"About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.
Lot 39
Four high-quality photo prints, with images taken by photographer Martyn Goddard in 1979. The four images taken originally on a Polaroid camera depict scenes from the shoot for the album artwork for The Cure's 'Three Imaginary Boys'. Each measures 10 x 12". All are signed by the photographer. Each numbered 05/40. Martyn has previously said this about the shoot:"“The still life on the cover of The Cure’s debut album was conceived by Polydor sleeve designer Bill Smith. I had worked with Bill on The Jam’s In the City album and The Cure were another new act the label was about to promote. There was a problem however; the band didn’t want their portraits on the cover. We came up with using common household goods to represent the band members. The record’s title focusing in on “Imaginary” was a help with our final concept. I wanted to use the bright pink background as it would stand out in the point of sale record racks and I happened to have a roll of pink colorama paper in the studio.”About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.
Lot 460
William Collins RA (1788-1847) A Fish Auction on the South Coast of Devonshire Signed and dated W.Collins/1823 (to the boat) Oil on canvas 85 x 116cm; 33½ x 45¾in Provenance: Commissioned by George Capell-Coningsby, 5th Earl of Essex (1757-1839), Cassiobury House, in 1823 (250gns); By descent to Arthur Capell, 6th Earl of Essex (1803-1892), Cassiobury House; Christie, Manson and Woods, Catalogue of modern pictures, collected early in the century by the late Rt. Hon. George, fifth Earl of Essex, 22 July 1893, lot 42; Roldan, Buenos Aires, 25 May 1968 Literature: W. Wilkie Collins, Memoirs of the Life of William Collins, Esq., RA (London, 1848), Vol.I, pp.215-216, Vol.II, p.345; The Athenaeum, no.3431, 29 July 1893, p.169; Duncan Macmillan, 'A journey through England and Scotland: Wilkie and other influences on French art of the 1820s', in The British Art Journal, (vol.2, no.3, 2001), p.33 Exhibited: London, The Royal Academy, 1823, no.67 Manchester, Art Treasures Exhibition, May-October 1857, no.611 The 1823 Royal Academy exhibition catalogue describes the scene in the present work as 'A Fish Auction on the South coast of Devonshire, where it is the custom of the fishermen to substitute the dropping of a stone, for the stroke of the auctioneer's hammer'. Although a label on the back says that the work was purchased by Agnews from Christie's in 1862, the painting was still in the collection of the Earls of Essex in 1893, so this appears to be erroneous.
Lot 751
Brian Davis (British 20/21st century school) With Crumbs - still life with wine bottle, bread and cheese, watercolour and body colour on paper, signed with monogram and inscribed verso with title and purchase date 2000, 13.5 x 13 cm, together with Mary Brown (20th century school), Wildflower Study II, oil on board, signed and with label verso, 30 x 24 cm, also together with a pair of signed coloured limited edition prints of apples and cherries after Jenny Brooks, both editions of fifty copies, 14 x 25 cm approximate maximum, all framed (4)
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