Paintings & Furniture Sale on Thursday 1st October 2009
1. PIERRE BONNARD
"L'Incisore" (The Etcher),
etching,
193mm x 115mm,
See illustration
Provenance: Galleria dell'Altabella.
Bibliography: J. Bailly-Herzberg: "L'Estampe en France, 1830-1950",
Ed. Arts et Métiers Graphiques, Paris 1985, page 36.
Estimate: 100-200
2. CLAUDE LORRAIN
"La Danse Villageoise (LM20 II BLUM34)
etching, with a double spread-eagle watermark,
7.75" x 10.25"
See illustration
Provenance: Agnew's, 43 Old Bond Street, London W1X 4BA (Stock N. PB0528)
According to a label on the reverse this is a good impression of this state, trimmed outside the border line.
Estimate: 150-250
3. JAMES ABBOTT MCNEILL WHISTLER Cadogan Pier, Battersea Early Morn, titled in pencil to the print and mount, dry point etching, 4.5" x 5.75"
Estimate: 50-100
4. BERNARD DUNSTAN A woman looking out of a shuttered window, signed in pencil and numbered 93/200, coloured lithograph, 10.75" x 13.5"
Estimate: 200-400
5. BERNARD DUNSTAN A nude standing at a wash basin in greens and blues, signed in pencil and no. 108/240, coloured lithograph, 12" x 12"
Estimate: 200-400
6. A 19TH CENTURY HAND TINTED MEZZOTINT depicting a Royal Coronation banquet, 28" x 23", "The Lord High Chancellor of Great Britain", a hand tinted engraving after James Stephanoff and another similar (3)
Estimate: 200-400
7. PETR. SCHENCK Russia Albae Moscovia (la Russie Blanche, Paris, Geographe Ord du Roy), a hand tinted engraved map, possibly, 19.5" x 23". See illustration
Estimate: 300-500
8. RUSSIAN SCHOOL, 19TH CENTURY Maison de Plaisance Gravê Par Nêe, engraving, 8.5" x 25.5" and the companion Pêterhoff (2)
Estimate: 100-200
9. COURVOISIER Vue de la Nouvelle Bourse et des Batiments de L'Accademie des Sciences, Gravê du Bois, a hand tinted etching, 10" x 16" and the companion Vue de la Place et du Grande Theatre de l'opera a St Peterspourg, together with hand tinted engraving entitled "A View of the Marble Palace, St Petersburg", 13" x 20" (3)
Estimate: 150-300
10. A 19TH CENTURY HAND TINTED ENGRAVING of St Basil's Cathedral, Russia, 9.5" x 13.25" and the companion of St Issac's Cathedral (2). See illustration
Estimate: 200-400
11. RUSSIAN SCHOOL, 19TH CENTURY, A set of five hand tinted engravings depicting scenes of Russia 10" x 14.75" (5) See Illustration
Estimate: 300-600
12. J. MEYER "Le Vauxhall", printed title to the margin, hand tinted lithograph, 9.75" x 13.75" and a Russian print of a young Prince, 10.5" x 8.5" (2)
Estimate: 50-100
13. GEORGES ROUAULT "Son Avocat, en Phrases, Creuses, Clame sa Totale in Conscience...." aquatint, 24" x 18.75". See illustration
Estimate: 600-1200
14. BRYAN PEARCE The Stone Boat at Newlyn, signed and dated '72 in pencil and no. 13/30, etching, 4.5" x 5.5". See illustration
Provenance: The New Art Centre, Sloane Street, London
Estimate: 300-500
15. JASPER JOHNS The Seasons, 1987, signed and dated in pencil to the margin and no. 16/54, intaglio print, 26.75" x 54.25" See illustration
Provenance: Private collection, Wiltshire
The vendor, a friend of the artist, purchased this print directly from the publisher.
17.
30. ATTRIBUTED TO MOSES HORTON
A portrait of a lady with flowers in her hair,
bust length, vignette,
watercolour,
6.75" x 5.75"
Estimate: 50-100
31. JOHN NIXON
A profile study of a young lady reading,
apparently numbered 15,
pencil and watercolour,
5" x 3.78"
See illustration
Provenance: The French Hospital of La Providence
Spink, King Street, St. James's, London SW1, no. K37710 (upper right)
Estimate: 100-200
32. CARL VON MANNISBERG
Figures on a tree-lined road with a town and a bridge on a river beyond,
inscribed with the artist's name and the date "1794" in the margin,
watercolour,
9" x 12.25"
Estimate: 100-200
33. JOHN LAPORTE
A pastoral landscape with cows and a farmstead,
signed,
oval, gouache,
7.75" x 10.75"
See illustration
Estimate: 300-600
34. ENGLISH SCHOOL, 19th century
A Regency villa with a carriage approaching the entrance and sheep in the foreground,
watercolour,
7" x 10",
and another watercolour of a sailing boat on a lake, in an arched mount (2)
Estimate: 50-100
35. ATTRIBUTED TO JOSEPH POWELL
Looking across the Humber and up the Ouse from Mr Paston's close at Aulkbro' (Alkbrough, Lincolnshire),
inscribed in pencil on a label attached to the reverse and transcribed on a typed label,
watercolour over traces of pencil,
10.5" x 8.5"
Estimate: 80-150
36. WILLIAM COLLINGWOOD SMITH
A palazzo on a Venetian canal with figures,
watercolour,
16.75" x 11.75"
See illustration
Estimate: 200-400
37. JOHN CARTER
A Venetian canal,
signed,
watercolour,
14" x 10.5"
Estimate: 80-150
38. THOMAS LEESON ROWBOTHAM
A view of the Neapolitan coast,
signed and dated 1858,
watercolour over traces of bodycolour,
9" x 13.25"
See illustration
Estimate: 200-400
39. ATTRIBUTED TO CECIL BEATON
A Devonshire cottage "Near Brendon",
titled in the margin and the reverse inscribed,
watercolour with pen,
7.25" x 8.25"
Estimate: 50-100
40. SAMUEL IRELAND
"Market day at the village of Tôstes",
signed and the reverse inscribed with the title and date "October 17/91", watercolour,7.75" x 10.25". See illustration
Estimate: 200-400
41. GENERAL JOHN CHAMBERLAIN A still life of flowers on a stone ledge, inscribed on a label on the reverse, watercolour, 9.25" x 12.5",
Estimate: 50-100
42. MABEL CATHERINE ROBINSON
A woman in a cottage doorway with a child,
signed,
watercolour,
13.25" x 9.5"
Estimate: 100-200
43. JULIUS CAESAR IBBETSON
Cattle and pigs in a barn,
signed and dated 1798,
pen and ink with watercolour,
8.5" x 10.75"
See illustration
Provenance: Agnews, 43 Old Bond Street, London W1 (no. 13) (Stock no. CM5888)
Estimate: 250-450
44. HELEN ALLINGHAM
A seascape with waves crashing on a rock,
signed,
watercolour,
3.75" x 5"
See illustration
Provenance: Thomas Agnew & Sons Ltd, 43 Old Bond Street, W1 (no. 213) (Stock no. 47583)
Estimate: 250-450
45. JOSEPH MALLORD WILLIAM TURNER
"The Two Bridges of the Narni",
inscribed on a label on the reverse,
watercolour,6" x 8.75"
See illustration (full page)
Provenance: Purchased Sotheby's London 18th March 1982 lot 150.
The reverse of the frame contains the transcript of a letter from John Ruskin concerning the watercolour made by Captain Pilkington and inscribed "I vouch to the above being a true copy. J. Pilkington". Another letter from J. Ruskin dated 30th June refers to the return of the drawing - "I am most happy to have seen them".
Estimate: 1000-2000
46. WILLIAM ANDERSON
A merchant man running into harbour,
signed and dated 1793,
watercolour and wash,
5.5" x 7.75"
See illustration
Provenance: The Leger Galleries, 13 Old Bond Street, W1. March 1976
Estimate: 600-800
47. WILLIAM ANDERSON
A Dutch fishing port in a calm,
signed and dated 1793,
watercolour and wash,
5.75" x 8"
See illustration
Provenance: The Leger Galleries, 13 Old Bond Street, W1, March 1976.
Estimate: 600-1200
48. ATTRIBUTED TO GEORGE BARRETT
An alpine landscape with figures on a track with a town and a church spire visible beyond,
watercolour,
12.5" x 17.25"
Estimate: 80-160
49. SIR DAVID WILKIE RA
Three studies of children,
pen and ink,
the largest 2.25" x 2"
three in a single frame (3)
Provenance: The Ruskin Gallery Ltd, 11 Chapel Street, Statford on Avon.
Estimate: 100-200
50. ROMAIN DE TIRTOFF ERTÉ
The standing figure of a woman in Art Deco dress with a fur trimmed cape draped across her arm,
signed,
gouache,
14.75" x 11.5"
See illustration
Estimate: 300-500
51. WILLIAM TURNBULL
A distant view of the town of Ware taken from a field adjoining the park,
monogrammed and dated 1822,
the reverse with an old label attached inscribed in pen with the title,
watercolour,
9" x 13.75"
See illustration
Provenance: Michael Bryan, 20A Cheyne Walk, London SW3.
Estimate: 400-600
52. RICHARD CORBOULD
"A glimpse of the common life of Georgian Society",
inscribed in the margin "Connoisseur Volume 3 N.76",
pen and wash,
oval,
4" x 3"
and the companion "The Guardian" inscribed "Volume 2 N.132" (2),
See illustration
Provenance: Spink, Kings Street, St. James's, London SW1, K37811/48
Estimate: 300-600
53. HENRY GASTINEAU RWS "North Wales", signed and indistinctly dated, watercolour heightened with white, 8" x 12". See illustration
Henry Gastineau exhibited at the Royal Academy from 1812-1830. Examples of his work may be seen in the Victoria and Albert Museum, London.
54. THOMAS MILES RICHARDSON Hastings, monogrammed, watercolour heightened with white, 7.75" x 12.5". See illustration
55. THOMAS C. HART "Spit Head", signed and dated 1843, watercolour, 8.75" x 13". See illustration (HP with next lot)
Thomas Hart was a regular exhibitor from 1865 - 1880, both at the Royal Academy and the RWS.
56. HENRY SUTTON PALMER RWS "The New Forest", signed, watercolour, 10" x 14". See illustration
Estimate: 250-400
57. DAVID COX Kenilworth Castle, watercolour, 7.25" x 10.25". See illustration
Estimate: 500-1000
58. PETER DE WINT "Going to Market", watercolour over traces of pencil, 9.5" x 12.75". See illustration
Estimate: 600-1200
59. PAUL SANDBY An Italianate landscape with figures beside an inlet, signed and dated 1789 on a fragment of masonry, watercolour, 8.75" x 14.25". See illustration
Estimate: 800-1600
60. WILLIAM PAYNE "Part of the ruins of Tinterne Abbey", watercolour, 11.25" x 15.25". See illustration
Estimate: 400-700
61. ANTHONY VAN DYKE COPLEY FIELDING "Near Dolgelly", signed, watercolour, 6.5" x 9.5". See illustration
Estimate: 200-400
62. JOHN VARLEY "Conway Castle, North Wales", signed, watercolour, 10.25" x 14.5". See illustration
Estimate: 1000-2000
63. ASCRIBED TO GEORGE FENNEL ROBSON "Loch Lomond", watercolour over traces of pencil, 14.75" x 21". See illustration
Estimate: 300-500
64. CHARLES BENTLEY Fishing boats in a swell, signed and dated 1830, watercolour, 5.25" x 7"
Estimate: 200-300
65. FRANK H. MASON RI "His Majesty the King's ships", signed and dated 1943, watercolour and bodycolour, 23.75" x 35.75". See illustration
Exhibited: The Royal Institute
The Royal Academy, November 1943.
The reverse with a letter from the artist at his studios in Primrose Hill stating: "The Setting is Spithead with Nomans Land Fort in the middle distance. King George's yacht "Britannia" is reaching across to the Isle of Wight shore on the port tack. A destroyer is running trials. In the distance is the battleship "Nelson" and the barque yacht "Fantome".
Estimate: 3000-4000
69. ROLAND GREEN Four birds on a blossoming branch, signed, watercolour, 10.5" x 8.5"
Estimate: 150-250
70. DONALD WATSON "Greenland White-fronts", signed and dated 1957 and the reverse inscribed with the title, watercolour, 17" x 24"
Estimate: 200-400
71. PHILIP RICKMAN Waterfowl, signed, watercolour and bodycolour, 15.75" x 20.75"
Estimate: 300-600
72. ARTHUR WARDLE A tit on a branch of blossoming cherries, signed, bodycolour on textile, 13.5" x 10"
Estimate: 100-200
73. ARTHUR WARDLE A bullfinch on a blossoming branch, signed, bodycolour on textile, 18.75" x 10.75", and the companion picture (2). See illustration
Estimate: 400-700
74. JAMES HUGHES CLAYTON Fishing boats in harbour, signed, watercolour heightened with bodycolour, 11.25" x 8.5", and the companion picture (2)
Estimate: 100-200
74A. LOUIS WAIN A cat with a smiling expression and large green eyes, signed, bodycolour, 12.75" x 10" (unframed). See illustration
Provenance: According to the vendor, his father worked for Waddington's during the 1930's. During his time with the company he often obtained original artwork. It was during this period that his father acquired the present bodycolour. Stylistically it fits with the artist's tendency to depict increasingly mad-looking cats towards the end of his life.
Estimate: 400-600
75. MONOGRAMMIST HD "Isola Pescatore, Laga Maggiore", monogrammed, watercolour, 6.5" x 10.25" and the companion picture. See illustration
Estimate: 300-500
76. ENGLISH SCHOOL, 19th century A dhow on a tree-lined river at sunset, watercolour with bodycolour, 4.5" x 6.5" and the companion picture (2). See illustration
Estimate: 300-500
77. CHARLES DIXON The Pool of London, signed and dated 1891, watercolour and bodycolour, 19.25" x 45.25". See illustration
Provenance: Private Collection, West Dorset.
Estimate: 2000-3000
78. FREDERICK W. SCARBOROUGH The Pool of London, signed, watercolour and bodycolour, 9.25" x 12.25" and the companion picture (2). See illustration.
Provenance: Private Collection, Devon.
Estimate: 800-1600
79. NEAPOLITAN SCHOOL. 19th century The SS Elmsgarth, titled, bodycolour, 17.5" x 24.75", in a moulded maple frame. See illustration
Estimate: 500-1000
80. SUTTON PALMER "Ullswater", signed, watercolour, 30.5" x 21.75". See illustration
Estimate: 300-600
81. ALFRED AUGUSTUS GLENDINNING Cattle watering in a river, monogrammed and dated (18)88, watercolour and bodycolour, 18" x 29". See illustration
Provenance: Private Collection, East Dorset.
Estimate: 800-1600
82. JAMES ORROCK RI "Ulverscroft Priory, Leicestershire", signed, titled and indistinctly dated 1890, watercolour and bodycolour, 23.75" x 35.5". See illustration
Estimate: 700-1000
82A. ITALIAN SCHOOL, late 16th century, a miniature probably from a manuscript, of the Virgin and child with putti, gouache on vellum, 5.5" x 3.75" in a gilt metal and bronzed frame
Estimate: 500-1000
83. JOHN PEDDER Sheep being driven through a farmyard, signed, watercolour, 10.25" x 13.75". See illustration
Estimate: 200-400
84. FREDERICK R. FITZGERALD A Norwegian fjord, signed, watercolour, 8.5" x 11.25"
Estimate: 150-300
85. HANS HANSEN A landscape with a windmill, signed, watercolour, 8.5" x 11.25". See illustration
Estimate: 300-500
86. REGINALD D. SHERRIN An extensive moorland landscape, probably Dartmoor, signed, bodycolour, 10" x 14.25"
Estimate: 100-200
87. PETER BIEGEL "Shaddy", a study of a grey horse in a landscape, signed and dated April '72, watercolour and bodycolour, 13.5" x 18". See illustration
Estimate: 500-800
88. CIRCLE OF JOHN RUSSELL The daughters of James, Earl of Hopetoun, inscribed with the identity of the sitters on a label on the reverse, pastel, oval, 15.5" x 12.75", apparently retaining the original giltwood and gesso frame
Estimate: 100-200
89. ASCRIBED TO FRANCESCA BARTOLOZZI "Cupids" extensively inscribed on the reverse, pencil and crayon, 11.5" x 14.5"
Provenance: According to labels on the reverse sold at Christie's May 18th 1896 by the Trustees of Viscount Eversley.
The collection of Glyn Davies, circa 1928.
Sold Christie's Hillcourt, Ross on Wye 14th December 1982, lot 384.
The Chantry, Bradford Abbas, Dorset.
Estimate: 100-200
90. EUGENE GALIEN-LALOUE "Place de la Bastille", signed, watercolour and bodycolour, 7.25" x 12.25" and the companion picture of "L'Eglise St. Eustache, Les Halles". See illustration
Provenance: The reverse with a label for Gallery George, 96-98 George Street, London W1.
Private Collection, London.
Estimate: 8000-15000
91. WILHELMINA BARNES GRAHAM "Linear Movement" (West Country), signed and dated on the mount (1981), mixed media, 7.75" x 10.5". See illustration
Provenance: Acquired from the artist by the vendor
Private Collection, Wiltshire
WBG Catalogue number 34/81/L
The reverse inscribed with the artist's name and address in St. Andrew's, Fife.
Estimate: 3000-5000
92. PETER LANYON Landscape, Italy, the reverse with various labels indicating a date circa 1945, watercolour and bodycolour with scratching-out, 6.5" x 8". See illustration
Provenance: Almost certainly acquired by the vendor from the Wills Lane Gallery.
Private Collection, Wiltshire.
Estimate: 2000-3000
93. JOHN TUNNARD A nebula, signed, numbered and dated (19)62, watercolour and bodycolour, 14.75" x 21.75". See illustration
Provenance: Sotheby's London, 15th September 2004, Lot 233.
Estimate: 2000-4000
94. VIVIAN FORBES "Blue nude with mimosa", monogrammed, dated 1935 and inscribed "Brussells", watercolour and bodycolour, 14.25" x 12". See illustration
Estimate: 200-400
95. PETER MCLAREN "Cyclist looking back", inscribed and titled on the reverse, watercolour and bodycolour with graphite, 24" x 19.25". See illustration
Estimate: 300-500
96. JOHN HAMMOND HARWOOD Swanage, inscribed and titled on a label on the reverse, watercolour, 14" x 20.5". See illustration
Estimate: 250-450
97. CHARLES BONE Agaliers, Provence, signed and the reverse inscribed on a label, watercolour and bodycolour, 29" x 21". See illustration
Provenance: The Ashgate Gallery, Surrey.
Private Collection, Dorset.
Estimate: 300-500
98. ROWLAND SUDDABY A still life with flowers in a vase, signed, gouache, 9.75" x 6". See illustration
Estimate: 300-500
99. JOHN SKEAPING "Resonedor", signed, and the reverse inscribed with the title, coloured chalks, 15.5" x 19". See illustration
Estimate: 300-600
100. ULI NIMPTSCH RA Reclining nude, monogrammed and dated (19)48, pencil, 16" x 21.75" and three other nude studies by the artist, pencil and coloured crayons (4). See illustration
Provenance: The Estate of the artist.
Estimate: 100-200
101. WILLIAM BRUCE ELLIS RANKEN RCI "His Highness Prince Vsevolode of Russia", signed and inscribed "To Mary" and the reverse with a label, watercolour and bodycolour, 18.5" x 13.25". See illustration
Provenance: The sitter and thence by descent.
Exhibited: The Royal Society of Portrait Painters.
Estimate: 100-200
102. ILYA KABAKOV A steam train with an industrial landscape beyond, signed and dated (19)70, pen and ink, 7.5" x 10". See illustration
Provenance: A gift from the artist to the vendor, who at the time was a diplomat attached to the British Embassy in Moscow.
Estimate: 300-500
103. ILYA KABOKOV Boys playing snooker, signed, inscribed and dated 1970 on the reverse, watercolour with pen and ink, 5.25" x 7.75". See illustration
Provenance: A gift from the artist to the vendor, who at the time was a diplomat attached to the British Embassy in Moscow.
Estimate: 300-500
104. HARRY SUTTON PALMER "On the Ouse", signed, watercolour, 13.75" x 21". See illustration
Estimate: 300-600
105. WILLIAM WIDGERY A river landscape with trees, signed, watercolour and bodycolour, 22.75" x 16"
Estimate: 200-300
106. WILLIAM WIDGERY A waterfall in a wooded landscape, signed, watercolour and bodycolour, 28" x 17.5" and the companion picture (2). See illustration
Estimate: 500-1000
107. ALFRED H HART Russet & Gray of an old world village, Wessex (Burton Bradstock), watercolour, 11.5" x 18.25"
Estimate: 150-300
108. 19TH CENTURY ENGLISH SCHOOL, A woman in Regency dress seated on a bench contemplating, pencil and watercolour, 12.75" x 9.75"
Estimate: 200-400
109. M. SCHILDT A woman kneeling and carrying a bunch of straw, signed, watercolour, 7" x 10.5"
Estimate: 200-400
110. A DUNNINGTON Little Andover, Dorset, signed, watercolour, 4.75" x 6.75"
Estimate: 100-200
111. ENGLISH SCHOOL, 19th century A man in an African interior beside a man selling oranges, bearing signature John Varley and dated '72, watercolour over pencil traces, 9 x 13"
Estimate: 100-200
112. ENGLISH SCHOOL, 19th century A boat grounded upon rocks, watercolour, 6.5" x 8.5"
Estimate: 100-200
113. FOLLOWER OF HUBERT COUP Two boats in a marina, watercolour, 8.5" x 16.5"
Estimate: 150-300
114. ATTRIBUTED TO VINCENT CLARE A study of a woman seated displaying her grain sorting dish, watercolour, 8" x 4.5" (at widest point) and the companion study of a gentleman, 9.5" x 4" (at widest point) (2)
Estimate: 50-100
115. LOWES CATO DICKINSON A portrait of a mother and her daughter, signed and dated 1850, chalk, 25" x 19.75"
Estimate: 150-300
116. MAXWELL ARMFIELD Dovecote, Cherrington, initialled, titled and dated 5.7.11, watercolour wash en grisaille over pencil traces, 8.75" x 11.25". See illustration
Provenance: Fine Art Society, 5.11.11
Estimate: 300-600
117. JAN DEN HENGST Nagerebrug Amsterdam, signed and titled, aquarelle, 11" x 17.75"
Estimate: 100-200
118. STUDIO OF PERCY BACON Study for a stained glass window, with pencil annotations, watercolour and ink, 20.75" x 13.75"
Estimate: 100-200
119. CRAIG WALLACE Racing Yachts, signed, watercolour, 9.25" x 12.75"
Estimate: 100-200
120. STIRLING GILLESPIE Rothesay Bay and Loch Striven from Canada Hill Bute, signed with artist's label to the reverse, watercolour, 11" x 14.5"
Estimate: 150-300
121. ITALIAN SCHOOL, 19th century A side portrait profile of a holy woman reading a text, inscribed in pencil to the reverse, watercolour, 6" x 6" (circular) and a similar portrait of an angel, 3.5" x 3.5" (circular) (2)
Estimate: 400-800
122. ENGLISH SCHOOL Portrait of a woman in evening dress holding a fan and wearing a cloak against a red ground, body colour and gouache over conte pencil traces, 9.25" x 6.25"
Estimate: 100-200
123. MARCEL GAILLAIRD An African woman attending a crucifixion on a coastal hillside, signed, the reverse bearing a label inscription, body wash and gouache, 20" x 12.5"
Estimate: 100-200
124. HELEN McKIE Kaiser Bill, Christmas stocking, signed, black ink and watercolour over pencil traces with white gouache highlights, 15.25" x 11.25"
Estimate: 100-200
125. CECIL ALDIN A study of a Sealyham terrier for a Poole Pottery tile design, signed and with pencil annotations, watercolour, 4.5" x 5" and a larger un-annotated final version, 6" x 6" (2). See illustration
Estimate: 400-800
126. MORRIS COLES GRAVES A study of a bird of prey sitting on a rock, charcoal, 34" x 22". See illustration
Estimate: 500-1000
127. DOD PROCTER A portrait profile of a young woman, signed, pencil, 15.75" x 12.25"
Estimate: 100-200
128. GEORGE BELCHER RA The Brace of Birds, signed with an inscription to the margin, black chalk, 14.5" x 19.5"
Estimate: 100-200
129. AFTER HENRY ALKEN Racehorses, dogs and stags, a series of fourteen small pencil sketches mounted in two frames, each sketch 2.5" x 2.25" (14). See illustration
Estimate: 300-600
130. ELFRIEDE LOHSE-WACHTLER A study of a head, initialled and dated 1929, with pencil annotations to the mount, coloured chalk, 8.75" x 7.75". See illustration
It is possible this sketch forms part of Wachtler's "Friedrichsberger Kopfe", a series of sixty drawings of head and body studies of psychiatric patients. In 1929 the artist suffered a nervous breakdown and was committed to the Friedrichsberg Psychiatric Clinic.
Estimate: 100-200
131. J. KUHN-REGNIER
A woman feeding a baby in an interior, signed, watercolour, 7 3/4" x 5 3/4", and the companion painting (2)
Estimate: 200-400
132. ENGLISH SCHOOL, 18th century "Dr. Arne 1710.1778, Artaxerxes Abel Gentleyouth Rule Britannia", watercolour, 8.75" x 6.75"
Estimate: 100-200
133. KEITH VAUGHAN "White Cliffs and Green Rocks", signed and dated (19)53 and the reverse with various labels including one inscribed "White Cliffs and Green Rocks, Gouache, 1954" and with 18 guineas added in pencil, gouache, 5.75" x 7". See illustration
Provenance: The reverse with a label for Roland, Browse and Delbanco, 19 Cork Street, Old Bond Street, London W1".
Private Collection, Dorset.
As part of the neo-romantic circle of post war artists, Vaughan's work ranged from realistic studies of the male nude through to increasingly abstract studies of landscape, of which this is a prime example.
Estimate: 2000-4000
134. DAVID HOCKNEY "Nick and Earl", inscribed "Nick + Earl with love from David H", lower right), pencil, 18.5" x 23.75". See illustration
Provenance: Presumably a gift from Earl to Nicholas Wilder, his boyfriend and a leading art dealer in Los Angeles.
Lewis Kaplan, London.
John Stoller, Minneapolis, USA.
Private Collection, Wiltshire
Estimate: 5000-10000
135. PABLO PICASSO "Petit Cheval" executed on 12th December 1960, felt tip on a printed page inscribed "Traduction de Lionel Durand", 11.25" x 8.25". See illustration.
This work is offered with a statement of authenticity from Maya Widmaier Picasso.
Provenance: Private Collection, Wiltshire
Estimate: 12000-18000
155. ASCRIBED TO JOHN CONSTABLE A portrait of a lady wearing a red dress and holding a green parasol across her lap, possibly identified as Mary Constable, oil on canvas, 15" x 13". See illustration
Provenance: Possibly from the collection of Miss Isobel Constable.
Apparently lot 272 in the auction at Christie's of "Works of the late John Constable RA" on June 17th 1892. The purchaser is recorded as A. Smith.
Christie's London September 29th and 20th 1977, Lot 66 as "Constable" (purchased by Payne).
Private Collection, Dorset.
Estimate: 200-400
156. FLEMISH SCHOOL, 17th century A hermit, oil on copper, 8" x 6.25", in an 18th century carved giltwood and gesso frame. See illustration
Estimate: 400-600
157. JOHN MORTON-SALE "A quiet moment", signed and the reverse inscribed on a gallery label, oil on canvas, 22" x 17" (unframed)
Provenance: The Estate of Isobel and John Morton-Sale
Chris Beetles, 8 & 10 Ryder Street, St. James's, London SW1.
Private Collection.
Estimate: 250-450
158. FELIX KELLY A landscape in sepia tones with a ruined castle, signed and dated (19)45, oil on paper, 13" x 17.5"
Estimate: 300-600
159. ANTHONY JOHN A still life, oil on canvas board, signed and the reverse inscribed on various labels, 13.75" x 17.5"
Provenance: According to a label on the reverse the Wertheim Gallery, 3/5 Burlington Gardens W1.
Estimate: 100-200
160. CHARLES BUCHEL A portrait of a lady, the mother of Her Highness, The Princess of Russia, sitting three-quarter length in an interior, signed and dated 1923, oil on canvas, 36" x 30". See illustration
Charles Buchel was born in Mainz, Germany, as Karl August Buchel. On moving to England, he began studying Art and Design at the Royal Academy Schools. He was later employed by the theatre actor manager Herbert Beerbohm-Tree to design theatre programs and paint portraits of famous actors, such as Henry Irving, Lily Langtry and George Alexander.
His work may be seen in the National Portrait Gallery in London.
161. CHARLES BUCHEL An interior as if viewed through a convex mirror, signed, oval, oil on board, 24" x 19.25". See illustration
Estimate: 500-1000
162. FREDERICK HALL A figure sitting in dappled sunlight beneath the branches of a tree, signed and dated 1921, oil on board, 12.5" x 15.5". See illustration
Estimate: 300-500
163. ASCRIBED TO ARTHUR LEMON A plough team with downland beyond, possibly near Amberley in West Sussex, oil on board, 13..75" x 19.75". See illustration
Estimate: 400-600
164. DERYCK FOSTER A sailing boat coming past a lighthouse, signed, oil on board, 13.5" x 20.5"
Estimate: 100-200
165. ENGLISH SCHOOL Study of a beach, the recto with a study of trees, oil on board, 8.75" x 10.5" (unframed)
Estimate: 50-100
166. JOHN HAMMOND HARWOOD Moored boats with a pier beyond, signed and dated 1935, oil on canvas, 15.75" x 19.75"
Estimate: 100-200
167. CONTESSA OLGA STENBOCK-FERMOR A landscape with trees, indistinctly inscribed on a label on the reverse, oil on panel, 6" x 9.5"
Estimate: 50-100
168. ENGLISH SCHOOL A study of a horse's head, oil on canvas, 14" x 10"
Estimate: 150-250
169. F. MABEL HOLLAMS "Sally", signed, titled and dated (19)49, oil on canvas, 12.5" x 18.5". See illustration
Estimate: 300-500
170. DAME LAURA KNIGHT "Karsavina as the Fire Bird", signed, and the reverse inscribed on various labels, oil on canvas, 20" x 18". See illustration
Provenance: Christie's London 6th December 1957, Lot 79 sold for 10 guineas.
With David Messum.
Private Collection, Somerset.
171. KEN HOWARD "Valerie, St. Clements Hall, 7.35am, July 20th '87", signed and the reverse inscribed with the title and the artist's name and address at 8 South Bolton Gardens, London SW5, oil on canvas, 48" x 40". See illustration
The character of the painting can be summed up by the artist himself: "I was brought up in London surrounded by railway yards and factories. This has very much influenced the use of horizontal and vertical structures and lines in my work. I am not a landscape painter, but rather a vertical horizontal and linear painter, which is why I have a passion for the lines that occur within my studios, and include them in my paintings. When I study a model, I think of that figure not in rhythmical terms, but in vertical or horizontal positions and planes".
Provenance: Private Collection, Somerset.
Estimate: 8000-12000
172. RUSKIN SPEAR A cat and flowers, signed, oil on canvas, 19.75" x 23.5". See illustration
Provenance: The artist's studio.
The Fosse Gallery, Stow on the Wold.
Private Collection, Dorset.
Estimate: 5000-7000
173. BRYAN PEARCE "Three boats 1976", signed and the reverse inscribed with the title, oil on board, 13.75" x 24". See illustration (HP with 172)
Provenance: Acquired from the artist by the vendor.
Private Collection, Wiltshire.
Estimate: 4500-7500
174. WILHELMINA BARNES GRAHAM "Last of the May Day", signed and dated on the mount 1984, and the reverse extensively inscribed in pen, oil on card, 6.75" x 7.5". See illustration
Provenance: Acquired from the artist by the vendor.
Private collection, Wiltshire.
Estimate: 3000-5000
175. JOAN GILCHRIST St. Michael's Mount, monogrammed and inscribed on the reverse, oil on board, 5" x 7". See illustration
Estimate: 800-1200
176. MARY FEDDEN "Two red Nasturtiums", signed and dated 1986 and the reverse with a label, oil on board, 5.25" x 7.25". See illustration
Estimate: 2000-4000
177. PAUL MAZE A view on a river, probably the Seine, signed, oil on canvas, 18" x 21.25". See illustration
Estimate: 300-600
178. MARY REMINGTON Flowers in a terracotta pot, signed, oil on board, 10.25" x 8.5"
Estimate: 100-200
179. ANDREW LANYON Portreath (abstract), inscribed on two labels on the reverse, dated "March 1978", oil on board, 8.25" x 6.75"
Provenance: Acquired from the artist by the vendor.
Private Collection, Wiltshire.
Estimate: 300-500
180. CYRIL MANN A Paris sunset, inscribed on the edge of the canvas "Paris", oil on canvas, 21" x 24.75" (unframed)
Estimate: 500-1000
181. CYRIL MANN Sunset over Paris, the reverse with a studio stamp "LA40", oil on canvas, 21" x 25.5" (unframed). See illustration
Estimate: 2000-3000
182. ALAN DAVIE "Pittoria 22", signed and dated (19)59 and the reverse inscribed on the backboard "Alain (sic) Davie Pittoria 22 1959" and numbered "1912", oil on paper, 16.75" x 21.25". See illustration
Estimate: 5000-10000
183. MILTON AVERY "Gentle Grazer", signed and dated 1959 and inscribed with the title, measurements and date on the reverse, oil on board, 22" x 28". See illustration
Provenance: Acquired by the vendor's family from the Waddington Galleries, 2 Cork Street, London W1.
Private Collection, Somerset.
Estimate: 30000-50000
184. PETER PRENDERGAST A winter landscape 2004, signed and the reverse inscribed on a label, acrylic on paper, 10.5" x 13.75". See illustration
Provenance: The Martin Tinney Gallery
Private Collection, West Dorset.
Estimate: 800-1600
185. DONALD HAMILTON FRASER An abstract landscape, signed, oil on paper, 15.75" x 11.75". See illustration
Estimate: 1000-2000
186. DONALD MCINTYRE "Boats on the quay, Crail", signed and the reverse inscribed on a label with the artist's name, title and the number 968, oil on board, 20.75" x 30.75". See illustration
The Fosse Gallery, Stow on the Wold
Private Collection, Dorset.
Estimate: 2000-3000
187. JOHN CUNNINGHAM Still life with roses in a glass and an apple on a tabletop, signed and the reverse inscribed on a label dated (19)88 and with the artist's address "351 Renfrew Street, Glasgow G3 6UW", oil on canvas board, 11.5" x 11.75". See illustration
Provenance: Private Collection, Dorset.
Estimate: 2500-4000
188. JAMES FAIRGRIEVE ARSA RSW "Cow - winter evening", inscribed on a label on the reverse, acrylics on canvas, 35.5" x 35.5". See illustration
Estimate: 1000-2000
189. JOHN AMBROSE RSMA Boats in harbour, oil on canvas board, 9.5" x 9.75"
Provenance: According to a label on the reverse purchased from the artist's studio (Rose Studio, St. Ives) in 1984 by Henry May (a photocopy of the letter from the artist to Henry May attached to the reverse).
Estimate: 150-300
190. DION PEARS A GT40 at Le Mans, signed, oil on canvas, 30" x 36". See illustration
Estimate: 450-750
191. GORDON DAVIES "A view of Barga, Tuscany", signed and bearing a King Street Gallery label to the reverse, oil on board, 9.75" x 13.5" and the companion "View from the Arco di Grgoro san Gimignano" (2)
Estimate: 200-400
192. BERNARD PAGE A clipper at sea, signed, oil on board, 9.5" x 13.5"
Estimate: 150-300
193. ENGLISH SCHOOL, 19th century The Poacher, monogrammed, oil on canvas, 17.5" x 13.5"
Estimate: 200-400
194. ROBERT GALLON "Between Southend and Lee, 14th September 1888", titled on the mount and with a Paul Waller label to the reverse, oil on board, 7.5" x 11.5"
Estimate: 100-200
195. ENGLISH SCHOOL, 19th century A boat with sails up on a choppy sea, oil on board, 11" x 16.75"
Estimate: 100-200
196. DUNCAN FRASER MCLEA Two figures carrying a cockle basket along a craggy seashore, signed, with label to the reverse, oil on canvas, 5.25" x 8.25" and the companion painting (2)
Estimate: 200-400
197. A.R. DUGMORE A lake scene at dusk, signed, oil on board, 10.25" x 15.25"
Estimate: 250-450
198. ENGLISH SCHOOL, early 19th century A family of deer resting in a wooded landscape, oil on canvas, 11.5" x 9.25" and the companion painting (2)
Estimate: 200-400
199. ... DEWAR A lakeside scene with fishermen in a longboat, indistinctly inscribed to the reverse of the canvas with further pencil inscriptions to the stretcher, oil on canvas, 13.5" x 20.5"
Estimate: 100-200
200. MANNER OF GUSTAVE COURBET A rocky seascape bears signature G. Courbet with labels on the reverse for The New Art Gallery, Walsall and The Leicester Gallery, oil on canvas, 12" x 21". See illustration
Provenance: Kathleen Epstein
The collection of Kitty Godley and thence by descent
Estimate: 2000-3000
201. T. LANGLOIS Two attentive terriers looking to their left, signed, oil on canvas, 9.5" x 13.5". See illustration
Estimate: 200-400
202. ENGLISH SCHOOL, 19th century Two gentlemen handling partridge in a wooded landscape, oil on board, 3.25" x 4.75"
Estimate: 80-160
203. MANNER OF DAVID COX A landscape with farm cottages and a rocky pond, indistinctly inscribed to the verso, oil on board, 8.75" x 12". See illustration
Estimate: 300-600
204. THOMAS SOMERSCALES "Nocturne - A view in Chile", signed and dated (18)86, oil on canvas laid on board, 13.5" x 9.25". See illustration
Provenance: George W. Macauslane and thence by descent.
George Macauslane was the HM British Consul to the South Americas and the West Indies and spent time in Chile
Estimate: 2500-4500
205. CAPINET(?) A monk conversing with two nuns in a religious building, indistinctly signed with label to the reverse, oil on canvas, 13.75" x 11.25"
Estimate: 150-300
206. .....BAPTISTE A young girl wearing a hat and holding a billing dove, signed, oil on board, 10" x 8". See illustration
Estimate: 300-600
207. ENGLISH SCHOOL, 19th century A portrait of a gentleman in an interior with a horse-racing picture in the background, indistinctly signed, oil on board, 9.5" x 7.75". See illustration
By family repute the sitter is apparently a Steward of the Jockey Club.
Estimate: 100-200
208. ANGLO-CHINESE SCHOOL, 19th century SS Yorkshire in a moderate sea with Chinese junks, oil on canvas, 18" x 24". See illustration (HP with 209)
Estimate: 600-1200
209. ROBERT WOODCOCK Men o'war in heavy seas off a rocky promontory with a fort and numerous figures, oil on canvas, 24.5" x 49". See illustration
Provenance: Private Collection, East Dorset.
Estimate: 3000-5000
210. THEODORE GUDIN The Indiaman, Kent, on fire in the Bay of Biscay, signed, oil on canvas, 36.5" x 58". See illustration
Estimate: 5000-8000
211. WILLIAM SHAYER SENIOR Fisherfolk on a beach with sailing vessels beyond, signed and dated "William Shayer Senior 1853", oil on canvas, 21.75" x 29.5", apparently retaining the original swept giltwood and gesso frame. See illustration
Provenance: The Estate of the Late Miss Helen Brotherton, CBE.
Estimate: 3000-6000
212. GEORGE AUGUSTUS WILLIAMS AND JOHN FREDERICK HERRING JUNIOR "At the Forge", signed, oil on canvas, 23.5" x 35.5". See illustration
Provenance: The Estate of the Late Miss Helen Brotherton, CBE.
Estimate: 1000-2000
213. CHARLES EUPHRASIE KUWASSEG An alpine town on a river with snow-capped mountains beyond, signed and dated "Charles Euphrasie Kuwasseg fils 1873" and the reverse with an old typed label, oil on canvas, 22" x 38.75". See illustration
Provenance: The Estate of the Late Miss Helen Brotherton, CBE
Estimate: 3000-5000
214. EUGENE ACCARD "The Charmer" with two figures in an interior, signed and indistinctly dated (18)55 (?) and the reverse with various labels, oil on panel, 9.25" x 7". See illustration
Provenance: Haynes Fine Art of Broadway.
Private Collection, Dorset.
Estimate: 800-1600
215. THOMAS CRESWICK "The Thames at Mapledurnham", signed, oil on canvas, 20.5" x 27.25". See illustration
Provenance: Private Collection, Dorset.
Estimate: 500-1000
216. GUILLAUME AND DAVID EMILE-JOSEPH DE NOTER An interior with a woman arranging flowers an expectant dog seated beside a tea tray, signed, oil on canvas, 25" x 20". See illustration
Provenance: Private Collection, South Dorset.
Estimate: 3000-5000
217. ATTRIBUTED TO GEORGE KNAPTON A portrait of Mrs Gouldney, the wife of Admiral Gouldney, and her daughter in an interior holding a garland of flowers, inscribed on an old label on the reverse, oil on canvas, 50" x 40", apparently retaining the original giltwood and gesso frame. See illustration
Provenance: Encombe House, Dorset.
Estimate: 5000-10000
218. MANNER OF JOHN MICHAEL WRIGHT A young gentleman standing full length beside a plinth holding a bow, a hound to one side, oil on canvas, 62.25" x 42.5". See illustration
Estimate: 2000-3000
219. FREDERICK WHITEHEAD "A Farm near the Sea", probably Goathorn, on the Isle of Purbeck, signed, and the reverse with various labels including one indistinctly inscribed, probably in the artist's hand, with a number "174", oil on canvas, 16" x 24". See illustration
Provenance: Private Collection, West Dorset.
Estimate: 3000-4000
220. EDWARD KING An extensive landscape with a figure in a cart, a church and a windmill beyond, signed and dated 1913, oil on canvas, 33.5" x 35.5". See illustration
Estimate: 600-1200
221. A... BASSI A woman pouring a glass of claret for a monk in a kitchen interior, signed, oil on canvas, 16.75" x 21.75". See illustration
Estimate: 400-800
222. ENGLISH SCHOOL, 19TH CENTURY, Rams being guided by a shepherd along a Highland path, indistinctly signed, oil on canvas, 8.75" x 28.5". See illustration
Estimate: 200-400
223. ENGLISH SCHOOL, 19TH CENTURY , A portrait of a young shepherd boy, oil on board, 12.75" x 9.5"
Estimate: 200-400
224. ENGLISH SCHOOL, 19TH CENTURY , Fishermen wading in a river within a wooded landscape, oil on canvas, 17.5" x 13.5"
Estimate: 150-300
225. ATTRIBUTED TO CAESAR SMITH A figure in a landscape with a large tree in the foreground, oil on canvas laid on board, 22" x 16.25"
Estimate: 100-200
226. ENGLISH SCHOOL, 19TH CENTURY , A view on the river at Totnes, indistinctly signed, oil on canvas, 14.75" x 21.75"
Estimate: 200-400
227. A NIBBS A view of shipping at Portland, signed, oil on canvas, 9.25" x 15.25"
Estimate: 200-400
228. WILLIAM H BORROW A seascape at Hastings, en grisaille, signed, oil on canvas, 13.75" x 19.5"
Estimate: 150-300
229. ETHEL WRIGHT A portrait of a lady wearing a pearl necklace and flowers in her corsage, signed, oval, oil on canvas, 27.5" x 21.5", apparently retaining the original ilt wood and gesso frame. See illustration
Estimate: 600-1000
230. A... WALLEN A rocky river in the Highlands during a rainstorm, signed, oil on canvas, 24.5" x 30". See illustration
Estimate: 200-400
231. ANNIE HEWETSON The First Baby, 1884, inscribed in ink to the stretcher, oil on canvas, 33.5" x 43.5". See illustation
Estimate: 600-1000
232. ATTRIBUTED TO THOMAS BROOKS A highlander and his lass with a sheepdog and his flock, with distant views of a loch and mountains, indistinctly signed and dated 1846, oil on canvas, 43.25" x 33.5". See illustration
Provenance: The Chantry, Bradford Abbas, Dorset
Estimate: 800-1600
233. CIRCLE OF JOHN FREDERICK HERRING A farmyard with the hunt beyond, bears signature, oil on canvas, 9.25" x 13.75". See illustration
Provenance: The Estate of the Late Deborah Gillingham, OBE, Beaminster, Dorset.
Estimate: 300-600
234. DUTCH SCHOOL, 18th/19th century A fishing boat and other shipping off a pier, oil on panel, 5" x 7"
Estimate: 100-200
235. MANNER OF JOSEPH VERNET Figures on a beach with shipping in a bay at sunset, oil on board, 11" x 18.25"
Estimate: 100-200
236. ENGLISH SCHOOL, 19th century Parkland with deer and an angler in the foreground, oil on board, 11.25" x 17.25"
Estimate: 80-160
237. CONTINENTAL SCHOOL, 18th century A portrait of a lady wearing ribbon in her hair, her neck trimmed with lace, bust-length, oil on canvas, 20" x 16" (unframed)
Provenance: Private Collection, Sherborne, Dorset.
Estimate: 100-200
238. ENGLISH SCHOOL, 19th century A young cavalier gazing into a mirror, oil on canvas, 21.75" x 29.75". See illustration
Estimate: 300-600
239. GEORGE MORLAND A sow and her piglets resting beside a thatched barn, the reverse with an old wax seal, indistinctly monogrammed "G.M. F", oils on a cradled panel, 11.5" x 14.5". See illustration
Estimate: 2000-4000
240. CHARLES B. HAVELL "British Queen", inscribed on the re-lined canvas with the artist's name, the title and the date 1851, oil on canvas, 4.5" x 29.5". See illustration
Estimate: 800-1600
241. ITALIAN SCHOOL, 17th century (?) St. Peter in a landscape, oil on panel, 17.5" x 13.5", in a carved giltwood frame. See illustration
242. RUSSIAN SCHOOL An icon of the Virgin and Child, oils on panel, 12.5" x 10.5" (unframed)
Estimate: 80-160
243. DUTCH SCHOOL, 17th century Adam and Eve in the garden of Eden, oil on copper panel, 10" x 13.25". See illustration
Estimate: 1000-2000
244. ENGLISH SCHOOL, late 17th century A portrait of a gentleman wearing a powdered wig, a red coat and a white cravat, bust-length, oil on canvas, 29.5" x 24.5"
Estimate: 300-600
245. MANNER OF ALBERT CUYP A gentleman seated full length in a landscape with hounds and a young attendant, a distant landscape beyond, oil on canvas, 25.5" x 21.25", in a carved and silvered-wood frame. See illustration
Provenance: According to the vendor acquired from the late Sir Philip Shelborne, Myles Place, Salisbury, Wiltshire.
Private Collection, Sherborne, Dorset.
Estimate: 1500-2500
246. MANNER OF JEAN BAPTISTE MONNOYER A still life of summer flowers on a stone ledge, oil on canvas, 29" x 24", in a carved giltwood frame. See illustration
Provenance: Private Collection, Sherborne, Dorset.
Estimate: 800-1500
247. MANNER OF GASPAR VAN WITTEL, called Vanvitelli A view on a river, probably the Tiber at the Ponte Rotto, Rome, oil on canvas, 27" x 35". See illustration
Provenance: Private Collection, Devon.
Estimate: 1000-2000
248. ASCRIBED TO PIERRE AUGUST RENOIR "Paysage avec Personnages", bears signature "Renoir" and the reverse with various labels, 10.5" x 8.25". See illustration (FP)
Provenance: Acquired from the Lefevre Gallery in 1957 by Sir Antony Hornby and thence by descent to his grand-daughter, Annabel Barley.
Private Collection, Dorset.
Exhibited: The Tate Gallery - "Private Views" no. 85 from the collection of Sir Anthony Hornby, 12 Radnor Place, W2. The exhibition "Private Views" was works from the collections of twenty friends of the Tate Gallery and included a number of works from the collection of Sir Antony and Lady Hornby. In addition to this work (no. 85) the Hornby's lent others by Pierre Bonnard, Georges Braque, Henry Matisse and Edouard Bruillard.
At the time this work was sold and lateR exhibited at The Tate, it was accepted as an autograph work by the artist. The Wildenstein Institute in Paris, however, do not accept this work as autograph.
249. IAN DAVENPORT "Rain", signed and dated on the reverse 1988, oil on panel, 25" x 27.5". See illustration
Provenance: The Collection of Julie Balmforth, a contemporary of Ian Davenport and Damien Hirst at Goldsmiths from 1986-1989. In 1988 both artists became tenants of Jacob Street Film Studios, Mill Street, London SE1; a company connected to the vendor.
This painting was a gift to the vendor from the artist.
Estimate: 2000-4000
250. DAMIEN HIRST "Red Rubber Ball", the reverse with a typed label with the title, mixed media collage, 39.5" x 31.5". See illustration
Provenance: From the collection of Julie Balmforth, a contemporary of Damien Hirst at Goldsmiths. Later, the artist rented space from Jacob Street Film Studios, London SE1; a company connected to the vendor. Hirst's studio was in the attic above the studio canteen.
This collage was a gift from the artist to the vendor when he left the Studios in 1990.
Literature: Hirst's early collages are amply described in Stuart Morgan's essay for the catalogue of "In and Out of Love", Hirst's 1991 Exhibition. For a full discussion of this period and the artist's works see Damien Hirst: "I want to spend the rest of my life everywhere, with everyone, one to one, always forever, now", London 1997, pp. 68-73.
Red Rubber Ball is an early work produced Damien Hirst in the late 1980's. Unlike his later work, "Red Rubber Ball" exudes a sense of individual craftsmanship not seen in many other works from his oeuvre. The inclusion of ready-made objects and the fragmentation of a corpse, however, prefigure what is to come in "Twelve Disciples", "The Physical Impossibility of Death in the Mind of Someone Living" and, more recently "The Golden Calf".
Hirst's collage is composed of various found objects and covered with spattered paint on a found wood assemblage. A doll's severed head, media images and a dried rose figure amongst the items have been playfully juxtaposed onto the picture plane. The uneven paint creates a sense of disorder, whilst the randomly placed and colliding items enhance a sense of anarchic jumble. His fascination with death and the fragility of human existence can already be found in this work.
This distinctive work is reminiscent of the destructive, often fragmented, aesthetic of post-war European art, and, more specifically, the Nouveaux-Realists. Like Tinguely, Hirst's work seems to be created out of all kinds of disparate found objects, but somehow an intrinsic beauty transcends the fragmentation and disorder.
Estimate: 30000-50000
251. LUDOVICO MAZZOLINO The Virgin and Child with St. Joseph in a landscape, dated in gold 15XXII, oil on panel, with an arched top, 18.5" x 13.5". See illustration (the right hand page of a double page spread)
Provenance: The collection of Edmund Burke sold Christie's London 5th June 1812 for £21.0.
Purchased by Winstanley.
Presumably the painting entered the collection of William Blundell Spence at the Villa Medici, Fiesole some time in the mid-19th century. In 1862 he was visited there by Eliza Charlotte Moss, his first cousin. The visit is recorded in her diary, a typed copy of which is retained by the family.
It is probable that this painting, along with a number of others, was bequeathed to Eliza Charlotte Moss, the great-grandmother of the vendor.
We are grateful to the National Gallery, London, for their assistance with this catalogue entry.
Estimate: 40000-60000
252. SOUTHERN NETHERLANDISH SCHOOL, circa 1580 The Holy Family, oil on panel, 24.25" x 20". See illustration (including the frame if possible FP)
We are grateful to the Rijks Museum, Amsterdam for their assistance in cataloguing this lot.
Estimate: 7000-10000
400. T.E. LAWRENCE: A LETTER dated 19/3/35 with a post-script "Romsey on Sunday night and London by 4pm Monday: seventy five miles that second day! Improving!", signed "TES". See illustration
Provenance: The Knowles Collection
Estimate: 500-1000
401. T.E. LAWRENCE: A LETTER dated 17/4/31 "Dear Mrs Knowles, My plans have been upset by being ordered here for a fortnight or so to test some new motor boat engines for the RAF", signed T.E. Shaw. See illustration
Provenance: The Knowles Collection.
Estimate: 800-1500
402. T.E. LAWRENCE: A LETTER dated 1/12/29 "Dear Knowles, A Christmas letter".... signed "T.E. Shaw". See illustration
Provenance: The Knowles Collection.
Estimate: 800-1500
403. T.E. LAWRENCE: A LETTER dated 30/11/26 "Dear Pat ... I am rushing madly about (with a cracked knee due to contact with Islington High Street - the bike is a ruin)", signed "TES". See illustration
Provenance: The Knowles Collection
Estimate: 800-1500
404. T.E. LAWRENCE: A LETTER to HW (Henry Williamson) dated 28/2/29 from 14 Barton Street, Westminster, London SW1 ... "Executor: Yes. I will do it, if it can be completed by April 1935 when my present life (RAF) ends...... and I should ask you to be mine!, signed TES., with addressed envelope. See illustration
Reference: TE Lawrence correspondence with Henry Williamson, Russell Hill Press 2000.
Estimate: 800-1500
405. T.E. LAWRENCE: A LETTER dated 22/7/29 "Dear HW, I am off to London, crack of dawn, tomorrow, Schneider Race Committee Meeting.", signed TES., with addressed envelope. See illustration
Reference: T.E. Lawrence correspondence with Henry Williamson, Russell Hill Press, 2000.
Estimate: 800-1500
406. T.E. LAWRENCE: A LETTER dated 28/8/28 from 338171 A/C Shaw RAF Miranshah, Waziristan "Dear Williamson .... The risk is that you may grow too rich! because then you will have, like poor Belloc, always to do all sorts of dirty things to earn a little more.", signed T.E. Shaw, with addressed envelope. See illustration
Reference: TE Lawrence correspondence with Henry Williamson, Russell Hill Press, 2000.
Estimate: 800-1500
407. T.E. LAWRENCE: A LETTER dated 21/12/33 from 13 Birmingham Street, Southampton "Dear HW .... Lately I have re-read Tarka - and find the old mastery that shocked and startled me in India. It is a fine book. You could make Bradshaw interesting if you edited it...." signed "TES", with envelope. See illustration
Reference: TE Lawrence correspondence with Henry Williamson, Russell Hill Press, 2000
Estimate: 800-1500
408. T.E. LAWRENCE: A PHOTOGRAPH probably inscribed by Lawrence to the reverse "TE & LH (Liddell Hart) at Hythe, dated 2/6/34. See illustration
Estimate: 100-200
409. T.E. LAWRENCE: A LETTER dated 16/3/25 "Dear Robin, Bike wants £100 more. How do I draw it? .... Cape is nibbling at the abridgment idea. I propose to offer him less than a half of the Seven Pillars ..." signed "TES". See illustration
Estimate: 1000-2000
410. T.E. LAWRENCE: A LETTER dated 6.4.25 "Dear Robin .... On Saturday I drew a cheque for £198 odd on the special account. This was for my new bike, and other things.... Till Cape's £1500 comes in. This will not be yet: he has made out a contract, and I have to look at it, re-write it from my point of view, send it to GBS for his approval, ....", signed "TES". See illustration
Estimate: 1000-2000
411. T.E. LAWRENCE: A LETTER from Cloud's Hill dated 28/12/23 "Dear Robin .... The overdraft is hideous large. I'll do my best at it now. You are exceedingly good to let me have so much on no security and discussing the printing and the first batch of four plates of the Seven Pillars", signed "TES". See illustration
Estimate: 1000-2000
412. T.E. LAWRENCE: A LETTER dated 4/12/23 "Dear Robin .... Meanwhile my incomparable bike has been borrowed (in my absence) and returned a hopeless wreck ...", signed "TE". See illustration
Estimate: 1000-2000
413. T.E. LAWRENCE: A LETTER dated 19/3/29 from 338171 A/C Shaw RAF Cattewater Plymouth "Dear Robin .... Oh yes: and a bill to Brough, for things done to my bike in Nottingham a fortnight ago. It's a heavenly bike, goes like smoke and is as smooth as milk to ride.....", signed T.E. Shaw (?). See illustration
Estimate: 1000-2000
414. FLORENCE HARDY: A LETTER dated 22/10/35 addressed "Dear Mr and Mrs Pat Knowles" on Maxgate paper, signed "Florence Hardy" and seven other Florence Hardy letters on Maxgate paper (8)
Estimate: 300-500
415. FLORENCE HARDY: A LETTER dated July 25th from Max Gate, Dorchester: "Mrs G.B. Shaw says that if TEL has not paid up for his cottage at Clouds Hill, she would like to give what is owing to secure it for him", another Florence Hardy letter, and two letters from AW Lawrence
Estimate: 300-500
416. THOMAS HARDY: A studio photograph of Hardy seated aged about 60 by Bernhard Griffen of Dorchester, signed by the author on the mount, 5.5" x 3.5", and Florence Hardy studio photograph aged 36 (taken in 1915), signed by Mrs Hardy on mount, 5.5" x 3.75", framed as a matching pair (2). See illustration
Estimate: 500-800
417. THOMAS HARDY: "The Return of the Native", first edition, published Smith Elder & Co, 15 Waterloo Place, London, volume I, signed "To Clement Shorter, yours sincerely Thomas Hardy, July 2 1903" (3) calf bound, gilt spines, the frontispiece with a Clement K Shorter book plate. See illustration
Provenance: Ex Libris W A Foyle Beeleigh Abbey
Estimate: 6000-8000
418. THOMAS HARDY: "Tess of the d'Urbervilles", first edition, published Osgood Mcilvaine & Co, London 1891, III vols. cloth bound, in case. See illustration
Estimate: 5000-8000
419. THOMAS HARDY: "The Mayor of Casterbridge" first edition, published Smith Elder & Co London, 1886, cloth bound, II vols. See illustration
Estimate: 600-1000
420. THOMAS HARDY: "The Woodlanders", first edition, published Macmillan & Co, London and New York, 1887, cloth bound, III vols. See illustration
Estimate: 300-500
421. THOMAS HARDY: "A Group of Noble Dames", first edition, published Osgood Mcilvaine & Co, London 1891, first binding, original cloth, Purdy 62 (includes the First Countess of Wessex) ditto, second binding "A group of Noble Dames" colonial edition, Petherick & Co, Melbourne, Sydney and Adelaide London, Osgood Mcilvaine 1891, semi-limp cloth (2)
Estimate: 150-250
422. THOMAS HARDY: Tess of the d'Urbervilles" first edition published Osgood Mcilvaine & Co, London 1891, Purdy 67-74, cloth bound, III vols. See illustration
Estimate: 1000-2000
423. THOMAS HARDY: "Tess of the d'Urbervilles", London 1892 first edition in one volume form, known as 5th edition Purdy 77, "Tess of the d'Urbervilles" Tauchnitz edition two volumes in one, binders cloth, "The Woodlanders", The Wessex Novels volume eight with an inscription "To Beryl Fetherstonhaugh-Frampton from Florence Hardy, 1928" and another volume of "Tess of the d'Urbervilles" (5)
Estimate: 100-200
424. IAN FLEMING: "Thunderball", first edition, published Jonathan Cape, 30 Bedford Square, London, cloth boards with dust jacket
Estimate: 150-250
425. CAPTAIN CHARLES JOHNSON: "A General History of the Pirates" adorn'd with cuts by Alexina Ogilvie, printed and sold by Philip Sainsbury at the Cayme Press Stanhope Mews, West Kensington 1925
Estimate: 100-200
426. EDWARD KENNARD: "The Sorrows of a Golfer's Wife", published F W White & Co, London 1896, cloth bound
Estimate: 150-300
427. AUTOGRAPH: A LEATHER BOUND FOLIO containing photographs and signatures of famous theatrical actors and actresses including Henry Irving, Herbert Tree, J M Barrie, Frank Benson and others (a collection)
Estimate: 200-300
428. A POCKET HOLY BIBLE, published John Field, printer to the Parliament, London 1653 in leather binding with silver clasps
Estimate: 150-300
429. CAPT. JOHN GRAUNT (Fellow of the Royal Society) "Natural and Political Observations mentioned in a following index and made upon the Bills of Mortality", printed by John Martyn and James Allestry, printers to the Royal Society and are to be sold at the Sign of the Bell in St Paul's Churchyard, London 1665, 3rd edition. See illustration
Estimate: 500-1000
430. REX WHISTLER: A GROUP OF THREE LETTERS written to His Highness Vsevolod Ivanovitch, Prince of Russia from 2nd BN Welsh Guards Codford St Mary Wilts and, Welsh Guards, Fonthill Gifford, Tisbury, Wilts to "My dear Vsevolod..... We are in most terrible straits - nearly desperate - for we have not one bottle of wine to drink, either red or white - and I am writing once again to implore you to help"...., the borders with bacchanalian cartoon sketches, one dated Jan (?) 16, 1942 (3). See illustration
Estimate: 500-1000
431. HIS HIGHNESS VSEVOLOD IVANOVITCH PRINCE OF RUSSIA: A collection of ephemera, autograph material and sketches, including an address book monogrammed "V", a desk blotter with engine-turned silver mounts monogrammed "V", a photograph album with press cuttings and invitation to the Coronation of George VI and Queen Elizabeth, sketches and photographic montage (a lot)
Estimate: 200-400
432. SIR JOHN EVERETT MILLAIS An oval photograph signed to the mount, 4.5"
Estimate: 50-100
433. CAMDEN'S BRITANNIA, published by Edmond Gibson of Queen's College in Oxford, printed by F Collins for A Swalle at the Unicorn at the West End of St Paul's Churchyard and A & J Churchil at The Black Swan in Pater Noster Row, 1695, calf bound (incomplete)
Estimate: 200-400
434. REVEREND JOHN HUTCHINS, MA "The History and Antiquities of the County of Dorset" 3rd edition, corrected, augmented and improved by William Shipp and James Whitworth Hodgson, printed by John Bowyer Nichols & Son, 25 Parliament Street, Westminster, 1861, four volumes, calf bound. See illustration
Estimate: 500-1000
435. TRACEY EMIN: AUTOGRAPH MATERIAL: A collection of letters and cards including a Valentine card from Tracey Emin aged about sixteen written to Tommy Mack, relating to her friendship with Tommy or "My Darling Tiger". The majority written from her parental home in Margate Kent, including a photograph of Tracey Emin and Tommy Mack at The Atlantis Disco, Margate, 1978.
The collection also includes a Gilbert and George Exhibition Catalogue inscribed "For dear Tracey - What's love between the shits? Love from Gilbert and George" another exhibition catalogue "Pervasive Pictures 2004" inscribed "For Dear Tracey, With love always and all ways from Gilbert and George" and a small booklet by Gavin Turk, inscribed "To Tracey, love and gifts 06" (a collection). See illustration
Estimate: 5000-10000
436. THOMAS HARDY: THE WORKS OF THOMAS HARDY, The Wessex edition, bound by Bayntun-Riviere, Bath, England, frontispieces to, A Changed Man, Wessex Poems, Wessex Maps to all, published Macmillan & Co Ltd, London 1903 - 1924, bound in red half polished calf with rich gilt spines and green contrasting Morocco labels. See illustration
Estimate: 1500-2500
437. A SINGLE VOLUME: "Complete List of Steamships, Steam Launches and Sailing Ships of the List of the Navy, 1st January 1870", and a further volume "Liber Nauticus" by D & J T Serres (2)
Estimate: 100-200
450. A VICTORIAN WALNUT CASED MUSICAL BOX, the rectangular box with a central marquetry panel, the interior with cylinder mechanism, 20" wide
Estimate: 100-200
451. A GERMAN CARVED HORN POWDER FLASK of curving form, engraved with scenes of figures in armour fighting a dragon, with metal fittings, probably 17th century, 12.5"
Estimate: 150-300
452. A PAIR OF TURNED SERPENTINE CANDLESTICKS with flared nozzles and ring-turned columns on spreading bases, 7.25" high
Estimate: 40-80
453. Spare lot
454. A COLLECTION OF MAGIC LANTERN SLIDES acquired by Henry Harrison, Paymaster General in the Royal Navy. Including slides of the Boxer Rebellion, and of Tonga, the West Indies and other locations, also including Harrison's mahogany brass bound paint box containing the paints used to colour the slides and pallet, See illustration
Provenance: The family of H.M. Harrison RN and thence by descent.
Estimate: 500-1000
455. THREE CARVED GINGERBREAD BOARDS, one carved with three figures in 17th century costume, 21.75" wide and smaller (3)
Estimate: 100-200
456. A COLLECTION OF 19TH AND EARLY 20TH CENTURY WOODWORKING TOOLS, contained in an elm tool box, comprising, wooden and brass mounted moulding planes, brass rabbitt plane, bull-nose plane, stamped chisels R. Otton, wooden brace stamped R. Hebditch, Henry Disson & Sons tenon saw and other tools (a collection). See illustration
Estimate: 300-500
457. AN 18TH CENTURY WALNUT DRESSING TABLE BOX with a rectangular rising top with moulded border above a bombe base with a single short drawer, on shaped bracket feet, 13" wide
Estimate: 50-100
460. A VICTORIAN COPPER LONG HANDLED COLANDER, the tapering handle and broad oval bowl with all over piercings, on a spreading oval foot, 24" wide
Estimate: 50-100
461. AN ART DECO CHROME PLATED CAR MASCOT "Diana the Huntress" holding a bow and arrow, signed to the base "Wenez" and stamped "REG/ED", on a turned wooden base, 8" high. See illustration
Estimate: 800-1600
462. A VICTORIAN TABLE CRUCIFIX, the carved ivory figure on a rosewood cross with scrolling ends, on a stepped base, 19.25" high
Estimate: 80-150
463. A PAIR OF REGENCY ORMOLU AND MARBLE TABLE STICKS, each with a single cast sconce above a ring of ten cut-glass drops, on a spiral turned column and square base with ball feet, 12" high
Estimate: 150-250
464. EDOUARD DROUOT: A CAST BRONZE OF A SEMI-CLAD WOMAN holding an egg, on a naturalistic circular base, signed "Drouot", 29.5" high. See illustration
Estimate: 1000-2000
465. A BRONZE OF NAPOLEON standing in military uniform, with arms folded, beside a plinth draped with robes, on a square base, 8.5"
Estimate: 50-100
466. A SET OF THREE GEORGE III STYLE FIRE IRONS comprising poker, tongs and shovel, each with gilt mounts, the shovel 28" (3)
Estimate: 50-100
467. A SET OF THREE GEORGE III STYLE POLISHED STEEL FIRE IRONS comprising shovel, tongs and poker, each with spiral stems, the shovel 29.5" (3)
Estimate: 50-100
468. A REGENCY BRASS FIRE CURB, the engraved and pierced frieze decorated with exotic animals amongst foliage, on lobed feet, 54" wide
Estimate: 100-200
469. A PAIR OF BRONZE "MARLEY" HORSES after Cousteau, each of a rearing horse and an attendant, on naturalistic bases, 23" high (2). See illustration
Estimate: 1000-2000
470. A CAST BRONZE STATUE of a crouching cat on a wall, with incised signature to the reverse "J. Moigniez", 6" long
Estimate: 100-200
471. A VICTORIAN CAST IRON CORNER STICK STAND, the front with scrolling Italianate pierced panel, with removable drip tray and cast registration diamond to the reverse, 32" high
Estimate: 100-200
472. A MINIATURE REGENCY POLISHED STEEL AND BRASS FIREPLACE bearing a label Thos. Jones his. make & c, the bow fronted fireplace with three miniature fire irons, contained within an arch topped mahogany display case on short ball feet, 21" high. See illustration
Estimate: 300-500
473. AFTER ALPHONSE MUCHA A carved painted and jewel encrusted panel of an Art Nouveau style woman holding leaves, 33.5" high
Estimate: 200-400
475. A PIN FIRING REVOLVER with a six barrel chamber, and wooden mounted handle, 11.5"
Estimate: 100-200
476. A SHORT BARRELLED "BLUNDERBUSS", the barrel stamped "PR/EXR/21" and numbered 8034, with percussion cap firing, the wooden stock mounted with a belt hanger, 21.5" long. See illustration
Estimate: 100-200
477. A SINGLE SHOT HAMMER ACTION GUN with a long octagonal barrel, shaped stock and shaped finger guard, 39"
This is an antique and sold accordingly with no intention for use.
Estimate: 100-200
478. A LONG BARRELLED MATCHLOCK RIFLE with shaped stock, the barrel stamped "PREXR/21" and numbered "7040", 73" long
Estimate: 100-200
479. A SHORT BARRELLED "PEPPER BOX" REVOLVER, the revolving six shot barrel with percussion-cap firing mechanism, with engraved foliate mounts and wooden grip, 7" long
Estimate: 150-300
480. A NEAR PAIR OF "DUELLING" PISTOLS, each with decorated barrels, percussion cap firing and fluted hand grips, 16" long (2)
Estimate: 150-300
481. A SHORT PERCUSSION CAP FIRING PISTOL with foliate engraved fittings and curved handle, 7.5" long
Estimate: 50-100
482. AN INDIAN FLINTLOCK PISTOL with foliate decorated white metal mounts, the handgrip with ivory inlay, 21" long
Estimate: 50-100
483. AN INDIAN STYLE PISTOL with an octagonal barrel and percussion-cap firing mechanism, the hand-grip with mother of pearl and ring inlay, 11.5" long
Estimate: 50-100
484. A 12 BORE DOUBLE BARRELLED SHOTGUN by A.J. Rudd, with engraved mounts and a chequered stock, 44"
The purchaser of this lot must provide a valid shot gun certificate.
Estimate: 100-200
485. A SINGLE BARREL 0.410 GAUGE SHOTGUN, the octagonal barrel stamped "1962" with a chequered stock, 41.5"
The purchaser of this lot must provide a valid shot gun certificate.
Estimate: 50-100
486. A SINGLE BARREL 16 GAUGE PIN FIRING SHOT GUN BY W.R. Pape, the action numbered 2414, the stock with an applied label "E. Rogerson from T. Salvin, Jan. 1st 1871", 45". See Illustration
Estimate: 150-300
487. A SINGLE BARREL MUZZLE-LOADING SHOT GUN, the tapering barrel with percussion-capped firing, stamped "Bateman, Thirsk" with a chequered stock, 47.5"
Estimate: 200-400
488. A NAVAL OFFICERS DRESS SWORD, the blade stamped "Wilkinson Sword Ltd, made in England", with gilt metal metal mounted scabbard, 37"
Estimate: 100-200
490. A VICTORIAN BLACK SLATE MANTEL CLOCK with a 2" white enamel dial with Roman numerals and a single train movement with silk suspension, signed "Poupin, Paris", 8.25" high
Estimate: 60-120
491. A MAHOGANY AND OAK LONGCASE CLOCK, the white painted dial with arched top decorated with a scene of fighting highlanders, the dial with subsidiary seconds dial and date aperture, signed "W. Williams", with an eight day movement striking on a bell, the arched top hood with eagle and ball finial above a swan-neck pediment, the dial flanked by spiral-turned columns, the short trunk door with central shell inlay, 91" high. See illustration
Estimate: 800-1500
492. AN OAK LONGCASE CLOCK, the white enamel dial signed "Clark, Dorchester", with subsidiary date aperture, with a thirty hour movement striking on a bell, the flat-topped hood above a tall trunk door and panelled base, the case 19th century and later, 77" high
Estimate: 300-500
493. A GEORGE III OAK AND MAHOGANY LONGCASE CLOCK, the arched dial with moonphase and subsidiary seconds and date dials, signed "Underhill & Son", with an eight day movement striking on a bell, the arched top hood with swan-neck pediment, the dial flanked by applied turned columns, the arched top door with mahogany crossbanding flanked by conforming columns, 90" high. See illustration
Estimate: 800-1500
494. A GEORGE III OAK LONGCASE CLOCK, the white painted arched dial signed "George Smith Huntley" with subsidiary seconds and date dials, the eight day movement striking on a bell, the hood with swan-neck pediment and central eagle and ball finial, the trunk with a long arched top door, 87" high
Estimate: 400-600
495. THWAITES AND REED OF LONDON: A THREE TRAIN MAHOGANY CASED WALL CLOCK, the circular dial with Roman numerals with a three train fusee movement chiming on eight bells and a coiled gong, the arched top case with carved cornice and vine-leaf decoration, 40.5" wide. See illustration
Estimate: 1500-3000
496. A WHITE MARBLE PERPETUAL CALENDAR MANTEL CLOCK, with a white enamel dial with Roman numerals and visible brocot escapement above a calendar dial with moon phase, day, date and month rings, flanked by two thermometers, the movement stamped Gibson, Belfast, 19th century, 18.5" high. See illustration
Estimate: 1000-2000
497. A RARE WALNUT MINIATURE TIME PIECE, the dial inscribed "Joseph Knibb, Oxon" on a curved rectangular panel, the pillared fusee movement with a plain back-plate and a pull-repeat mechanism, the 3.25" dial with a silvered chapter ring and a matted centre with finely-chased gilt metal foliate scroll spandrels, in a walnut case with a caddy top surmounted by four gilt metal spire finials and a simple loop handle, 7.25" high. See illustration
Estimate: 2000-4000
500. ELEVEN BOTTLES OF CHATEAU COS D'ESTOURNEL GRAND CRU CLASSE 1982 VINTAGE (12)
Estimate: 300-600
501. A MIXED CASE OF VINTAGE PORT including Crofts 1960, Taylors 1975, W & J Graham & Co 1960 and others (12)
Estimate: 100-200
502. FOURTEEN BOTTLES OF CLARET from a variety of Chateaux including Leoville-Poyferre 1977, Leoville Barton 1976 Chateau Soutard 1979 and others, mostly 1970's Cru Classe (14)
Estimate: 80-150
503. ELEVEN BOTTLES OF SAUTERNES AND BARSAC including two half bottles of Chateau Filhot 1983 vintage and a bottle of Chateau Rieussec (9 bottles and 2 half bottles)
Estimate: 80-160
504. A CASE OF BARONS DE ROTHSCHILD (LAFITE) Reserve Speciale Bordeaux 2005 (12)
Estimate: 80-160
505. A CASE OF CHATEAU BELLEFONT-BELCHER, 1983, St.-Emilion Grand Cru Controlee, in a decayed wooden case (12)
Estimate: 100-200
506. A CASE OF "THE WINE CLUB'S BERGERAC APPELLATION CONTROLLE" (12)
Estimate: 60-120
507. A CASE OF CHATEAU PRIEURE-LICHINE, MARGAUX 1985 vintage, Grand Cru Classe, in an unopened wooden case (12)
Estimate: 100-200
508. A CASE OF CHATEAU CANON-MOUEIX, 1985, in an unopened wooden case (12)
Estimate: 80-160
509. A CASE OF "LOS VASCOS", Cabernet Sauvignon, 1985, in an unopened wooden case (12)
Estimate: 80-160
510. FIVE BOTTLES OF 1990 CLARET including a bottle of Chateau Lascombes, Grand Cru Classe 1990, two bottles of Chateau Mousar 1998, and nine other bottles of claret (16)
Estimate: 100-200
511. NINETEEN BOTTLES OF 1980'S CLARET mostly Cru Classes, including six bottles of Chateau Du Pez 1983, two bottles of Chateau Talbot 1981 and others (19)
Estimate: 100-200
512. TWENTY BOTTLES OF MIXED CLARET including Lynch Barges 1980, Chateau Talbot 1981 (two bottles), four bottles of Chateau Grand-Py-Lescours, St. Emilion Grand Cru 1985, and others (20)
Estimate: 100-200
513. TEN BOTTLES OF CHATEAU LEOVILLE BARTON 1985, in an opened wooden case (10)
Estimate: 100-200
514. SIX MAGNUM BOTTLES OF CHATEAU ALOXE-CORTON LES FOURNIERS Burgundy, Premier Cru 1999 (6)
Estimate: 400-600
515. SIX MAGNUM BOTTLES CHATEAU CHASAGNE MONTRACHET, "Vielle Vignes, Burgundy, Chasagne Montrachet, Grand Vins de Bourgogne, producer Michel Colin-Deleger, 1999 (6)
Estimate: 150-300
516. A CASE OF CHATEAU GEVREY CHAMBERTIN CLOS DE LA ROCHE Burgundy, producer Armand Roussau, 1996 (12)
Estimate: 400-600
517. A CASE OF CHATEAU GEVREY CHAMBERTIN CLOS DE LA ROCHE Burgundy, procucer Armand Roussau, 1996 (12)
Estimate: 400-600
518. TEN BOTTLES OF CHATEAU HERMITAGE LA CHAPELLE, Rhone, producer Paul Jabouletaine, 1999 (10)
Estimate: 400-600
519. A CASE OF CHATEAU HERMITAGE LA CHAPELLE, Rhone, producer Paul Jabouletaine, 1997 (12)
Estimate: 400-600
520. A CASE OF CHATEAU HERMITAGE LA CHAPELLE, Rhone, producer Paul Jabouletaine, 1998 (12)
Estimate: 400-600
521. SIX BOTTLES OF CHATEAU LA TACHE, Burgundy, producer La Romanee Conti, 1991 (6)
Estimate: 3000-5000
522. EIGHT BOTTLES OF CHATEAU MEURSAULT LES PERRIERES, Burgundy, producer Darviot Perrin, Premier Cru, 1999 (8)
Estimate: 300-600
523. A CASE OF CHATEAU POMMARD CLOS DES EPANEAUX, producer Compt Armand, 1999 (12)
Estimate: 300-600
524. SIX BOTTLES OF CHATEAU ROMANEE ST VIVANT, Burgundy, 1991 (6)
Estimate: 1500-2500
525. TEN BOTTLES OF BRUNELLO DI MONTALCINO, producer Argiano, 1997 (10)
Estimate: 150-300
526. A CASE OF BRUNELLO DI MONTALCINO, producer Argiano, 1997 (12)
Estimate: 150-300
527. A CASE OF CASTEL GIOCONDO BRUNELLO DI MONTALCINO, producer Frescobaldi, 1997 (12)
Estimate: 300-600
528. A CASE OF CASTEL GIOCONDO BRUNELLO DI MONTALCINO, producer Frescobaldi, 1997 (12)
Estimate: 300-600
529. SIX BOTTLES OF LA CARBONAIONE, producer Podere Poggio Scalette, 1997 (6)
Estimate: 100-200
540. A NORTH WEST PERSIAN TRIBAL RUG, the ivory and brick red ground worked with serrated leaves and octagonal guhls within candelabra pattern outer borders and guards, wide selvedges, 100" x 53"
Estimate: 50-100
541. A NORTH WEST PERSIAN TRIBAL RUNNER, the central brick red panel worked with blue hooked boteh within multi-coloured floral Herati pattern outer borders and guards, 184" x 44". See illustration
Estimate: 100-200
542. A NORTH WEST PERSIAN RUG, the central dark blue rectangular panel worked with multi-coloured serrated leaves, palmettes and flowers within outer borders and guards, 108" x 67". See illustration
Estimate: 50-100
543. AN AGRA TYPE SMALL CARPET, the salmon pink ground worked with blue and multi-coloured floral medallions, within hooked boteh and floral Herati style outer border and guards, 140" x 106". See illustration
Estimate: 100-200
544. A PERSIAN RUG OF TABRIZ TYPE, the blue ground central rectangular panel worked with palmettes and floral medallions within ivory ground, Herati pattern outer borders and guards, 28" x 52". See illustration
Estimate: 200-400
550. A LOUIS XVI STYLE BOW FRONTED SIDE TABLE, the marble top above two short drawers and panelled sides with rosewood crossbanding and gilt ring handles, on shaped slender legs, with gilt metal fittings, 27" wide
Estimate: 150-250
551. A 19TH CENTURY FRENCH MAHOGANY AND ORMOLU MOUNTED CARD TABLE, the rectangular folding top with quarter matched veneers and gilt metal beaded border, on slender tapering reeded legs and gilt metal sabots, 34" wide
Estimate: 200-400
552. A VICTORIAN BURR WALNUT AND MARQUETRY WORK TABLE, the octagonal top with scrolling satinwood inlay enclosing a lined and fitted interior, on a tapering column and three downswept carved cabriole legs, 18" wide. See illustration
Estimate: 200-400
553. A GEORGE I WALNUT VENEERED CHEST ON STAND, the upper section with a shaped moulding above two short and three long graduated drawers with brass handles and key escutcheons, the lower section with a single long drawer above three small drawers and a shaped apron, on short cabriole legs, 18th century and later, 41" wide. See illustration
Estimate: 600-800
554. A PAIR OF SATINWOOD DEMI-LUNE PIER TABLES in the manner of George Hepplewhite, the top with broad crossbanding and ebony stringing, on square tapering legs with brass barrel-form castors, 56" wide. See illustration
Estimate: 4000-6000
555. A PAIR OF GEORGE III MAHOGANY DINING CHAIRS with four graduated pierced ladders, dished seats and square section legs (2)
Estimate: 50-100
556. A GEORGE III MAHOGANY CHEST OF DRAWERS, the rectangular top with satinwood crossbanding and a central inlaid marquetry panel of two figures in a landscape, above four long graduated drawers between turned and fluted columns, on shaped bracket feet, 43" wide. See illustration
Estimate: 800-1500
557. AN EARLY 18TH CENTURY OAK COFFER, the rectangular two plank top with a moulded border above a three panel front with stylised foliate carving, on moulded uprights, 42" wide
Estimate: 200-400
558. A GEORGE I STYLE UPHOLSTERED ARMCHAIR, the shaped back and seat with scrolling leaf-carved arm supports, on cabriole legs with carved knees and pad feet. See illustration
Estimate: 150-250
559. A QUEEN ANNE WALNUT KNEEHOLE WRITING DESK, the rectangular top with broad crossbanding and re-entrant front corners, above a single frieze drawer and central well, flanked by two columns of three short drawers, on tall bracket feet, basically 18th century, 31" wide. See illustration
Estimate: 3000-5000
560. A VICTORIAN ROSEWOOD FOLD-TOP CARD TABLE, the serpentine fronted top above a foliate carved frieze, on a lobed column and four downswept legs and castors, 35" wide.
Estimate: 200-400
561. AN EARLY VICTORIAN MAHOGANY PEMBROKE TABLE, the rectangular top with twin-drop flap sides above a single frieze drawer and conforming dummy drawer, on turned tapering legs and castors, 36" wide
Estimate: 100-200
562. A PAIR OF 19TH CENTURY FRENCH MARBLE TOP BEDSIDE CUPBOARDS, the rectangular tops above short frieze drawers and panelled cupboards between fluted columns, on shaped bases with ball feet, 18" wide (2)
Estimate: 100-200
563. AN EDWARDIAN ROSEWOOD AND MARQUETRY DISPLAY CABINET in the manner of Edwards and Roberts, the upper section with a swan-neck pediment above twin glazed doors within shaped sides, with all over scrolling foliate inlay, the base with a glazed display table with rising lid on a wavy frieze and cabriole legs with animal paw feet, with all over conforming foliate inlay, 40" wide. See illustration
Provenance: Smedmore House, Dorset
Estimate: 1000-2000
564. A GEORGE III OAK AND MAHOGANY CROSSBANDED BUREAU, the sloping fall enclosing a fitted interior, above four long graduated drawers with brass handles, on bracket feet, 36" wide
Estimate: 200-400
565. AN EDWARDIAN MAHOGANY "SPIDER" GATE LEG TABLE, the rectangular top with drop-flap sides on turned legs and stretchers, 25" wide
Estimate: 100-200
566. A SET OF SIX REGENCY MAHOGANY BAR BACK DINING CHAIRS, the broad backs above turned crossrails, with drop-in seats, on turned tapering reeded legs. Comprising six standard and a single armchair (7). See illustration
Estimate: 300-500
567. A CAROLEAN REVIVAL CARVED OAK OCTAGONAL LIBRARY TABLE, the shaped top with a carved border and central leather-lined surface, above a pierced frieze with four short drawers, on a carved and turned column and quadruped base with four scrolling downswept legs and castors, 49" wide
Estimate: 700-1000
568. A REGENCY WALNUT FRAMED CHAISE LONGUE with upholstered seat and scrolling ends, the raised back with caned panel, the frame with all over reeded decoration, on short turned legs, 60" wide
Estimate: 300-500
569. A VICTORIAN ROSEWOOD GAMES AND WORK TABLE, the rectangular top with rounded corners inlaid with a chess board, above a single frieze drawer and work basket, on a "U"-shaped base, turned column and circular platform with three scrolling feet and castors, 18" wide
Estimate: 200-400
570. A VICTORIAN ROSEWOOD AND SATINWOOD INLAID WRITING DESK, the shaped top with two short drawers and rising concave fronted cupboards, each with scrolling satinwood inlay, above an arrangement of five small drawers, on square tapering legs with brass cap castors, 42" wide. See illustration
Estimate: 400-800
571. A 19TH CENTURY FRENCH WRITING DESK, the leather-lined top above two frieze drawers with fluted fronts, on conforming turned tapering legs, 55" wide
Estimate: 200-400
572. A SET OF FOUR FLEMISH HIGH-BACKED DINING CHAIRS, the backs upholstered in salmon pink Hungarian fabric, on turned legs and stretchers, 17th century and later (4). See illustration
Provenance: Encombe House, Dorset.
Estimate: 300-600
573. A REGENCY MAHOGANY SOFA TABLE, the rectangular top with twin drop flap ends and reeded edge, above two short frieze drawers with ring handles, on lyre-shaped supports with a single turned stretcher and downswept legs with brass cap castors, 37.5" wide
Estimate: 300-500
574. A "FEDERAL" MAHOGANY AND MARQUETRY SECRETAIRE, the glazed upper section with a swan-neck pediment above twin glazed doors with arched glazing bars and two short drawers, the lower section with a folding writing surface and three long graduated drawers, on short turned legs, 39" wide. See illustration
Provenance: Encombe House, Dorset.
Estimate: 600-1200
575. A LATE GEORGE III MAHOGANY LINEN PRESS, the upper section with a scrolling cornice above twin panelled doors, the lower section with two short and two long graduated drawers, with turned knob handles, on splay bracket feet, 45" wide
Provenance: Encombe House, Dorset.
Estimate: 500-1000
576. A VICTORIAN WALNUT OCCASIONAL TABLE with a rectangular "Sorrento" marquetry top inlaid to the centre with a scene of a horse and cart, on an associated turned and carved column, on three downswept cabriole legs, 18" wide
Estimate: 250-450
577. A GEORGE II OAK BUREAU, the rectangular crossbanded fall enclosing a fitted interior with a central cupboard and stepped arrangement of short drawers and pigeonholes, all above three long graduated drawers, on bracket feet, 37" wide
Estimate: 300-500
578. A 19TH CENTURY FRENCH MAHOGANY FOLD-TOP CARD TABLE, the rectangular top with a moulded border, the baize-lined interior with a maker's stamp "E.S. Paris, S.G.D.G.", on a sliding base containing games compendium and backgammon boards, on tapering fluted legs with brass sabots, 37" wide
Estimate: 100-200
579. A CHARLES II STYLE CARVED OAK MONKS BENCH with a three panel top above a rising seat and panelled front, with scrolling downswept arm supports, 48" wide
Estimate: 100-200
580. AN EMPIRE PERIOD ARMCHAIR, the rectangular back with applied carved leaf decoration, the padded arms with scrolling hand supports, on square tapering legs, 36" high
Estimate: 300-500
581. A GEORGE III STYLE BURR ELM VENEERED OCCASIONAL TABLE, the circular dished top on a birdcage movement, vase-shaped column and three downswept cabriole legs and pad feet, 27" wide. See illustration
Estimate: 250-450
582. A GEORGE IV ROSEWOOD LIBRARY TABLE, the rectangular top with rounded corners above two flush fitting frieze drawers, on trestle ends with carved brackets, on scrolling feet with recessed castors, 54" wide
Estimate: 700-900
583. A GEORGE II WALNUT AND CROSSBANDED SIDE TABLE, the rectangular top with a moulded border and narrow crossbanding above two conforming short drawers and a wavy apron, on tapering legs with pointed pad feet, 28" wide
Estimate: 400-600
584. A PAIR OF CHARLES II OAK CHAIRS with shaped top rails, railed backs and solid seats above turned legs and stretchers, 36.5" (2)
Estimate: 150-250
585. AN EDWARDIAN ROSEWOOD AND SATINWOOD STRUNG OCCASIONAL TABLE, the rectangular top with canted corners, with panelled central foliate inlay, on shaped scrolling legs with small shelf stretcher, 27" wide
Estimate: 100-200
586. A GEORGE III MAHOGANY PEMBROKE TABLE, the rectangular top with twin drop flap sides above a single short drawer with pressed brass handles and conforming dummy drawer, on square tapering satinwood strung legs, with brass cap castors, 26.5" wide
Estimate: 150-250
587. A VICTORIAN SATINWOOD CHEST OF DRAWERS, the rectangular top with a moulded border above three small drawers and three long graduated drawers with turned knob handles, on turned legs, 47" wide
Estimate: 200-400
588. A GEORGE III MAHOGANY WARDROBE, the rectangular cornice with dentiled key-pattern moulding, above twin panelled doors and two short drawers, on shaped bracket feet, 55" wide
Provenance: Encombe House, Dorset.
Estimate: 300-600
589. A QUEEN ANNE OAK CRADLE with raised turned uprights and carved panelled construction, dated 1708, on a conforming stand, 36" wide, 18th century and later
Estimate: 250-450
590. A GEORGE II OAK SIDE TABLE, the rectangular top with inlaid decoration and moulded border, above an arrangement of three small drawers and a central scrolling panel, on cabriole legs with pad feet, 35" wide
Estimate: 200-400
591. A CONTINENTAL OAK ARMCHAIR with raked back with upholstered panel, with bobbin-turned arm supports and legs, basically 17th century, 37" high
Estimate: 250-450
592. A VICTORIAN MAHOGANY ARCHITECT'S DESK, the rectangular rising top above a pull-out writing surface with rising central panel, the fall modelled as one long and four short drawers, on two pedestals of three short drawers and plinth bases, fitted with flush fitting "military" type handles throughout, 50" wide. See illustration
Estimate: 2000-4000
593. A CHARLES II OAK SIDECHAIR, the raised back with upholstered panel above an overstuffed seat on bobbin-turned legs and stretchers, 37" high
Estimate: 50-100
594. A GEORGE III STYLE WALNUT VENEERED WALL MIRROR, the rectangular plate within a carved gilt fillet and scrolling walnut surround, 15" wide
Estimate: 50-100
595. A PAIR OF HIGH BACKED CONTINENTAL HERALDIC HALL CHAIRS, the backs with twin heraldic lions flanking a crest, with a solid seat, on an elaborate carved support decorated with a "green man" face (2), 50" high
Estimate: 500-800
596. A VICTORIAN MAHOGANY AND MARQUETRY DISPLAY CABINET, the rectangular top with a raised surface with three-quarter pierced gilt cornice, above a single glazed door enclosing a shelved interior with all over ribbon-tied and foliate marquetry, on short cabriole legs with gilt metal mounts, 23" wide
Estimate: 200-400
597. A CHARLES II OAK DROP FLAP DINING TABLE, the oval top with a shaped edge on tapering turned uprights with square section stretchers, 42" wide
Estimate: 300-500
598. A VICTORIAN THREE FOLD FIRE SCREEN with all over velvet covering, with three brass carrying handles and round-head nailed edges, 36" high
Estimate: 50-100
599. A VICTORIAN CARVED GILTWOOD STOOL, the oval seat with upholstered squab cushion on a ribbon-carved frame and four downswept fluted legs and stretcher, 40" wide
Estimate: 150-250
600. A "QUEEN ANNE" STYLE OAK SIDE CHAIR, the raised back with a vase-shaped splat above a solid seat on turned legs and stretchers, 41" high,
Estimate: 80-150
601. A C19TH CENTURY "ANGLO INDIAN" FOLD-TOP CARD TABLE, the rectangular top with a bobbin moulded edge above a leaf-carved frieze, on downswept bobbin-turned legs and "H"-platform base on heavy animal paw feet, 36" wide. See illustration
Estimate: 700-900
602. A CHARLES II OAK COFFER, the two plank top with a moulded edge, above a three panelled front with carved foliate decoration, and stamped twice with the initials "G.W", 47.5" wide
Estimate: 300-500
603. A REGENCY ROSEWOOD AND SATINWOOD STRUNG "DWARF" BOOKCASE with three open shelves, the upper shelf with a central "D"-shaped recess, the shelves divided by turned and tapering uprights with conforming satinwood stringing, 34.5" wide. See illustration
Estimate: 2000-4000
604. A DUTCH MAHOGANY AND MARQUETRY CHEST OF DRAWERS, the rectangular top with canted corners inlaid with a central basket of flowers suspended from ribbons on foliage, all within chequered stringing, above three long graduated drawers with brass knob handles and shell inlay, 38" wide. See illustration
Estimate: 500-1000
605. A GEORGE III MAHOGANY PEMBROKE TABLE, the rectangular top with twin drop flap sides above a single frieze drawer, on square tapering legs with brass capped castors, 32" wide
Estimate: 100-200
606. A GEORGE II DROP FLAP OCCASIONAL TABLE, the rectangular top with rounded corners with a single drop flap, above a deep frieze on turned tapering legs with pad feet, 36" wide
Estimate: 500-800
607. A GEORGE I OAK SIDE TABLE, the rectangular top with a moulded edge above a single frieze drawer with turned knob handles, on bobbin turned legs with a wavy "X"-form stretcher and bun feet, 30.5" wide
Estimate: 250-450
608. A GEORGE III MAHOGANY HANGING CORNER CUPBOARD with an astragal glazed door flanked by canted angles, 34.75" wide
Estimate: 150-250
609. A GEORGE III OAK DRESSER, the raised back with two shelves between shaped uprights and beneath a moulded cornice, the base with two short drawers with brass handles on a "pot board" base, 54" wide. See illustration
Estimate: 800-1500
610. A SET OF EIGHT VICTORIAN CARVED OAK CAROLEAN REVIVAL DINING CHAIRS, each with scrolling lion-carved top rails above upholstered backs and seats, on turned legs and stretchers. Comprising six standard and two armchairs (8). See illustration
Estimate: 500-800
611. A REGENCY MAHOGANY FRAMED CHEVAL MIRROR, the rectangular bevel edged plate within a square edged frame, on reeded uprights with downswept legs and brass castors, 61" high
Estimate: 100-200
612. A CHIPPENDALE STYLE THREE SEATER SETTEE, the arched back and scrolling arm supports on three short cabriole legs, carved knees and ball and claw feet, 80" wide. See illustration
Estimate: 500-800
613. A SET OF FOUR GEORGE III MAHOGANY ARMCHAIRS with upholstered backs, arms and serpentine fronted seats, with carved scrolling arm supports, on straight moulded legs with "H"-form stretchers, and a pair of single chairs, en suite, 18th century, with repairs (6). See illustration
Provenance: Probably William Chaffyn-Grove of Ferne Park and thence by descent
Estimate: 2000-4000
614. A QUEEN ANNE OAK CHEST OF DRAWERS, the rectangular top above a moulded border, the two short and three long graduated drawers with mahogany crossbanding, brass drop handles and key escutcheons, on shaped bracket feet, 39" wide, basically 18th century. See illustration
Estimate: 500-800
615. A 19TH CENTURY FRENCH FRUITWOOD FARMHOUSE KITCHEN TABLE, the rectangular three plank top above a single end drawer and slide, on square tapering legs, 74" wide. See illustration
Estimate: 400-600
616. A REGENCY MAHOGANY CHEVAL MIRROR, the rectangular plate within a mahogany surround on reeded uprights with twin adjustable candle sconces, on reeded scrolling downswept legs with brass cap castors. See illustration
Estimate: 200-400
617. A GEORGE III OAK NORTH COUNTRY DRESSER, the raised back with a moulded cornice above three open shelves and an arrangement of one long and four short drawers, the lower breakfront section with central bank of four short graduated drawers flanked by twin cupboards modelled as short drawers and panelled cupboards, on bracket feet, 67" wide. See illustration
Estimate: 1000-2000
618. A NEST OF FOUR REGENCY STYLE QUARTETTO TABLES, each with rectangular tops with central oval veneered panels, on slender tapering legs and stretchers, on downswept legs, 20" wide
Estimate: 100-200
619. A REGENCY MAHOGANY SOFA TABLE, the rectangular top with twin drop flap sides and reeded border, above two short and conforming dummy drawers with brass ring handles, on trestle end supports with turned cross stretcher and downswept legs with cast animal paw cap castors, 36" wide
Estimate: 200-400
620. AN ITALIAN "CYPRESS-WOOD" COFFER, with a rectangular top above a carved front decorated with heraldic lions amongst foliage, and with initials NB, on a similarly decorated plinth base, with decoratively cut dovetails, 16th/17th century, 70" wide. See illustration
Estimate: 2000-3000
621. A GEORGE II STYLE THREE SEATER "HUMP-BACKED" SOFA, the upholstered back and seat with leaf-carved downswept arm supports, on turned legs and cross stretchers, 72" wide. See illustration
Estimate: 600-800
622. A SET OF EIGHT REGENCY MAHOGANY BAR BACK DINING CHAIRS with broad scrolling back rails above leaf carved cross rails, with drop-in seats on turned and carved tapering legs, comprising six standard and two armchairs. See illustration
Estimate: 600-800
623. A REGENCY MAHOGANY EXTENDING TWIN PEDESTAL DINING TABLE, the rectangular top with broad crossbanding and beaded border with three additional leaves, on ring-turned pedestals with four downswept legs with brass cap castors, 121" (fully extended). See illustration
Estimate: 1500-2000
624. A GEORGE III OAK WALL HANGING CANDLE BOX, the top with three inverted heart motifs above twin candle boxes with pierced diamond motifs, 12" wide
Estimate: 150-300
625. A GEORGE III MAHOGANY LINEN PRESS with a moulded cornice above twin fielded panelled doors enclosing four sliding shelves, the lower section with two short and two long graduated drawers with oval brass handles, on splayed bracket feet, 58" wide. See illustration
Estimate: 500-800
626. AN EDWARDIAN "ARTS AND CRAFTS" OAK BUREAU BOOKCASE, the upper section with a single glazed door enclosing a fitted interior, above a sloping fall, inlaid with a panel of Dutch style floral marquetry, the fall enclosing a fitted interior with well, above a single short drawer with brass ring handles, on turned tapering legs with pad feet, 28" wide
Estimate: 400-600
627. A MAHOGANY OCCASIONAL TABLE with a rectangular top above a single frieze drawer, on square tapering legs, with areas of foliate marquetry, 19th century and later, 22.5" wide
Estimate: 50-100
628. A GEORGE III OAK SIDE TABLE, the rectangular top with moulded border and rounded corners above a single frieze drawer with brass handle, on square legs with moulded cornice, 29" wide
Estimate: 200-400
629. A GEORGE II OAK SIDE TABLE, the rectangular top with moulded border above a single frieze drawer above a shaped apron on downswept cabriole legs with pad feet, with all over later carved decoration, 29.5" wide.
Provenance: Encombe House, Dorset.
Estimate: 80-150
630. A QUEEN ANNE STYLE MINIATURE MAHOGANY BUREAU, with a sloping fall enclosing a fitted interior above three short graduated drawers, on a stand with turned legs and wavy stretcher, on ball feet, 21" wide. See illustration.
Estimate: 100-200
631. A VICTORIAN WALNUT GAMES TABLE, the rectangular top mounted with a removable chess board and four shaped drop flap sides with retractable counter dishes, the table with a central well containing chess pieces, draughts pieces and other gaming items, all on four turned fluted legs and a platform base with four downswept feet with gilt metal mounts, 22" wide. See illustration
Estimate: 250-450
632. AN EGYPTIAN STYLE GAMES TABLE, the rectangular top set with a central chess board within a scrolling foliate surround, on square section legs and with a single frieze drawer, 24" wide
Estimate: 200-400
633. A GEORGE III MAHOGANY "READING TABLE", the rising top with twin folding flaps and a removable book stand, on a turned and tapering column with four downswept legs with brass cap castors, 36" wide (fully extended). See illustration
Estimate: 800-1200
634. A "CAROLEAN" REVIVAL HALL BENCH with carved scrolling back panel above a rising seat lid and a conforming front panel, 48" wide
Estimate: 100-200
635. A GEORGE IV ROSEWOOD LIBRARY BOOKCASE attributed to Gillows of Lancaster, the rectangular top with a three-quarter raised gallery with bobbin turned uprights, above two adjustable shelves between applied turned and reeded leaf carved columns, on a platform base with bobbin turned border, on scrolling foliate feet, 51" wide. See illustration
Estimate: 1000-2000
636. A FRENCH CHESTNUT ARMOIRE, the shaped cornice with a central inlaid star motif, above twin panelled doors enclosing a shelved interior, on short scrolling legs, 50" wide. See illustration.
Provenance: Encombe House, Dorset.
Estimate: 500-1000
637. AN ITALIAN STYLE WALNUT AND MARQUETRY VENEERED CABINET, the rectangular crossbanded top and sides above an arrangement of eight small drawers and a central cupboard all inlaid with architectural landscapes, 16.5" wide
Estimate: 150-250
638. A NEO-CLASSICAL STYLE PINE TORCHERE, the square top above leaf carved decoration on a square tapering column with ribbon-tied decoration, on a conforming base, 59" high
Estimate: 150-250
639. A "FEDERAL" MAHOGANY CARD TABLE in the manner of Duncan Phyfe, the rectangular top with rounded corners above a frieze inlaid with scrolling ebony foliage, on a lyre-shaped support and platform base with four downswept legs and brass cap castors, 36" wide. See illustration
Provenance: Encombe House, Dorset.
Estimate: 500-1000
640. A GEORGE III MAHOGANY COMMODE, the rectangular top with a moulded border above twin cupboard doors, modelled as four short drawers, above two long graduated drawers, all with brass drop handles, on bracket feet, 27" wide
Estimate: 300-600
641. A CHARLES X WORK TABLE, the circular top with applied foliate copper border, the interior with an arrangement of small lidded compartments with painted classical style decoration, on a tapering base mounted with cast floral mounts and a central carved foliate boss on four downswept legs with lobed feet, 20" wide. See illustration
Estimate: 500-1000
642. A VICTORIAN WALNUT VENEERED CARD TABLE, the serpentine fronted top with a moulded border above a scrolling and carved frieze, on a heavy turned and carved column on four cabriole legs with foliate carved knees and scrolling feet, on castors, 36" wide
Estimate: 500-1000
643. A WILLIAM IV MAHOGANY EXTENDING DINING TABLE, the rectangular top with rounded corners and moulded edge with three removable leaves, on turned tapering legs with brass castors, 111" wide (fully extended). See illustration
Estimate: 1500-3000
644. A SET OF EIGHT GEORGE II STYLE WALNUT DINING CHAIRS in the manner of Giles Grendy, with broad scrolling top rails with foliate carved scrolling corners above an interlacing back splat, above drop-in seats on heavy cabriole legs with shell carved knees and hairy animal paw feet, comprising two armchairs and six standard chairs (8). See illustration.
Provenance: Encombe House, Dorset.
Estimate: 3000-5000
645. A MINIATURE TURNED BEECH HIGH CHAIR, with bamboo effect turned rails and caned seat on four downswept legs, 33" high
Estimate: 300-400
646. A GEORGE III STYLE MAHOGANY TRIPLE PILLAR DINING TABLE, the rectangular top with rounded ends and reeded border with three additional leaves on three tapering and fluted columns on four downswept reeded legs with brass animal paw castors, 141" (fully extended). See illustration
Estimate: 5000-10000
647. A SET OF SIXTEEN VICTORIAN MAHOGANY "CHIPPENDALE" STYLE DINING CHAIRS, each with scrolling top rails with rococo style carved decoration above foliate and interlaced back-splats, with drop-in seats on square tapering legs with moulded corners and pierced brackets, comprising fourteen standard and two armchairs, 19th century and later. See illustration
Estimate: 4000-6000
648. A DUTCH WALNUT AND FLORAL MARQUETRY DISPLAY CABINET, with a scrolling cornice above twin glazed doors enclosing a shelved interior, the bombe base with three graduated drawers with gilt metal handles and key escutcheons, with all over scrolling floral marquetry, on hairy paw compressed ball feet, 56" wide. See illustration
Provenance: Smedmore, Dorset
Estimate: 4000-7000
649. A SUITE OF GEORGE II MAHOGANY SEATING FURNITURE comprising six standard chairs and a two-seater chair-backed sofa, each chair with a scroll top rail above a shaped, carved and pierced backsplat, above a drop-in seat on a deep seat rail and heavy cabriole legs with shell-carved knees and scrolling leaf-carved feet, possibly Irish (7). See illustration
It has been suggested that the carving on these chairs may well be original, further increasing the likelihood that the suite is of Irish origin.
Estimate: 7000-10000
650. AN IMPORTANT PAIR OF GEORGE III MAHOGANY DINING ROOM URNS AND PEDESTALS, each with lidded vase-shaped lead-lined pedestals with carved oval patera and swagged drapery decoration, above cast taps, one pedestal with a single lead-lined drawer above a cupboard and deep lead-lined drawer, modelled as three short drawers, on plinth base, the other pedestal with a single cupboard door enclosing slatted plate racks, on plinth bases, 63" high. See illustration
Provenance: William Chaffyn-Grove, Esq. of Ferne House, Wiltshire and thence by descent through the Troyte-Bullock family
The design of these urns may be compared to the published designs of Gillows of Lancaster. (See the vase and pedestal for John Christianson of Workington Hall, 1788).
The oval paterae and drapery swags, however, are reminiscent of furniture from the London cabinet-makers, Ince and Mayhew
Estimate: 25000-40000
651. AN IMPORTANT GEORGE II MAHOGANY BUREAU BOOKCASE in the manner of William Kent, the upper section with twin mirror doors, flanked by stop-fluted columns with dished candle slides to the base, the interior fitted with a central mirror door cupboard, flanked by inlaid architectural column "secret drawers", and an arrangement of secretaire drawers and pigeon holes surmounted by an architectural stepped moulded broken arch pediment, the base with a green baize lined fall front and concave arched central cupboard inlaid with a starburst motif, flanked by architectural column "secret drawers", secretaire drawers and pigeon holes above an arrangement of four long cock-beaded graduated drawers with gilt brass handles on ogee bracket feet, 42" wide, 100" high. See illustration
Provenance: Private Collection, West Dorset
Estimate: 5000-10000