William Heath ROBINSON (1872-1944) A hand-drawn ink illustration from Don Quixote, 1897 For Miguel De Cervantes Saavedra's 'The Life and Exploits of the Ingenious Gentleman Don Quixote de la Mancha', published by Bliss, Sands, London, 1897, page 100-101, with original hand-written title 'Gines de Passamonte answered for them all'. Preparatory graphite markings still visible, image size 31cm x 19cm, ink on blindstamped Goodall's Bristol Boards card, overall size 47.7.cm x 36.8cm. A fantastic example of an important work from one of the most prominent illustrators of the early 20th century.
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(Caroline Fox and Davies Gilbert) Royal Cornwall Polytechnic Society. A granderised collection of the first reports thought to be Caroline Fox's own. First annual report 1833 to the fifth annual report 1837, in one volume, with extra bound in letters, original sketches, plans, architectural drawings, etc, full pebbled red calf, rubbed to extremities and joints, 4to, gilt edge, vg, Jane Trathan, Falmouth, 1833-1837.First bound letter (MS) with the title "First Prospectus of the Falmouth Polytechnic Society, in the Spring of 1832" detailing the society's aims and objectives, with a list of lead members; this appears to be in the hand of Davies Gilbert himself, using examples from the Science Museum, the close top of the capital 'I' for instance, and the angularity of the lower case letters firmly suggest it is, without it being signed; Followed by (as a frontis) an original ink and wash portrait of Davies Gilbert and indeed flat signed by Gilbert.'Report of the Cornwall Polytechnic Society 1833,' List of Members, Laws of the Society, proceedings of the General Meeting, bound in watercolour sketch of a Cornish mine, an ink and wash sketch of 'Loss of the Prince of Wales, 1804', ink sketch 'Park of Whitby Abbey', prizes awarded, watercolour still life of flowers initialled RJ 1833, list of subscribers, watercolour plan of a greenhouse, Chart of Gothic Architecture, ink and wash sketch titled 'A Method of Ventilating Mines'.'The Second Annual Report of the Cornwall Polytechnic Society 1834,' watercolour portrait of a bearded man with a large ruby on his hat, 'A Mineralogical Sketch of the Island of Banca' (Bangka Island, Indonesia), a ground plan of Ashfield estate, engraving of a Dipping Needle Deflector, ink sketch of a Hydrostatic Lock, ink and watercolour chart on Cornwall, engravings of the 'Cheese Wring' in Bodmin, engraving of The Royal Academy Medal 1837.'The Third Annual Report of the Royal Cornwall Polytechnic Society 1835,' ink sketch of the Polytechnic medal, ink sketch of Laocoon and Sons, watercolour Jack Knife, , engraving of a ruined abbey, engraved portrait, watercolour coastal scene, ink sketch of capital punishment in a schoolroom, 'Lines of equal magnetic inclination' map of the Uk and Ireland, 'Two Treaties on the Natural History of the Pilchard' by Jonathan Couch, meteorological diagrams (x2) with a fold out engraved '...Register Kept at Ashfield near Falmouth...1835', a fold out engraved chart titled 'A Chronological Chart of the Wars of the British Empire, From the Revolution in 1688-9 to 1855', four architectural plans for The Royal Polytechnic Hall, Falmouth.'The Fourth Annual Report of the Royal Polytechnic Society 1836,' newspaper clipping of a general meeting, watercolour of seaweed specimens, still life of flowers x2, engraving of Queen Victoria.'The Fifth Annual Report of the Royal Cornwall Polytechnic Society,' hand drawn magnetic chart of the UK and Ireland by Robert W. Fox, hand drawn magnetic chart of the Atlantic, ink sketch of crows, ink sketch of knights, an original hand drawn map signed by Edwin Fox and titled 'Recent discoveries in the Artic Regions by Parry, Franklin, Ross and Buck', graphite sketches of models of Trewethey Stone and Dungerthis Monument, a linear map between Falmouth and Truro with detailed key, watercolor botanical sketch.The work concludes with a letter written in the same hand as the first, detailing the rise of three other 'Polytechnics' since the inception of the Falmouth Society; and a printed announcement for the 'Sunderland Polytechnic Society', 1838.This is a work of huge historical significance concerning the development of science and art, which propagated from the inception of the Falmouth Polytechnic Society and was indeed granted Royal patronage from King William IV in 1835. A singular and important work. John Stengelhofen (1939-2020). Coming from London, he trained as an architect in the meticulous modernist aesthetics of the mid-century Architectural Association. He found Cornwall, moved there and never left. Active in the early years of the Trevithick Society, he was primarily responsible for the introduction of the Society’s Journal in 1973. He left mainstream architecture in the County Architects's department to pursue academic research at the newly-established, Institute of Cornish Studies, establishing himself as a generous, but authoritative lecturer on Cornish industrial archaeology along the way. He used his architectural skills to design Wheal Martyn China Clay Museum, then becoming its first Director in 1975. He moved to the National Maritime Museum in charge of their outstation at Cotehele, with the Tamar sailing barge Shamrock. During his period as President of the Royal Institution of Cornwall, 1984-1986, he had a major hand in the acquisition of the adjacent premises enabling the Royal Cornwall Museum to expand. He co-founded Twelveheads Press in 1978 to publish well-researched books on Cornish and other industrial history. Always generous with both skills and information, he was active in the Cornish Buildings Group for fifty years where he made a substantial contribution to the quality and protection of the built environment of his beloved Cornwall. Latterly he returned to his love of modern design, in the form of research into twentieth century Cornish architecture and architects, and produced as a last collaborative project, a visionary, affordable development in Hayle with impeccable eco credentials, where he made his home.
Dutch School, late 18th century Still life with lobster, exotic fruits, wine jug and platter on a table oil on canvas, unsigned, in a heavy 19th century swept frame 23 x 31in. (58.5 x 78.75cm.). *Stiff wax relining and stretcher renewed. UV shows a few scattered retouches, plus heavier patches of retouching to the lower right and upper left corner margins - the retouched area to the lower right is clearly visible to the naked eye, as it has discoloured. There are two small indents and abrasion to the paint surface at top left, and another much smaller indent between them.
After Eugène Henri Cauchois (French, 1850-1911) Still life of poppies and daisies in a teal vase, together with four further still life examples and one snowbound landscape by the same hand, oil on panel, all indistinctly signed, 6 x 5¼in. (15.5cm x 13.5cm.) and 5¼ inches x 6¼in. (13.5cm x 16cm) respectively (6) * All works are in a broadly comparable state of preservation. The odd knock, scuff and mark to surface. General surface dirt and discoloured varnish. Frame rubbing to edges. Deterioration to varnish has given a chalky effect to several of the works.
Isabel Naftel (British, 1832-1912) Still life of a parakeet, stone fruits, grapes and vines, watercolour heightened with white, signed middle right, 13¾ x 18 inches (35cm x 46cm) (oval) * Glazed. Cockle to sheet. Dirt and debris trapped under fairly dirty glass. Heavy foxing throughout mount. The odd minor foxing spot to sheet. Slightly down on colour overall although the green of the parakeet is still vibrant.
Reginald Haggar large still life floral watercolour painting, signed and dated 1944, measuring 74cm x 53cm excluding frame, slip and mounts. Inscribed on reverse - flowers from a Willoughbridge (Near Market Drayton) Garden. One of three Haggar paintings we are selling, having been in the same family for 60 years.
Royal Worcester artist David R Bowkett hand painted lidded tureen. Royal Crown Derby blank painted with fruit still life by David R. Bowkett. Fully painted with gilt decoration and acorn finial Handle to lid. Hairline cracks to acorn finial, lid with hairline cracks to interior of lid at the centre. Minimal wear to gilding. Height: approx. 21.5cm Diameter: 29.7cm
Ernest Townsend (1880-1944)Still life - a spray of flowers issuing from a pottery Toby jug, the figure seated with cross legs and arms in stocks, signed, oil on canvas, 43 x 33cm Exh: Ernest Townsend - A Derby Artist 6th May - 17th June 1989, Derby Art Gallery Exh: Ernest Townsend July 9 - September 18th 1994. An exhibition to mark the 50th Anniversary of the artist's death Cat No. 51
Circle of Theodore Fantin Latour (1805-1872/75)Still life - a glass vase of mixed flowers, signed "Fantin" upper right, indistinctly inscribed verso and also inscribed 'Fantin', oil on canvas, 39.5 x 29cm Not lined. Some minor surface scratches and abrasions, and small splash marks to the surface. Surface dirt/dust and varnish discolouration. Inscription to the back difficult to decipher. Not examined under UV light.
AMBROSIUS BOSSCHAERT THE YOUNGER (1609-1645) A still life with flowers in a basket with a caterpillar and a beetle crawling along the stone ledge, monogrammed and dated 1645, oil on panel, 45cm x 60cm, in a mid-18th century giltwood frame carved and pierced with scrolls, rocaillework, leafy fronds and flowersProvenance: Ven House, Milborne Port, and with a label on the reverse indicating that it was originally hung in the study opposite the window at Ven.
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