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Lot 333
Thomas Boyd: a scarce percussion revolving sporting rifle on a Pennel patent hammerless action, octagonal barrel 27.5 in. with multi-groove rifling, top flat engraved 'THOs. J. BOYD'S IMPROVED, REVOLVING, RIFLE.', German silver fore sight and a back sight of one standing and one folding leaf, Birmingham proof, border engraved six-shot cylinder, enclosed action with well engraved cover having running a stag in a landscape to the left and acathus scrolls to the right, inscribed 'PATENT' to the top, straight hand stock of figured wood with steel crescent butt plate, trigger guard with straight front and scrolling finger extension, engraved patch box cover, steel ram rod. Section 58(2) - no licence required if possessed as a curiosity or ornament.118cm OALThe George Geear Collection
Lot 94
Spain: Medal for the Pacification of Morocco, 1909-27, white metal oval, 32.3 mm, an urban landscape within a crescent marked 'MARRUECOS', radiant sun behind, surmounted by a dove with outstretched wings and a crown suspension; together with four other examples, minor variations, two having metal stars to the ribbon and two with embroidered stars; and a miniature example of this award, very fine to nearly extremely fine. [6]Not scale
Lot 105
A collection of silver agricultural prize medals, comprising: York Agricultural Society, Sir W. Anderson Bart. President, engraved, 61mm, a bull pawing the ground, rev. presentation details (TO STEPHEN CROFT ESQ FOR THE BEST TWO YEAR OLD BULL SHEWN IN THE YEAR 1776), good very fine; Society for Improvement of Agriculture Salford Hundred, struck, 48mm, Ceres standing with cornucopia in a rural landscape with farming tools, rev. engraved presentation details (TO THE REVEREND MR CROXTON JOHNSON OF WILMSLOW FOR RAISING THE BEST CROP OF WHEAT MDCCXCVII), edge blemish at 12 o'clock from missing suspension, otherwise very fine; Selby, Tadcaster & Market Weighton Agricultural Association, struck, 47mm, a group of livestock, rev. engraved presentation details (..Mr Dan Harland, Osbaldwick, for a Cart, Tadcaster 1861), very fine; Driffield and East Riding Agricultural Society, engraved, 50mm, for the best drag or cultivator (...JAMES TEAL, Holme on the Wolds 1871), fixed suspension loop hallmarked for London 1871, about very fine; '1ST PRIZE FOR PLOUGHING 2ND JANY 1873', engraved, 53mm, a ploughman, rev. (WILLIAM SYMMERS, KIRKTON), loose suspension ring, very fine; Yorkshire Coach Horse Society, Breeder's Medal, struck, 58mm, a horse standing left, rev. inscribed details (...John Lett, FOR MADELINE, BEST MARE OR FILLY...YORKSHIRE SHOW 1906), much surface scratching, otherwise very fine; Yorkshire Agricultural Society, struck, gilt, 55mm, Ceres standing right, rev. arms and engraved details (RICHARD DOUTHWAITE 43 YEARS FARM SERVICE 1892-1934), good very fine; The Shorthorn Society of the United Kingdon of Great Britain and Ireland, struck, 51mm, a bull's head quartering left, rev. engraved details within a wreath (1948..Champion Shorthorn Bull...ROYAL DUBLIN SPRING SHOW), nearly extremely fine. [8]61mm diameter of first medal
Lot 322
Charles Lancaster: a very fine 16 bore percussion sporting rifle, serial number 2176, heavy octagonal barrel 31 in., two-groove rifling for a belted ball, back sight with three folding leaves market for 100/150/200 yards and each with a gold sighting line, matted panel behind the fore sight combining stippling with windage adjustment marks, top flat engraved 'CHARLES LANCASTER. 151 NEW BOND ST.. LONDON' and 'REGISTERED APRIL 19TH 1848', hooked breech plug with platinum maker's seal, vented platinum blow-out plug, London proof, detented lock with safety bolt, lock plate and dolphin head hammer with fine scroll engraving and 'C. LANCASTER London', shell and acanthus engraved tang, chequered half stock with horn nose cap, 'Selous' reinforcing plate over the wrist engraved overall with fine acanthus scrolls, trigger guard with chequered finger extension and engraved pineapple finial, hinged patch box cover with a stag in a landscape, chequered butt plate with another stag on the tang, steel ram rod with cupped brass head. Offered with a quantity of belted balls. Section 58(2) - no licence required if possessed as a curiosity or ornament.120.3cm OALThe George Geear CollectionBuilt in 1850
Lot 508
A quantity of sporting powder flasks, embossed coppery bodies, most having adjustable spouts, including: an example by Hawksley embossed with scrolling vines, another with panels of acanthus sprays rising to a linen-fold neck, another with a game scene involving a shooter and dogs in a landscape with a church beyond, another with game animals in astragal bordered panels, and six others. [10]The George Geear Collection
Lot 335
Frederick George COTMAN (R.I. 1850-1920) - A framed and glazed watercolour of a river landscape scene, titled "On The Waveney" , signed and dated F.G Cotman 1896. Condition : Good , colours strong, in original frame. Note : Cotman was an East Anglian painter who was know for watercolours / oils , landscapes who exhibited at the R.A from 1871 onwards.
Lot 264
A Pair of early 18th Century walnut frames, fitted with brass sconces and containing glazed needlework panels. One panel depicting a man and a dog in a country landscape with a house on a hill with inscription "S**TON" Dated 1721 and the other panel depicting a lady and dog in a country landscape with a house behind, inscribed "ELIZABEY" ? . Frame Dimensions W27cm x H40.5cm. Condition : Frames are in very good order for age with no loses, Needlework panels good overall with age related fading and wear.
Lot 33
Rudolph Ihlee (British 1833-1968), Terrier Dog watching Train in expansive landscape. Oils on board. 26x34cm approx. Framed and glazed. Annotated verso 'Given to me by Sir Edward Marsh circa 1950. J Guest'. Also bearing Bertram Atkins, London label verso. Provenance: Bequest from the Estate of John Guest of Penguin Books. (B.P. 21% + VAT) Picture measured from back 25.5x34.5cm approx.
Lot 57
Two 19th century Chinese Export porcelain mugs, one continually decorated in underglaze blue with pagodas and figures in a landscape. The other bearing monogram and in neoclassical style with overglaze blue and gilded enamels. One has entwined strapwork handle, the other stylised dragon. 8cm and 10.5cm high approx. (2) (B.P. 21% + VAT) Small chips to rim of blue and white mug, more noticeable chip and hair line to the neoclassical mug.
Lot 73
Five items of Chinese Export blue and white porcelain, being plate/dishes, including: two octagonal dishes, further soup bowl and two plates. All with differing patterns including, vase of chrysanthemums, birds and flowers, pagodas in a landscape etc. 22.5cm approx. (B.P. 21% + VAT) Minor chips in places.
Lot 67
Chinese porcelain tapering conical octagonal cup with painted six character Guangxi marks to base. 8.25cm high approx. Together with a pretty Guangxi or Yong Zheng tea bowl and saucer, with scalloped edges and central figure in landscape decoration. Catherine Hint Oriental antiques label to base. The cup 6.5cm across, the saucer 10cm approx. (B.P. 21% + VAT) Wine cup has been repaired/restored, minor chips to to bowl and saucer only.
Lot 4
John Knapp-Fisher (British, worked in Wales, born 1931), Pembrokeshire landscape with fields and farm, signed. Oils on board. 24x60cm approx. Framed. Provenance: Cardiganshire vendor/collector. (B.P. 21% + VAT) Appearing to be an early example of his work, in good original conditional and believed to have been bought direct from his gallery.
Lot 8
Paul Feiler, British 1918-2013 - Abstract drawing, 1963; pastel on paper, signed and dated lower right 'Paul Feiler 63', 30.5 x 29 cm (ARR) Provenance: The Collection of Mollie and Graham Dark Note:Feiler was an important and celebrated artist of the modernist St. Ives School in the latter part of the 20th century, alongside William Scott, Peter Lanyon and Bryan Wynter. He first visited Cornwall in 1949, producing highly abstracted responses to the landscape. Tate St Ives has held two large solo exhibitions of his work in 1995 and 2005.
Lot 11
Paul Feiler, British 1918-2013 - Ambit GXVI, 1989; gouache on paper, signed and dated lower right 'Paul Feiler 89' and titled lower left 'Ambit GXVI', 9.2 x 9.2 cm (ARR) Provenance: The Collection of Mollie and Graham Dark Note: Feiler was an important and celebrated artist of the modernist St. Ives School in the latter part of the 20th century, alongside William Scott, Peter Lanyon and Bryan Wynter. He first visited Cornwall in 1949, producing highly abstracted responses to the landscape. Tate St Ives has held two large solo exhibitions of his work in 1995 and 2005. The present work is an example of the artist's mature style that was highly influenced by cosmology and the concept of space, creating minimalist abstracts based on concentric forms and subtle gradations of colour.
Lot 219
Daniel O'Neill, Irish 1920-1974 - Flotsam, Landscape Donegal; oil on board, titled on the reverse 'Landscape Donegal', 40.3 x 60.7 cm (ARR) Provenance: Sotheby’s, London, 20th Century British and Irish Art, 14th September 2005, lot 185; private collection, purchased from the above Note: Campbell was from a circle of Post-War Irish artists that worked in Conlig in the 1950s that included Gerald Dillon and George F. Campbell. The present work reflects the neo-romantic style that was prevalent in Britain and Ireland in the period, seen here in the heavy atmosphere of the landscape, reminiscent of the early work of John Minton and John Craxton. The colour palette of muddied browns, greens and blues suggest an eerie calm that settles on the landscape. Horizontal brush strokes emphasise the still water and sky, in a direct opposition to the scattered flotsam littered across the foreground which alludes to an unseen danger. The mounds of debris recall scenes from the trenches and ravaged fields of World War Two, deeply ingrained in the collective consciousness of the post-war era. O’Neill became a full-time painter in 1945, having previously worked as an electrician on Belfast shipyard, and visited Paris in 1949. Here he was influenced by Maurice Vlaminck, Georges Roualt and Maurice Utrillo. In the following decade he moved to Conlig, Country Down, where a small group of artists had formed. These included George Campbell and Gerard Dillon. Some of his works were exhibited at the Irish Museum of Modern Art in 2005 as part of an exhibit on Northern Irish Artists. His work is held in Irish public collections including Ulster Museum and Dublin City Gallery, The Hugh Lane, as well as the Laing Gallery and Herbert Art Gallery & Museum in the UK. His work was shown at the influential Victor Waddington Gallery in Dublin in 1946 and Arthur Tooth & Sons, London in 1952.
Lot 6
Paul Feiler, British 1918-2013 - Untitled (harbour scene), 1950; monotype on paper, signed and dated lower right 'Paul Feiler 50' and inscribed lower left 'Monotype', 11.5 x 16.5 cm (ARR) Provenance: The Collection of Mollie and Graham Dark, purchased directly from the artist Note: this early work sees Feiler exploring the abstract forms of a harbour scene. Feiler was an important and celebrated artist of the modernist St. Ives School in the latter part of the 20th century, alongside William Scott, Peter Lanyon and Bryan Wynter. He first visited Cornwall in 1949, producing highly abstracted responses to the landscape. Tate St Ives has held two large solo exhibitions of his work in 1995 and 2005.
Lot 236
Sir Lawrence Gowing CBE RA, British 1918-1991 - Northener, 1957; monoprint on card, 17.2 x 36.5 cm (ARR) Provenance: the Studio of the Artist; private collection Note: there are two labels attached to the reverse, one is inscribed and reads, 'first made for the cover of a student magazine at Newcastle-upon-Tyne and later sent as a Christmas card. Signed and dated 'Christmas 1957' on the reverse. The vertical fold two thirds of the way across the sheet is an integral part of the design. The second states 'Ex cat Northener 1957' and is inscribed 'Hayward Gallery 1977'. An accomplished portrait and landscape painter, Gowing was a pupil of William Coldstream and protege of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.
Lot 9
Paul Feiler, British 1918-2013 - Collage study, 1963; gouache, pastel and collage on paper, signed and dated lower right 'Paul Feiler 63', 14.7 x 15 cm (ARR) Provenance: The Collection of Mollie and Graham DarkNote: Feiler was an important and celebrated artist of the modernist St. Ives School in the latter part of the 20th century, alongside William Scott, Peter Lanyon and Bryan Wynter. He first visited Cornwall in 1949, producing highly abstracted responses to the landscape. Tate St Ives has held two large solo exhibitions of his work in 1995 and 2005.
Lot 235
Sir Lawrence Gowing CBE RA, British 1918-1991 - Classical study; oil on board, 32.5 x 42.5 cm (unframed) (ARR) Provenance: the Studio of the Artist; private collection Note: an accomplished portrait and landscape painter, Gowing was a pupil of William Coldstream and protege of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.
Lot 12
Paul Feiler, British 1918-2013 - Square Relief XXII, 2009; silver and gold leaf, goouache, aluminium, stainless steel and Perspex on Perspex, bears inscription with artist's name, title, date and number on a label attached to the reverse of the frame 'PF 561', 15.5 x 16 cm (ARR) Provenance: The Collection of Mollie and Graham Dark, gifted by the artist in 2009 Note: Feiler was an important and celebrated artist of the modernist St. Ives School in the latter part of the 20th century, alongside William Scott, Peter Lanyon and Bryan Wynter. He first visited Cornwall in 1949, producing highly abstracted responses to the landscape. Tate St Ives has held two large solo exhibitions of his work in 1995 and 2005. The present work is an example of the artist's mature style that was highly influenced by cosmology and the concept of space, creating minimalist abstracts based on concentric forms and subtle gradations of colour.
Lot 13
Patrick Hayman, British 1915-1988 - Abstract landscape, 1951; oil on canvas, signed and dated on the reverse 'Patrick Hayman August 1951', 20.5 x 15.3 cm (ARR) Provenance: with Wills Lane Gallery, St. Ives; The Collection of Mollie and Graham Dark, purchased from the above (according to the collection archive) Note: painting in a faux-naive style, the artist was inspired by Alfred Wallis, in his depiction of marine scenes often incorporating elements of myth and history. Works by the artist are in major museums including Southampton Art Gallery, the Arts Council and the Tate. Solo exhibitions of the artist's work have been held at Gallery One, Portal Gallery and Crane Kalman Gallery in London, alongside other galleries in Canada and New Zealand. A touring retrospective of his work was held at Camden Arts Centre, travelling to Exeter Royal Albert Memorial Museum, Victoria Art Gallery and Elizabethan Exhibition Gallery.
Lot 237
Sir Lawrence Gowing CBE RA, British 1918-1991 - The artist's painting case and palette; painting case with various paints and paintings implements and the artist's palette: together with a small box of a collection of the artist's books (3) Provenance: the Studio of the Artist; private collection Note: an accomplished portrait and landscape painter, Gowing was a pupil of William Coldstream and protégé of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.
Lot 2
Peter Lanyon, British 1918-1964 - Study for Porthleven, 1950; charcoal and wash on paper, with studio stamp upper right 'The Attic Studio St Ives', 54 x 40 cm (ARR) Provenance: with Gimpel Fils, London (according to the partial label on the reverse of the frame); Paul Feiler, purchased directly from the artist; The Collection of Mollie and Graham Dark, purchased from the above Note: this was produced as part of his preparatory work before painting the ‘experimental landscape’ Porthleven, 1951, now displayed in Tate St Ives. Lanyon's finished piece captures the fishing town from multiple perspectives, and this study demonstrates the importance of Lanyon’s drawings as a means to translate his real experiences onto the canvas. The amalgamation of harsh charcoal lines teeter towards abstraction, yet retain his personal sense of observation by lingering on details such as the ‘LADIES’ sign on the right edge of the paper. Peter Lanyon studied under Borlase Smart, but came under the direct influence of Barbara Hepworth, Naum Gabo and Ben Nicholson after moving to St Ives in 1939. As a painter of landscapes that tended heavily to abstraction, his body of work is some of the most original and important reappraisals of modernism in painting. Held in acclaim amongst the pivotal artists that emerged in post-war Britain, his work was honoured in a large-scale retrospective between 2010 and 2011 in Tate St Ives. Mollie (1928-2024) and Graham Dark (1930-2015) were pivotal figures in Cornwall, becoming close friends with a number of the most important artists associated with post-war St. Ives and collecting and carefully curating a wonderful body of their artworks. Roseberys are honoured to be selling works from this collection, featuring many of their key artists including Peter Lanyon, Paul Feiler and their close friend Terry Frost. This follows the sales at Sotheby’s featuring a ‘A Life with Art: The Collection of Mollie and Graham Dark’ in the Modern British Evening sale on 14th November and Day sale on 15th November 2024, which includes pieces by these artists as well as a major work by Ivon Hitchens. The pair met and married in the late 1970s, before moving to Cornwall in 1980. As they got to know the artists, they would often purchase artworks directly from them as well as from their friend, William Desmond, one of the co-founders of the gallery Austin/Desmond Fine Art. This gallery was pivotal in reviving international interest in the St. Ives School in the late 20th century and the Darks were instrumental in introducing both Paul Feiler and Terry Frost to the gallery. Highlights of the works on sale are the present work, originally owned by Paul Feiler, and Terry Frost’s ‘Untitled (Blue, Black and Grey), 1959’, as well as works by Nicolas de Staël, Patrick Heyman and Kate Nicholson.
Lot 234
Sir Lawrence Gowing CBE RA, British 1918-1991 - Landscape, c.1940s; oil on canvas laid down on board, 40 x 50.4 cm (unframed) (ARR) Provenance: the Studio of the Artist; private collection Note: an accomplished portrait and landscape painter, Gowing was a pupil of William Coldstream and protege of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.
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261593 item(s)/page