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Click here to subscribeAn American colonial powder horn, c.1760, depicting an engraved colonial map of Albany relating to the French and Indian War, inscribed 'Map of the county of Albany don by a scale eight mile to a inch 1760',35cm longCondition ReportWith smalls cracks, marks and scratches throughout commensurate with use. Small frits to the mouth piece. No major damage. The small cracks are stable.
A striking large-scale acrylic on canvas painting featuring an abstract expressionist composition with dynamic brushstrokes and a neutral-toned palette. This contemporary piece is framed and designed to complement a variety of interior styles, making it a perfect statement piece for modern spaces. Measures 31.5"L x 59.75"H.Issued: c. 1980Dimensions: See DescriptionCondition: Age related wear.
REA (Railway Express Agency) G scale Great Northern freight train set including a steam locomotive marked "Gen. Song," red caboose, and white gondola, all housed in original boxes with interior packaging. The set includes a 2-4-2 articulated locomotive with working headlight, synchronized smoke mechanism, brass piping, sprung trucks, and detailed cab interior. Accompanied by an REA transformer power pack and two boxes of LGB Lehmann track sections (12 straight No. 1000 and 12 curved No. 1100). Track pieces are brass rail and compatible with G scale layout systems. All housed in its original packaging Outer packaging lists deluxe interior and lighting features.Dimensions: Largest: 21"L x 17.25"W x 12.5"HCondition: Age related wear.
A mid-century Swiss made desk clock by Tiffany & Co., featuring a brushed silver tone dial marked with black baton indices and sleek black hands. The gold tone rotating bezel showcases a world time zone scale with cities including Paris, New York, Tokyo, and Sydney, allowing for global time conversion. Housed in a cylindrical gilt metal body with vertical ribbed edge detailing, the base is stamped 215730 SWISS. This elegant and functional timepiece reflects classic mid-century style and Tiffany's signature refinement. Measures approximately 4.5"dia. x 2"H.Dimensions: See DescriptionCountry of Origin: No CountryCondition: Age related wear. Functionality not guaranteed.
This 1:18 scale die-cast model from Maisto's Special Edition series features the 1962 Chevrolet Bel Air, meticulously recreated with fine detailing and a clean white finish. Housed in its original packaging, the model showcases realistic red interior accents and chrome trim, offering collectors a striking representation of this classic American automobile. Issued: 20th centuryDimensions: 12.5"LCountry of Origin: United StatesCondition: Age related wear.
Elegant and refined Christofle silver-plated serving set in the Empire pattern, comprising five pieces including a rectangular serving tray, a pair of pedestal footed bowls, a larger round serving bowl on scroll feet, and a medium footed serving bowl. Each piece is adorned with a classical palmette border motif and is fully marked to the underside with the Christofle hallmark, including the scale and knight chess piece emblem. Largest bowl measures 4"H x 10"dia. Tray measures 14"L. Issued: 20th century Dimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear.
A vibrant and diverse collection of 36 pairs of fashion earrings showcasing a wide array of styles, materials, and eras. This assortment includes clip-on and post-back earrings in a mix of metals, plastics, faux pearls, glass, resin, and beadwork. Highlights include bold geometric and abstract shapes, vintage faux pearl domes, oversized hoops, hand-tooled metallic discs, heart motifs, floral and animal themes, and colorful chandelier-style dangles. From elegant gold tones to playful enamel and retro lucite looks, this set offers unique statement pieces and everyday styles alike. Earring sizes range from approximately 0.5"L to 5"L, offering variety in both scale and design.Dimensions: See DescriptionCondition: Age related wear.
A vibrant and sculpturally engaging 6-piece collection of hand-blown art glass, featuring a range of vessel forms including decanters, pitchers, and vases in bold mid-century hues. The centerpiece is a tall emerald green decanter with flared trumpet neck and applied foot - elegant and architectural. Accompanied by two charming hand-blown pitchers, one in amber crackle glass, the other in emerald green, both with applied handles and pulled lips. A sunglow orange bottle form contrasts with a twisted amethyst vase on a dark foot, and a final smaller green handled ewer completes the display. Each piece exhibits variations in bubble patterning, pontil marks, and lip finishing consistent with small-scale studio production, likely from Italy or the U.S., mid-20th century. Largest piece 12.25"H.Issued: 21st centuryDimensions: See DescriptionCondition: Age related wear.
Commanding in presence and classical in form, this large-scale Lladro porcelain figurine titled Lectora (The Reader) by Alfredo Ruiz, features a serene woman dressed in neoclassical attire, intently reading from a real paper scroll held in both hands. Rendered in Lladro's distinctive Gres finish, the piece showcases rich earthy tones and a textured surface that enhances its sculptural realism and depth. Issued between 1970 and 1985 and handcrafted in Spain, this polychrome porcelain work highlights Lladro's meticulous artistry, from the checkered green and rust detailing on the sleeves and hem to the flowing blue cloak enveloping her figure. The backstamp on the underside bears the classic blue Lladro mark, confirming its authenticity. An exceptional and rare example of Lladro's artistic mastery, ideal as a centerpiece for collectors of fine European porcelain and Gres finish sculptures.Artist: Alfredo RuizIssued: c. 1980Dimensions: Approximately 22"L x 18"W x 37"HCountry of Origin: SpainCondition: Age related wear.
Pair of Yat Ming 1:18 scale diecast Deluxe Edition convertible model cars, including the 1958 Edsel Citation in turquoise with white interior and the 1958 Cadillac Eldorado Biarritz in maroon with cream interior. Both cars feature detailed interiors, chrome accents, and classic styling true to their era. Housed in their original illustrated window boxes with Deluxe Edition and licensing details printed on all sides. Manufactured by Yat Ming Industrial Factory Ltd., these models are officially licensed replicas, with intricate craftsmanship and factory-sealed presentation. This item has its original box.Issued: 20th centuryDimensions: Each: 14.25"LCondition: Age related wear.
This vintage English balance postal scale features a brass beam mechanism mounted on a polished hardwood base, accompanied by a full graduated set of five nesting brass weights. The base includes inset holders for storing weights and a yellowed postal rate chart referencing letter rates not exceeding 2ozs. The scale is marked Made in England and exemplifies classic late 19th to early 20th century craftsmanship, with ornate detailing and a traditional counterbalance design. Measuring approximately 7.25"L x 3"H, this scale is ideal for collectors of postal memorabilia or antique office instruments.Dimensions: See DescriptionCondition: Age related wear.
WHO FRAMED ROGER RABBIT (1988) - Roger Rabbit Original Production Cel - An original production cel of Roger Rabbit from Who Framed Roger Rabbit (1988). Who Framed Roger Rabbit was a landmark in animation history, produced at Elstree Studios in London and directed by Robert Zemeckis, with animation supervised by Richard Williams. Seamlessly blending live action and animation, the film revitalised the genre for a new generation and remains a masterclass in technical achievement and character performance.This shot shows Roger mid-line in a pivotal scene with Dolores and Eddie Valiant. Large, animated, and full of cartoon expression, this frame appears at 46:06 as Roger pleads his case while Eddie saws through the handcuffs in the backroom of the bar."You think my boss R.K. Maroon dropped a safe on Marvin Acme's head... just so he could get his hands on Toontown?!"It's classic, dramatic Roger, and this frame's sheer size and emotional energy make it fun and desirable. Original cels from key dialogue scenes are increasingly scarce, especially with this level of expression and scale. "77/16" and "238" written in black ink along the bottom. Dimensions: 31 cm x 42 cm (12.25" x 16.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M
THE LAND BEFORE TIME (1988) - Littlefoot and Mother Original Production Animation Cel Setup - An original production cel setup used in the making of The Land Before Time, featuring Littlefoot cradled tenderly in his mother's mouth - one of the most emotionally powerful moments from this beloved animated classic.This animated feature was a landmark project that saw master filmmaker Steven Spielberg and producers Kathleen Kennedy and Frank Marshall lend their creative powers to the animation genre through Universal Pictures.As one of the defining projects of Amblimation, the film blended Don Bluth's expressive, richly animated style with Spielberg's instinct for heartfelt, cinematic storytelling, setting a new benchmark for animated family films in the 1980s.Apart from the endearing character interaction, the facial expressions make this cel particularly attractive; all three characters' eyes are open, a subtle yet powerful nuance in the 24 frames-per-second world of hand-drawn animation. Daddy Topps and a young Cera also appear at the left-hand edge, adding depth and scale to the scene. The cel is labelled "LB 882, 002, 34, 143" along the bottom edge.This carefully selected setup is paired with a matching litho background and features the official studio seal from the MCA Universal/Amblin art programme. The lot is accompanied by an Amblin Entertainment certificate of authenticity. Dimensions: 34.5 cm x 43.25 cm (13.5" x 17")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω
PINOCCHIO (1940) - Framed Pinocchio and Jiminy Cricket Original Production Cel on Courvoisier Background - An original production cel setup from Pinocchio (1940), Disney’s second animated feature and a landmark in the evolution of character animation and visual storytelling. This piece captures the heart of the film, with Pinocchio receiving earnest advice from Jiminy Cricket, his soon-to-be-official conscience.Both characters have been hand-inked (note the delicate coloured ink lines and surface renderings) and hand-painted on trimmed celluloid, then expertly set against a Courvoisier airbrushed background, complete with hand-applied shadowing to ground the characters in their environment. This custom background presentation was a hallmark of Courvoisier Galleries, Disney’s appointed art distributor in the 1930s–40s, and remains one of the most sought-after formats for Golden Age production art.The scene is particularly charming, the full-figure characters with large scale, expressive poses, and strong interaction, emblematic of Disney’s early narrative brilliance. Cels of this calibre, particularly from Pinocchio, are increasingly scarce.Presented in a substantial, timeless frame with Courvoisier’s original descriptive label preserved on the reverse, this is a standout example of Disney’s early efforts to present animation as fine art. Its survival offers a rare opportunity to own a piece of cinematic history, capturing the enduring charm of Pinocchio and Jiminy Cricket in a scene that continues to resonate with audiences. Dimensions (framed): 38.25 cm x 40.5 cm x 4 cm (15" x 16" x 1.5")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M
SLEEPING BEAUTY (1959) - Maleficent Full-Figure Original Pan Production Pencil Drawing - An original pan production drawing of Maleficent from Walt Disney's 1959 animated film Sleeping Beauty.Maleficent was designed and animated by Marc Davis, one of Walt Disney's legendary Nine Old Men, whose refined draftsmanship and theatrical sense of movement helped define her as one of the most enduring characters in Disney history. Davis considered Maleficent his most challenging and rewarding assignment. This lot offers collectors a rare opportunity to own not just animation art but one of the most commanding renderings of perhaps Disney's most iconic villain ever created.This full-figure production drawing shows Maleficent's horned silhouette elegantly posed in her sweeping cloak and captures the villainess in all her iconic grandeur. It is rendered in graphite and coloured pencil on pan animation paper. Measuring an expansive 16-field width, this is a rare, large-scale image used in the making of Sleeping Beauty. The red pencil highlights on the inner cloak indicate cel painting cues, typical of the multi-stage ink and paint process. It is labelled with the sequence number "27", and the bottom edge of the paper displays its original peg hole configuration. Dimensions: 32 cm x 50.5 cm (12.5" x 20")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M
ASTERIX CONQUERS AMERICA (1994) - Asterix, Obelix and Multi-Character Original Production Cel and Pan Original Layout Drawing Setup - A richly detailed pan layout setup from the animated feature Asterix Conquers America (aka Asterix In America), expertly composed using seven original hand-painted production cels over a large-format pan background drawing.Asterix Conquers America was the first Asterix film produced entirely outside France and marked an ambitious expansion of the franchise. With its distinctive style, international tone, and strong visual storytelling, it brought the iconic Gauls to a new generation.While this specific arrangement does not appear "as is" in the film, each cel and layout element was created for the production and has been thoughtfully assembled by the studio to showcase the visual dynamism and character design that define the feature. The studio officially released this piece as part of the Asterix Art Program, curated to preserve the series' legacy and offer collectors a rare look into the production process.Set in a Native American village deep in the New World, the artwork brings together an ensemble of key characters: the defiant Asterix stands mid-conversation alongside the wise druid Getafix (Panoramix), recently kidnapped and flung across the ocean by Roman forces. To their side, the young tribal girl, while a wary villager and medicine man, and the elaborately dressed village chief observe from either end, the ever-faithful Obelix acting as both mediator and muscle in the scene.The pencil layout background stretches across, laying out the ceremonial grounds and tipi village in a sweeping perspective. These layouts were integral to shot planning, camera movement, and cel positioning. The scale, clarity, and theatrical composition make this setup an ideal display piece, a scene that captures the drama and charm of the film's aesthetic. Multiple production reference numbers are handwritten along the bottom edge of the cels, and several annotations are written on the drawing. The official studio stamp is present on the bottom right corner of the layout, authenticating its origin. A special offering for fans of the franchise and for collectors who value the immediacy, scale, and storytelling power of original animation art. Dimensions: 31 cm x 109 cm (12.25" x 43")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω
BATMAN: THE ANIMATED SERIES (1992-1995) - Framed Original Hand-Painted Background "The Man Who Killed Batman" Animation Cel - A moody and evocative preliminary background from Batman: The Animated Series, hand-painted by celebrated artist John Calmette for Episode 51, "The Man Who Killed Batman" (1993).While the final camera pan in the episode reveals a slightly modified background with a "Diamond Exchange" sign over the door, this earlier, almost identical iteration captures the distilled atmosphere of Gotham's skyline with graphic elegance and anticipation. Calmette's signature Art Deco geometry and theatrical use of light are on full display, from the looming vertical scale to the isolation of a single glowing streetlamp.Unusually, the piece is inscribed in the artist's own hand: "406 551, Diamond Exchange, sc. B60, Batman, J. Calmette", a rare dedication for internal production work. Painted on black paper rather than the usual white in animation, this was a deliberate stylistic choice by the art department to enhance the show's noir shadows and dramatic compositions. As a result, the atmosphere isn't layered on in post-production or FX cels; it's embedded in the very base of the painting. Gotham breathes here…quiet, stylised, and waiting to detonate. A beautifully preserved and highly displayable original, this is a compelling acquisition for collectors drawn to the visual world-building of the series as much as the action within it.It comes mounted within a black frame with plexiglass and features a hanging wire on the reverse. The frame displays minor marks, and the lot comes with a Warner Bros. Animation Art certificate of authenticity. Dimensions (framed): 16" x 21.75" x 1" (41 x 55 x 2.5 cm)Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M
LABYRINTH (1986) - Brian Froud-Autographed Hoggle Figurine - A Brian Froud-autographed Hoggle figurine from the promotion of Jim Henson's musical fantasy film Labyrinth. This is a 1:6 scale collectable figurine by Weta Workshop, marked "155 of 400". It is made of resin and accompanied by a display base of the same material. Froud, credited as a costume and conceptual designer on the Labyrinth production, has signed his name on the bottom of the display base in silver marker. The figurine comes with its original packaging. Dimensions (figurine on stand): 16.5 cm x 16.5 cm x 24.25 cm (6.5" x 6.5" x 9.5")The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: M
THE LION KING (1994) - Simba Cel and Production Background - A dramatic setup comprising the hand-painted production background used in the making of The Lion King, paired with a unique, hand-painted cel of young Simba created by Disney artists expressly for the Sotheby's auction "The Art of The Lion King" held in New York in 1995.These hybrid setups are original production backgrounds from the film, matched with newly hand-painted cels crafted using traditional methods. Each cel was carefully chosen from the scene to complement and capture the emotional essence and impact of the moment.This particular setup depicts the tense moment just before the wildebeest stampede, a pivotal scene that showcases the film's dramatic storytelling and technical prowess. The composition emphasises the scale and vulnerability of young Simba. After The Little Mermaid, Disney transitioned to digital ink and paint processes, meaning traditional hand-painted cels were no longer part of the production pipeline. After decades of developing an animation art collector's market, Disney wanted to provide collectors with stunning, screen-used setups despite no production cels for the film actually existing.The setup bears the Walt Disney Company gold seal, authenticating it as an officially created and released artwork for this special auction. Dimensions (mounted): 66.75 cm x 82.5 cm (26.25" x 32.5")Additional Provenance: Lot 134, Sotheby's The Art of The Lion King Auction, 11th February 1995Sold without copyright; see copyright notice in the Buyer's Guide.This item will ship from our LA facilityVAT Status: US
STAR WARS: THE FORCE AWAKENS (2015) - Full-Size ANOVOS First Order Stormtrooper Statue - A life-size First Order Stormtrooper statue from the promotion of J.J. Abrams' Star Wars: The Force Awakens. Stormtroopers were the infantry for the evil First Order. This 1:1 scale statue is made primarily of resin and fibreglass and features such accessories as a blaster and a belt. The statue was made by Anovos Studios and stands on a black base. It has some minor chips and markings. Dimensions: 120 cm x 76 cm x 170 cm (47.25" x 30" x 67")Special shipping required; see special shipping notice in the Buyer's Guide.VAT Status: M
PETER PAN (1953) - Tinkerbell Stretching Original Production Pencil Drawing - A magnificent and rare original production drawing of Tinker Bell from Walt Disney's Peter Pan, beautifully rendered in graphite and coloured pencil on animation paper. This exceptional pose captures Tink in a graceful, full-body stretch, arms lifted, wings delicately framed, her characteristic sass radiating through expression and posture. Remarkably, given her tiny scale on screen, this large, detailed drawing reveals the craftsmanship behind her iconic personality.Tinker Bell was brought to life by Marc Davis, one of Walt Disney's revered Nine Old Men, whose masterful animation turned her into one of the most beloved and enduring Disney characters. Without a single line of spoken dialogue, Tink's entire character was conveyed through Davis's expert understanding of movement, expression, and body language. Davis worked closely from live-action reference footage and infused Tinker Bell with a captivating blend of mischief, charm, and heart.Importantly, Walt Disney regarded the studio's drawings as the backbone of the animation process, the foundation upon which the magic was built. As a result, original drawings like this were typically archived and vaulted for their artistic and historical value. In contrast, most cels were routinely discarded or destroyed after production as they were seen as a tool of the job, making the acquisition of drawings like this even more meaningful to collectors and animation historians. Dimensions: 31.75 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M
WINNIE THE POOH AND A DAY FOR EEYORE (1983) - Winnie The Pooh Holding "Hunny" Pot Original Production Cel - An original production cel of Winnie the Pooh from Walt Disney's animated short film Winnie the Pooh and a Day for Eeyore.This cel was used in the final of the four original featurettes that began with Winnie the Pooh and the Honey Tree (1966), Blustery Day (1968), and Tigger Too (1974). These shorts became foundational to Disney's interpretation of A.A. Milne's beloved characters. Cels of this quality and scale featuring Pooh himself are rarely found. Most production cels from the era were trimmed for layout or taken directly from studio use without certification.This hand-painted large-character production cel shows Winnie the Pooh centrally positioned with his iconic red shirt and a classic "hunny pot" in hand. The pose and expression are quintessential Pooh: curious, gentle, and quietly delightful. The hand-painting work stops just below the horizontal camera line. This example is numbered "25" and bears the official Walt Disney seal, indicating release through the Disney Art Program, likely sold at a Disney theme park or authorised gallery at the time. The original production cel is in overall excellent condition, considering its age. Dimensions: 27 cm x 31.5 cm (10.5" x 12.5")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M
ROBIN HOOD (1973) - Friar Tuck and Church Mice Original Production Cel - An original large-format multi-layer production cel featuring Friar Tuck and the two Church Mice from Walt Disney's animated film Robin Hood.This is an expressive, well-composed multi-character cel, a strong example from one of Disney's most affectionately remembered animated features. The charming image captures a moment of warmth and solidarity, with the mice perched affectionately atop Friar Tuck's head, conveying trust, closeness, and quiet humour.The characters are hand-inked and painted, and Friar Tuck, in particular, dominates the composition with excellent scale and presence. A visible camera line is running below the character, a reminder that this piece was created for screen use. The cel comprises two layers stapled together in the upper right corner, the top featuring the mice labelled "19" and the underneath sheet features Friar Tuck marked "A15".The cel also retains the official Disney seal, indicating release through the Disney Art Program. It is laminated, as was Disney's standard studio practice during the period, and remains in remarkably good condition. The lot displays some minor marks and light scratches, which do not affect the artwork. Dimensions: 32.5 cm x 41 cm (12.75" x 16")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M
AN AMERICAN TAIL: FIEVEL GOES WEST (1991) - Fievel Original Animation Cel and Presentation Background - An original production cel of Fievel from Fievel Goes West against a dramatic printed presentation background.Fievel Goes West remains a significant title in early '90s animation, bridging the legacy of Don Bluth with the growing ambition of theatrical feature animation in the pre-DreamWorks period.The scale of Fievel and perspective ensure this is one of the most iconic frames from the film, and as such, it is a standout moment in the official trailer: "That's right, I'm talking to YOU!" Fievel stands firm, defiant and unflinching in the heart of New York City - "where a young mouse can stand tall."This is a beautifully composed cel showing the huge lead character with such a strong expression, full of confidence and attitude, a rare find in production artwork, where subtle movement or blinks across 24 frames per second can easily diminish the impact. With visible production annotations ("FW-CA/72.1-3") and a matching presentation printed background, this is an outstanding setup from Amblimation, Spielberg's short-lived but artistically ambitious and accomplished London-based animation studio. It also bears the official studio art seal near the bottom left corner. Dimensions: 31 x 39 cm (12.25" x 15.25")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω
FANTASIA (1940) - Original Concept Artwork of Centaurettes Bathing Scene from The "Pastoral Symphony" - This original concept artwork from Walt Disney's Fantasia captures one of the film's most ethereal and visually poetic sequences, the centaurettes (or fauns) bathing in the enchanted glen, part of the "Pastoral Symphony" segment inspired by Beethoven's music.Fantasia was an audacious experiment combining high art, classical music, and cutting-edge animation. It redefined what animation could be and became a critical milestone in Disney's artistic legacy. Artwork from this film is exceedingly scarce, particularly finished large-scale concepts like this, as much was lost or discarded after production.The imagery is likely attributed to one of the legendary Disney studio artists of the era, possibly James Bodrero or Martin Provensen, who both worked extensively on the film's development team. Bodrero, in particular, was known for his classical training and brought a European fine art sensibility to the animation process, especially visible in the mythological settings of Fantasia. His pastel and gouache works set the tone for the elegant, dreamlike quality of the "Pastoral Symphony."What makes this piece especially significant is the sheer beauty and size of the composition, designed as part of the film's early visual development. Large-scale concept works like this were crucial to the Disney production process, guiding colour palettes, lighting, and mood before a single cel was painted.Rendered in soft pastels, this artwork radiates the delicate atmosphere, grace, and light that made Fantasia a landmark in the history of animation. The pastel medium was a favourite of the Disney concept artists to create atmospheric depth and emotion. This piece comes with visible pinholes, a telling mark of its original use on studio boards where Walt Disney and his team would have reviewed it. The artwork features the iconic Walt Disney Productions stamp in the bottom right corner, and a filing stamp on the reverse, signed and dated, confirming its place in the production process. Two corners of the paper have degraded, but the lot remains in excellent condition considering its age. Dimensions: 30.5 x 38.5 cm (12" x 15")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: †
‡ SAMUEL PALMER (BRITISH 1805- 1881) THE GLEANING FIELD Oil on canvas 42 x 52cm (16½ x 20¼ in.) Painted circa 1832-33.Provenance: John Giles, a first cousin of the artist (1811-1880) His sale, Christie's, London, 2 February 1881, lot 620, for 135gns Bought at the above sale by The Fine Art Society Possibly William Fothergill Robinson Q.C Possibly Rev. William Fothergill Robinson, Woodspeen, Newbury Herbert A. Edwards (1888-1978), Newbury and thence by descent Private Collection, U.K by 2009 With Lowell Libson Acquired from the above in 2010 Literature: Raymond Lister, Catalogue raisonné of the works of Samuel Palmer, London, 1988, no.167Exhibited: London, Royal Academy, 1833, no.48 London, Fine Art Society, A Collection of Drawings, Paintings and Etchings by the Late Samuel Palmer, 1881, no.2 The reappearance of this exquisitely painted and highly finished large work on board is an exciting addition to the Palmer's oeuvre, dated to circa 1832-33. It was painted towards the end of his celebrated Shoreham period when Palmer's highly personalised artistic voice that had taken shape at Shoreham from the mid-1820s amongst 'The Ancients' was maturing. It is one of only a small handful of known Shoreham period oils to remain in private hands. Palmer first visited the village of Shoreham in Kent in 1824 and settled there in 1826 where he remained for nearly ten years. The landscape around Shoreham was the embodiment of Palmer's visions of pastoral life that he had imagined from his reading and it was there that he translated his intensity of vision into drawings or paintings. The valley at Shoreham teamed with an abundance of crops, corn, fruit and hops harvested by hand using age old methods and eschewing the encroachment of modern life. The village scenery was punctuated by the landmarks of rustic life, a small hamlet of primitive cottages, the mediaeval church with its spire, the carpet of fields and populated with a rollcall of village characters, the rhythm of life directed by the seasons. The resulting works which were executed during Palmer's time living at Shoreham are considered his greatest achievements. Palmer, who had first met the visionary artist William Blake (1757-1827) in 1824, was quickly joined by several friends, other devotees of Blake, who formed themselves into a loose group calling themselves 'The Ancients'. During Palmer's earlier years at Shoreham we see the development of his art and his experimental use of medium, following methods he largely evolved himself. However, by the early 1830s Palmer's companions had largely left the valley and Palmer began to attend to the development of his career due in part to his straightened finances, and as a result the manifestations of his period at Shoreham evolved into a more conventional expression of his vision. Palmer had begun to spend more time in London and submitted work to the Royal Academy in 1830 and 1831 which although rejected was indicative of a desire for wider recognition and engagement the with art establishment. In 1832 the Royal Academy accepted seven works which Palmer had sent in from his recently acquired house in Marylebone, including 'Pastoral' scenes and 'A harvest scene', generic titles which have plagued the future identification of these works. In 1833 Palmer exhibited five works, amongst them 'The gleaning field' (here identified as the present work) and a 'Kentish scene'. The following year Palmer exhibited six pictures at the Royal Academy. The present work, of exhibition scale and highly finished is the most likely candidate for Palmer's Royal Academy exhibit no. 48 of 1833 'The Gleaning Field' being the only painting by Palmer depicting gleaners as the main subject of the composition. The Gleaning Field, circa 1833 (Tate Gallery, London) is smaller in size with many reworkings in pen and ink and competing motifs of the wagon drawn by oxen and the cottage on the edge of the field. As a picture intended for exhibition in London at the Royal Academy it is not farfetched to see Palmer's intention for it to convey a message to the London audience. The early 1830s was a period of rural discontent and political unrest and the resulting restlessness was felt in the Shoreham valley. The established way of life in the countryside was in crisis, the boom years of the Napoleonic Wars were over and hardships were felt especially in rural communities through unemployment, the erosion of rights through the continuing enclosure of common grazing land, the passing of the Poor Laws, the imposition of the Church Tithe and increasing mechanisation. There was widespread unrest, most notably marked by the 'Swing' riots of 1830-1 and widespread outbreaks of arson, machine breaking and wage rioting which started in Kent and spread across the whole of southern and eastern England with the military being deployed to support the local law enforcement. The first threshing machine was destroyed on Saturday 28 August 1830. By the third week of October, over one hundred threshing machines had been destroyed in East Kent. The riots spread rapidly through the southern counties of Surrey, Sussex, Middlesex and Hampshire, before spreading north into the Home Counties, the Midlands and East Anglia, moving on as far as Lincolnshire, Yorkshire and Nottinghamshire. John Giles (1810-80), the first owner of this picture, was Palmer's cousin and a near contemporary. Giles was one of the 'Ancients' and a stockbroker rather than an artist. He managed Palmer's precarious financial affairs and was close to George Richmond and his family and remained a lifelong friend of both men and a great admirer of Palmer's works. Giles died in 1880 and his collection, comprising some 635 lots of which 185 were paintings, was sold by Christie's in 1881. The present work was purchased by the Fine Art Society for the considerable sum of 135 gns in advance of the exhibition they were to devote to the works of Palmer later that year. The picture appears to have been acquired at that time by either George Richmond or his son-in-law, William Fothergill Robinson. Richmond had presented his daughter Julia and Robinson with Palmer's The White Cloud, circa 1833-4 (Ashmolean Museum, Oxford; fig. 2) as an anniversary present and Robinson had also been a purchaser at the Giles' sale acquiring The Bright Cloud, circa 1833-4, Manchester City Galleries. The Shoreham landscape inspired some of the most intensely original pictures of the British Romantic period, works which distilled Palmer's vision and translated it into a representation which contained all the elements of Palmer's pastoral poetry. The present picture marks a particularly important period in the development of Palmer's vision as well as recording a moment of crisis in the political and economical development of late Georgian England. Its appearance at auction represents a rare opportunity to purchase one of only a handful of Shoreham period oils remaining in private hands.
A stunning 6-piece set of Lalique crystal dinner plates in the Chene pattern, featuring a graceful swirling motif of stylized oak leaves in alternating frosted and clear finishes. With their larger scale and sculptural relief, these plates make a refined statement for elegant dining or display. Each piece bears the etched signature Lalique France and reflects the renowned craftsmanship of the French crystal atelier. Plates measure approximately 9"dia.Dimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear.
A Worcester cabinet plate, circa 1770, decorated in the Lady Mary Wortley Montagu pattern, painted in the London atelier of James Giles with panels of exotic birds around a central floral roundel, reserved within gilt scroll borders on a blue scale ground, pseudo-Chinese mark, 22.5cm diameterIn good condition - just some minor gilt wear and a nick on the rim.
20th century-replica 18th century mercury stick barometer, in a mahogany case with a broken pediment and brass finial, rectangular glazed door enclosing a silvered register with a vernier recording pointer, engraved scale and predictions, with a spirit thermometer recording the temperature in Fahrenheit and Celsius, full length visible bulb cistern and circular base enclosed within a turned cover.
LONGINES: A RARE STAINLESS STEEL FLYBACK CHRONOGRAPH WRISTWATCHwith manual wind movement, the silver dial with subsidiary seconds dial, black luminous Arabic numerals and dark blue steel hands, the outer ring calibrated for sixty minute register with outer tachymeter scale, with raised bezel, snap-on back, circa 1940's, ref. 23074, no. 26, the case c.37.5mm dia.
Attributed to Jonathan Richardson Senior (English, 1677-1745) A pair of portraits of a lady and gentleman, believed to be Sir Richard Child, 1st Earl Tylney (1680-1750), and his wife Dorothy (née Glynne, 1682-1744) of Wanstead, Essexoil on canvas73 x 60.5cmProvenance:By descent within the present vendor's family since the 19th centuryRichard Child was an English politician best remembered for the construction of Wanstead House, a Neo-Palladian mansion designed by Colen Campbell. Commissioned in 1715, it was completed in 1722 but tragically demolished little over a century later. Richard was the son of Sir Josiah Child (1630-1699), Governor of the East India Company, 1st Baronet of Wanstead. In 1704 he succeeded his half brother to the Baronetcy. A year earlier he had married Dorothy Glynne, daughter of John Glynne and Dorothy Tylney, daughter of Francis Tylney of Tylney Hall, Hampshire. Richard was created 1st Viscount Castlemaine in 1718. In 1730, upon the death of her cousin, Dorothy and her husband inherited the Tylney estates. Richard was subsequently made 1st Earl Tylney which the family adopted as their surname thereafter.Likely executed circa 1710, this elegant pair portraits, acquired by the present vendor's grandfather in Essex in the 19th century, were traditionally identified as Sir Richard and Lady Child by old inscriptions to the reverse of the canvases (see Fig. 1), now covered by relining during conservation by the current owners at the end of the 20th century. The likenesses of both sitters are corroborated by their depictions, albeit on a smaller scale, in William Hogarth's group portrait, The Assembly at Wanstead House, c. 1728-1731 (Philadelphia Museum of Art, no. M1928-1-13). The identity of the present portrait of Richard Child is further susbstantiated by its close facial resemblance to hitherto his only known individual portrait, recorded in the Wanstead House sale of 1822 as by Richardson, which shows him dressed in blue (Private Collection, see Miles Barton, 'Sir Richard Child of Wanstead: a Portrait Revealed', The Georgian Group Journal, Vol. XIX, 2011, pp. 184-85). Furthermore, a comparable portrait of 'Dorothy, Countess Tylney' by Sir Godfrey Kneller (sold Sotheby's, London, 9th July 1997, lot 25) additionally supports the traditional identification of her present portrayal.Although the present work depicts Richard Child in a more restrained manner to his other known portrait - which shows him cloaked flamboyantly in blue - the attribution of that work to Jonathan Richardson highlights the family's association with the artist. Indeed, Richard's father, Sir Josiah Child, had previously been painted by Richardson's teacher, John Riley (NPG 5932).
A Regency ebonised bracket clock, the painted dial signed 'Edward Watson, Cheapside, London', with twin fusee movement and signed backplate, adjustable pendulum, the case with brass scale side frets below ring handles, on ball feet47cm highDial completely repainted. Missing a small panel to the front lower right of the case. Currently ticking but striking needs attention. Not tested for accuracy or duration. Has pull repeat cord. See photos. Non original winding key.
Arthur O'Connor (Irish, 1826-1873) A stained glass window design depicting the Ascension of Christ flanked by St John the Baptist and St Stephensigned 'A OConnor / Berners St London' and inscribed 'Scale 3/4 of an inch to 1 foot / Drawing to be returned'; further signed to the mount, dated March 1861 and inscribed with a description of the design and its cost of £125 ink and watercolour31 x 17cm (sheet), 42.5 x 34cm (with original mount)
North Italian School, 1630 Portrait of a Benedictine monk, three quarter length, standing, holding a prayer book, beside a table on which stands a crucifix, a skull and an hourglass inscribed upper left 'AEt. sua. 30. Año Dñi 1630'oil on canvas135 x 108cmProvenance:Gurney's Manor, Hingham, NorfolkThis unusual and compelling portrait of an unknown monk at the age of thirty, has an almost Spanish intensity to it, yet he is portrayed with a careful technique of realism not much seen in Spanish painting at this time. This naturalistic approach suggests it was more probably painted in Lombardy and perhaps in or around Cremona. If so, it is in the late flowering of the long tradition started there by Sofonisba Anguissola (1532-1625) and the Campi family of painters and continued by their followers when Sofonisba left for Spain. Almost certainly a Benedictine monk – and presumably an abbot to have had such an imposing image of himself painted - he was clearly aware of such status at his relatively young age. But any pride is countered by the large scale crucifix on the table beside him along with a skull and an hourglass to remind the viewer of both his and our own limited earthly existence. Italy in 1630, especially in the Milan region, was in the middle of a devastating plague, so perhaps this prelate was encouraged to secure his likeness, even if for the refectory of his monastery, in case he too succumbed, as had hundreds of thousands of his fellow Italians.
Corgi The Aviation Archive aircraft, comprising Military Air Power 47112, Douglas EC-47P Sky Train 361ST Tactical Electronic Warfare Squadron USAAF, 47106 Douglas DC3 RAF, Berlin Airlift 47101 Douglas C-47 Sky Train United States Air Force, and Berlin Air Lift Douglas Dakota RAF 47111, 1:144 scale. (4)
Various O gauge white metal and brass, including Celtic Connection Scale Model Railways kits CC010 GC/LNER ten tonne single bolster wagon kit, Celtic Connection MBR LNER fifteen tonne implement brass wagon kit, North Eastern Railway early mineral wagon kit, Wistow Models O gauge 1929 Leyland Titan TDI open staircase bus kit, Connoisseur Models O gauge six wheel third class coach, etc. (a quantity)
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