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Click here to subscribeλ Patrick Javouhey (20th/21st century) Still life of fruit, vegetables and tableware Oil on canvas Signed and dated 2013 (lower right) 97 x 146cm (38 x 57¼ in.) Unframed Condition Report: Modern- decorative- unframed- some rubbing to margins, slightly dirty and with some paint splash Condition Report Disclaimer
Continental School (early 19th century) Still life of gooseberries in a porcelain bowl Oil on canvas Indistinctly signed, dated 1818 and numbered 217 (lower left) 26 x 33.5cm (10 x 13 in.) Unframed Provenance: The collection of Eardley Knollys (1902-1991), friend and associate of the Bloomsbury Group, artist, critic and owner of the Storran Gallery, London, from 1936 to 1944 Bequeathed to Mattei Radev (1927-2009) and, subsequently, to the present owner Eardley Knollys (1902-1991) was born in Alresford, Hampshire. He studied at Winchester College and continued his education at Christ Church College in Oxford. Knollys interest in the arts and his reputation as an art critic grew during the 1920s and in 1936 Knollys opened The Storran Gallery, opposite Harrods with his partner Frank Coombs. The gallery exhibited renowned artists such as Amedeo Modigliani, Maurice Utrillo, Ivon Hitchens, Pablo Picasso and Victor Pasmore to name just a few. Coombs tragically passed away in an air raid during World War II in Belfast in 1941. Knollys closed the gallery shortly afterwards. In 1945, Knollys along with music critic and novelist Edward Sackville-West and music critic Desmond Shawe-Taylor purchased a Georgian rectory in Long Crichel, Dorset. Along with James Lees-Milne, literary critic Raymond Mortimer and gay activist and eye surgeon Patrick Trevor-Roper, the house became a centre for young creatives, where these young men and their friends could immerse themselves in books, music, art and poetry. These passionate young men hosted guests such as Ben Nicholson, Duncan Grant, Sibyl Colefax and film director Anthony Asquith. Knollys joined James Lees-Milne working for the National Trust during World War II and published diaries recording their trips to some of the most renowned British country houses. In 1965, Knollys, a well respected art critic and member of the Bloomsbury art group inherited a collection of artworks which had belonged to Edward Sackville-West. In 1967 Knollys and Mattei Radev purchased a hunting lodge in Hampshire and they both painted and worked in the artist's studio attached to the lodge. Knollys' interest in the arts continued and he added to the collection right up until his death in 1991. Knollys' collection was bequeathed to Mattei Radev, who continued to grow the important collection. Mattei Radev became an iconic member of the artistic and literary Bloomsbury group. Radev was a Bulgarian émigré who settled initially in Glasgow after escaping Bulgaria through Turkey. When he first arrived in London he started working at Whittington Hospital as an orderly and met eye surgeon Patrick Trevor-Roper. Trevor-Roper was a gay activist and introduced Radev to likeminded friends in London. Influenced by these new acquaintances in artistic circles Radev decided to pursue an apprenticeship in framing. In 1960 he set up his own workshop in Fitzrovia with the help of a financial loan from Eardley Knollys. Clients included John Banting, Graham Sutherland and Duncan Grant. The framers continued under Radev's management until the 1990s. Radev visited Long Crichel many times and met his life-long lover E.M. Forster, the notable novelist and literary critic. The Radev collection represents the three strong individuals involved, Sackville-West who championed Modernism, Eardley Knollys whose passion for French Impressionism shines through and Radev for his loyalty to British artists with whom he was friends and in business with. Condition Report: Stretcher marks visible and with slight wash effect around the stretcher marks. Paint thinning in areas revealing the canvas weave. Fine craquelure and surface dirt throughout. Evidence of an uneven varnish and some evidence of mildew build up, especially to the lower left corner. Small puncture damage to top right with touching in and old small patch to reverse, small area circular of paler surface to left of gooseberry on the table Condition Report Disclaimer
Elliott Seabrooke (British 1886-1950) Silver Birches Oil on canvas Inscribed with titled and dated 1946 (to stretcher verso) 51 x 61cm (20 x 24 in.) Still life study of fruit in a bowl to canvas verso and with inscription to label 'No 76, page 11'. Provenance: The collection of Eardley Knollys (1902-1991), friend and associate of the Bloomsbury Group, artist, critic and owner of the Storran Gallery, London, from 1936 to 1944, recorded in stock book on 10 March 1971 Bequeathed to Mattei Radev (1927-2009) and, subsequently, to the present owner Eardley Knollys (1902-1991) was born in Alresford, Hampshire. He studied at Winchester College and continued his education at Christ Church College in Oxford. Knollys interest in the arts and his reputation as an art critic grew during the 1920s and in 1936 Knollys opened The Storran Gallery, opposite Harrods with his partner Frank Coombs. The gallery exhibited renowned artists such as Amedeo Modigliani, Maurice Utrillo, Ivon Hitchens, Pablo Picasso and Victor Pasmore to name just a few. Coombs tragically passed away in an air raid during World War II in Belfast in 1941. Knollys closed the gallery shortly afterwards. In 1945, Knollys along with music critic and novelist Edward Sackville-West and music critic Desmond Shawe-Taylor purchased a Georgian rectory in Long Crichel, Dorset. Along with James Lees-Milne, literary critic Raymond Mortimer and gay activist and eye surgeon Patrick Trevor-Roper, the house became a centre for young creatives, where these young men and their friends could immerse themselves in books, music, art and poetry. These passionate young men hosted guests such as Ben Nicholson, Duncan Grant, Sibyl Colefax and film director Anthony Asquith. Knollys joined James Lees-Milne working for the National Trust during World War II and published diaries recording their trips to some of the most renowned British country houses. In 1965, Knollys, a well respected art critic and member of the Bloomsbury art group inherited a collection of artworks which had belonged to Edward Sackville-West. In 1967 Knollys and Mattei Radev purchased a hunting lodge in Hampshire and they both painted and worked in the artist's studio attached to the lodge. Knollys' interest in the arts continued and he added to the collection right up until his death in 1991. Knollys' collection was bequeathed to Mattei Radev, who continued to grow the important collection. Mattei Radev became an iconic member of the artistic and literary Bloomsbury group. Radev was a Bulgarian émigré who settled initially in Glasgow after escaping Bulgaria through Turkey. When he first arrived in London he started working at Whittington Hospital as an orderly and met eye surgeon Patrick Trevor-Roper. Trevor-Roper was a gay activist and introduced Radev to likeminded friends in London. Influenced by these new acquaintances in artistic circles Radev decided to pursue an apprenticeship in framing. In 1960 he set up his own workshop in Fitzrovia with the help of a financial loan from Eardley Knollys. Clients included John Banting, Graham Sutherland and Duncan Grant. The framers continued under Radev's management until the 1990s. Radev visited Long Crichel many times and met his life-long lover E.M. Forster, the notable novelist and literary critic. The Radev collection represents the three strong individuals involved, Sackville-West who championed Modernism, Eardley Knollys whose passion for French Impressionism shines through and Radev for his loyalty to British artists with whom he was friends and in business with.
A fine Victorian rosewood concertina by Joseph Scates of 40 Frith Street, Soho, London, in a velvet lined rosewood box, height 17cm together with a Wheatstone trade catalogue and a Wheatstone instruction book (3).Condition report: This 49 key concertina will need some attention if it is to be used for playing. There are 10 small holes in the flexibe part of the bellows, but there is still good resistance. One button sticks, and some of the notes do not hold cleanly. The lid of the original case could also do with some minor attention. The rosewood ends to this charming little concertina have no condition issues. It is clear that this concertina has had a used life, but with the right owner it coud soon be back to its best.*this concertina has not been inspected internally.
Magic Lantern slides and the accompanying printed lecture in magazine format."Life among the Darkies" 44 glass slides, 37 black and white, seven hand-coloured, boxed (from an original set of 48)Supplied by E G Wood, 1-2 Queen Street, Cheapside, London. c.1900.The photographic images on these slides are remarkable documents of social history, capturing African American and some white agricultural workers and their families in Carolina, Virginia and Mississippi. Although the subjects, many barefoot and in threadbare clothes, clearly live in great poverty, there are many beautiful images. Subjects include: workers picking cotton, families posing in the cornfields, women doing laundry, drawing water, worker's cabins, farm animals etc. The racist trope of newly-emancipated slaves eating watermelon is a recurring theme and there are several images of children and babies messily enjoying the fruit.Please note: The language and racial stereotyping used in the printed lecture is offensive and reflects the attitudes of the time in which it was created.L492 Condition report: Excellent condition, two slides cracked (see photos) but all others clear, sharp and unfaded. No damp damage to speak of. These have probably sat untouched in their box for decades. The lecture pamphlet is yellowed and tatty around the edges, creased down the middle but is still very usable and pages hold together.
A 1970s mixed media still life study of flowers in a vase, 35cm x 47cm, together with a small glass framed mirror, 24cm x 14cm (faults).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.
Jasper Geerards, auch „Jasper Geeraerts“, um 1620 – um 1654 Amsterdam STILLLEBEN MIT HUMMER, RÖMER, AUSTERN UND FRÜCHTEN Öl auf Holz. 58,4 x 48,3 cm. Rechts unten Restsignatur und Datierung „1648“.Das vorliegende Gemälde ist abgebildet im RKD unter der Inv.Nr. 0000048900. Vor einem von links nach rechts aufhellendem braunem Hintergrund ein Tisch mit schwarzer, glänzender Decke, auf der sich die sorgsam arrangierten Objekte befinden: eine rundliche Zinnplatte mit einem leuchtend roten Hummer mit schwarzem Auge, dessen Zangen über den Tischrand ragen, eine gelbe Zitrone, drei geöffnete Austern, ein halb gefülltes Römerglas sowie eine Rispe Weintrauben mit Blättern. Qualitätvolle Malerei mit starken gegenüberstehenden Kontrasten in der typischen Manier des bekannten Künstlers. Teils rest., Retuschen.Anmerkung:Der Maler zählt zu den bedeutendsten Künstlern im Bereich des Stilllebens während der Periode des „Goldenen Zeitalters der holländischen Malerei“. Ähnlich wie Abraham van Beyeren (1620/21-1690) spezialisierte er sich überwiegend auf Prunkstillleben. Wahrscheinlich geboren in Antwerpen, als Schüler der Sankt Lukas-Gilde dort 1634 eingetragen. Historisch nicht belegt, doch ganz augenscheinlich hat er bei Jan Davidsz de Heem (1606-1683/84) studiert, der sich 1636 in Antwerpen niedergelassen hatte. 1644 wurde er bereits Meister der Gilde. 1649 ist er als in Amsterdam wohnhaft erwähnt, wo er auch verstarb, wobei sein genaues Todesdatum unbekannt ist. Die Todeseckdaten nennen das Jahr 1649, als er eine Anzeige wegen eines gestohlenen Gemäldes aus seinem Atelier erstattete, sowie Oktober 1654, da seine Frau als Witwe dokumentiert wurde. Seine Hauptwerke dürften in die Zeit um 1615 einzuordnen sein, wobei manche seiner Werke früher de Heem zugeschrieben waren. Werke seiner Hand befinden sich in namhaften öffentlichen Museen, wie etwa in Den Haag (Museum Bredius, „Prunkstillleben mit einem Hummer“). (12903111) (18)Jasper Geerards, also known as “Jasper Geeraerts”,ca. 1620 – ca. 1654 AmsterdamSTILL LIFE WITH LOBSTER, ROEMER WINE GLASS, OYSTERS AND FRUIT Oil on panel.58.4 x 48.3 cm.Signed and dated “1648” lower right. The present painting is illustrated in RKD with no. 0000048900. The painter is considered one of the most important still life painters of the Dutch Golden Age period. Although there is no historical evidence, it is obvious that he studied with Jan Davidsz de Heem (1606-1683/84), who settled in Antwerp in 1636. In 1644 he became master of the guild.
Guilliam Gabron, 1619 Antwerpen – 1678 ebendaSTILLLEBEN MIT FRUCHTGIRLANDE Öl auf Holz. Parkettiert. 48 x 64 cm. Links unten signiert. In ebonisiertem, durch Goldleiste akzentuiertem Rahmen.Beigegeben eine schriftliche Stellungnahme von Dr. Fred Meijer, in Kopie, der die Autorschaft des vorliegenden Gemäldes bestätigt. Vor unbestimmtem Grund eine zu den Seiten nach oben gebundene Fruchtgirlande, innerhalb welcher Äpfel, Trauben, Pflaumen, Kirschen und Beeren prangen, die durch fein aufgefasstes Weinlaub begleitet werden. Vergleichbare Gemälde werden beim RKD in Den Haag dokumentiert unter der Inv.Nr. 16391 und 20805.Provenienz: Auktion, Kettner, Berlin, 12. September 1962, Lot 473. Auktion, Leo Spik, Berlin, 27./ 29. Juni 2002, Lot 324. (1290278) (13)Guilliam Gabron,1619 Antwerp – 1678 ibid.STILL LIFE WITH FRUIT GARLAND Oil on panel. Parquetted.48 x 64 cm.Signed lower left.Accompanied by a statement in writing by Dr Fred Meijer, who confirms Gabron as the creator of the present painting. Comparable paintings are listed at the RKD in The Hague with numbers 16391 and 20805.Provenance:Auction, Kettner, Berlin, 12 September 1962, lot 473.Auction, Leo Spik, Berlin, 27 / 29 June 2002, lot 324.
Jan Brueghel d. J., 1601 Antwerpen – 1678 ebenda,gemalt in den späten 1630er-Jahren in AntwerpenVASE MIT PRACHTVOLLEM BLUMENSTILLLEBEN Öl auf Holz. 34,5 x 25 cm. Verso im Holz Ritzmonogramm „MV“, steht für den Plattenhersteller Michiel Vriendt. In dekorativem Rahmen.Beigegeben ein Gutachten von Dr. Klaus Ertz, Lingen vom 6. November 2021. Vor dunklem Hintergrund, auf einer hellbraunen Platte stehend, eine bauchige weiß-blaue Vase mit Blättern und Vogelmotiv, darin das große prachtvolle Blumenstillleben. Zu finden sind darin Rosen, Tulpen, Nelken, eine Schachbrettblume, eine Schwertlilie sowie zahlreiche Kleinblütler. Neben der Vase links ein paar kleine gelbe Blüten und rechts die Blüten eines Vergissmeinnichts. Prachtvolle qualitätvolle und farbenfrohe Malerei, bei der die Blumen gegenüber dem dunkel gehaltenen Hintergrund besonders gut zur Geltung kommen. Die Buntheit der Blumenstillleben dieser Zeit ist als ein charakteristischer Ausdruck der angestrebten Lebensfülle generell des Barock zu sehen. Teils Retuschen. (1290894) (18)Jan Brueghel the Younger, 1601 Antwerp – 1678 ibid.VASE WITH MAGNIFICENT FLOWER STILL LIFE Oil on panel.34.5 x 25 cm.Verso monogram “MV” incised in wood, for the panelmaker Michiel Vriedt.Accompanied by an expert’s report by Dr. Klaus Ertz, Lingen from November 6, 2021.
Nicolaes Maes, 1634 Dordrecht – 1693 AmsterdamPORTRAIT EINES JUNGEN MANNES MIT WEISSEM KRAGEN IN EINER PARKLANDSCHAFT Öl auf Leinwand. Doubliert. 131,4 x 108,5 cm. Trägt rechts unten eine Signatur „N. Maes (?)“. In aufwändig gestaltetem bronziertem Rahmen.Als Dreiviertelstück führt uns der Maler einen etwas nach rechts gewandten jungen Herrn vor, der fast den gesamten Bildraum bedeutungsvoll einnimmt. Ein architektonisches Versatzstück am rechten Rand dient dem rechten Unterarm als Halt, während die linke Hand in die Seite gestützt ist. Die zeittypische manierierte Drehung korrespondiert spiegelbildlich mit einer links im Mittelgrund stehenden camaieufarbenen Marmorskulptur, die den Hintergrund als Park markiert, der vermutlich mit der dargestellten Person in Verbindung stehen könnte. Ein ähnliches Portrait, ebenfalls in Parklandschaft, ist von Maes signiert und wird beim RKD in Den Haag unter Inv.Nr. 195487 dokumentiert. Provenienz: Privatsammlung Brüssel oder Antwerpen. Von da über Van Herck, Antwerpen, 24. Oktober 19927, Lot 57, an: Alphonse Giroux, Brüssel. Dessen Auktion: Brüssel, Giroux, 5. März 1928, Lot 34. J. Leger & Son, London, 1929. H.J. Spiller, 1935, von dort über: Christie's, 26. Juli 1935, Lot 139 an: Bacon zu 32 Guineas. Privatsammlung, England, vor 1962. Auktion, Sotheby's, London, 11. Juli 1962, Lot 111. Alfred S. Karlsen, Beverly Hills. Vererbt an Peter Moller, Los Angeles, von welchem gespendet an: J. Paul Getty Museum, von diesem versteigert: Auktion Mai 2007, Sotheby's, Amsterdam, zu Euro 57,600. Privatsammlung. Versteigert 7. Dezember 2011, Stockholm Auktionsverket, verkauft an: jetzigen Einlieferer. Literatur: Das Gemälde abgebildet in: Werner Sumowski, Gemälde der Rembrandt-Schüler, Bd. I, Landau/Pfalz 1983, S. 2030, Nr. 1409, Abbildung auf Seite S. 2135. Peter C. Sutton, A guide to Dutch Art in America, Washington 1986, S. 146 (als Karel Dujardin). Jennifer M. Kilian, The Paintings of Karel du Jardin. 1626-1678, New York 1993, Bd. II, S. 473 (unter zurückgewiesene Zuschreibungen). David Jaffé, Summary Catalogue of European Paintings in the J. Paul Getty Museum, Los Angeles 1997, S. 37, abgebildet (als Dujardin). Fred G. Meijer, The collection of Dutch and Flemish Still Life Paintings bequeathed by Daisy Linda Ward to the Ashmolean Museum, Zwolle 2003, S. 247. Jennifer M. Killian, The Paintings of Karel du Jardin. 1626-1678, catalogue raisonné, Amsterdam 2005, S. 243, Kat Nr. C38 (unter zurückgewiesene Zuschreibungen). (1290901) (13)Nicolaes Maes, 1634 Dordrecht - 1693 AmsterdamPORTRAIT OF A YOUNG MAN WITH WHITE COLLAR IN PARK LANDSCAPEOil on canvas. Relined.131.4 x 108.5 cm.Signed “N. Maes” (?) lower right. A similar portrait, also showing a park landscape is signed by Maes and registered at the RKD in the Hague with no. 195487.Provenance:Private collection, Brussels or Antwerp. From there via Van Herck, Antwerp, 24 October 1927, lot 57 to:Alphonse Giroux, Brussels.Whose Auction:Brüssel, Giroux, 5 March 1928, lot 34.J. Leger & Son, London, 1929.H. J. Spiller, 1935, from there via:Christie's, 26 July 1935, lot 139 to:Bacon for 32 Guineas.Private collection, England, before 1962.Auction, Sotheby’s, London, 11 July 1962, lot 111.Alfred S. Karlsen, Beverly Hills.Inherited by Peter Moller, Los Angeles who donated it to: J. Paul Getty Museum, sold at auction:Auction Mai 2007, Sotheby's, Amsterdam for 57,600 EUR.Private collection.Sold on 7 December 2011, Stockholm Auktionsverket, sold to:Current consignor.Literature: The painting illustrated in: Werner Sumowski, Gemälde der Rembrandt-Schüler, vol. I, Landau/Pfalz 1983, p. 2030, no. 1409, ill on p. 2135.Peter C. Sutton, A guide to Dutch Art in America, Washington 1986, p. 146 (as Karel Dujardin).Jennifer M. Kilian, The Paintings of Karel du Jardin. 1626-1678, New York 1993, vol. II, p. 473 (under rejected attributions).David Jaffé, Summary Catalogue of European Paintings in the J. Paul Getty Museum, Los Angeles 1997, p. 37, ill. (as Dujardin).Fred G. Meijer, The collection of Dutch and Flemish Still Life Paintings bequeathed by Daisy Linda Ward to the Ashmolean Museum, Zwolle 2003, p. 247.Jennifer M. Killian, The Paintings of Karel du Jardin. 1626-1678, catalogue raisonné, Amsterdam 2005, p. 243, cat. no. C38 (under rejected attributions).
Gilliam Forchondt, tätig um 1645 – 1677JESUS ALS GÄRTNER VOR DER KNIENDEN MARIA MAGDALENA (NOLI ME TANGERE) Öl auf Kupferplatte. 43,5 x 64,5 cm. Rechts unten signiert.Beigegeben ein Gutachten von Dr. Klaus Ertz bei, welches die Eigenhändigkeit des Künstlers bestätigt. Schilderung der Szene nach dem Johannes-Evangelium, Kap. 20, 11-18. Die beiden Hauptfiguren in weite Landschaft gesetzt, im Mittelgrund ein gepflegt angelegter Garten, rechts die Grabeshöhle mit dem beiseite geschobenen Stein, davor drei Gestalten. Links hinten im Tal die fantasievolle Wiedergabe Jerusalems mit dem Tempel. Rechts hinten der Kalvarienberg mit den noch aufgerichteten drei Kreuzen. Das Gemälde von hoher Qualität. Laut Auskunft von Fred G. Meijer stammen die Figuren von Willem van Herp, für das stilllebenhafte Arrangement mit Früchten und Gemüse in der rechten unteren Ecke wird Jan Brueghel d. J. genannt. Rest. (ausgebesserter Knick) und partiell erg. am oberen Bildrand. (1171612) (10)Gilliam Forchondt,active ca. 1645 – 1677CHRIST AS GARDENER IN FRONT OF THE KNEELING MARY MAGDALENE (NOLI ME TANGERE)Oil on copper.43.5 x 64.5 cm.Signed lower right.An expert’s report by Dr Klaus Ertz, confirming the authenticity is enclosed. Illustration of a scene from the Gospel of John, chapter 20:11-18. The painting is of high quality. According to information by Fred G. Meijer, curator at the Rijksbureau voor Kunsthistorische Documentatie in The Hague the figures were created by Willem van Herp, while Jan Brueghel the Younger is mentioned for the still life-like arrangement of fruit and vegetables in the lower right corner. Restored (restored crease) and partially mended at the upper edge of the picture.
Franz Werner von Tamm, 1658 Hamburg – 1724 WienBLUMENSTILLLEBEN Öl auf Leinwand. Doubliert. Auf Karton aufgebracht und mit Leinwand hinterfüttert.65 x 48 cm. In breitem profilierten Holzrahmen. Auf einer angedeuteten steinernen Tischplatte ein Gefäß mit den Bildraum füllenden bewegt dargestellten Blumen. Rosen, Mohn, Wicken, Lilien und Päonien sind geschickt mit teils gewundenen Stielen kombiniert und bieten eine Vielzahl von räumlich abwechslungsreich gestalteten Eindrücken, die wie bei einem Feuerwerk einerseits eine Verdichtung der Farben, andererseits aber auch einzelne Farbmomente isoliert im Raum darbieten. Franz Werner von Tamm wurde in seiner Anfangszeit durch Th. van Soesten und Johann Pfeiffer zum Historienmaler ausgebildet. Später wechselte er thematisch in die dekorative Blumen- und Früchtemalerei, wandte sich 1685-1695 nach Rom und damit zu Mario Nuzzi, genannt Dei Fiori. Unter dessen Anleitung entwickelt er sich zu einem Meister seines Faches. 1695 berief Leopold I den Maler an den Wiener Hof, wo er den Ruf als einer der führenden Vertreter in der Stilllebenmalerei erlangt hat; sein Einfluss auf diese Kunstform wirkt im gesamten 18. Jahrhundert. Das vorliegende Bild ist wohl in der Anfangszeit der Wiener Hofmalerstellung entstanden, im Nachhall typischer italienischer Dekorationsmalerei fokussiert Tamm einzelne minutiös ausgeführte Blumen der Komposition; der Effekt der „differenten Fokussierung“ führt zu einer räumlichen Tiefe des Bildes. Die Fürstlich-Liechtensteinsche Galerie besitzt allein 24 (nach anderen Angaben 17) und die kaiserliche Gemäldegalerie acht Werke Tamms. In Dresden ist er mit zwei größeren und zwei kleineren Bildern, in Schwerin und Prag mit je einem vertreten.Anmerkung 1: Das Gemälde ehemals von Ingvar Bergström begutachtet und bestätigt (Lempertz Lot 1088). Anmerkung 2: Ein vergleichbares signiertes Gemälde befindet sich in der Hamburger Kunsthalle (Inv.Nr. 471). Literatur: Vgl. Hamburgisches Künstler-Lexikon, Bd. 1, Hamburg 1854, S. 261f. Vgl. Friedrich Schlie, Beschreibendes Verzeichnis der Werke älterer Meister in der Großherzoglichen Gemälde-Galerie zu Schwerin, Schwerin 1882, S. 614. Vgl. Die Historische Ausstellung der k.k. Akademie bildender Künste in Wien 1877, Wien 1877, S. 267f. Vgl. Eduard von Engerth, Kunsthistor. Sammlungen des allerhöchsten Kaiserhauses. Gemälde. Beschreibendes Verzeichnis Bd. III, Wien 1886, S. 241-244. Vgl. Alfred Woltmann und Karl Woermann, Geschichte der Malerei, Bd. III, 2. Hälfte, Leipzig 1888, S. 890. Vgl. Hubert Janitschek, Geschichte der deutschen Malerei, Berlin 1890, S. 580. (12805060) (13)Franz Werner von Tamm,1658 Hamburg – 1724 ViennaFLORAL STILL LIFE Oil on canvas. Relined.65 x 48 cm.Literature:cf. Hamburgisches Künstler-Lexikon, vol. 1, Hamburg 1854, p. 261ff. cf. Friedrich Schlie, Beschreibendes Verzeichnis der Werke älterer Meister in der Großherzoglichen Gemälde-Galerie zu Schwerin, Schwerin 1882, p. 614. cf. Die Historische Ausstellung der k.k. Akademie bildender Künste in Wien 1877, Vienna 1877, p. 267ff.cf. Eduard von Engerth, Kunsthistor. Sammlungen des allerhöchsten Kaiserhauses. Gemälde. Beschreibendes Verzeichnis vol. III, Vienna 1886, pp. 241-244.cf. Alfred Woltmann and K. Woermann, Geschichte der Malerei, vol. III, 2nd half, Leipzig 1888, p. 890. cf. Hubert Janitschek, Geschichte der deutschen Malerei, Berlin 1890, p. 580.
Spanischer Maler des 17. JahrhundertsGROSSES BLUMENSTILLLEBEN Öl auf Leinwand. 125 x 100 cm.Gold glänzende Metallvase mit eingezogenem Rundfuß auf einem Marmortisch stehend, üppig gefüllt mit einem großen Strauß von Frühlings- und Frühsommerblüten wie Narzissen, gefüllten Anemonen, gefiederten Tulpen, herabhängenden Königswinden und weiteren Strauchblüten. An der Tischplatte herabgefallene Tulpen- und Anemonenblüten. Der Blumenstrauß betont mittig durch hellere Blüten wiedergegeben, die äußeren, etwas dunklerfarbigen größeren Tulpenblüten leiten optisch zum dunkleren Hintergrund über. Insgesamt hohe malerische Qualität. (1290873) (11)Spanish School of the 17th centuryLARGE FLOWER STILL LIFE Oil on canvas.125 x 100 cm.
Abraham van Calraet, 1642 Dordrecht – 1722 Amsterdam, zug.STILLLEBEN MIT PFIRSICHEN, WEINTRAUBEN UND INSEKTEN Öl auf Holz. 24 x 32 cm. In vergoldetem Rahmen.Vor braunem Hintergrund die auf einer Tischplatte liegenden saftigen samtigen orange-gelben Pfirsiche mit einem über die Tischkante hinweggehenden liegenden grünen Zweig. Im Hintergrund zudem eine Rispe mit hellen Weintrauben, über denen ein kleiner heller Falter zu erkennen ist. Die Darstellung wird zudem belebt durch drei Wassertropfen und eine kleine Fliege auf dem vorderen rechten Pfirsich. Das Licht fällt aus unbekannter Quelle von links auf die naturalistisch wiedergebenden Pfirsiche, die so einen starken Kontrast bilden zu dem sonst dunklen Hintergrund. Retuschen. (1290896) (18)Abraham van Calraet, 1642 Dordrecht – 1722 Amsterdam, attributedSTILL LIFE WITH PEACHES, GRAPES AND INSECTSOil on panel.24 x 32 cm.
Tanzio da Varallo, um 1575 – 1633BLUMENSTILLLEBEN IN PRUNKVASE, UM 1630 Öl auf Leinwand. Altdoubliert. 61,5 x 45,5 cm. Ungerahmt. Neben den zahlenmäßig weit überlegenden Gemälden, die eine figurative religiöse Thematik zeigen, nimmt sich die Anzahl, die Blumenstillleben zeigen, sehr gering aus. Vor dunklem, fast schwarzem Fond setzt Varallo kontrastierend eine in Messing getriebene Prunkvase mit Löwenkopfdekor. Darin von überlappendem Bärenklau eingeführt ein Blumenstillleben in pyramedialer Komposition gelbe, weiße und rote Blüten zeigend. Rest.Provenienz: Ehemals Privatsammlung, Paris. Literatur: Das hier angebotene Gemälde ist abgebildet und besprochen in: Prospettiva, Rivista di storia dell‘arte antica e moderna, Siena / Napoli, Juli-Oktober 2016, S. 173. (1291491) (3) (13)Tanzio da Varallo,ca. 1575 - 1633FLOWER STILL LIFE IN MAGNIFICENT VASE, CA. 1630Oil on canvas. Old relining.61.5 x 45.5 cm.Unframed.Provenance: Formerly private collection, Paris.Literature: The painting on offer for sale here is illustrated and discussed in: Prospettiva, Rivista di storia dell‘arte antica e moderna, Siena/ Napoli, July-October 2016, p. 173.
Flämischer Maler des ausgehenden 17. JahrhundertsBLUMENSTILLLEBEN MIT INSEKTEN Öl auf Holz. Parkettiert. 55 x 41 cm. In dekorativem Rahmen.Vor hellbraunem Hintergrund, auf einer Tischplatte mit hellem Tuch stehend, eine bauchige Glasvase, darin die prachtvollen weiß-roten und eine gelb-rot geflammte Tulpe. Mehrere Insekten beleben das Bild, so auf der Tischdecke drei Falter, eine Libelle, ein großer, schwarz glänzender Hirschhornkäfer, ein kleiner Marienkäfer sowie eine gold glänzende Biene. Auch im Bereich der Tulpen sind mehrere Insekten zu erkennen, darunter Falter und eine Libelle. Feine qualitätvolle Malerei, bei der die Tulpenblüten zwischen den leuchtend grünen Blättern in naturalistischer Manier wiedergegeben werden. Rest., Retuschen. (12907613) (1) (18)Flemish School, late 17th centuryFLOWER STILL LIFE WITH INSECTS Oil on panel. Parquetted.55 x 41 cm.Fine, high-quality painting with the tulip blossoms between the radiant green leaves are depicted in a naturalistic manner. Restored, retouched.
Edward McGuire (1932-1986)Barn OwlOil on board, 30 x 22cm (11¾ x 8¾'')Signed with initials and dated (19)'85; also signed, inscribed and dated 1985 versoEdward McGuire’s paintings are unmistakable for their slightly uncanny, surreal quality. Their dreamlike character emerges, almost paradoxically, from the sense of heightened reality he achieves in his portrait and still life subjects. The latter consisted chiefly of taxidermal birds, particularly owls, and occasionally dead game birds.McGuire was a son of the charismatic Senator Edward McGuire, a high profile sportsman and at the time owner of Brown Thomas. Despite fragile health in his early years, the young Edward grew up to be a sports enthusiast himself. Half-hearted efforts to guide him towards the family business never gained traction. He studied art history, then painting, in Florence and Rome – with a subsequent spell at the Slade in London, where he came into contact with Lucian Freud. Freud and a good friend of his, the Irish painter Patrick Swift, were by far the most important influences on McGuire’s painting.Like Freud, he combined an often bohemian lifestyle with a focused commitment to his work and, again like Freud, he was a slow, painstaking worker: to complete four paintings a year was a good average, he reckoned. Many consider him to be the best Irish portrait painter yet. He had an affinity for poetry and poets (many, including Seamus Heaney, John Montague, Michael Longley, Michael Hartnett and Paul Durcan feature in his impressive roll-call of subjects). But it’s fair to say his heart was in his bird paintings.He was just 20 when he met the Natural History Museum’s venerable taxidermist and acquired three birds from him, an owl, a lapwing and a duck. That same owl is probably the bird in this and several other paintings. “I am not a genius…” McGuire wrote, “I know my limitations and that is why I lay so much stress on the technical side.” He painted with reference to his own colour dictionary and tonal scale, compiled over a ten-year period and, he noted, regardless of subject, each painting was for him a precise construction and an exploration of colour and tonal values.Aidan Dunne, October 2021
Registration: S701 CTCChassis No: TTBLN29969708MOT: Oct 2022Extremely rare 'gentleman's express', believed to be one of between 6-10 madeTwo registered keepers from new (the current since it was a year old)Returned to Bristol for servicing throughout its life with evidence of a recent automatic gearbox overhaul and new brakes “The Blenheim model is a four-seat coupe that blends discrete looks, ample performance and a sumptuous, handcrafted interior to create a unique motoring experience that has more than a hint of nostalgia about it. Borrowing technology from aircraft construction Bristols appeal to a small band of wealthy customers wanting beautifully engineered and packaged vehicles with continent crossing ability” (Auto Express, 29th December 2006)Named after one of its former parent company’s fighter aircraft, the Bristol Blenheim was unveiled in September 1993. Priced from £110,000, it may have been a left-field choice when compared to other British handbuilt grand tourers such as the Aston Martin Virage or Bentley Continental R but there were still those who valued its narrow track (useful when negotiating London traffic or country lanes) and unmatched visibility. Mounted behind the front axle line for handling balance, the staple Chrysler 5.9 litre V8 benefited from the adoption of electronic manifold fuel injection and was allied to a more sophisticated four-speed automatic gearbox. Criticisms as to the Bristol’s overly ornate radiator grille and pebble-sized headlights were addressed with the arrival of the Blenheim 2 in January 1998 which also boasted a reduced turning circle, power boost and reputed 150mph top speed. Only in ‘production’ for eighteen months or so, it is estimated that between six and ten Blenheim 2 cars were made with Bristol losing money on each one!Resident at an imposing Northamptonshire house, the first owner of chassis TTBLN29969708 part-exchanged a Bristol Brigand in order to obtain it. His successor, the managing director of a world-famous investment bank, acquired the four-seater when it was just over a year old. Relocating to London’s Holland Park, the Blenheim 2 was lavishly maintained. Returned to its maker several times a year if the need arose, the car boasts a full Bristol Service History up to 86,000 miles (the odometer currently reads c.92,000). The last major invoice on file totalled £8,436.23 and was issued on December 12th 2019 (though, annual expenditure exceeded £6,000 in 2017 and 2018 too). A striking looking machine finished in Brabazon Grey with Magnolia leather upholstery, ‘S701 CTC’ is understood to draw a crowd wherever it goes which is perhaps unsurprising given its rarity. Said to be in rude mechanical health with evidence of a recent automatic gearbox overhaul and replacement brakes, the Blenheim 2 has a few cosmetic blemishes typical of a London car. Offered for sale with V5C Registration Document, supplying invoice, MOT certificate valid until October 2022 and ‘a good half inch of service history’.Footnote: PLEASE NOTE: We have been informed that it was the second owner (and not the first) who part-exchanged a Brigand as part of his purchase with the Blenheim costing him £100,155 in December 1999.PLEASE NOTE: This lot is accompanied by an old-style V5 Registration Document. The vendor is hopeful of finding the current V5C Registration Document but if he cannot then a new owner will have to apply for a fresh one.
Registration No: 244 YUUChassis No: 3276915MOT: ExemptGenuine Gordini presented in Silver Green with contrasting red interiorSubject to extensive works since 2019 including engine overhaul and moreRacing history including participation in the ‘Rally 4 Regioni’ in 2011 before coming to the UK Introduced in March 1956 the Dauphine was revolutionary in the world of popular 5CV. The only inclusion from the 4CV were the wheels with five nuts and a few mechanical elements. The small family sector was a bestselling market in France at the time, and the Dauphine was quick to gain a large market share. However the Renault Dauphine’s appeal saw it sell well in countries beyond its French homeland, selling more than two million in the 11-year production run. The engine was still mounted at the rear, a habit of Renault at the time, with a 845cc straight-four engine which allowed a maximum speed of 110km per hour.Since the 1950s, Amédée Gordini, known as ‘Le Sorcier’ for his almost magical ability to extract high power outputs from engines has been synonymous with performance versions of Renault saloons. In the late 1950s/early 1960s, competition tuned Dauphines did exceptionally well in many forms of motor sport. Their rallying victories were numerous and indeed, a Dauphine was the first car ever to win outright the three most important rallies of the day; the Tulip Rally (1957), the Monte Carlo Rally (1958) and the Alpine Rally (1959) while also enjoying considerable great success on the track. For several seasons the Dauphine dominated national 1,000cc classes around the world, carrying off overall and class victories in such events as the Mille Miglia, 12 Hours of Sebring and Tour de France.Manufactured in 1960 and presented in Silver Green with contrasting red interior, this A610 Dauphine Gordini has been confirmed by the UK Alpine Club as a genuine Gordini, designated R1091 car. 244 YUU spent much of its life in Italy, where it participated in the ‘Rally 4 Regioni’ in 2011 amongst many other events before coming to the UK in 2013, where it was subsequently subject to much recommissioning work.More recently, since 2019 the car has benefited from further extensive works including an overhauled block and pistons, overhauled head with specially made valve seats, guides and replacement valves, replacement wheel cylinders, drums and shoes, water pump, fuel pump, alternator with 12v conversion, exhaust, battery and distributor overhaul with replacement plugs and an oil service for good measure. In addition, 244 YUU also received replacement door and window seals, front carpet and rubber floor mats, replacement wheels and tyres, period roof rack and further assorted finishing accessories including pipes, rear grille mesh, rear side vent, hub caps and more. The vendor states that although the car has received a replacement Solex Carburettor, it would benefit from a smaller carburettor and could also benefit from an interior fettle. Fitted with a 670-05 type 850cc motor and ‘Loved by all that see it’ 244 YUU comes accompanied with a number of invoices, the V5 document as well as a copy of the French registration document. The vendor rates the condition of the interior trim as ‘Good’, with the bodywork, engine, electrical equipment, paintwork and transmission as ‘Very Good’.Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762
‡ PROPERTY FROM AN INSTITUTIONAL COLLECTION A FINE AND EXCEPTIONALLY RARE NORTH GERMAN PARADE CUIRASS WITH EMBOSSED AND CHASED DECORATION, LATE 16TH CENTURY, PROBABLY BRUNSWICK formed of steel borders overlain with gilt brass, its breastplate, of |peascod| fashion, constructed of two plates joined medially by a riveted overlap (the left plate patched at its outer edge), and fitted within its later-cut lower edge with a moderately deep waist-flange added during early working life, its backplate, connected to the breastplate by shoulder-straps (the left lost and the right incomplete) and a waist-belt covered with crimson velvet, constructed like the latter of two medially-overlapped plates and fitted within its later-cut lower edge with a short culet added, like the fauld, during early working life; both elements formed at their main edges with file-roped inward turns and embossed overall in low relief and chased between vertical bands of stylised scallops, with panels of classical ornament, involving the allegorical figures of the Cardinal virtues comprising Prudence, Justice, Fortitude as the figure of Hercules with the pillars of Samson, Temperance, and David facing Goliath, various warriors, female figures, trophies-of-arms and masks amid scrolling foliage, all on a stippled ground, the overlays of the fauld and culet in each case engraved with running asymmetrical foliage occupied by stippling; both elements fitted internally with linings of tow quilted between layers of canvas and crimson velvet in lozenge-shaped panels, and decorated around their scalloped edges (partly detached at the lower right edge of the breastplate) with braided cord of silver-gilt wire 44.0 cm; 17 3/8 in high Provenance Sotheby~s New York, 25th November 1986, lot 505 The use of brass in the manufacture of arms and armour in Brunswick and nearby Wolfenbûttel is well documented in the reign of Julius, Duke of Brunswick-Wolfenbûttel (1528-1568-1590) (See von Rohr 1989, parts 1 & 2, pp. 110-16). Among the one hundred or so items of brass listed as being sold from the ducal manufactory at Wolfenbûttel around 1580-90 was |a short brass armour for use on horseback and foot, with shaffron and crinet| (Rohr 1989, p. 110). In 1577 the Duke had ordered Landsknecht armours of brass for mounted use with shaffrons and crinets, from the Brunswick armourer Wulf Gabriel, then serving, in the period 1572 to 1581, as |Ducal body-armour-maker| in the arsenal at Wolfenbûttel (ibid., p. 110 ). Earlier, in 1572, the Brunswick armourer Peter Philipp had received from the Duke an order for fifty-five brass armours equipped with matching burgonets and morions (ibid., p. 110). A brass burgonet of the period is preserved in the Städtishes Museum, Brunswick, Cma No. 3 (ibid., p. 111, fig. 1). Mention is to be found, moreover, in the series of records cited above, of a purchase from the Helmstedt goldsmith Witte of seventy embossed brass burgonets (ibid., p. 110). A coin of 1576 shows Duke Julius wearing a burgonet with just such decoration (ibid., p. 113-14, fig. 5). Of particular significance in the present context is a circular shield or target in the Royal Armouries, Leeds, Inv. No. V. 53, bearing the date 1579, which like the cuirass under discussion is formed of two pieces of steel joined medially, overlain with brass and decorated with embossing and chasing on a stippled ground (Rohr 1989, p. 113, fig. 4; and Stadt im Wandel, Landesmuseum (Vieweghaus), Brunswick, Vol. 2, 1985, p. 769, cat. no. 681). The decoration of the two pieces is strikingly similar both in regard to design and execution, with the labours of Hercules and his pillars featuring in both. References to armour of brass or copper occur with some frequency in Brunswick records of the 1580s and ~90s (ibid., p, 112). They were still to be found in inventories of the ducal armoury at Wolfenbûttel in the following decades. One of 1667 mentions a brass armour extending to the knees, a fore- and hind-piece with arms of copper, and |88 yellow burgonets with embossed work| (ibid., p. 113). A later inventory of 1732 refers to a complete armour of brass of Duke Julius mounted on a black horse of wood; mentioned again in a sale-catalogue of 1789 (ibid., p. 113). The inventory of 1732 notes that there were then also to be found in the Julius Cabinet of the armoury, |6 German flat guns, their barrels etched, with full brass stocks, the figures on the stocks finely embossed.| (ibid., p. 113). Several guns and pistols of about 1575-85, bearing the monograms and devices of Duke Julius, have their stocks of sheet-brass embossed with decoration of the same character as that found on the cuirass under discussion (Rohr 1989, pp. 11-12, figs, 2 -3; Stadt im Wandel, 1985, Vol. 2, pp. 760-1, cat. nos. 671-3; and Wolfgang Glage, Das Kunstwerk der Bûchsenmacher in Land Landesmuseum, Brunswick, 1987, pp. 47-57). Their embossing shows the same very distinctive stippled ground as that of the cuirass under discussion. Pistols of the group can be recorded in the Landesmusmuseum, Brunswick, the Kestner Museum, Hanover (WMI. 227), the collection of Her Majesty the Queen, Windsor Castle, (RCIN 61967), and the Royal Armouries Museum, Leeds, Inv. No. XII.1076; while the much rarer guns of the group can be recorded in Herzog Anton-Ulrich Museum, Brunswick (Inv. No. Waf.1), and the Tøjhusmuseet Copenhagen (Inv. Nos B70 and B71). Similar embossed ornament is to be seen on Brunswick patrons and powder-flasks of the same period. A powder flask can be recorded in the Metropolitan Museum of Art, New York (Acc. No. 2014.214); while patrons can be recorded in the Royal Armouries Museum, Leeds (Inv. No. XIII.37), and the former Hanoverian Royal Collection, sold Sotheby~s, Hildesheim, 5 October 2005, lots 335-342. A further example was sold in this room 8th December 2010, lot 360.
Duncan Grant (1885-1978)Still life with Vessels, circa 1965after Francisco de Zurbaránoil on canvas29 x 54cm. Provenance:With a postcard of the Zurbarán painting sent by Grant to Leonard Foster at Wildenstein's in Bond Street, dated 26th January 1965, and the black and white photograph of the Zurbarán painting. "My friend Paul Roche was given this and left it to me. Clever of him wasn't it. But of course, this is in colour and must not be compared too closely with my copy which was done from a black & white card. Yours sincerely, Duncan Grant"Condition report:Examined under a UV light and all looks ok with no signs of restoration or overpaint. Canvas is sound with no rips or damage. There is a line to the left of the middle white vessel, This is a lighter line than the rest of the table and runs for 7cm - we think this is original to the painting. The frame has some minor losses.
Denys Watkins-Pitchford "BB": 'The Pegasus Book of the Countryside', London, Dennis Dobson, 1964, 1st edition, ex Northamptonshire County Library, inkstamp/ref. number verso title, FFEP neatly excised, else no other markings, full page and in text black & white ills. by BB throughout, original cloth, dust wrapper. One of the scarcest BB titles, "Here, surely, is a book destined from publication to become a minor classic. Based exclusively on the first-hand experience of its author, a born nature writer. Taking us on a variety of expeditions, 'BB' opens our eyes and ears to some of the fascinating array of wild life still to be seen and heard in our islands in spite of the disappearance of hedges and the use of chemical sprays. A brilliant observer, a true country-lover without a trace of false sentimentality."
Scottish watercolour - Black Rock xxxx Glen We, artist monogram AMS and dated '88 to lower right 11.5cm x 16.5cm mounted in a glazed frame; a small oil painting on board, still life of a vase of flowers and fruit framed, and Mouse and Strawberries a framed and glazed embroidery Location: 10:1
Natural History: A Very Rare Collection of World Seashells, by repute collected by HMS Challenger, 1872-1876, an interesting and rare to find collection outside of any institution and or museum, a large collection of various World seashells collected by the crew of H.M.S. Challenger while circumnavigating the globe between 1872-1876, housed within a period double door collectors cabinet, the doors opening to reveal eight various sized drawers with indexed individual compartments, all shells with attached data labels, including a small handwritten ledger documenting specimens in full, with locations noted, cabinet size 66.5cm by 37.5cm by 68cmWe know more about the surface of the moon than about the ocean floor. Scientists estimate that 91 percent of life under the sea hasn’t been discovered yet and more than 80 percent of the ocean has never been explored. What we do know about the ocean makes it almost more mysterious. It’s an alien landscape, complete with undersea mountain ranges and trenches deeper than Mount Everest is tall, home to a glorious nightmare carnival of weird, often glowing animals. And most of what we know has only come to light in the last 150 years, starting with the expedition of HMS Challenger. From 1872 to 1876, the 200-foot-long warship was repurposed as a floating lab for the world’s first large-scale oceanographic expedition, circumnavigating the globe and dredging up samples of never-before-seen creatures from the ocean floor. The Challenger explorers brought to light thousands of new species and revealed the oceans to be a place of startling depths and untold wonders. Scientists today still rely on the Challenger findings to study everything from seashells to climate change.Condition report: There is a 31 page documented book which states specimens and locations collected, i have added as many images as possible but unfortunately all cannot be uploaded due to file space, if required please contact me via email and i will where possible forward via email request.
The important M.B.E. and K.P.F.S.M. group of four awarded to Mr Horace Sampson Lyne, Chief Fire Officer for Newport, Monmouth, for 50 years, a Welsh International Rugby player and referee who played an important role as a founder member of the International Rugby Board (I.R.B.), serving for 51 years, and as President of the Welsh Rugby Union (W.R.U.) for 41 years The Most Excellent Order of the British Empire, M.B.E. (Civil) Member’s 1st type breast badge, silver, hallmarks for London 1933; The Order of St. John of Jerusalem, Officer‘s breast badge, silver and enamel, with heraldic beasts in angles; King’s Police Medal, G.V.R., 2nd issue, for Distinguished Service (Horace Sampson Lyne M.B.E. Chief of Newport (Mons.) Fire Brigade); Jubilee 1935, very fine (4) £500-£600 --- M.B.E. London Gazette 7 January 1918. The above badge added to complete group. K.P.F.S.M. London Gazette 1 January 1932. Officer St. John London Gazette 26 June 1934 Horace Sampson Lyne was born at Newport on 31 December 1860, the son of Charles Lyne, mayor of the town in 1856 and 1884. He was educated in Plymouth and at the Royal Naval College, Keyham, and by profession he was a solicitor. At aged 18, he played as full back for Newport rugby club, but it was as a skilful forward that he found success, as the captain of the club in 1883-84, being capped five times for Wales, 1883-85. In 1885 he refereed the England vs. Ireland Rugby International. In 1886-87, he was one of the founders of the International Rugby Board, as a representative of the game in Wales, and he served the Board without a break from 1887 to 1938 (51 years). He served as the respected President of the Welsh Rugby Union for 41 years, longer than anyone else, and steered the rugby affairs of Wales throughout the first half of the 20th century. He was Chief Officer, Newport Reserve Constabulary 1914-18, when Newport had no Chief Constable (M.B.E.), Chairman of Newport Athletic Club 1894-1949, and Newport’s Chief Fire Officer for 50 years (K.P.F.S.M.). Newport Fire Brigade, by the Secretary C. Hallett: ‘Up to the year 1884, the duties appertaining to the extinguishing of fires were carried out by the Police of the town. In that year, however, the Mayor (Councillor J. W. Jones, J.P.) called a public meeting of the Burgesses, at which meeting it was resolved unanimously to form a Volunteer Fire Brigade. The Mayor became Honorary Captain, and continued in that office, for many years. Mr. R. J. Whitehall, a gentleman who had had some previous experience of fire brigade work, was appointed Captain and there were two Lieutenants, viz. Messrs. Horace S. Lyne and F. W. Cross, and twenty Firemen. A subscription list was opened for providing uniforms, etc., and the Corporation made a grant of £50 and handed over such appliances as they had. Most of these seem to have been very old and in a bad condition. They included two manual pumps, a hose reel and a quantity of leather hose. One of the manuals is still in existence, having been retained for its sentimental and historic value. The first Fire Station (a very inadequate building), was opposite the Police Office in Dock Street. The building is still in existence and is now used as a garage for the Police patrol cars. The records of the Brigade show that there were many difficulties to contend with in those days. Such hydrants as were in the town were of varying patterns and a lot of delay was occasioned in getting the standpipes and hose to fit. Delay also often arose in getting horses to draw the appliances to the scene of a fire. It was the custom then to have detachments of firemen on special duty on November 5th and on the nights of Parliamentary Elections. For some years the firemen were called to fires by the Police going round the men's houses. Nowadays each fireman's dwelling is connected to the Central Fire Station by an electric call bell or a telephone. In 1886, Mr. Horace Lyne was appointed Captain of the Brigade and continued as Chief Officer until his retirement in 1934, on the completion of 50 years' service. Mr. Lyne's services are still at the disposal of the Brigade in an advisory capacity, and he now holds the rank of Honorary Chief Officer. The first steam fire engine was purchased in 1885, a second steamer was obtained in 1900, and in the latter year the first professional fireman was appointed. In 1896, a new Fire Station, built on the site of the present premises, was opened, and three horses were purchased and kept at stables there. This appears to be the commencement of the period when the Brigade had its own horses, and those who are in a position to remember still speak in admiration of the perfect training of the horses and the way in which they took up positions to be turned out when an alarm of fire was raised. In 1912, the Brigade had its first motor fire engine, and two years later all the horses were dispensed with and two motor pumps purchased. The Central Fire Station was enlarged to its present extent in 1915 and re-opened by the then Lord Tredegar.’ Lyne was very prominent in the public affairs of Newport and was granted the Freedom of the town in 1934, and made an officer of the Order of St. John in the same year. In 1938, he was appointed Chancellor of the See of Monmouth, and he was a member of the Governing Body of the Church in Wales. He died on 1 May 1949 in Newport. He is a holder of the National Fire brigades Association Honorary life member medal. Much detail of Lyne’s services to Welsh rugby can be found in ‘Fields of Praise’ by David Smith and Gareth Williams (1980), the Official History of the W.R.U. Sold with a copy of ‘Fields of Praise’ by David Smith and Gareth Williams (1980), and ‘Newport Athletic Club 1875-1975’, together with a comprehensive file of copied research.
A Welsh mining interest ‘Tonypandy Riots’, Boer War and Police Long Service group of three awarded to Police Constable Levi Wood, a Bristol policeman drafted in to help break the Cambrian Combine miners strike in the Rhondda coalfields in 1910-11, and who received back, head and hand injuries during the fighting in Llwynypia on 7 November 1910 Queen's South Africa 1899- 1902, 6 clasps, Belmont, Modder River, Driefontein, Johannesburg, Diamond Hill, Belfast (1318 Pte. L. Wood, Cldstm: Gds:); King's South Africa Medal, 2 clasps South Africa 1901, South Africa 1902 (1318 Pte. L. Wood. Coldstream Guards); Bristol City Police Long Service Medal, 1 clasp ‘Twenty Two Years’ (Con. L. Wood) this with top ribbon brooch, edge bruise to first, otherwise nearly very fine and better (3) £400-£500 --- Levi Wood was born to Charles and Louisa Wood, in Taunton, Somerset, early in 1880. By trade a gardener, he was already a member of the 2nd (Volunteer) Company of the Somerset Light Infantry when he enlisted into the 1st Bn. Coldstream Guards at Taunton on 5 January 1898. He was initially posted to London for training, subsequently remaining at home until posted to Gibraltar on 10 March 1899. On 27 October 1899, he was sent to South Africa to play his part in the Boer War. Returning home on 20 July 1902, he was, a week later, posted to the 3rd Battalion and on 9 October transferred to the Army Reserve on expiration of his period of army service. He was finally discharged from the reserve on 4 January 1910. Wood joined the Bristol City Police in 1905, while still on the Army Reserve, and in 1910 took part in the ‘Battle for the Glamorgan Colliery Powerhouse’ on Monday, 7 November. The ‘Tonypandy Riots’ as they were collectively known, were a series of violent confrontations between coal miners and police that took place at various locations in and around the Rhondda mines of the Cambrian Combine, a business network of mining companies formed to regulate prices and wages in South Wales in 1910 and 1911. The riots were the culmination of an industrial dispute between workers and the mine owners. The term "Tonypandy riot" initially applied to specific events on the evening of Tuesday, 8th November, 1910, when strikers, impassioned by extended hand-to-hand fighting with the Glamorgan Constabulary, reinforced by the Bristol City Constabulary, smashed windows of businesses in Tonypandy. The Bristol Police were the most hated of all the various police contingents as they were the most violent. A total of 1,499 Police were involved in suppressing the strikers, with 214 casualties being sustained by police contingents who needed medical attention. Minor casualties, numbering over 500, were not reported, nor were casualties amongst the minors. Constable Levi Wood was one of the casualties, sustaining injuries to his back, head and hand during the fighting in Llwynypia on 7 November 1910. This is confirmed in the book ‘Labour Strife in the South Wales Coalfield 1910-1911’ by David Evans, published Cardiff, 1911. Home Secretary Winston Churchill's decision to allow troops to be sent to the area to reinforce the police shortly after the 8 November riot caused ill-feeling towards him in South Wales throughout his life. His responsibility remains a strongly disputed topic. Strangely enough there was little, if any, ill-feeling towards the troops, who were mostly covertly sympathetic to the miners and got on very well with the local population. There have always been local stories of how the soldiers looked elsewhere when the out of work miners were scavenging coal from the spoil heaps to try to keep their families warm and to cook what little food they had. There was also the story of the loaded coal train which left the valley for Barry Dock which arrived at its destination virtually empty. The soldiers guarding it stating that it must have departed that way, or was secretly pilfered when they were not looking! Wood was awarded his Bristol City Police Long Service Medal with clasp “Twenty Years” in 1927, at the age of 47, and died in Bristol in December 1941, aged 61. Wood’s police service record is held in Bristol archives. Sold with Coldstream Guards service papers, a reprint (1963) copy of ‘Labour Strife in the South Wales Coalfield 1910-11’, which lists all the police participants and their injuries, and ‘The Tonypandy Riots 1910-11’, by Gwyn Evans & David Maddox (2010) which tells the full story of the strike and aftermath with many illustrations.
Denby Sweeting (British, 1936-2020), still life of Oriental poppies, a willow and coal tit and small tortoiseshell poppies, signed centre lower left, 'Denby Sweeting' and titled 'Reading Room Studio' labels, with another listing the varieties of flowers, oil on panel, 71.5cm x 79cm, frame 97cm x 89.5cmProvenance: consigned from the artist's estateCondition report: Ok.
19TH CENTURY ENGLISH SCHOOL IN THE MANNER OF DAVID COX "Worker with scythe in a landscape" watercolour, unsigned 20 cm x 16 cm, JH "Young girl with flowers in her hair and lace coloured black dress" watercolour with pencil initialled and dated 1848 lower right 18 cm x 14 cm, LATIFF MOHIDIN "Ubud" monochrome watercolour initialled and dated '67 lower right, titled middle and inscribed "Bali" lower left 16.4 cm x 9.8 cm inscribed on Valentine Willie Fine Art label verso and 19TH CENTURY ENGLISH SCHOOL "Lilies in a vase with further flowers and wasp in foreground" a still life study, watercolour, unsigned 21 cm x 25 cm
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