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Click here to subscribe•REGINALD GRENVILLE EVES, RA (1876-1941) PORTRAIT OF BENJAMIN SOLOMON GUINNESS (1868-1947) Seated half length, wearing a grey suit and a blue tie, signed, oil on canvas 74.5 x 62cm. * The sitter, a successful lawyer, was the son of Richard Seymour Guinness and his wife Elizabeth Jane (nee Darley) Provenance: By descent in the family of the sitter. ++ Good condition; some slight bloom
•SIR HERBERT JAMES GUNN, RA (1893-1964) PORTRAIT OF SIR ERNEST LEVER (1890-1970), LATTERLY CHAIRMAN OF THE STEEL COMPANY OF WALES (1947-1953) AND PRESIDENT OF THE BRITISH IRON & STEEL FEDERATION (1956) Seated, three quarter length, wearing a blue suit, a bookcase behind him, signed, oil on canvas 110 x 90cm.; sold with an album of black and white photographs, some showing the sitter in his professional roles. (2) * An autograph version of the subject in the National Museum of Wales (acquired as a gift, 1998) Provenance: By descent in the family of the sitter ++ Lined; a little associated retouching
Sir Arthur Stockdale Cope, PRA (British, 1857-1940) Portrait of Charles Richard Britten (1894-1984) as a small boy, aged 10, in a sailor suit signed lower right and inscribed with title "C R Britten, A S Cope, 1903" oil on canvas, oval 53 x 44cm (21 x 17in) Provenance: By descent within the family of the sitter. Charles Britten was later Brigadier Britten, MC. 1935 – 1937 Commanding Officer 3rd Battalion Grenadier Guards 1937-1939 Commanding Officer Grenadier Guards and Regimental District 1937-1940 Commanding Officer 1st London Brigade 1940- 1941 Commanding Officer 167th Infantry Brigade. Queen Victoria much admired Sir Arthur Stockdale Cope's work. Condition appears fine.
THE ARCHIE LANG COLLECTION OF LONDON 1948 OLYMPICS CYCLING MEMORABILIA. Archie Lang was the team coach, the collection which is being sold on behalf of his daughter was exhibited at Torre Abbey, Torquay during torch journey for the 2012 London Olympics, a list of the collection is available but briefly includes participants medallion, Olympic bible, road race plaque, road race bib, badged track suit and blazer, an album of photo's, opening ceremony photo, Velodrome Herne Hill programme, I.D.card, various article and Dinner Ticket to NCU dinner at Cora Hotel etc
A 19TH CENTURY FULL SUIT OF PARADE ARMOUR WITH EARLIER COMPOSITIONS IN AN OAK BESPOKE CASTELLATED DISPLAY STAND, the armour of bright steel with exceptions to an earlier close helmet made in iron, medial comb, single piece visor and a pair of vision slits, keyhole breathings, the hinged bevor above stepped neck plate, the breast plate heavily engraved featuring dragonesque birds within floral swags and central shield, fauld of two embellished lames riveted to the base of the breast plate, pauldrons each of six lames decorated with birds and floral swags, roped edged embellished couters, plain finger gauntlets with ridges, shield shaped tassets each of three lames with embellished bird decorations and mounting hook to pauldrons, embellishments to cuisse, rounded poleyns, greaves and sabbatons, mounted on a black wooden base, H 170 cm, overall height 184 cm held in a castellated illuminated display cabinet in burr oak with two sides exposed, raised platform and with blue velvet backing to rear, H 234 cm, W 90 cm, D 90 cm
A FULL SUIT OF COMPOSITE ARMOUR 16TH CENTURY AND LATER, in bright steel, comprising a close helmet, skull rising to a pronounced comb, single piece beaked visor, pair of vision slits, vertical slotted breathings, hinged bevor, neck plate stepped with rope edging, pauldrons each of five lames, couters with spade shaped side wing, finger gauntlets rope edged and ridged, single breast plate, pronounced central crease, fauld of one lame, tasset one lame, rope edging to cuisse, poleyns with spade shaped side wing, broad sabatons, brown velvet hose, gold cloth skirt with red floral embroidery mounted on black wooden base, H 167 cm, overall height 180 cm Note: Provenance Salisbury Hall
A FINE SUIT OF 16TH CENTURY ARMOUR WITH LATER ADDITIONS, comprising a close helmet, skull rising to a medial roped comb, pair of vision slits (central section now deteriorated) split visor with vertical slotted breathings and roped edge, hinged bevor rounded and shaped to the chin, laminated neckplate rope edged, stepped gorget with roped finish to neck, breast plate with pronounced central crease, heavily rolled rim having twin holes distributed evenly throughout and with helmet shaped armourer's mark, fauld of one lame riveted to breast plate, pauldrons each of five lames, couters with spade side wings, roped edge finger gauntlets, the laminated cuisse with central ogee shape and ringed decoration on first lame, poleyns with spade side wings, broad sabatons, wearing red velvet hose and mounted on black wooden base, H 170 cm, overall height 198 cm
Design: Pearl Artist: Janet Fishwick About the artist Artist Janet Fishwick enjoys her involvement with public art projects since it gives her the opportunity to explore her creativity away from her employment as a veterinary professional. Janet's designs are strongly influenced by brightly coloured abstract imagery. She has previously designed and painted various public artworks, including penguins for Liverpool, rhinos for Chester and Northampton, sheep for Skipton and Olympic Mascots for London 2012. About the design Pearl is inspired by the London tradition of Pearly Kings and Queens who wear mother of pearl buttons sewn onto their suits and dresses to raise money for charity. Henry Croft was the original Pearly King and he was raised in a Victorian workhouse orphanage in London. At the age of thirteen, he left and became a road sweeper and, as he swept the market streets, he started to collect all the pearl buttons which he found that had fallen off people's clothes. Once he had enough, he started to sew them onto his cap and then continued until his entire suit was filled. He used it as a way to raise money for the children back at the orphanage. He was joined by the Costermongers (market traders) and many of the Costers became Pearly families, there being one family for each Borough of London, one for the City of London and one for the City of Westminster. Look out for the symbols: Horseshoe - luck. Dove - peace Heart - charity Anchor - hope Wheel - circle of life Flower pot - Costermonger (apple seller). Location: College Road Dimensions: Length- 2.4m Width 0.5m Height- 0.95m
KHRUSHCHEV NIKITA: (1894-1971) Russian Leader, First Secretary of the Communist Party of the Soviet Union 1953-64 and Premier of the Soviet Union 1958-64. A good vintage signed 9.5 x 7 photograph, the image depicting Khrushchev standing in a formal three quarter length pose alongside Josip Broz Tito. A number of other officials and a CCCP aircraft can be seen in the background. Signed in blue fountain pen ink by Khrushchev to a light area at the head of the image, dated 2nd September 1968 (?) in his hand. The Russian Premier had evidently attempted to originally sign the photograph across a slightly darker area as a somewhat hurried signature is partially visible across his suit. VG Josip Broz Tito (1892-1980) Yugoslav Revolutionary and Statesman, Prime Minister of Yugoslavia 1943-63 and President of Yugoslavia 1953-80.
BAER MAX: (1909-1959) American Boxer, World Heavyweight Champion 1934-35. Vintage signed and inscribed sepia 8 x 10 photograph of Baer in a head and shoulders pose wearing a suit and tie. Photograph by James Kollar of Radio City, New York. Signed in blue ink to a clear area of the background with a lengthy inscription, 'To Arlene and George, The Greatest Sister and Brother act in show business - It was great working with you. Love & hugs, Max Baer' and dated 1947 in his hand. Baer's signature is a little light at the conclusion. VG
HENSCHEL GEORGE: (1850-1934) German Composer, Conductor, Pianist & Baritone. A good series of twenty eight A.Ls.S., George Henschel, and others slightly abbreviated, some signed with his initials, fifty six pages, largely 8vo (a number on correspondence cards), various places (Aviemore, London, Villefranche etc.), 1914-25, all to Louis Fleury. Henschel writes an interesting series of letters, largely with musical content concerning a composition for his correspondent, in part, 'I have not forgotten my promise to write some variations for your instrument and shall commence as soon as I have finished an Organ Prelude on a Hymn of All Saints on which I am at present engaged. I shall endeavour to make it worthy of your beautiful art' (11th June 1919), 'At last I am quite in earnest working on those variations! I have abandoned the idea of the Scottish Folksong and made a simple theme of my own which I herewith send you as I want to know if you like it….is the Key of E agreeable? I have already 3 variations sketched…' (30th July 1920), 'You will see I have changed the key to F which is really better in every respect. I hope you will agree with me…I shall take the liberty of dedicating the little work to you' (9th August 1920), 'I have made a note of your suggestion regarding the rests for respiration. There will be seven variations in all, the whole thing lasting about 8 or 10 minutes. I am greatly looking forward to hearing you play my little work' (23rd August 1920), 'Lady Sheffield, our dear hostess, would love to come and hear the piece (she is a charming woman & very musical) and I hope it will suit you' (6th November 1920), '…with an interpreter like you, my little work is sure to be a success' (30th November 1920), 'It is very good of you to play my little variations at your various concerts & I am greatly obliged to you & hope you will have a great success….As to the publication of the variations - - not a word from Chesters! Do you think a Paris publisher would take the little work?' (23rd January 1921), 'I am truly delighted the variations - thanks to your exquisite playing - have met with such success and thank you very much' (4th May 1921), 'I do hope you will be in England in October. It would be awfully nice to have that little concert at Broadway and I should love to hear you play the Bach, and my flute variations' (4th August 1924), 'I have just read Mme. Navarro's letter again and am sorry I did not follow my first impulse….and told you that, although she accepts your terms she finds them rather high. "Higher" (she writes) than Suggias or any other of the artists that play and sing here for me…." I think therefore it would be a very gracious thing on your part - and good policy too for the future if in writing to her you would say that…..you will be very glad to accept fifteen guineas….After all, Mme de N has been a very famous artist herself and all the best musicians love to play & sing for her' (17th August 1924), 'I send you here a little sicilienne with which Casals (it is originally for cello) has had a huge success in New York' (27th August 1924). Several of the letters are written in French and seven of them incorporate musical quotations of various lengths, each being corrections and suggestions to Henschel's composition and submitted to Fleury for this thoughts and comments. Also including a further three Autograph Musical Quotations, unsigned, by Herschel, again each being corrections and suggestions sent to Fleury (and referred to in some of the letters). A number of the letters are accompanied by the original envelopes hand addressed by Herschel. An interesting archive. Some light age wear, generally VG, 31 Louis Fleury (1878-1926) French Flautist.
KELLERMAN ANNETTE: (1886-1975) Australian Swimmer, Actress & Writer, one of the first women to wear a one-piece bathing costume. Kellerman is often credited as inventing the sport of synchronised swimming. Vintage signed and inscribed sepia 8.5 x 11 photograph, an appealing image of Kellerman in 'silhouette', wearing a one-piece bathing suit and standing in a full length profile pose at the edge of the sea, 1926. Signed in bold, dark fountain pen ink to a clear area at the base of the image. One large tear to the left edge of the image, not affecting the signature. Together with a second vintage signed and inscribed 7 x 8.5 photograph of Kellerman in a profile head and shoulders pose. Signed in bold green fountain pen ink to a largely clear area at the base of the image. Also including a T.L.S., Annette Kellerman, one page, 4to, London, n.d., to Diana. Kellerman wishes her correspondent a happy birthday and continues to apologise for not having written before, explaining 'I have had the hardest six months. I simply got into the state of not writing to a soul. Just going to work, signing postcards...' and further enquiring about her friend's school and life, before informing her 'I expect to go to Paris....Goodness I'll be glad when this season is finished. I have made up my mind not to play any more provinces after this year. We are going back to Germany in September....' Generally G to about VG, 3
HURST GEOFF: (1941- ) English Footballer, a member of England's 1966 World Cup winning team. The only player to score a hat-trick in a World Cup final. An original cloth embroidered England blazer badge, the escutcheon shaped badge featuring the England Football Association crest incorporating the three lions emblem in pale blue and with ten red roses in the background, being a blazer badge previously belonging to Hurst and accompanied by a signed holograph statement by Hurst on a white card, in full, 'This badge was saved from my 1970 World Cup official suit. Best Wishes, Geoff Hurst'. Also including a printed 4to copy of the auction catalogue for the sale of The Geoff Hurst Collection by Christie's, South Kensington, 28th September 2000, signed by Hurst in blue ink with his name alone to the inside biography page. VG to EX, 3
A SUIT OF ARMOUR IN THE 16TH CENTURY STYLE, POSSIBLY FRENCH, CIRCA 1900 inscribed ÔNicolo Da Ponte,Õ 182.5cm high, some components missing; sold with a dressmakerÕs mannequin. Provenance: Leonard Joel, Classic Furniture and Objects, Melbourne, 19th May 2013, lot 90 Note: according to correspondence from the Metropolitan Museum of Art, New York, supplied by the vendor, the suit of armour is likely to have been manufactured by the Paris Company, G. Pigeon, which supplied and manufactured reproduction armour at the turn of the 20th century
A famous10 x 8" colour NASA photograph of Neil Armstrong in space suit with... A famous10 x 8" colour NASA photograph of Neil Armstrong in space suit with moon backdrop, signed and inscribed "To Lane K. Goerin, All Good Wishes, Neil Armstrong" in blue ink; some creasing to upper margin and lower left corner, ink slightly faded, but signature remains legible. Mounted, framed and glazed, overall size 38 x 31cm.
Silver, comprising; a rectangular hinge lidded trinket box, the cover decorated with a Dutch style scene, with figures in the foreground, the sides with floral and scroll embossed decoration, Chester 1901, a silver trinket dish, formed as a playing card suit spade and a shaped circular silver trinket dish, Birmingham 1919, combined weight 166 gms.
Several garments of 1980s designer ladies clothing to include a suit bearing the label 'Valentino Couture', a dress in a pink colourway bearing the label Barboglio Cristina-Jan, a jacket bearing the label Kantha Ravynn, London together with an unusual men's velvet blazer in a dark ground with chaotic decoration and swirling bands of ochre and amber, believed to be dated circa 1960, bearing the label Fabrice Du Chastei, etc (8)
A deactivated Nazi Germany Schmeisser MP-41 9mm sub machine gun 26cm barrel, stamped M.P.41 patent Schmeisser C.G. Haenel Suhl, with matching serial no. 4145 on barrel, action and wooden stock, comes complete with a magazine and a leather carrying sling. This sub machine gun was developed by Hugo Schmeisser in 1941 mostly purchased for the SS, SD and police troops. Due to a patent infringement law suit against Haenel by Urma only 26,700 of these guns were produced. (illustrated) CONDITION REPORT: Fully moving parts, date of deactivation 1992, see images.
A 1950S VINTAGE 'LINDA LEIGH' TWO PIECE SUIT, comprising jacket and dress, the dress with bead decoration and matching belt, together with a designer patchwork style two piece suit by 'Cest Comme Ca', and a velvet jacket (3) For shipping price on this lot please visit www.cuttlestones.co.uk/shipping
A 19th century oak panelled bacon settle, with two cupboards above a box seat with lift up compartment, with panelled front and raised on short feet. Width 39 ins (see illustration). CONDITION REPORT: This piece comes in to two sections. The top box lifts off. The settle is in very sound structural condition but is as you see it in the image. The timber has obviously been uniformly stained at some point in its life and some of this surface stain has rubbed off around the edges of the top door, the centre door and the base of the seat. The back panels to the piece are original and in good order. The side panels are in very good condition. The front of the seat base is a little worn but flat and in generally good condition. The interior of the piece is fine also. The maximum width of the piece across the cornice is 42.75 ins. The maximum depth of the piece is 30.5 ins from front to back at ground level. The width across the arms is 39 ins, height to top of bench seat 17.75 ins, depth of seat 14.5 ins, depth of cupboard 11.25 ins, depth of top cupboard 12.75 ins. The piece is made entirely from oak and has not had any significant repairs or restoration that we can see. It is generally in good original order. No restoration is required unless the colour of the piece does not suit.
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