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Lot 62
Mixed Lot: pair of William IV wine labels of curved and canted rectangular form with reeded edges, engraved "Madeira" and "Sherry", 4cm x 2.5cm, London 1831 by Charles Rawlings & William Summers, similar Madeira label London 1828 by Charles Rawlings and re-titled (engraved) "Whiskey" label of rounded rectangular form with reeded edge, 5cm x 2.5cm, London 1803 by Thomas Phipps & Edward Robinson, all with hanging chains, g/w 35gms
Lot 92
Mixed Lot: circular silver mounted photograph frame with wooden back (lacking easel mount), diam 14cm, Birmingham 1924, an ash tray, square shaped with canted corners and engine turned panels, 10cm x 10cm, Birmingham 1957 by L Ltd, four assorted hallmarked silver napkin rings, pair of metal wine bottle drip stoppers and small cut glass dressing table jar with embossed silver lid, 4cm tall, weighable silver 145gms (9)
Lot 48
Assorted coloured glasses including boxed set of 6 RCR crystal champagne flutes, boxed set of 6 RCR crystal whisky tumblers, 6 red etched floral wine glasses, 5 green and gold glasses, 7 frosted and gold tumblers, etched floral red glass vase, green and gold glass vase, 2 tall marbled red glass vases and glass clown
Lot 172
A quantity of glassware comprising a pair of liqueur decanters and stoppers, a red glass beaker and clear glass jug enamelled flowers, a pair of etched beakers and a pair of Venetian glass octagonal goblets CONDITION REPORT: One of the wine glasses with three of the blue trails chipped. One of the decanters with rubbed gilding. All other pieces in good condition.
Lot 425
Percy Thomas Maquiod (1852-1925)/Design for Act I Scene 3 of Sir Herbert Tree's production of 'Henry VIII', 1910/acrylic, 30cm x 33cm/Note: The production of Henry VIII at His Majesty's Theatre in 1910 became the most celebrated of all Tree's great spectacles and the banquet scene in Wolsey's palace perhaps the most famous scene ever staged by him. Tree's productions were conceived as pageants in which historical periods were accurately recreated. On the annotations on this design Maquoid, who was an authority on historical detail, records some of his sources. Michael R Booth in his Victorian Spectacular Theatre (1981) gives a full account of this production and its creation. The banquet tables were laden with 235 props 'all exact copies taken either from originals in museums or paintings in the National Gallery'. In the centre we see the canopied seat for Tree as Cardinal Wolsey about to pledge 'the company with a goblet of wine' after a choir had sung a grace. This was the production that Tree took to New York in 1916/Provenance: The drawing came from Ellen Terry's niece Phyllis Neilson, daughter of Fred Terry (1864-1932) whose second husband was Heron Carvic who left it to Julie Nightingale, who worked for Sir Roy Strong at the V&A and bequeathed it to him. Ellen Terry played Katherine of Aragon in Irving's 1892 production of the play for which this must be a design. The set is a banqueting hall with Wolsey left raising his goblet in a toast, probably scene IV. A Hall in York Place in which Wolsey presides and the King and his company enter as masquers in disguise. Irving played Wolsey and Ellen Terry Katherine of Aragon
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