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Lot 66
Collection of assorted Mauchline Ware items to include clock shaped money box (Penmaen Mawr), needle case (The Lake Buxton), stamp box (Henley on Thames) and a pair of glove stretchers (Llandrillo Church Colwyn Bay) together with novelty wooden dog mounted box, oriental soap stone pagoda ornament, hygrometer in metal tube case, and a wooden cutlery tray.
Lot 9
A collection of china miniature birds to include Beswick robin, gold crest and stone chat, Royal Worcester nut hatch, Goebel sparrow, and continental long tail tit and king fisher. (7) CONDITION REPORT; Chip on tail on Hungarian bird, chip to beak + tail on Beswick Goldcrest, chip to Goebel wing, chip to beak Beswick Robin, hairline base of Worcester bird.
Lot 9
A collection of china miniature birds to include Beswick robin, gold crest and stone chat, Royal Worcester nut hatch, Goebel sparrow, and continental long tail tit and king fisher. (7) CONDITION REPORT; Chip on tail on Hungarian bird, chip to beak + tail on Beswick Goldcrest, chip to Goebel wing, chip to beak Beswick Robin, hairline base of Worcester bird.
Lot 66
Collection of assorted Mauchline Ware items to include clock shaped money box (Penmaen Mawr), needle case (The Lake Buxton), stamp box (Henley on Thames) and a pair of glove stretchers (Llandrillo Church Colwyn Bay) together with novelty wooden dog mounted box, oriental soap stone pagoda ornament, hygrometer in metal tube case, and a wooden cutlery tray.
Lot 284
Bag of assorted collectibles to include Bank of England 10 shilling note, two Bank of England £1 notes, and an Angolan note. Mother of pearl spectacle case. Silver photograph frame, silver mother of pear handled ladle, pierced dish, silver thimble, dressing table jar lids. Various loose coins, American, GB. Ladies purse, starting pistol, animal stone ornaments etc.
Lot 12
A fine and rare William and Mary double-horizontal carved Portland stone and bronze sundial circa 1690 inscribed and constructed for latitude 52° 24’ N., bearing the Arms and motto of the Cornwallis family, signed Henricus Wynne Londini Fecit, the dial plate seated on three bronze bearings upon a Portland stone plinth with octagonal top and four volute supports with acanthus terminals flanking scallop shells, on moulded square base Sundial 69cm.; 27in diameter, plinth 130cm.; 51ins high The double-horizontal sundial, as the name implies, is a dual instrument, its principal features comprising a ‘double’ gnomon and complementary hour-scales on the dial plate. The primary instrument is the fiducial edge of the inclined or sloping part of the gnomon, which, when the sundial is correctly set, lies parallel to the earth’s polar-axis and aligned in the north/south plane of the meridian and the shadow of which indicates the time against the outer hour-scale on the dial plate, in hours and minutes. The secondary instrument is the sharp vertical edge of the triangular-shaped support to the gnomon, which lies in the axis of the observer’s zenith, and the shadow of which indicates the position of the sun at the point where the straight edge of the shadow intersects the hour-line on a planispheric projection of the celestial sphere, corresponding to the time indicated on the main dial. This observation provides various astronomical data, including the sign of the zodiac in which the sun is situated, the times of sunrise and sunset, the length of the day in terms of the number of hours in the day from sunrise to sunset, the altitude and azimuth (direction) of the sun, together with the means to determine the time when certain ‘fixed’ stars would transit the meridian. The Cornwallis double-horizontal sundial has a floreated gnomon, seated on a sheet-brass dial plate, which is affixed to a cast-bronze base by means of ‘hidden’ rivets. The dial plate is engraved with various scales and tables, the primary hour-scale in the outer ring being graduated in hourly, ten-minute, five-minute and one-minute intervals, within which there are inner rings calibrated to indicate direction in terms of azimuth or bearing. The planispheric projection is also engraved with an inner and outer hour-scale, to facilitate its use, being graduated with hour-angle divisions (meridians) and parallels of declination to the limits of 23½ degrees north or south of the celestial equator or equinoctial line. Two engraved arcs, representing the ecliptic, the apparent path of the sun, extend from the points where the 6 o’clock meridians or hour-circles cut the equinoctial and graze the north/south extremities of the projection at the tropics of Cancer and Capricorn. The signs of the zodiac are inscribed at their respective intervals along these two arcs. At the east/west extremities of the projection there are date-scales, graduated in months and days, whereby the date may be determined from an observation. Conversely, the date being known, the sundial may be readily be orientated and aligned in the meridian, without recourse to the more usual and protracted methods involved in setting up an ordinary common or garden horizontal dial. Other scales engraved on the dial include a semi-circular lunar hour-scale (situated within the arc of the inner hour-scale of the planispheric projection), by which the time may be deduced from an observation of the moon, and two sets of altitude scales, for use with a pair of compasses or dividers. The names of certain fixed stars are inscribed within the boundaries of these scales, together with the values of their respective hour-angles or angular distances measured eastwards of the so-called first point of Aries, the vernal equinox. On the planispheric projection this is the point, at the eastern extremity of the grid system,
Lot 15
A pair of rare Georgian carved Portland stone terms circa 1740 160cm.; 63ins high These would originally have formed part of a larger architectural fitting either as jambs of an important chimney piece or jambs for an imposing door casing. Terms in the form of classical busts on a tapering pedestal originated in Roman times, representing the god terminus and were used for marking the boundary of an area or estate. Revived in Italian renaissance gardens, they were later adopted by William Kent, the 18th century architect and leading exponent of the Palladian style of architecture, named after the Venetian architect Andrea Palladio (1508-1580) and first introduced into England at Chiswick House, designed in conjunction with his patron Lord Burlington and finished in 1729. Kent was also a prolific designer of both landscape gardens and furniture, with term figures liberally used in both disciplines. His work was recently celebrated at an exhibition at the Victoria and Albert Museum William Kent: Designing Georgian Britain.
Lot 16
Attributed to William Grant Stevenson: A rare Victorian carved white marble group of two water spaniels and a whippet circa 1870 signed Stevenson and with later white marble plinth 81cm.; 32ins high by 94cm.; 37ins long by 84cm.; 33ins deep Although a number of Stevenson’s are recorded as sculptors working in the second half of the 19th century, largely in Scotland, William Grant Stevenson, (1844-1919) is specifically known for his animalier pieces. A member of the Royal Scottish Academy he exhibited a bronze stag in 1894, now in the Edinburgh Museum. He also sculpted a monumental stone statue of William Wallace in Aberdeen. This unusual group would have been undoubtedly have been an individual portraits commission for a family’s dogs, interestingly the marble separates into five different sections so that the dogs maybe viewed together or as individual groups.
Lot 7
A rare Coadestone armorial for the Founders Company stamped Coade and Sealy, Lambeth, 1800 124cm.; 49ins high by 94cm.; 37ins wide by 33cm.; 13ins deep Provenance: Most probably removed from the façade of the Founders Hall, London. The Worshipful Company of Founders is one of the oldest Livery Companies of the City of London, and can trace its existence back to 1365. It was formed to protect the interests of its members and to promote high standards of quality and workmanship in articles of bronze and brass. The first hall was built in 1531, when 18 members of the Company joined together to buy two houses and a garden in Lothbury and proceeded to build a Hall on a site which still bears the name of |Founders’ Court|. The Company was hard hit when the Hall, like so many others, was destroyed in the Great Fire of London in 1666 and rebuilt at a heavy cost mainly borne by the Liverymen from their own pockets. Built in brick with a stone front it is almost certain that this armorial was a later addition to the Hall and would have been positioned at parapet height on the façade, in the same position as a royal coat of arms, supplied in many cases by Eleanor Coade, for businesses which had received a Royal Warrant to supply some commodity or service. It would have been removed when the hall was demolished in the 1840’s to make way for a new Hall started in 1845. This piece would have been an individual commission and incorporates the Founders Company coat of arms which show a laver or washing ewer flanked by candlesticks reflecting the Founders who in the early days of the guild worked in brass and brass alloys or tinplate known as |Iatten| or |laton|, producing small cast articles. The top of the armorial incorporates a flaming furnace including a crucible from which the molten brass would have been poured into moulds. The lower portion with the bronze mortars and dolphin handles together with chain shot cannonballs normally used in naval engagements for destroying rigging on enemy ships, were very topical given the date of 1800 on this piece, since Britain was engaged in a maritime duel with Napoleon’s France for supremacy at sea which culminated in the battle of Trafalgar 5 years later in October 1805. The skill of the Coade modellers in faithfully reproducing in clay, the wooden carriage even down to the square iron strengthening plates and screws flanking the Coade stamp is testament to the quality to which Eleanor Coade aspired. This unusual Coade commission represents an opportunity to acquire a unique example from the best of the 18th century manufacturers and a piece of social history from one of the oldest and most august of the historical Livery Companies of London.
Lot 9
A rare Coadestone plaque of St. George and the Dragon late 18th century 122cm.; 48ins high by 95cm.; 37½ins wide This would have originally formed part of a larger architectural frieze possibly for an Irish Georgian house constructed in the last quarter of the 18th century. The only known mention of a Coade Stone St George and the dragon is one at Mercers Hall, now in Museum of London. Literature: See Mrs Coade’s Stone by Alison Kelly, SPA, 1990, page 410
Lot 91
Martin Williams Pecking Portland & Kilkenny limestone Unique 125cm.; 49ins high by 150cm.; 59ins wide After completing graduate and post-graduate training in Stoke-on-Trent and London, Williams established his first studio in Swansea, South Wales, in 1978. Working initially in ceramics, he ran a successful studio pottery specialising in domestic stoneware and relief decorated commemorative ware. In 1988, he won his first commission for public artwork with a series of eight ceramic relief panels for a seaside monument entitled |Copper Flame|. This was a collaborative work with the Swansea based Architect, Robin Campbell. Williams won several major commissions including a series of relief panels for a waterside site in Cardiff, and a large continuous relief work in Woolwich Arsenal Station in London. This was one of the largest ceramic relief works produced in the UK in the 20th Century. His most recently completed public work is a four figure bronze composition on a carved Bath stone base for the World Health Organisation in Geneva, Switzerland. This work resulted from winning an international design commission, and a copy of the work has been produced for a site in America.
Lot 99
Martyn Barratt Leaf bench II Marble and stainless steel Signed Unique 50cm.; 19½ins high by 180cm.; 71ins wide by 70cm.; 27½ins deep Barratt studied wood and stone carving and gilding at London Art School, and an MA in architecture at East London University. Much of his work is contemporary in concept and content, and his practice owes much to the skills he learnt in his early trades as a carver and restorer. He works in a number of mediums, including studio glass, wood and marble. His work has been exhibited internationally, and has completed commissions for many prestigious clients including the BBC and the Palace of Westminster. He was elected to the Royal Society of British Sculptors in 1993, and director for the Burghley Sculpture Garden in 1997.
Lot 181
Set of two lithographic prints comprising:lithographic print of drawing by Michelangelo entitled Archers shooting at a Herm, originally drawn c.1530Acquired by George III, King of the United Kingdom (1738-1820) by 1810.Two tones of red chalk. One of a few presentation drawings made as gifts for his closest friends and considered the pinnacle of Michelangelo`s draughtsmanship. Fuelled by the fire kindled by the putti on the left, a group of naked youths, both male and female, aim urgently at a herm (a squared stone pillar with a head on the top). With one exception they have no weapons and their arrows fall to the base and sides of the target missing the centre symbolising the theme that ?passionate, blind striving cannot achieve its real aim?.Print size inches: 9.2 x 6.4 together with lithographic print of drawing by Michelangelo entitled The Virgin and Child with the Infant St. John, originally drawn c.1532Black chalk, one of a group of studies showing the Virgin and Christ Child and the young John the Baptist, drawn around 1532.Print size inches: 6.6 x 9.8
Lot 305
Set of four lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled Neptune with his Sea-horses., originally drawn c.1504-5Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Black chalk on white paper. A study for the drawing of Neptune for his friend Antonio Segni, master of the papal mint. Although highly praised in the sixteenth century, the large finished drawing is now lost and what we see here is a preparatory study. The flowing design and movement is comparable with the Battle of Anghiari on which Leonardo was working at the same time. At the top of the paper is written, in Leonardo`s hand a reminder to `Abasse icchacalli` (lower the horses).Print size inches: 9.3 x 6.1 together with lithographic print of drawing by Michelangelo entitled Archers shooting at a Herm, originally drawn c.1530Acquired by George III, King of the United Kingdom (1738-1820) by 1810.Two tones of red chalk. One of a few presentation drawings made as gifts for his closest friends and considered the pinnacle of Michelangelo`s draughtsmanship. Fuelled by the fire kindled by the putti on the left, a group of naked youths, both male and female, aim urgently at a herm (a squared stone pillar with a head on the top). With one exception they have no weapons and their arrows fall to the base and sides of the target missing the centre symbolising the theme that ?passionate, blind striving cannot achieve its real aim?.Print size inches: 9.2 x 6.4 together with lithographic print of drawing by Raphael entitled The Massacre of the Innocents, originally drawn c.1510Recorded in the collection of George III (1738-1820).Red chalk over a tracing in pencil and a sketch with a stylus. A study for the design which was engraved by Marcantonio but was not apparently used for any other purpose. On the verso a study for a salver with marine deities.Print size inches: 9.3 x 5.6 together with lithographic print of drawing by Leonardo da Vinci entitled Studies of a Rearing Horse., originally drawn c.1503Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A dynamic study in red chalk and pen and sepia c.1503-4. Leonardo made a number of studies of horses for a mural in the Palazzo delle Signoria in Florence depicting the Battle of Anghiari (1440). Only part of the mural, which ultimately did not survive, was completed. The movement in this sketch is demonstrated by the varying positions of the horses legs and head. The cursorily drawn rider adds further to the mood. Below are the faint outlines of smaller drawing of a horse rearing towards the left.Print size inches: 5.8 x 6.2
Lot 56
Lithographic print of drawing by Michelangelo entitled Archers shooting at a Herm, originally drawn c.1530Acquired by George III, King of the United Kingdom (1738-1820) by 1810.Two tones of red chalk. One of a few presentation drawings made as gifts for his closest friends and considered the pinnacle of Michelangelo`s draughtsmanship. Fuelled by the fire kindled by the putti on the left, a group of naked youths, both male and female, aim urgently at a herm (a squared stone pillar with a head on the top). With one exception they have no weapons and their arrows fall to the base and sides of the target missing the centre symbolising the theme that ?passionate, blind striving cannot achieve its real aim?.Print size inches: 9.2 x 6.4
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