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Lot 425
Judith Moy (1927-2016) Standing Stone, Clifden Castle, County Galway, signed and dated '96 lower right, acrylic on board, 37 x 52 cm, frame 41 x 56 cm, together with further works by the same hand titled 'Trawsfynnedd', 'Above Blaenau Ffestiniog' graphite landscape, 'Llyn Ogwen', 'St Winwaloe Church', a still life study 'Tony's Boat' and 'Pumping Station' abstract composition (total 7)
Lot 61
A group of English porcelain and bone china, early and mid 19th centuries, comprising a pair of candlesticks, attributed to Ridgway (Cauldon Place) circa 1820-30, of columnar form with a light green ground and gilt-lined highlights, the base decorated with three floral panels, numbered 3613 in iron red, 15.5cm high; a vase, circa 1820, the dark blue ground painted with two opposing floral panels, with Turk's Head handles, unmarked, 20cm high (restored), a Chamberlain's Worcester bud vase, the cobalt ground nicely decorated with a still life of flowers and raised gilding, unmarked, 16cm high; a further smaller bud vase, decorated with flowers, 8cm high, a Staffordshire miniature basket, painted with flowers, 10cm wide; a Coalport trinket or cosmetics pot and cover, 9.5cm diameter; a Flight, Barr and Barr pen tray, 24.5cm wide (restored); and a further larger tray, of twin shell-handled form, decorated with flowers, unmarked, 27cm (9)Condition:Chamberlains pen tray is restored. One candlestick has some staining and crazing to the top.Taller vase has some staining, hairlines to base and probably rebolted.Bottle vase with wear to gilded foot.No other damages.
Lot 89
A pair of Coalport vases and covers, circa 1900-1919, of ovoid form with rams head handles, painted with still life panels of fruit by Frederick Herbert Chivers, the panels surrounded by rich gilding, artist signed, on pedestal foot, printed factory marks, painted 7540 S/S.130 in gilt, 26cm high (at fault)Condition:Both vases have cracks to the body. One finial has been re-glued. Both are re-secured to the pedestal bases with a bolt.
Lot 461
† EVANS (20th century); oil on canvas, still life of vase of roses and delphiniums on a table, signed and dated '59, 75 x 62.5cm, framed.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
Lot 446
† GLYNN BOYD HARTE (20th century); three limited edition colour lithograph prints, each a still life of cricket ball, bat, pad and Pimms glasses, signed in pencil and numbered 90/500, 359/500 and 369/500 (3).Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
Lot 445
† GLYNN BOYD HARTE (20th century); three limited edition colour lithograph prints, each a still life of cricket ball, bat, pad and Pimms glasses, signed in pencil and numbered 89/500, 297/500 and 357/500 (3).Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
Lot 217
Bergstrom (Ingvar). Dutch Still-Life Painting in the 17th century, translated by Christina Headstrom and Gerald Taylor, 1st edition, Faber & Faber, 1947, colour frontispiece, monochrome plates, original blue cloth, 4to, together withBrewington (M. V. and Dorothy). Marine Paintings and Drawings in the Peabody Museum, Salem: Peabody Museum, 1968, some colour and numerous monochrome plates, original red cloth in dustwrapper, torn and a little frayed, thick 4to, plusGoldberg (Normal L. ). John Crome the Elder, 2 volumes (text/illustrations), 1st edition, Oxford University Press, 1978, colour and monochrome plates, original cloth in dustwrappers, 4to, VG, and others on British and European art, mainly 18th and 19th centuries, including Dubuisson and Hughs, Richard Parkes, Bonnington, 1924, Barbara Neville Parker & Anne Bolling Wheeler, John Singleton-Copley, American Portraits, Boston Massechuetsets, 1938, Richard and Samuel Redgrave, A Century of Painter of the English School, 2 volumes, 1st edition, 1866, Maurice Hamel, Corot and His Work, 2 volumes, Glasgow: James Maklehose & Sons, 1905, Theodore Reff, The Notebooks of Edward Degas, 2 volumes, Oxford University Press, 1976, Basil Lubbock, Adventures by Sea from Art of Old-time, The Studio, 1925, (limited edition of 1750 copies), etc., mostly original cloth, some in dustwrappers, mainly 4to/8vo (approximately 100)QTY: (3 shelves)
Lot 358
A Collection of 19th Century English and Continental Porcelain to Comprise Copeland Garret Porcelain Candlestick Decorated with Cartouche Scenes on Blue Ground Enriched with Gilt Highlights, 20cm high (AF), Rockingham Works Footed Dish Decorated with Blue and White Floral Trim, Four Grainger & Co. Eorcester Pink Inset and Gilt Decorated Cups, Continental Porcelain Hand Painted Pipe Bowl Decorated with Intimate Scene of Lovers, Early Polychrome Teabowl, Hand Painted Porcelain Vase with Still Life Vase of Flowers Cartouche on Green Ground etc (Various Condition Issues to Pieces)
Lot 290
The Inklings. Lewis (C.S.), An Experiment in Criticism, association copy with autograph postcard from the author, first edition, Cambridge University Press, 1961, half-title, loosely-inserted MS 'letter' in Lewis's elderly hand, inscribed on a pre-paid postcard, dated 19th October [1961], The Kilns, Headington Quarry, Oxford, and addressed to Roger Poole, Trinity College, Cambridge, replying to the latter's letter of approval viz. the book (i.e. the Experiment) and saying that though 'I am still [...] ill and do not improve: but not too ill to have a talk with you if you are in Oxford [...]', original publisher's dustjacket over blue cloth, very light soiling from handling, 8vo, [&] idem & Fowler (Alastair, editor), Spenser's Images of Life, first edition, Cambridge University Press, 1967, crudely replaced ffep, original publisher's dustjacket over blue cloth, slightly starting to split, some signs of handling, 8vo, (2) Provenance: from the library of Roger Poole (1939-2003), literary theorist and man of letters, authority on Virginia Woolf and Kierkegaard.
Lot 416
New Zealand. Account of a Voyage from Gravesend to Auckland, 1881-1882, probably chronicled by William Bennett (b. 1836), formerly of Pinchbeck, Lincolnshire, [73]ff of pencil MS, [9]ff excised from the rear, having taken leave of his friends the author departs for Gravesend, via the Spalding train to London, while in the capital for a few days he and his mother played the tourist, 'to Madam Tussauds + saw collection of waxworks in which I did not feel very much interested', 'went into a Barbers [...] and had a 'Clip' Shampoo + Shave. Going a bit further I had 2 teeth broken + the nerves destroyed so as to prevent the tooth-ache. We then proceeded to the Monument of London + went to the top of it', Crystal Palace, Alexander Palace for an organ recital, 'to the British Museum. After going over various parts we went into the Jewel Room where there is a policeman + waiter. The 'Bobby' was very communicative + gave us a deal of information respecting the different jewels. Amongst them is one called the Duke of Portland's Vase [...]. The P.C. was so very civil and obliging that I have him 6d. [On returning to their rooms, via the Foundling Hospital they] 'had a "Siesta" (i.e. an afternoon sleep)'. Having departed for NZ on the SS Lusitania ('a noble looking vessel') the Channel crossing was 'very rough + many of the passengers are still very green'. Eventually having reached the Bay of Naples, at 5.30am 'a great many people were stirring in order to see the reflection of Mt. Vesuvius' before going ashore to Naples. The voyage was far from pleasant sailing, with inclement weather and recorded fights in steerage, but there are numerous nautical observations and descriptions of a raffle, further amusements, food and life onboard, before disembarking at Melbourne for a few days, - even noting having bought a violin book (for the author fiddles, mentioning it several times in places), - before the final leg, on a different vessel to Auckland, NZ, some leaves with lists and further notes, contemporary black faux leather ruled notebook, split with some movement, oblong 8vo, along with a 20th c manuscript transcript, the pastedown acting as a preface: I salvaged a notebook, rejected by a charity shop, in 1986. I have now transposed its entire contents, without alteration, in order to make it more easily readable, wrappers, 4to, loosely-inserted ephemera, including a defective copy of a Pinchbeck baptismal certificate for a Bennett, dated May 1st 1836, the same parish from which our author sets out etc., and an unassociated early 20th c friendship album, Elsie Kirk, February 27th 1909, partially-inscribed with typical sentiment, one leaf illustrated with a still life watercolour of a poppy, contemporary black calf, rubbed, all edges gilt, foliate endpapers, 8vo, (3)
Lot 563
Henry John Yeend King (1855-1924)Still Life with Vase of Flowerssigned lower rightoil on panel45.6cm x 34.7cm The painting is in very good condition overall. The colours are clear and vivid, with few visible areas of loss. There are a few small abrasions and scratches to the panel in places, and it might benefit from being cleaned. The gilt foliate frame bears some areas of damage, including various small cracks to the outer edges and some loss to gilt.
Lot 595
ARR Richard C Blomfield (1930-2007)Still Life on a Ledgebears label to the reverseoil on canvas56cm x 51cm In a modern frame. Artwork is generally in very good condition, with only minor visible issues, including light craquelure. It does not appear to have been relined. Some wear, loss and surface scratching to frame.
Lot 621
Follower of Henri Matisse (1869-1954)Still Life with Fruit and Red Slippersbears signature and date lower rightoil on canvas49cm x 61cm The work dates approximately to the mid twentieth century. The artwork is generally in good condition, with some discolouration to the canvas. The picture surface is stable, with minimal craquelure. There are some areas of grease to the picture surface, and the artwork would benefit from being cleaned. The frame bears a few cracks, but is in acceptable condition otherwise.
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