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Lot 446
20TH C SCHOOL, STILL LIFE OF A BOWL OF FRUIT, INDISTINCTLY SIGNED AND DATED 79, OIL ON BOARD, 31 X 40CM, VENETIAN SCENES, A PAIR, INDISTINCTLY SIGNED, OIL ON CANVAS, 19 X 59CM, WARREN WILLIAMS, VILLAGE SCENE, WATERCOLOUR, 23 X 37CM, BAMBURGH CASTLE, LIMITED EDITION PRINT, PORTRAIT OF A CLOWN AND TWO OTHERS
Lot 108
A Royal Worcester two-handled ovoid pedestal vase and cover, painted with a still life of pink cabbage roses in a blue vase, on a ledge, within a circular gilt reserve, picked out in tones of pink, green and gilt with a border of leafy and foliate scrolls, domed pale turquoise cover with spike finial, the shoulder with a further pale turquoise bands, gilt meander handles with pelmets, circular base, 30cm high, indistinctly signed, crown and circle mark in puce, shape no. 2713, Rd. No. 671697
Lot 1209
A 19th century French Palais-Royal ormolu, enamel and jewelled lady's salon tray, the rectangular frame with Renaissance design angles ornamented with floral bosses and swags in paste stones and polychrome enamels, the borders engine-turned and milled with alternating bands of rope twists, beading, S-scrolls and lotus, occasionally picked out in purple tones, inset petit point needlework still life, incurved scroll handles, bun feet surmounted by an anthemion frieze, mauve velvet lined base, 35cm wide, c. 1870
Lot 195
A Lynton porcelain circular table box, painted by Stefan Nowacki, monogrammed, with a still life of pears, grapes and a melon on a ledge, within a raised beaded border, the green ground with a gilt garland of oak leaves, conforming base, chased gilt-metal mounts and shell thumbpiece, 6.5cm diam, 4cm high, gold printed marks Condition Report: Please see additional photographs attached thank you.
Lot 96
William Etty (British 1787-1849) Phaedria and Cymochles on the Idle Lake Oil on canvas 59.5 x 79cm (22 1/4 x 31 in.) Provenance: Louis Huth (parton of James McNeil Whistler), London Charles P. Matthews, of 23 Hertford Street, and Havering-Atte-Bower, Essex Christie's, 6 June 1891, Lot 28 (200 gns to Agnew) Thomas Agnew & Sons, London Cyril Flower, 1st Baron Battersea (1843-1907) and by inheritance to his widow Constance, Lady Battersea Thomas Alder Thorp Brigadier R.S.C. Britten, M.C.Sale, Sotheby's, London, 18 February 1970, Lot 120 (£1200 to M. Newman) M. Newman Ltd., London, sold 1970 Sale, Christie's, London, The Forbes Collection of Victorian Pictures and Works of Art II, 20 February 2003, Lot 174 Acquired from the above by The Lord Wraxall Exhibited: London, Royal Academy, 1835, no.310 Manchester, Royal Manchester Institution, 1835, no.85 London, British Institution, 1862, no. 186, lent by Louis Huth London, Royal Academy, Exhibition of Old Masters, 1875 The Art and Mind of Victorian England, 1974, no.11 The Royal Academy (1837-1901) Revisited, 1975-6 ,no.14 The Pre-Raphaelite Era, 1976, no. 2-15 Literature: The Times, 23 May 1835 A. Gilchrist, Life of William Etty, R.A., II, London, 1855, pp.23 and 33 W.T. Whitley, Art in England 1821-1827, Cambridge, 1930, pp.299-300 W. Gaunt and W. Roe, Etty and the Nude, Leigh-on-Sea, 1943, p.96 D. Farr, William Etty, London, 1958, pp.68, 72-3, 151, under no. 78 T.L. Sloan, 'Phaedria and Cymochles on the Idle Lake', Record of the Art Museum: Princeton University, XXVII, no. 2, 1968, pp.81-83 (Princeton Version Only) M. Freeman, 'Kinetic Art in the Forbes Collection', New Jersey Music & Arts, September, 1974, p.74, reproduced S. Casteras, The Substance of the Shadow: images of Victorian Womanhood, exh. cat., Yale, 1982, p.73, under no.30 William Etty (1787-1849) was one of the first British painters of nudes and still lives, often incorporating his figures into history paintings in the grand manner which, during the early nineteenth century was widely regarded as the noblest genres of painting. Born in York, Etty moved to London in 1805 to study at the Royal Academy, also spending a year in the studio of Sir Thomas Lawrence in 1807. Between 1822 and 1824, Etty embarked on an extended Grand Tour of Italy, spending nine months in Venice. Influenced by the work of the Old Masters and in particular the Venetian School, Etty exhibited a number of works at the Royal Academy throughout the 1820s with much more success that in the previous decade. With all but one of the works he submitted during this time including a female nude in an historical setting, he soon gained a reputation for indecency, despite being commercially successful. Etty was elected an Associate of the Royal Acedemy in 1824, and a full Academician in 1828. The present lot Phaedria and Cymochles on the Idle Lake was exhibited, with another six works by the artist, at the Royal Academy in 1835. Inspired by Edmund Spenser’s epic poem The Faerie Queene [Book II, Canto 6], it tells the tale of the knight Cymochles, ‘a man of rare undoubted might’ but ‘given all to lust and loose living’ who sets out to avenge the death of his brother Pyrochles but is interceded by Phaedria, the lady of the Idle Lake who symbolises immodest mirth. First published in circa 1589 (Books I, II, III) and then republished in 1596 (with Books IV and V), The Faerie Queene is one of the longest poems in the English language as well as the origin of the verse form known as Spenserian stanza. During the nineteenth century Spenser’s poem had enormous appeal to the Romantic artists on account of its wealth of pictorial incident and its Renaissance pedigree. Etty himself had previously turned to Book III of the poem as inspiration for Britomart Redeems Faire Amoret which was exhibited in 1833. Indeed, the present lot is the second attempt by the artist to depict Phaedria and Cymochles in this scene. The first version, now at Princeton University Art Museum, New Jersey and the studies for which can be found at the V&A museum, London differs from the lot offered here most conspicuously by the absence of Cupid who has been added to the left of Phaedria. The positioning of the two central figures has also been altered and the rudder held by Phaedria in the earlier work has been replaced by a garland of flowers. Each work, when exhibited at the Royal Academy, was accompanied by different lines from Spenser’s poem which emphasise the changes in the composition. In both cases the rich colouring characteristic of Etty’s work demonstrates the artist’s debt to the Venetian Old Masters, most noticeably Titian. The artist’s interest in the nude and his aptitude for depicting both the male and female form are clearly demonstrated. In 1835 when it was first exhibited at the Royal Academy, despite a largely positive reception, the critic for The Times wrote that the work was: ‘…a most disgusting thing, and we wonder that in these times the people who have the direction of this exhibition venture to permit such pictures to be hung. Phaedria is the true representative of one of the Nymphs of Drury lane, and Cymochles looks like an unwashed coalporter…; they are only fit for the contemplation of very old or very young gentlemen, and ought to be reserved for the particular delectation of those classes of persons.’
Lot 405
D COSTER (present day); mixed media 'Still Life with Shoe', signed and dated '78 lower-left, 54 x 52cm and by the same artist, mixed media still life of Oriental scene depicting a wall-hanging of a tiger on a rock face with Oriental table in the foreground with Famille Vert teapot and a bowl of grapes, signed and dated lower-right, 53 x 72cm, both framed and glazed (2). †CONDITION REPORT This lot may qualify for Artist Resale Rights. For further information, please visit
Lot 416
A group of oils and watercolours to include a Gladys Burroughs watercolour harbour scene, a 1923 ecclesiastical pen and ink initialled JB and dated lower-right, a small grisaille watercolour of a young girl with fawn dated '04 and signed J Carson lower-right and a gouache on paper, still life with flowers signed James Toplis, 60 x 35cm, framed and glazed (4).
Lot 261
A LARGE, FINELY CARVED AND WELL-PRESENTED EARLY 19TH CENTURY NAPOLEONIC FRENCH PRISONER-OF-WAR BONE SHIP MODEL FOR A FIRST RATE SHIP OF THE LINE TRADITIONALLY IDENTIFIED AS H.M.S. CALEDONIA the 22in. planked and pinned hull with carved main wale with gilt foil, three deck broadsides of protruding guns on spring recoil action, carved Roman warrior form figurehead, depicted with sword, plume and billowing cloak, finely carved quarter galleries and stern with balconies, the planked and pined deck with details including metal anchors with bound bone stocks, deck rings, belaying rails, capstan, belfries with brass bells, wale deck with deck lights, compass house, companionways, deck lights, bound masts with yards, stunsail booms, standing and running rigging with blocks and tackle, and other details, mounted on bone cradle rest secured to fine marquetry inlaid wooden display base with carved bone curtain trim with foil backing, contained within later ebonised glazed case with plate inscribed H.M.S. Caledonia First Rate of 120 guns, circa 1810 -- 27½ x 37½ x 14¼in. (70 x 95.5 x 36cm.) Provenance : With Trevor Phillips & Sons, London circa 1998 ~~*~~ A magnificent and highly successful ship throughout her long life, H.M.S. Caledonia was laid down in Plymouth Dockyard in January 1805 and launched on 25th June 1808. Built under the direction of Mr. Joseph Tucker to a design by Sir William Rule, one of the Surveyors of the Navy, she was originally intended to carry 100 guns but was modified whilst on the stocks to mount 120 guns and, as such, was only the second vessel of the fleet to be so impressively armed. An enormous ship of 2,616 tons burthen, her gun deck measured 205 feet in length with a 53½ foot beam, and she was the largest warship ever constructed for the navy at the time of her completion. First commissioned as flagship to Admiral Lord Gambia, she was soon in action when, on 12th April 1809, she played a pivotal rôle in the destruction of the French fleet lying in the Basque Roads, off St. Nazaire. The Royal Navy's long blockade of the French ports was a tedious business and Caledonia was still stationed off the Basque Roads on 24th February 1811 when she was struck by lightning and had to return to Portsmouth for a new foremast. On 1 s t June 1811, she became flagship to Admiral Sir Edward Pellew (later Lord Exmouth) after which she spent three years in the Mediterranean for the duration of his tenure there as Commander-in-Chief. During this period she was present at the surrender of the fortress at Genoa in April 1814 prior to returning home that August, and was thereafter laid up due to the final ending of hostilities with France. Not commissioned again until 1830, she was found to be in such excellent condition that there followed several more periods wearing the flags of various Commanders-in-Chief, including two further terms in the Mediterranean, until she was finally withdrawn from sea service in the early 1850s. In 1856 she was fitted out to replace the old Dreadnought as the Seamen's Hospital Ship at Greenwich and, having taken the name of Dreadnought in 1857, occupied that position until the hospital facilities were moved ashore in 1873. No longer worth refitting or even hulking, Caledonia was towed to Chatham where she was broken up in the spring of 1875.
Lot 1426
19th Century watercolour, still life, botancial study of pinks, gilt framed, monogrammed G.B., 7.5ins x 6ins, together with a Limited Edition coloured print by Oliver Preston, No. 203 of 850, titled ' This Only Ever Happens When Its My Turn to Drive Home ', signed by the artist, 9.5ins x 7ins
Lot 192
A group six assorted watercolour and oil studies comprising R Nichol 'Still Life Study of Tea Pot and Flowers' oil on board, watercolour 'Study of Snowdon' bearing Green and Hewitt label verso, A Goodwin 'Study of an Estuary Scene' watercolour, Alan Holmes Rowe 'Study of Castle Court, The Knott, Corfe Mullen' watercolour, Wilfred Broad 'Beach Scene' watercolour and a further 19th Century watercolour 'Figures Before a Ruined Castle, various sizes (6)
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77111 item(s)/page