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Click here to subscribeA 20th century Egyptian Revival salon suite comprising; a two seater sofa and pair of single chairs in gilded carved hardwood, having peacock fan backs, corded seats with loose cushions, Eye of Horus arm supports, on paw feet. The chairs with masks t o the return, together with a stone topped occasional table with pierced Ankh frieze. Sofa 1.40m wide, table 46cm by 38cm illustrated
LOUIS VUITTON AMFAR VANITY SHOULDER BAG, monogram canvas, designed by Sharon Stone, gold tone hardware, zip fastening with padlock, raspberry alcantara lining, four interior pockets with three loops to hold items, cowhide adjustable strap and trim, caramel and brown tones, Sharon Stone signed plaque inside bag, 42.5cmW X 32cmH X 19cmD (signs of use)
Two Necklaces & Four Gold Rings: A 22 carat wedding band and three 9 carat gold dress rings; one with a round cut aquamarine stone, one with diamond chips in a platinum setting, and one with a pearl. A four strand fresh water pearl and gold bead necklace and a 9 carat pendant with diamond chips on chain.
A Specimen Marble Topped Tripod Table. The round top inlaid with a compass star to the centre and irregular stone specimens of a black ground around the border, resting on a 19th century ebonised base having a wrythen reeded baluster columns above shaped silhouette cut legs terminating on small bun feet, 25½ ins (65 cms) high, 23 ins (58.5 cms) in diameter.
A Pietra Dura Pedestal Table. The circular top inlaid with birds at a bird bath to the centre framed by a key pattern border incorporating various coloured stone specimens. The black marble base having a bold baluster column centring a carved cup of crested leaves above decorative turning and a triform plinth raised on paw feet, 30 ins (79.5 cms) high 27 ns (69 cms) in diameter.
SPENSER JEREMY: (1937- ) British Actor who disappeared into obscurity in the late 1960s. Rare vintage signed and inscribed 8 x 10 photograph of Spenser in a head and shoulders pose. The original publicity portrait, with a typed caption affixed to the verso, was issued to promote Spenser’s role as ‘the mysterious “Young Man”’ in The Roman Spring of Mrs. Stone (1961) alongside Vivien Leigh. Signed by Spenser in bold blue fountain pen ink to a light area of the image. A few extremely light, very minor surface and corner creases, VG
'This loved-up little frog….’ POULENC FRANCIS: (1899-1963) French Composer, a member of Les Six. A.L.S., Francis Poulenc, to the verso of a picture postcard featuring an illustration of a stone frog at the corner of the Royal Chateau d'Amboise, n.p. (Touraine), n.d., to an unidentified correspondent ('Mon vieux'), in French. Poulenc informs his friend that he is working in the calm and invites him to come and see him one day, concluding 'This loved-up little frog brings you my faithful friendly greetings', evidently in reference to the image on the postcard. About EX
DU MAURIER DAPHNE: (1907-1989) British Author. T.L.S., Daphne, four pages, 8vo, Menabilly, 6th September n.y (1960), to [Foy Quiller-Couch]. Du Maurier notes, at the head of the first page, 'Run out of note-paper. Excuse this odd scrap…..', the first page being a sheet of Buckingham Palace notepaper issued for use by her husband, Frederick Browning, and the second being a sheet of scrap paper with an irregularly torn left edge. Du Maurier commences her letter 'Listen, you were doing very well when I arrived in the Fox's car. I heard you quote Plato, and was much impressed, but I felt that Mrs Singer's nearness and the beaming gaze she fixed upon you may have proved embarrassing. Then someone, a school master I think, called you an “exile“ and soon afterwards we drove away, as I had to rush back to a guest who had arrived by Riviera. But I still think the plaque is too big, and will cause accidents. Incidentally, what is this horrid news about the crests off your father's Memorial stone having been wrenched off and removed by some vandal?' She further writes of having visited Woodgate Creek with her husband ('Guardsman') commenting 'Viaduct path & stream itself quite overgrown. Woodgate's creek and lonely swans and lonely cottage with orchard behind much more my idea of a trysting and a hiding-place, but would it have been part of Penquite land and perhaps inhabited by a keeper in the last century, or even in our young days? We were rather intrigued to learn, from a holiday-maker camping in the cottage, that all the Woodgate woods and hills and I think Lantyan woods too, belong to a lady “up Woking way“. Who could she be? Guardsman felt all that Woodgate valley, and the deserted orchards, had atmosphere of great antiquity, as tho' much cultivated centuries ago, and I agree, but perhaps if it was Penquite land once that would account for it' and further referring to research into her current work, 'It has struck me that if the novel Castle Dor is roughly assumed to be about the 1860's - which dialogue, etc, harmonises with well, - was china clay at the jetties thriving then? I gather the Lostwithiel-Fowey branch line did not appear till about the turn of the century, but I imagine ships loaded just as they do now. The allusion to “railway“ embankment could come out, when Ledru goes up river in a boat. Its great fun pottering through the M.S. and roughing in scraps of dialogue to insert between Carfax and Ledru where I find your Father not explicit enough about the Tristan story - he assumes the reader will understand every allusion which I fear they won't. Also Molly and Johnny's conversations rather detract from story, which instead of meandering around the Bosanko family should begin to quicken at this point, with rather sinister similarities to Tristan story happenings suddenly beginning to strike Doctor Carfax. Invention will have to start with Chapter XXIII, and instead of Carfax by the Town Hall, and the declaration of war for 1914, we might have Carfax at his home (obviously The Haven) & Mark Lewarne coming to him for advice about Linnet of whom he is already suspicious - meanwhile Amyot is hiding at Woodgate creek, & Linnet has sworn the two children to secrecy. Scene now set for lovers hiding in woods just as T and Iseult hid in forest of Moresque as they did in oldest legend. Will get Tregantil into it somehow. Everyone is drawn into the business despite themselves, somehow against their will so that there is a sort of feeling of Fate about the whole thing'. Accompanied by the original envelope. About VG Foy Quiller-Couch - daughter of British writer Arthur Quiller-Couch (1863-1944), and a life-long friend of Du Maurier. Indeed, Du Maurier was accompanied by Foy Quiller-Couch when she became inspired with the storyline for her novel Jamaica Inn. In 1930, apparently around the time of the present letter, the two ladies were staying at Jamaica Inn and went riding on Bodmin Moor. They became lost in bad weather conditions and apparently sheltered for some time in a derelict cottage on the moor but were eventually led back to Jamaica Inn by their horses. The work which Du Maurier refers to in the present letter is Castle Dor, a historical novel based around the legend of Tristan and Iseult, but set in 19th century Cornwall. The main characters are a Breton onion seller, Amyot Trestane, and the newly wed Linnet Lewarne. Published in 1961, Du Maurier completed the unfinished manuscript of Sir Arthur Quiller-Couch's last novel. Quiller-Couch's daughter, Foy, had given her blessing for Du Maurier to complete the work.
Pair of prints to include one E D YATES framed, glazed, signed, 20th Century, title to print ‘Dove Cottage Grasmere’, depicting a single thatched cottage behind a low stone wall framed by woodland in the background, and one framed, glazed, indistinctly signed, 20th Century, title to print, landscape depicting a large castle sat on a rocky outcrop overlooking the sea and small house and trees below, 17cm x 21cm, 18cm x 20cm (2).
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