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Receipts.- Collection of receipts for domestic goods, including: Thomas Coleman at the Signe of Bird-Cage in Crooked Lane; John Hall At the Golden Fleece New Street Covent Garden; Samuel Fossick At the Black Horse... in Crooked-lane, London; Thomas Bosvile at the Angel in Bedford Street Covent Garden; J. & W. Wyburn & Thomas, Coach Builders & Harness Makers, together 17 receipts & 1 card, engraved or printed sides or billheads with manuscript descriptions of goods, a few with holes, folds, some slightly browned, v.s., v.d., 1719-1857 (18 pieces).

A quantity of Hornby Skaledale/Lyddle End OO/N gauge buildings and accessories. Including- Low-Relief Factory. Low Relief County Hall, Butterley Waiting Room, Cricket Pavillion, Coal Staithes, 2x Coal Stage, 3x Cotswolds Stone, Loading Stage & Crane, 2x Ore Load and Trackside Steps. Plus Lyddle End series- Retort House & Chimney. Purifiers, Terminus Offices x2, Headstock Substation, 5x Bay Terraced Garden Wall, corners and T sections. 2x Tower Condenser & Washer. Plus 5x packs of Canal Bridge Adaptor & Ramps x2. Etc. All boxed/packed. Contents As New. (37) £100-150

A printed tinplate biscuit tin, SS LUSITANIA by Huntley and Palmer, 1908. Bearing on the lid a portrait of the ship off the Statue of Liberty in New York, in a cartouche with Cunard badge and House Flag. The sides decorated with images of the First Class Dining Saloon, Smoking Room, Lounge and Entrance Hall. Along with a J.J Colman mustard tin and another tin with Thames and Houses of parliament. H.14 W.22 D.14.5cm (largest)

A monumental 19th century Irish silver covered tankard jugJohn Smyth, Dublin 1874, incuse stamped 'Waterhouse', Helsinki 1928 import marks Of cylindrical form, the hinged domed cover with open scroll thumbpiece, topped by a large cast finial of a traditionally dressed sailor singing, seated on a coiled ship's rope, opening to reveal a cavernous gilt interior, to the exterior a leaf-capped double-scroll handle with acanthus leaf terminal, to the opposite side a flared spout with an embossed classical mask of a bearded male to its base, an applied oval armorial plaque below for the 'LEIGHTON' family and the family motto 'DREAD SHAME', the whole elaborately embossed with flowers, fruit, foliage, diaper-work and 'C' scrolls in both high and low relief, an inscribed cartouche to one side in Finnish to 'Walter Petterson' from 'The Association of Finnish Stevedores', on a domed spreading circular base, height 46cm, diameter 22cm, weight 107oz.Footnotes:The motto DREAD SHAME is for the LEIGHTON family of Wattlesborough Shropshire, who were baronets and include a descendant family of Bausley or Ballesley, co. Montgomeryshire. Notably the motto was used by Revd. Francis Knyvett LEIGHTON (1807-1881) who was descended from Daniel LEIGHTON Lt. Col. of General Evan's Regiment of the Horse and was the younger son of Sir Edward LEIGHTON 1st Baronet. The very distinctive crest above the motto of 'two hands clasping each other in fess, conjoined at the wrist to a pair of wings all proper' is extremely rare. Only one family uses this crest, albeit in a differenced form: DAY of co. Cork. The crest was confirmed to Richard DAY MD of Auckland New Zealand, Robert DAY of Cork, merchant and Revd. William Tottenham DAY of Youghal. However, there is a distinct possibility that the heraldic crest could be alluding to a Freemason ritual. In relation to this, a Samuel LEIGHTON KCT PPSGW of Antrim has been discovered, who was a Grandmaster of freemasonry and trustee of the masonic hall in Belfast in this period, up until 1938. This armorial therefore seems to combine the motto of the LEIGHTON family, with a crest associated with the Freemasons and as such seems to logically point to Samuel LEIGHTON of Antrim.For further information on this lot please visit Bonhams.com

A George III silver two-handle cup and covermaker's mark WH, for William Hall or William Hunter, London 1802Urn form, with an upper band of scrolling vine, lower body chased with stiff leaves, on a circular foot with flutes and a leaf and berry band, either side with two oval panels, one with an armorial engraving, the cover with similar ornament and further chased with scale panels and applied flower head motifs, height 41.5cm, weight 80.5oz.Footnotes:ProvenanceChristie's, New York, 21 October 2011, lot 190The arms appear to be for the family of CRAUFURD who by 1840 were considered to be of Burgh Hall, Lincolnshire, when Sir George CRAUFORD (1797-1881), 3rd Baronet Craufurd of Kilbirney, Scotland, was vicar of Burgh-le-Marsh, Lincolnshire and built the hall there. He was the son of, and succeeded, Sir James GREGAN-CRAUFORD (1761-1839), 2nd Baronet who himself succeeded to the baronetcy in 1797 and would have been the holder of the arms at the time of assay.For further information on this lot please visit Bonhams.com

Edwin Whitney-Smith (British, 1880-1952): 'The Baltic Fountain', an important and impressive patinated and polished bronze figural fountain commissioned for the Baltic Shipping Exchange, London, 1907cast by the A. B. Burton Foundry, Thames Dittonthe female nude probably representing a sea nymph, holding aloft a model of a galleon in her upheld hands, standing on a shell and rockwork plinth issuing four sea serpent head spouts, signed and dated within the cast E. Whitney Smith, 1907, above a circular dished basin, raised on an octagonal open plinth cast with seaweed and foundry inscription A. B. Burton, Founder, Thames Ditton, the spreading circular base cast with sea scallop shells above a capitalised Latin presentation inscription to the outer border translating as 'This fountain was given by Edward Power and Edward John Power, father and son, well known/distinguished merchants (67) who for many years were members of the Baltic co/council/consigliore and who were its leaders 1907.', 281cm high x 136cm diameter approximatelyFootnotes:Bonhams is delighted to offer the Baltic Exchange fountain in our 'Fine Decorative Arts: Through the Ages' sale.The fountain, which formerly sat in the lobby of the Exchange's headquarters at 38 St Mary Axe, London however cannot be housed in the new designs of the building.Earlier this year the sale of the fountain was postponed while alternative options were investigated. One of these options was to donate the fountain to the National Maritime Museum in Greenwich. However, it was then concluded that the piece was 'outside the Museum's collecting remit'. The amount raised will go towards funding a new Baltic Exchange lifeboat at Salcombe for the Royal National Lifeboat Institute (RNLI).'The Royal Academy Exhibition', The Building News, April 26th, 1907, Vol 92, p. 607.'Of the other works in the Central Hall, Mr. E. Whitney Smith's 'Drinking Fountain,' No. 1664, is the most delicately beautiful, with its fanciful base of seaweed, and its group of large shells surrounding a rock, on which a nude figure stands, holding the hull of an ancient galleon in her outstretched arms;...' Edwin Whitney-Smith: Born in Bath, Somerset, Edwin Whitney-Smith studied sculpture at Bath and Bristol Schools of Art. He also worked as assistant to William Harbutt, the inventor of plasticine and headmaster of Bath art school. Smith subsequently moved to London and began exhibiting at the Royal Academy and Paris Salon. Shortly afterwards, he began to hyphenate his name and thereafter styled himself as 'Whitney-Smith'. He received many commissions for portrait busts as well as creating small statuettes and, as was typical of his generation, a number of war memorials. Amongst his portrait sitters of note were the art critic Adrian Stokes, the painter Sir Alfred Munnings and perhaps also very pertinently given the maritime theme of the offered lot, the Liverpool shipping magnate, Sir William Forwood. In spite of several Academician proposals by prestigious sculptors and artists of the day during his career (including the sculptors Frederick William Pomeroy, Henry Alfred Pegram and Francis Derwent Wood in 1922 and the artists Samuel John Lamorna Birch and William Russell Flint in 1935), he was unsuccessful in being elected to the Royal Academy although ironically, the renowned sculptor Sir William Reid Dick, who was an early assistant in his studio in the early 1900s went on to secure his own membership two years after Whitney-Smith's death in 1954. The A. B Burton Foundry, Thames Ditton:As one of Great Britain's leading firms of bronze founders, the Thames Ditton Foundry operated from 1874 to 1939 under various owners producing numerous fine major statues and monuments. Established by Cox & Sons, a large firm of ecclesiastical furnishing suppliers, it cast ornaments and statues in bronze for sculptors and commercial suppliers. From 1902 to 1933 the firm came under the sole ownership of Arthur Bryan Burton (1860-1933). Originally apprenticed to Cox & Sons, Burton had later opened his own foundry in Kingston but returning in 1897 to become a co-owner with Arthur John Hollinshead. Burton served as a councillor on Surbiton Council, deacon of Surbiton Park Congregational Church, Sunday school teach, benefactor of the Scout Movement and a Special Constable during World War I.Works of particularly note cast by A. B. Burton from the same period include George Frederic Watts's Physical Energy in Kensington Gardens dating from the same year as the Baltic Exchange fountain, Adrian Jones equestrian statue of the Duke of Cambridge in Whitehall dating from 1909 and the forty-ton Quadriga on the Wellington Arch in Hyde Park Corner dating from 1910-11 which is one of the largest bronzes ever cast in Britain.The Baltic Exchange:Baltic Exchange Ltd, a community of hundreds of shipping companies and tracker of maritime transportation markets, was based at 24-28 St Mary Axe in the City of London. The exchange can trace its roots back to 1744 in Threadneedle Street. It was incorporated as a private limited company in 1900.In the early 20th century the firms main premises designed by Smith and Wimble and completed by George Trollope & Sons were opened in 1903. The building had an impressive and distinctively Cathedral-like trading hall housing an unusual stained glass war memorial completed after the first world war (now in the permanent collection of the National Maritime Museum). The building was subsequently used as a film location for a number of period drama films including Howards End, released in 1992.In 1992 on 10 April, the facade and parts of the building were badly damaged by an IRA bomb attack which very sadly saw three people killed and ninety one injured. The fountain suffered some minor damage in the attack but was later re-instated in the replacement modern premises which were rebuilt on land adjacent to the original site.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Collection of Wedgwood Blue Jasperware 'State Seal Series', six boxed sets of compotiers, comprising Rhode Island & Hopkins, Georgia & Hall, New York & Livingstone, S Carolina & Rutledge, Delaware & Rodney, and New Hampshire & Bartlett. All in original boxes.

A group of New Hall porcelains: comprising a silver shaped teapot and cover enamelled in pattern no. 20, [some restoration], a pair of tea bowls and saucers decorated with a boy chasing a butterfly, a tea bowl, saucer and waste bowl in the Boy in the Window pattern , a cream jug in pattern no. 376, two other tea bowls in pattern nos. 449 and 990 and one other. [12]

Kay, John A Series of Original Portraits and Caricature Etchings Edinburgh: Adam & Charles Black, 1877. 'New edition', 2 volumes, 4to, original red quarter morocco, 362 etched plates, tissue guards, bookplates of railway engineer Benjamin Hall Blyth (1848-1917), spines sunned, wear to extremities (2)

Scotland Collection of archaeological monographs including: Beveridge, Erskine. Coll and Tiree. Their Prehistoric Forts and Ecclesiastical Antiquities. Edinburgh: T. and A. Constable, 1903. First edition, out-of-series copy from the edition of 300, 4to, original quarter morocco, all plates as called for, spine sunned and rubbed; Smith, G. Gregory. The Book of Islay. Documents illustrating the History of the Island. Edinburgh: privately printed, 1895. First edition, one of 250 copies, 4to, original half morocco, presentation plate to front pastedown, binding rubbed; Ramsay, Lucy. The Stent Book and Acts of the Balliary of Islay 1718-1843. Edinburgh: privately printed, 1890. First edition, one of 250 copies, 4to, original half morocco, inscribed 'To James M. Hall Esqre of Killearn, with kindest regards from Lucy Ramsay, July 1891' on initial blank, some stripping to morocco; Graham, Robert C. The Carved Stones of Islay. Glasgow: James Maclehose and Sons, 1895. First edition, 4to, original cloth, all plates as called for; Napier, James. Folk Lore: or, Superstitious Beliefs in the West of Scotland within this Century. Paisley: Alex. Gardner, 1879. First edition, 8vo, original cloth, inscribed 'G. L. Gomme Esq, with the authors respects' on title-page, bookplate of Sir Laurence Gomme (1853-1916), folklorist, penciled marginalia, spine-label chipped, tips bumped; Fergusson, James. A Short Essay on the Age and Uses of Brochs and the Rude Stone Monuments of the Orkney Islands and the North of Scotland. London: William Mullan and Son, 1877. First edition, 8vo, original cloth, inscribed 'Dr Hooker C.B., from the author, M[ar]ch 77' on title-page, the recipient probably Joseph Dalton Hooker (1817-1911; appointed CB in 1879); Pitt-Rivers, Augustus Henry Lane-Fox. Excavations in Cranborne Chase, near Rushmore, on the Borders of Dorset and Wilts [volume 3 titled 'Excavations in Bokerly and Wansdyke]. [London]: printed privately, 1887-1905. 5 volumes, 4to, original blue cloth, numerous plates (not fully collated), inscribed 'Col Murdoch Smith, from the author' on volume 1 title-page (likely to be the noted archaeologist, 1835-1900), volume 1 inner hinges cracked; and 3 others: George C. Williamson, Trade Tokens issued in the Seventeenth Century ... New and Revised Edition of William Boyne's Work, 1889 (first edition, one of 25 copies of this size, 2 volumes, 4to, original quarter morocco), A List of Persons concerned in the Rebellion, Edinburgh: privately printed for the Earl of Rosebery, 1890 (first edition, one of 25 copies on large paper, this copy presented to the Dowager Countess of Seafield 8vo, lacking backstrip), H. Cameron Gillies, The Place-Names of Argyll, 1906 (first edition, one of 100 copies) (15)Provenance: The Library of Keith Schellenberg (1929-2019), British businessman, Winter Olympian and laird of Eigg.

Travel Collection of works on various regions, 18th-20th century comprising: [North America, West Indies, etc.].The Colonial Journal. Vol. I. January to July, 1816. London: Baldwin, Cradock, and Joy [and others], 1816. 3 numbers in 1 volume, 8vo (23.8 x 14cm), contemporary half calf, 7 engraved plates (of which 2 hand-coloured and 2 in sepia, one of the latter in aquatint), including views (e.g. 'A View of Hall-head Sugar-plantation, Jamaica' as frontispiece) and zoological subjects, plates spotted and offset, occasional damp-staining [Sabin 14688]; East India Company. Bugle Sounds for the use of the Infantry of the Army of Fort St George. Madras: Athenaeum Press, 1845. Oblong 8vo, contemporary marbled card wrappers, [9] ff., lithographed throughout; Hunt, George Henry. Outram and Havelock's Persian Campaign, London: G. Routledge & Co., 1858. First edition, 8vo (17.9 x 10.7cm), contemporary half calf, 7 tinted lithographic plate, bookplate of the Barons Napier; [Logan, John]. A Review of the Principal Charges against Warren Hastings Esquire, Late Governor General of Bengal. London: for John Stockdale; and John Murray, 1788. 8vo (20.2 x 12cm), modern boards, half-title, advertisements to rear, damp-staining to front, small repair to head of title-page [ESTC T143514]; and 13 others (these not collated), including: Regulations for the West African Frontier Force, 1922 (8vo, original printed wrappers); William Cole, Life in the Niger, or, the Journal of an African Trade, 1862 (first edition, 8vo, original cloth, spine rolled); J. W. Bull, Early Experiences of Colonial Life in South Australia, Adelaide, 1878 (first edition, 8vo, original cloth, lithographic frontispiece, spine rolled); Horace Greeley, an Overland Journey, from New York to San Francisco, New York, 1860 (first edition, 8vo, original cloth); Historical Sketches Illustrative of the Life of M. De Lafayette, New York: for the author, 1824 (first edition, 8vo); and similar (17)Note: Three volumes only of the Colonial Journal were published, the last in 1818; one other copy traced in auction records a partial run containing numbers 1-6 of the total nine, sold in 1980. Contents include 'An Account of the Colony at Pitcairn's Island', 'On the Agriculture of the West Indies', 'An Account of New Connecticut', 'The Fur-Trade of Louisiana ... by the late Merriwether Lewis', 'Actual Legal Condition of the Slaves in Jamaica', and similar articles. No other copy of Bugle Sounds for the use of the Infantry of the Army of Fort St George traced in libraries or commercial records.

JUAN UGALDE (Bilbao, 1958).Untitled, 1997.Acrylic and collage on card.Signed and dated in the lower left corner.Attached label from the Fúcares gallery in Madrid, on the back.Measurements: 69 x 49 cm; 73 x 53 cm (frame).Juan Ugalde began his artistic training at the School of Fine Arts in Madrid. In 1986 he moved to New York thanks to a Fullbright scholarship, and there he formed the group Estrujenbank together with his wife, Mariano Lozano and Dionisio Cañas. It was a group of Spanish artists recognised as one of the most important of the late 20th century. Their creative horizons seemed to have no limits, giving rise to performances, videos and the creation of a museum space, the Estrujenbank Exhibition Hall. It was in this space that a new way of understanding art was developed, transmitting it from a different point of view to the institutional and commercial art of the time. Thanks to this artistic activity, Juan Ugalde became known in the mid-eighties with a work that explored the language proposed by abstract expressionism, although nowadays his works present spaces where painting and photography come together. Ugalde's work is represented in different centres of great artistic relevance such as the Centro de Arte Reina Sofía, the Museo Español de Arte Contemporáneo, the Museo de Bellas Artes de Álava, the Patio Herreriano in Valladolid, the Artium in Vitoria, the MUSAC in León, the Coca-Cola, La Caixa, Banesto, ICO and Marcelino Botín Foundations, and in the collection of the Bank of Spain.

[CONSTITUTION OF THE FEDERAL REPUBLIC OF GERMANY]: ADENAUER KONRAD (1876-1967) German statesman who served as the first Chancellor of West Germany (officially the Federal Chancellor of the Federal Republic of Germany) from 1949-63. An historically important group of printed documents concerning the introduction of the West German constitution following the end of World War II, and other related items, two signed by Adenauer, all relating to the Grundgesetz fur die Bundesrepublik Deutschland ('Basic Law for the Federal Republic of Germany', i.e. the West German Constitution), comprising -(i) printed 4to copy of the Entwurf des Grundgesetzes ('Draft of the Basic Law') in the version of the second reading of the Parliamentary Council, published by the Bonn University printers as Parliamentary Council paper number 883, 8th May 1949, comprising 38 pages, in German, and consisting of 146 numbered articles forming the proposed West German Constitution, containing a series of pencil corrections (most in German, although, curiously, a few in English too) to the margins, in the hand of Rudolf Nadolny, alongside articles 21, 22, 37, 38, 54, 82, 132, 136, 137 and 144.(ii) printed 4to copy of the Grundgesetz fur die Bundesrepublik Deutschland ('Basic Law for the Federal Republic of Germany') as passed by the Parliamentary Council in Bonn, 8th May 1949, published by the Bonn University printers, comprising 38 pages, in German, and consisting of 146 numbered articles forming the definitive West German Constitution and reflecting the amendments as noted in the preceding draft copy, the introduction stating, in part, 'Aware of their responsibility before God and mankind, inspired by the will to maintain their national and state unity and to serve world peace as an equal member in a united Europe, the German people in the states of Baden, Bavaria, Bremen, Hamburg, Hesse, Nieder-Saxony, North Rhine-Westphalia, Rhineland-Palatinate, Schleswig-Holstein, Wurttemberg-Baden and Wurttemberg-Hohenzollern, to give state life a new order for a transitional period, passed this Basic Law of the Federal Republic of Germany by virtue of its constituent power….'.(iii) printed 4to copy of the first edition of the Federal Law Gazette, issued in Bonn, 23rd May 1949, published by the Bonn University printers, comprising 20 pages, in German, and presenting the 146 numbered articles of the West German Constitution (Basic Law for the Federal Republic of Germany), signed ('Adenauer') by Konrad Adenauer in bold fountain pen ink with his name alone at the conclusion.(iv) a folio presentation album containing thirty original unsigned photographs (most approximately 9 x 7, a few smaller) documenting the work of the Parliamentary Council in preparing and approving the West German Constitution at Bonn in 1949, the images depicting the members of the committee working together at tables in a large hall, various members of the press seated at tables, a press conference, four female parliamentary councillors engaged in discussion, various committee members working in their offices, a secretary working at a telex machine, committee members taking a lunch break, relaxing over a game of cards, committee members casting their votes in a secret ballot, the counting of the votes, and the announcement of the result by Konrad Adenauer, and the closing session showing Adenauer delivering his proclamation of the constitution on 23rd May 1949. The majority of the photographs are by Hehmke-Winterer of Dusseldorf and bear their blind embossed credit stamp, and the majority of the pages have brief printed German captions and tissue guards. One of the final pages, featuring a photograph of Adenauer standing at a lectern, is signed ('Adenauer') by the soon-to-be elected Chancellor in the margin, and on the facing page appears a printed 8vo menu card for a dinner at the La Redoute restaurant in Bad Godesberg, Bonn, on 24th May 1949, signed by four individuals including Adenauer, and dated 24th May 1949 in his hand. The menu has been affixed to the page with clear sellotape across each of the signatures. A printed oblong 12mo label is pasted to the inside cover indicating that the album was presented by the State Government of the State of North Rhine-Westphalia in May 1949, and bears two unidentified signatures.(v) an original mimeograph typed copy of Adenauer's speech given on the occasion of the proclamation of the West German constitution in Bonn on 23rd May 1949, six pages, 4to, in German, commencing 'Ladies and Gentlemen! I ask you, in view of the importance of the work that we have just completed, after the minutes of excitement, to look together for a few moments now, so that we can take stock of what has happened and where we are. First of all, I would like you to be able to state, so that the public outside does not get the wrong impression, that of the thirteen representatives of Bavaria in the Parliamentary Council, seven have approved the constitution, i.e. the majority. And I think one can hope that there will also be a majority in the Bavarian state parliament when this Basic Law is presented to the state parliaments in the near future. Ladies and Gentlemen! It's probably true and I don't think any of those who justified their no-vote will deny it - for us Germans this is the first happy day since 1933. …….' (vi) Rudolf Nadolny (1873-1953) Prussian military intelligence officer under German Foreign Office cover who served as the German Ambassador to Turkey 1924-33 and the Soviet Union 1933-34. T.L.S., Nadolny, one page, oblong 8vo, Rhondorf bei Honnef, 13th August 1949, to Mr. [Gerard] Ball, in German. Nadolny writes to make a request of his correspondent, explaining that he had been visited the day before by two Englishmen and two Germans who inspected the whole of his house and surveyed the rooms with, he believes, the intention of confiscating it for use by the English authorities, and asking that he and his wife be allowed to stay in the apartment in consideration of their ages and that they had recently carried out some repairs at considerable expense.(vii) Rudolf Nadolny - a second T.L.S., Nadolny, one page, 4to, Rhondorf bei Honnef, 22nd January 1950, to Gerard Ball, in German. Nadolny states that it is a pity he has not seen his correspondent for so long, but is aware that he has been working deliriously, continuing 'I should like to send a copy of the attached booklet (no longer present) which I offer to you, to the well known Mr. Sandys, Winston Churchill's son-in-law, but do not know his address. Could you tell me how to send it to him? The accompanying book will show how a peace with Germany could look according to the rules of national law. It has been written for the case that all four occupying forces together conclude such a peace. If, however, the Western Allies wanted to include Germany in a West-European combination, I thought that this could only be done on the basis of full equality'.An exceptional and rare grouping of documents, pivotal in the history of Germany in the aftermath of World War II. Some very light coverall age wear, a few minor stains and small tears, generally VG, 7 RESTRICTIONS IMPOSED BY THE SALEROOM MEAN THE COMPLETE DESCRIPTION CAN NOT BE DISPLAYED. PLEASE CONTACT US FOR FURTHER INFORMATION  

AMERICANA: Selection of A.Ls.S., T.Ls.S. (2), a few signed cards etc., by various American politicians, government officials and other figures comprising Carmi Thompson (signed cheque), Cortlandt Parker (A.L.S. briefly referring to Justice Joseph Bradley, 1893), Theodore Joslin (T.L.S. on the printed stationery of The White House, 1931), Abraham Oakey Hall, William Z. Foster, John C. Bancroft Davis and Frederic C. Howe (T.L.S. regarding a meeting to organize a committee 'for the promotion of the education and preparation for naturalization of the immigrant alien in New York', 1915). FR (1), generally G to VG, 7

DUSE ELEONORA: (1858-1924) Italian Actress. A good A.L.S., `E Duse.´, one page, 4to, n.p., n.d., on the House of Holland from New York printed stationery, to Fedor Encke, at the Carnegie Hall, in French. Written in bold dark ink. The actress states in part `Hélas - ma journée stupide ne sera pas libre et je vous prie de venir…ainsi j´espere vous dire adieu sans tracasseries´ (“Alas - my stupid day will not be free and I beg you to come… so I hope to say goodbye to you without hassle”) Accompanied by the original printed stationery envelope addressed in Duse´s hand, in pencil. Small age wear to the centre folds, otherwise G

A 'V' Type armchair, mid-20th century, designed by Pierre Jeanneret (1896-1967) for Chandigarh administrative buildings, teak and cane, 50cm wide54cm deep81cm high, seat 43cm highProvenance: Private collection, London.Arnold Andre Pierre Jeanneret-Gris was born in Geneva in 1896. He began his formal training at the École des Beaux-Arts in Geneva, graduating in 1921. Jeanneret was close friends with his older cousin Le Corbusier (born Charles-Édouard Jeanneret) and, in 1922, the two opened a design atelier in Paris where Jeanneret was an active writer for the landmark avant-garde publication, 'L'Esprit Nouveau'. Jeanneret and Le Corbusier collaborated on numerous projects including Villa Savoie, the Pavillon de l'Esprit Nouveau for the Exposition Internationale des Arts-Décoratifs et Industriels Modernes, and the Cité de Refuge. In 1940, Jeanneret and Le Corbusier parted ways over differences brought on by the war. Jeanneret started his own firm in Grenoble, where he worked with fellow designer Jean Prouvé to create new concepts for prefabricated housing. Le Corbusier and Jeanneret reconciled following the end of World War II and, in 1947, they received a commission to design the entire city of Chandigarh, India. Jeanneret moved to Chandigarh, and provided on-the-ground supervision, with the set-up and construction of the buildings, for more than fifteen years. Jeanneret designed the Governor’s Palace, the State Library, and the City Hall, in addition to fabricating much of the furniture and interiors after Le Corbusier decided to abandon the project mid-way through its construction. Following the completion, Jeanneret stayed on in India as the head of the architectural department at the University of the Punjab. In his later years, Jeanneret was particularly interested in urban planning and the mechanical means of controlling the environment.Condition ReportRestored condition. Re-caned. Evidence of filler to the joints and supports.Chip to front right leg - some scuffing and knocks along the frame. With a modern cushion. Further photos added to the website to show these areas.

A New Hall slops bowl printed with the 'Duck' pattern and a teabowl and saucer printed with the 'Moth' pattern c.1790,Slops bowl 15.5 cms diameter.

* ANGUS MCEWAN RWS RGI RSW (SCOTTISH b. 1963),ANCIENT STANDING STONEwatercolour on paper, initialled and dated '96image size 25cm x 18cm, overall size 48cm x 39cm Mounted, framed and under glass.Note: Angus McEwan was born in 1963 in Dundee, Scotland. Angus studied at the Duncan of Jordanstone College Art in Dundee, graduating in Fine Art and a Post Graduate Diploma in the same discipline. Angus was elected to the Royal Scottish Society of Painters in Watercolours (1995) and in 2012 the Royal Watercolour Society. In 2005 he was recognized as an Associate of the International Guild of Realism USA. He is also an associate member of the AWS and NWS in the USA. Angus has been Finalist three times of the ''International Artist Magazine'' and won first place in the John Blockley Prize in the RI open exhibition. Angus has also won second prize in the Sunday Times Watercolour Competition (2007) in London and the International Prize ''Marche d'Acqua'' Fabriano, Italy in 2012. In 2013 Angus won Bronze Award, at the Shenzhen International Watercolour Biennial, in China. He was recently awarded the May Marshall Brown Award at the Royal Scottish Society of Painters in Watercolours (RSW), Edinburgh, 2015 and was elected RGI in May 2016. Many galleries display McEwan's works, including Ok Harris Gallery in New York and Quanhua Gallery, in Shanghai. Recently highlighted in Shenzhen Biennale and the Qingdao Hall of Watercolor. He has exhibited in Fabriano, Italy in the ''Marche d'Acqua'' International Award, as a special guest and in Vicenza, Italy, where he had a solo show in the ''Artbox''. McEwan was one of the 23 finalists in Narbonne, France at the Concours Mondial de l'Aquarelle 2014 1st World Watercolour Competition. Angus also exhibited at the World Watermedia Exposition, Thailand and Myro Gallery, Greece. He also participated in the Second International Watercolour Exhibit in Thessaloniki, Greece. In the UK McEwan exhibits with Thompson's Gallery (London) and The Open Eye Gallery (Edinburgh). Notable collectors include: Dundee Art Galleries and Museums; The Qatar Royal Family; the Royal Scottish Academy Collection; Ernst & Young, Glasgow; Scottish Enterprise; Scottish Equitable; Historic Scotland; Perth Royal Infirmary.

* JULIAN BARROW (BRITISH 1939-2013),TOWER OF LETHENDYoil on canvas, signed and dated 1977, titled versoimage size 46cm x 62cm, overall size 61cm x 76cmFramed.Provenance: Private Edinburgh collection.Note: The Tower of Lethendy is a Scottish Baronial style house in Perthshire which has been the subject of media interest in 2022. It was widely reported in the Scottish press that the current owner is a Russian Oligarch albeit one who was among the first to openly and strongly condemn the war in Ukraine. The property boasts a heated swimming pool, two tennis courts and an 18 hole golf course. The press and media also reported that The Tower of Lethendy was acquired by the current owner in 2016.Note 2: Julian Barrow was a painter, adept at catching the spirit of a place, who travelled widely. He was born in Longtown, Cumberland, and studied at RWA and Signorina Simi’s Academy in Florence, Italy. He was a full member of Chelsea Arts Club, living nearby, and from 1988 for 23 years was President of Chelsea Art Society. Group shows included RA Summer Exhibition, 1961–99; Paris Salon, 1965; and NEAC, 2002. He had solo exhibitions at Hazlitt, Gooden and Fox 1972–74–77; Morton Morris & Co, 1982–85; Leger Gallery, 1989–92–95; and Fine Art Society 1999–05, plus many others in America and the Middle East. For decades he lived, with his wife Serena, in a magnificent studio on Tite Street in Chelsea (London) in the building formerly occupied at various times by Sargent, Whistler, Glyn Philpot and Augustus John. Julian Barrow was described by James Lees-Milne as “a country house painter par excellence” and his commissions for interiors and exteriors of country estates took him all over England, Scotland, Ireland, and America. He also painted many of the private clubs in London and New York. John Julius Norwich, in his introduction to the catalogue of a one-man show at the Fine Art Society in London in 2005, notes that Barrow’s pictures “radiate a love of life, a joy in light and shade and colour, a grateful appreciation of all the blessedness that lies around us if we can only make the effort to see it. They warm us; they cheer us; they convince us that whatever terrible things happen in the world, there is a beauty there a-plenty for the asking – and for the taking.” Barrow was commissioned to paint "Her Majesty the Queen Addressing Both Houses of Parliament on the Occasion of Her Golden Jubilee in Westminster Hall" (2002) having previously been commissioned to paint "HM The Queen in Westminster Hall Receiving the Jubilee Address on the 25th Anniversary of Her Accession to The Throne" (1977). Both held in the UK Parliament Art Collection. Julian Barrow's paintings are held in large numbers of prestigious private, corporate and public collections in the UK, US, Middle East, India and the Far East.Condition is good overall, with no visible signs of restoration, damage, or known issues. Additional images have been uploaded to our website. 

* SUSAN RYDER (BRITISH b. 1944),PORTRAIT OF A WOMAN IN YELLOWoil on canvas, signed and dated '85image size 69cm x 85cm, overall size 87cm x 102cm Framed.Note: Susan Ryder is a member of the New English Art Club and the Royal Society of Portrait Painters, who exhibits at Panther and Hall Gallery in London where she held solo exhibitions in 2010 and 2016. Ryder lives between her home in London and Scotland, she is well known for her Interior and garden scenes as well as a leading portrait painter. Ryder was commissioned to paint the HRH The Princess of Wales and H. M. The Queen. Commissions range between £4,000 and £10,000.

A collection of 19th century porcelain, to include Hilditch & Sons and New Hall

Worksplate THE HUNSLET ENGINE CO LTD LEEDS 12X18 No 1684 1931 ex 0-4-0 T supplied new to Hall & Co and used at Stoats Nest Quarry Redhill, then later moved to Kilmersdon Colliery, near Radstock in Somerset where it worked until the mid 1960's, after which it was preserved at the Bleadon & Uphill station museum. In 1968 it was purchased by the 1968 by the G.W.R. 1338 locomotive Fund, and moved to the Middleton Railway in 2006 and is awaiting restoration. Oval cast brass, face lightly cleaned, measures 11.5in x 8in. Note this is the other side to the one we sold in March 2022.

SELECTION OF EARLY ENGLISH AND OTHER TEA BOWLSincluding a Royal Worcester tea bowl and saucer, the rim decorated with husks on a blue ground, a New Hall style floral decorated tea bowl and saucer, a Sunderland style lustre rim tea bowl, Copeland Spode tea bowl and saucer, two Alfred Wood & Sons Willow pattern tea bowls, Royal Doulton cup and saucer, two Limoges cups and saucers and others

Fifteen frames containing fragments of ink inscribed papyri with remains of polychrome vignettes and hieroglyphic text from the Book of the Dead for Qed-Mut New Kingdom, mid 18th-early 19th Dynasty, early 14th-mid 13th Century B.C.Each frame containing multiple fragments, inscribed with polychrome vignettes and hieroglyphic text, colour remaining, the subjects of the fragmentary vignettes are read from right to left within each frame:Frame 1: from Chapter 17; the head of the cow-form sky goddess Mehet-Weret; a pool with water; a left-facing seated lion, one of the two representing the horizon, and traces of a figure of the owner Qed-Mut, 50cm x 40cm; Frame 2: from Chapter 17; a wild cat of Re cuts-off the head of the evil serpent Apophis with a knife, before the sacred Ished tree of Heliopolis; canopic chest surmounted by a human head and containing the recumbent black jackal Anubis; a large sun disc surmounting a falcon's head, and another bird's head, 50cm x 40cm;Frame 3: from Chapter 17; a flail; three flames; a bird with out-stretched wings; human-headed Shu wearing a feather; the beak of ibis-headed Thoth; seated jackal-headed Anubis with a human deity behind, perhaps Imsety, 50cm x 40cm; Frame 4: from the end of Chapter 17 and part of Chapter 18; Isis facing right; Qed-Mut facing left, hand raised, kneeling before a human-headed deity; then Qed- Mut facing left towards a lion recumbent on a platform,; two baboons seated on a plinth and a walking jackal-headed Anubis, 50cm x 40cm;Frame 5: from Chapter 18 with text from Chapter 83: Qed-Mut kneeling in adoration before Anubis, Osiris and Thoth; Qed-Mut before Osiris and Thoth; Qed-Mut before Hapy and another deity, 50cm x 40cm;Frame 6: from Chapters 83 and 84; with Qed-Mut kneeling in adoration before an offering table facing a heron, beneath which is the beginning of the text for Chapter 84 and the end of the text for Chapter 83, 30cm x 40cm; Frame 7: from Chapters 77, 84, 86; at the right edge is the beginning of the full height vignette of the Hall of Two Truths (Maat); two vignettes above of a swallow on a mound above Chapter 86; then a falcon of gold perched on a platform, above the end of Chapter 77, 50cm x 40cm; Frame 8: from Chapter 125; the Hall of the Two Truths (Maat), the 21 judges of the Qed-Mut papyrus, more usually a representation of forty-two, sit between the open doors of the shrine, surmounted by a row of uraei, the text is the 'negative confession' in which the deceased addresses each of the judges individually stating she has not committed a particular sin, 50cm x 40cm;Frame 9: from the introduction of Chapter 110 (the Field of Offerings and coming forth by day); a large vignette of Qed-Mut standing on the left facing right, wearing a long wig and heavily pleated gown, the columns of text to be read left to right, though written as though right to left, 30cm x 40cm;Frame 10: Chapter 110; with Qed-Mut on the right, turned towards the previous scene, the Field of Offerings behind her, where Qed-Mut is shown ploughing, this scene is flanked by three seated deities and the boat of Wennefer; in the top row she worships three unnamed deities, the next scene shows her paddling across the Lake of Offerings, the central scene shows Qed-Mut adoring the Heron of Plenty; the whole scene set within a water-filled border with tributaries crossing, 50cm x 40cm;Frame 11: from Chapter 148 containing the spell for making provision of food and drink for the deceased, depicting the celestial cows and a bull, with the four steering oars of the sky on the right of the vignette, the elbow of Qed-Mut on the far left of the vignette,30cm x 40cm; Frame 12: Chapter 146; representing the portals of the House of Osiris, each addressed individually and shown as an elaborate entrance containing the remains of the squatting figure of its doorkeeper; the top row depicts Portals 1 and 5, the lower row Portal 2 and 6, 50cm x 40cm;Frame 13: Chapter 72 marking the end of the Book of the Dead, with Qed-Mut standing on the left and facing right towards a heaped offering table, then a standing figure of the hippopotamus goddess Opet facing left, behind her is the cow Hathor, presumably emerging from the western mountain, 50cm x 40cm;Frame 14: part of Chapter 1 'to be spoken on the day of the burial', with a row of professional female mourners along the top row, with a panther-skin priest libating [before a mummy]; behind him the remains of a lector priest holding up a sheet of papyrus on which the words: 'opening the mouth' are written; below is the chest containing the objects used in the ritual intended to restore to the mummy all her earthly faculties; 30cm x 40cm;Frame 15: contains fragments from the funeral procession of Chapter 1, the head of oxen, probably helping to draw a coffin are depicted in the top row; the middle row, with a mummy in a coffin carried on a boat-shaped bier drawn by men in front; the lake of fire below, perhaps the vignette of Chapter 126, 30cm x 40cm; and twenty smaller frames each containing fragments of ink inscribed papyri with remains of polychrome vignettes and hieroglyphic text, 19 frames measuring 24cm x 18cm, 1 frame measuring 15cm x 10cm (35)Footnotes:Provenance:French private collection Mr C, acquired in 1967.French private collection, acquired from the above in 2013, as three boxes of fragments, then painstakingly conserved and framed.The fragments have been positioned within the frames, using Chapter 17 of the Book of the Dead of Iuiya as a template, it provides the closest parallel to the papyrus of Qed-Mut (see Theodore M. Davis, The Tomb of Iouiya and Touiyou with The Funeral Papyrus of Iouiya, Duckworth Egyptology, London 2000). Although there are too many gaps for the place of the fragments on these columns to be determined exactly. Similarly, some of the vignettes bear a close resemblance to the Papyrus of Ani, which has been used as a template for placing some of the fragments within the frames (see Dr Raymond O. Faulkner & Dr Ogden Goelet, JR (translation), The Egyptian Book of the Dead: The Book of Going Forth by Day: The complete Papyrus of Ani Featuring Integrated Texts and Full-Color Images, 2015).The collection of spells and magic formulae contained in the Book of the Dead, were believed by the ancient Egyptians to protect and assist the deceased in their afterlife. They were compiled by scribes who copied and illustrated the text, usually highlighted with much colour, as the Qed-Mut papyrus demonstrates. Many copies of the book have been found but none of them contain all of the approximate 200 known chapters.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Large Group of Christie's, Bonhams and Antiquities Dealer Catalogues Including Christie's London Antiquities catalogues dated 16 March 1977, 22-25 April 1978, 20 May 1981, 13 July 1983, 11 July 1984, 12 December 1984, 16 July 1985, 10 December 1985, 16 July 1986 (x2), 10 July 1987, 8 June 1988 (x2), 13 December 1988, 6 June 1989, 12 December 1989, 11 July 1990 (x3), 12 December 1990, 10 July 1991, 2 December 1991 (x2), 8 July 1992, 9 December 1992 (x2), 7 July 1993, 7 December 1994, 25 November 1997, 8 April 1998, 23 September 1998, 27 October 2004, 27 October 2009 and Classical Sculpture from Marbury Hall, 10 July 1987 (x2), The Collection of the Late Henning Throne-Holst, 8 June 1988, Ancient Near Eastern Texts from the Erlenmeyer Collection, 13 December 1988, The Erlenmeyer Collection of Cretan Seals, 5 June 1989, The 'Canford' Assyrian Reliefs, 6 July 1994; Christies New York Antiquities catalogues dated 14 June 1979, 19 June 1985, 14 June 1993, 15 December 1993, 10 June 1994, and Important Tribal Art and Antiquities from the Collection of William A. McCarty-Cooper, 19 May 1992; Bonhams London Antiquities Catalogues dated 4 July 1995, 30 April 1996, 4 July 1996, 26 November 1997, 22 September 1998, 14 May 2003, 29 April 2004, 28 October 2004, 26 October 2007, and The Geddes Collection, 15 October 2008, A Library of Islamic & Indian Art and Antiquities Reference Books, Part I Islamic, 8 October 2009, Part II Antiquities 28 October 2009, The Antiquities sale, de Louxor à Rome, voyage d'un passionné, 7 October 2021; Gorny & Mosch catalogues comprising Hochwertige Münzen der Antike, 17 March 2008, Hochwertige Münzen der Antike Sammlung Karien, 13 October 2008, Antike Münzen und Lots, 13-14 October 2008, Slg. Hüseyin A. Dogan Medaillen auf die tükische Geschichte, 15-16 October 2008, Slg. Russland, 17-18 October 2008; and catalogues from Münzen und Medaillen comprising nos 34 (6 May 1967), and 60 (21 September 1982); Herbert Cahn, Auktion 1 (15 June 1998); Timeline Auctions, 9-12 September 2015 and 24-27 May 2016; Superior Galleries, Fine Antiquities Action, 8-9 June 1993; NFA Classical Auctions, Egyptian, Near Eastern, Greek and Roman Antiquities, 11 December 1991 and Scarabs and Design Amulets: a Glimpse of Ancient Egypt in Miniature, 11 December 1991; Hesperia Arts Auction Ltd, Antiquities, Part I and II, 27 November 1990; Ariadne Galleries, Byzantium: The Light in the Age of Darkness, 2 November 1988-31 January 1989; Ariadne Galleries, Idols: The Beginning of Abstract Form, 30 November 1989-31 January 1990; David Aaron Gallery, IV, 2020, Jean-David Cahn, Tiere und Mischwesen, Katalog 11, December 1999; Münzen und Medaillen, Sonderliste O, December 1972; Edward H. Merrin Gallery, The Majesty of Ancient Egypt and the Classical World, 1986; The Summa Galleries Inc, Catalogue 1: Ancient Art, December 1976; Frederick Schultz/Ancient Art, Egyptian Art: the Essential Object, 28 May-25 June 1987; L'Ibis Gallery Ltd, Deities and Dignitaries in Ancient Egyptian Art, 1989; Gawain McKinley Ltd., Ancient Glass and Glazed Wares, Year 3; Gawain McKinley Ltd., Ancient Glass and Glazed Wares, Year 1; Rupert Wace Ancient Art, Summer 1990; Daedalus Gallery, Selections from the Opening Exhibition; Daedalus Gallery, Father Deities, 24 October-1 December 1990; Palladion, Antike Kunst, Katalog 1976; Nefer Gallery Ancient Art nos 1, 4 (1986) and 9 (1991); R. Nichols, Greek Gods & Goddesses in Miniature: an Exhibition of the Chesterman terracotta collection, 1978; The Fitzwilliam Museum, Classical Heritage: Greek and Roman Art from the Cambridge College Collections, 1978; (QTY)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A mixed lot of ceramics to include James Green & Nephew Limited, Alfred Meakin, Susie Cooper Crown works Burslem plates (2), Myott, New Hall, etc

Dickens, Charles. The Battle of Life, first edition, London: Bradbury & Evans, 1846, publisher's gilt illustrated red cloth, 2pp. advertisements at rear (promoting Dombey and Son, and Oliver Twist), contents good & bright, cloth worn with loss; The Cricket on the Hearth, second edition, London: Bradbury & Evans, 1846, bearing gift inscription, Xmas 1845, gilt cloth, 2pp. advertisements at rear (promoting new edition of Oliver Twist), contents generally good & bright with occasional pale marks/spots, a few folded page corners, some bumping & wear to cloth; The Life of Charles Dickens, by John Forster, London: Chapman & Hall, n.d., publisher's cloth, untrimmed edges, contents with toning, closed tear to final page of text, contemporary gift note mounted on front pastedown, bookseller's ticket (W. Junor, Brighton), some bumping & wear to cloth (3)

[Hall, Joseph]. The Contemplations upon the History of the New Testament, the Second Tome, London: Nathaniel Butter, 1634. Comprising woodcut pictorial title, 2pp. dedication to King Charles I, 4pp. contents, Contemplations title, 2pp. dedication to Henrie Yelverton, blank leaf, 452pp (title pages for each section where required), title for The Olde Religion, 1633, 5pp. introduction, contents page, 214pp (title pages for each section where required), several pages mis-numbered but correct and following signatures. Contents good & bright, occasional contemporary/early marginalia, a few leaves with wear & loss to corners/edges (not affecting text), some light staining running through p.31-206, slight worm to gutter of second work, later endpapers binding worn. Folio bound in sixes, full worn calf

A collection of English blue and white ceramics, early 19th century including a Davenport stone china 'Broseley' pattern trio of a cup, saucer and side plate; a Spode teacup and saucer, similarly decorated; New Hall 'Two Ducks' pattern teacup and saucer; a Coalport 'Two Temples' tea bowl and saucer; a Miles Mason trio of coffee cup, tea bowl and saucer, embellished with gilt and a Miles Mason slop basin together with further blue and white (qty, 1 tray)Provenance: The Malcolm Sargeant Collection.

A group of assorted coffee canscirca 1805-15comprising a New Hall coffee can and saucer, bat-printed with a view of 'The Birth Place of Robbie Burns', picked out in enamels; a pair of Derby imari coffee cans painted '52' in iron red together with painted red crown over D mark; a further Derby peach and gilt coffee can; a Spode gilt and cobalt coffee can, decorated with a variant of pattern 305 with an all over leaf design; a Spode gilt and red coffee can; a further Spode coffee can with gilt Greek key and leaf decoration, unmarked; a pair of John Rose Coalport coffee cans, decorated with purple flowers and gilt scrolls, pattern number 1023, Continental porcelain coffee cans, etc together with a Victorian Bishop and Stonier coffee cup and a modern Royal Worcester coffee can transfer-printed with a rose,(qty - some damages)The Malcolm Sargeant Collection.Photo 1 - undamaged items.Photo 2 - undamaged but with some gilding/pattern wearPhoto 3 - damaged items - 2 missing handle, 1 stapled repair to handle, two cracked, one heavily stained to interior.

A group of mostly English tea and coffee waresearly to mid 19th centuriescomprising a pair of Spode bute-shaped teacups and saucers, circa 1806, pattern 1005, unmarked; a teacup and saucer, printed in green with birds and foliage, pattern 4087; a bute-shaped shell pattern teacup and saucer, unmarked (attributable to New Hall pattern 1045, more commonly seen with a ring handle); a gilt 'wriggle work' vermicelli coffee cup, with saucer and side plate similarly decorated and painted with central landscapes scenes, unmarked; a cup and saucer, with high broken loop handle, printed in underglaze blue and gilded with seaweed decoration, unmarked; a Coalport teacup and saucer, circa 1823, pattern 2/279, with landscape panels; a New Hall 'Boy in the Window' trio of coffee cup, teacup and saucer; a similar tea bowl and saucer together with a Continental trio decorated with purple and green leaves etc (qty, two trays)Provenance: The Malcolm Sargeant Collection.

A group of 19th and 20th century Liverpool related books, By Authority of the Lords Commissioner of the Admiralty; 'Manual of Seamanship Vol 2 1909', volumes 1 and 2, J. A,. Picton, F.S.A.; 'Memorials of Liverpool Historical and Topographical including a history of the Dock Estate', 2nd Edition with Revised with Additions, 'Liverpool a Few Years Since: by An Old Stager' 3rd Edition, published Adam Holden 48 Church St 1885,' The Liverpool Bootle, Birkenhead and Wallasey Official Red Book 1914', Benjamin Blower: 'Liverpool History of the Mersey Ancient and Modern', published in Liverpool by Edward Howell Church Street, Thomas Dignan: 'The Slave Captain', published 1847 (two copies), John Drayton volumes 1 and 2, 'A History of the Early life and Development of a Liverpool Engineer', 2nd edition published London Richard Bentley, New Burlington Street 1851, Braithwaite Poole; 'The Commerce of Liverpool', published London and Liverpool 1854, R Syers; 'The History of Everton including familiar dissertations on the people and descriptive delineations of the several and separate properties of the township with various maps plates and woodcuts', published by G & J Robinson Liverpool 1830, volumes 1 and 2; 'The Life of William Roscoe, by his son Henry Roscoe', published London 1833, The Reverend Thomas Ellison Gibson Priest of Our Lady's Church Lydiate; 'Lydiate Hall and its Associations', printed for the author by Ballantyne, Hanson & Co 1876, and Thomas Baines; 'Baines' History of Liverpool, History of The Commerce and Town of Liverpool and the Rise of the Manufacturing Industry in the Adjoining Counties', with pull-out map, published Liverpool by the author 1852. CONDITION REPORT Many in original bindings, one is missing the spine, all have age related wear in the form of dust, dirt to covers, foxing to some pages, books are complete but in varying conditions.

Various collectible and antique pottery and porcelain to include two 18th century tea bowls with enamel decoration, possibly New Hall, an 18th century English saucer with enamelled Oriental figures, a Losol ware sugar bowl and small jug, a Royal Adderley single budgerigar ornament, a Royal Doulton 'Autumn' pattern jug, a farmer's motto cider mug, a Donald Duck plaster figure with baseball bat, Leonardi Ltd, by permission of Walt Disney, height 17cm, a Mabel Lucie Attwell style 'Little Boy Blue' nursery rhyme children's dish, an 'Old Mother Hubbard' nursery rhyme children's cup and a children's egg cup, etc. CONDITION REPORT The Donald Duck figure has some chips and paint loss, as to be expected with a vintage plaster figure.

Viktoria Savenkova Autumn, 2022 Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Her artistic journey began in the childhood in an art studio, continued at an art school, then the art college and the Academy of Art (Minsk, Belarus). After a period as an art director at the national film studio "Belarusfilm", she worked as a tattoo artist. In 2014 Viktoria realized that she was meant to express her creativity differently. In her paintings and drawings, Viktoria builds an emotional dialogue with a spectator. The artist creates psychological portraits, sensuous landscapes, figure studies in realistic style. She works with large formats. Is currently based in Minsk, Belarus.   Select Exhibitions/Awards   'Portrait of time. Portrait in the Fine Arts of Belarus in the 19th - 21st Centuries'. Exhibition project at the Art-Belarus Gallery. 21.04 - 22.08.2022, Art-Belarus Gallery, Palace of Art. MEAM exhibits its collection in the Vimcorsa Exhibition Hall in beautiful Córdoba (Spain) from 19.11.2021 until 28.02.2022 National Centre of Contemporary Arts - Minsk, Belarus from 27.11.2021 - 23.01.2022 MEAM - Museu Europeu d'Art Modern in Barcelona. Figurativas 2021, from 8.10.2021 to 08.01.2022 ModPortrait from 18th of June 2021 - 3th of October at the MEAM - Museum European d'Art Modern in Barcelona. MEAM - Museu Europeu d'Art Modern in Barcelona. Women Painting All over the World 08.03.21 MEAM - Museu Europeu d'Art Modern in Barcelona. 15.10.2020 - 17.01.2021. 'Eros, your body as an excuse' curated by amazing artist Golucho. Palace of Art - Minsk, Belarus from 19.11.2020. 'Art Minsk 2020' Exhibition Hall of the Aragonese Artistic Group of Zaragoza, Spain, 05.11.2020 - 05.12.2020. 'Something more than realism ... XIV' The exhibition of the Lohengrin painting competition. From 11.03 to May. Organized by the Wagner Club and the MEAM museum in the Liceu Opera Barcelona Zhou B Art Center, Chicago, USA, 18.10 to 20.11.2019. PAINTING THE FIGURE NOW Palace of Art - Minsk, Belarus from 18.10 to 3.11.2019. 'Osenniy salon' with Belgazprombank Ille Arts Gallery in Amagansett, NY, 5.10 - 4.11.2019. MOVIE NIGHT 'Zhou B' Art Center - Chicago, USA, from 31.05 to 12.07.2019. 'Secondary Meanings - Figural Diptych' MEAM Museum - Barcelona, Spain from 31.05 to 21.07. 2019. Modportrait 2018, Galeria Artelibre at the MEAM of Barcelona Palace of Art - Minsk, Belarus from 29 May - 30 June 2019. 'Art Minsk 2019' Edificio Bantierra - Zaragoza from 12.04 to 17.05.2019. Modportrait 2018 MEAM Museum - Barcelona, Spain from 8th March to 9th May 2109. 'Painting Today' International Women's Day Abend Gallery, Denver, USA, 28TH ANNUAL HOLIDAY MINIATURES SHOW, 03.11-24.11.2018 RJD GALLERY, Bridgehampton, NY. 'Women Painting Women | Men Painting Men: Voices with Vision'. Oct 6th - 30t 2018 Gallery 'Kaliarovy šliach' - Orsha, Belarus. 12.10-29.11.2018 (Solo Exhibition) Palace of Art - Minsk, Belarus from 5.10 to 4.11.2018. 'Osenniy salon' with Belgazprombank 'Zhou B' Art Center - Chicago, USA, from 17.08.2018 Gallery 'U Maistra' - Grodno, Belarus. July 2018. 'Refraction'. (Solo Exhibition) Palace of Art - Minsk, Belarus from 27th April to 20th May 2018. 'Art Minsk 2018' National Centre of Contemporary Arts - Minsk, Belarus from 7th March to 22th April 2018. The collective exhibition of contemporary art New Castle - Grodno, Belarus from 1th March to 29th April 2018. 'Artpanorama 2018' The exhibition of contemporary art 'Single Fare 4', a big show of small works, New York, USA, from 16.09.2017 Palace of Art - Minsk, Belarus from 6th October to 5th November 2017. 'Osenniy salon' with Belgazprombank MEAM Museum - Barcelona, Spain from 12th to 28th May 2017. The Final Exhibition of the 4th Concurso ModPortrait Pablo Serrano Museum - Zaragoza from 7th to 30th April 2017. The Final Exhibition of the 4th Concurso ModPortrait The Arsenale of Venice - Venice, Italy from 25th March to 9th April 2017. The Final Exhibition the 11th International Arte Laguna Prize You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Amy Bravo Tooth Sprout, 2022 Acrylic, Graphite and Wax Pastel on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Amy Bravo is a Cuban/Italian American visual artist located in New York.   Education   2019 BFA Communications Design (Illustration), Pratt Institute Exp. Spring 2022, MFA Painting, Hunter College   Select Exhibitions/Awards   2018, 'Volume 2: The Anniversary Show", Tectonic Space in Baltimore, MD 2018, 'Red Envelope Show', Flushing Town Hall in Queens, NY, curated by Albert Chau 2019 Featured in the Brooklyn Museum's Pop-Up Library as part of the Frida Kahlo: Appearances Can Be Deceiving opening 2019, 'Turista', Thesis show at Pratt Institute, self-curated in Brooklyn, NY 2020, 'Portrait: Identity and Expression', Site:Brooklyn, Brooklyn, NY curated by Claire Voon 2020: 'Red Envelope Show', City Point, Brooklyn, NY, curated by Albert Chau 2020: 'YB2P' Catinca Tabacaru, Harlem, NY, curated by Danny Baez. 2020: 'Young Artists: One", Fridman Gallery, curated by James Bartlett 2020: '100 Drawings from Now" The Drawing Center, New York, NY curated by Rosario Guiraldes 2020: 'Admirational Invitational' Studio E Gallery, Seattle, WA, curated by represented artists 2020: 'Paradoxe', Serving the People, Online Exhibition, curated by Tyler Glenn 2021 'Cruising the Horizon: New York' The Latinx Project at NYU, New York, NY, curated by Marissa Del Toro 2021 'Flame Tree' Regular Normal, New York, NY, curated by Bony Ramirez 2021 'These Opalescent Dreams of Mine', Selena's Mountain, Brooklyn, NY, curated by Olivia Swider 2021 'Still Around: Here', The Magic Hour Seaport Art Walk, New York, NY, curated by Andrea Delph, Danny Baez and Anne-Laure Lemaitre 2021 'Genesis: Light and Beauty', Strada Pop-Up, New York, NY, curated by Layal Srouji 2021 'Amy Bravo, Anjuli Rathod and Larissa DeJesus Negron', Selena's Mountain at SWAB Art Fair, Barcelona, SP, curated by Olivia Swider 2021 'Convalescence of Tongues', Grove Collective, London, UK, curated by Jacob Barnes   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Amy Bravo Kiss (Machete), 2022 Embroidery Thread, Acrylic, Graphite, Wax Pastel and Metallic Pigment on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Amy Bravo is a Cuban/Italian American visual artist located in New York.   Education   2019 BFA Communications Design (Illustration), Pratt Institute Exp. Spring 2022, MFA Painting, Hunter College   Select Exhibitions/Awards   2018, 'Volume 2: The Anniversary Show", Tectonic Space in Baltimore, MD 2018, 'Red Envelope Show', Flushing Town Hall in Queens, NY, curated by Albert Chau 2019 Featured in the Brooklyn Museum's Pop-Up Library as part of the Frida Kahlo: Appearances Can Be Deceiving opening 2019, 'Turista', Thesis show at Pratt Institute, self-curated in Brooklyn, NY 2020, 'Portrait: Identity and Expression', Site:Brooklyn, Brooklyn, NY curated by Claire Voon 2020: 'Red Envelope Show', City Point, Brooklyn, NY, curated by Albert Chau 2020: 'YB2P' Catinca Tabacaru, Harlem, NY, curated by Danny Baez. 2020: 'Young Artists: One", Fridman Gallery, curated by James Bartlett 2020: '100 Drawings from Now" The Drawing Center, New York, NY curated by Rosario Guiraldes 2020: 'Admirational Invitational' Studio E Gallery, Seattle, WA, curated by represented artists 2020: 'Paradoxe', Serving the People, Online Exhibition, curated by Tyler Glenn 2021 'Cruising the Horizon: New York' The Latinx Project at NYU, New York, NY, curated by Marissa Del Toro 2021 'Flame Tree' Regular Normal, New York, NY, curated by Bony Ramirez 2021 'These Opalescent Dreams of Mine', Selena's Mountain, Brooklyn, NY, curated by Olivia Swider 2021 'Still Around: Here', The Magic Hour Seaport Art Walk, New York, NY, curated by Andrea Delph, Danny Baez and Anne-Laure Lemaitre 2021 'Genesis: Light and Beauty', Strada Pop-Up, New York, NY, curated by Layal Srouji 2021 'Amy Bravo, Anjuli Rathod and Larissa DeJesus Negron', Selena's Mountain at SWAB Art Fair, Barcelona, SP, curated by Olivia Swider 2021 'Convalescence of Tongues', Grove Collective, London, UK, curated by Jacob Barnes   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Amy Bravo Come To My Place, 2022 Acrylic, Graphite, Wax Pastel and Metallic Pigment on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Amy Bravo is a Cuban/Italian American visual artist located in New York.   Education   2019 BFA Communications Design (Illustration), Pratt Institute Exp. Spring 2022, MFA Painting, Hunter College   Select Exhibitions/Awards   2018, 'Volume 2: The Anniversary Show", Tectonic Space in Baltimore, MD 2018, 'Red Envelope Show', Flushing Town Hall in Queens, NY, curated by Albert Chau 2019 Featured in the Brooklyn Museum's Pop-Up Library as part of the Frida Kahlo: Appearances Can Be Deceiving opening 2019, 'Turista', Thesis show at Pratt Institute, self-curated in Brooklyn, NY 2020, 'Portrait: Identity and Expression', Site:Brooklyn, Brooklyn, NY curated by Claire Voon 2020: 'Red Envelope Show', City Point, Brooklyn, NY, curated by Albert Chau 2020: 'YB2P' Catinca Tabacaru, Harlem, NY, curated by Danny Baez. 2020: 'Young Artists: One", Fridman Gallery, curated by James Bartlett 2020: '100 Drawings from Now" The Drawing Center, New York, NY curated by Rosario Guiraldes 2020: 'Admirational Invitational' Studio E Gallery, Seattle, WA, curated by represented artists 2020: 'Paradoxe', Serving the People, Online Exhibition, curated by Tyler Glenn 2021 'Cruising the Horizon: New York' The Latinx Project at NYU, New York, NY, curated by Marissa Del Toro 2021 'Flame Tree' Regular Normal, New York, NY, curated by Bony Ramirez 2021 'These Opalescent Dreams of Mine', Selena's Mountain, Brooklyn, NY, curated by Olivia Swider 2021 'Still Around: Here', The Magic Hour Seaport Art Walk, New York, NY, curated by Andrea Delph, Danny Baez and Anne-Laure Lemaitre 2021 'Genesis: Light and Beauty', Strada Pop-Up, New York, NY, curated by Layal Srouji 2021 'Amy Bravo, Anjuli Rathod and Larissa DeJesus Negron', Selena's Mountain at SWAB Art Fair, Barcelona, SP, curated by Olivia Swider 2021 'Convalescence of Tongues', Grove Collective, London, UK, curated by Jacob Barnes   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Amy Bravo Sweeter, 2022 Acrylic, Graphite, Wax Pastel and Embroidery Thread on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Amy Bravo is a Cuban/Italian American visual artist located in New York.   Education   2019 BFA Communications Design (Illustration), Pratt Institute Exp. Spring 2022, MFA Painting, Hunter College   Select Exhibitions/Awards   2018, 'Volume 2: The Anniversary Show", Tectonic Space in Baltimore, MD 2018, 'Red Envelope Show', Flushing Town Hall in Queens, NY, curated by Albert Chau 2019 Featured in the Brooklyn Museum's Pop-Up Library as part of the Frida Kahlo: Appearances Can Be Deceiving opening 2019, 'Turista', Thesis show at Pratt Institute, self-curated in Brooklyn, NY 2020, 'Portrait: Identity and Expression', Site:Brooklyn, Brooklyn, NY curated by Claire Voon 2020: 'Red Envelope Show', City Point, Brooklyn, NY, curated by Albert Chau 2020: 'YB2P' Catinca Tabacaru, Harlem, NY, curated by Danny Baez. 2020: 'Young Artists: One", Fridman Gallery, curated by James Bartlett 2020: '100 Drawings from Now" The Drawing Center, New York, NY curated by Rosario Guiraldes 2020: 'Admirational Invitational' Studio E Gallery, Seattle, WA, curated by represented artists 2020: 'Paradoxe', Serving the People, Online Exhibition, curated by Tyler Glenn 2021 'Cruising the Horizon: New York' The Latinx Project at NYU, New York, NY, curated by Marissa Del Toro 2021 'Flame Tree' Regular Normal, New York, NY, curated by Bony Ramirez 2021 'These Opalescent Dreams of Mine', Selena's Mountain, Brooklyn, NY, curated by Olivia Swider 2021 'Still Around: Here', The Magic Hour Seaport Art Walk, New York, NY, curated by Andrea Delph, Danny Baez and Anne-Laure Lemaitre 2021 'Genesis: Light and Beauty', Strada Pop-Up, New York, NY, curated by Layal Srouji 2021 'Amy Bravo, Anjuli Rathod and Larissa DeJesus Negron', Selena's Mountain at SWAB Art Fair, Barcelona, SP, curated by Olivia Swider 2021 'Convalescence of Tongues', Grove Collective, London, UK, curated by Jacob Barnes   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Pablo Merchante Barber Shop, 2022 Wax and Marker Pen on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Pablo Merchante (1979, Sevilla) studied Fine Arts in the University of Seville and continous with the Master of Idea and Production in focus in Contemporany Art at the same university. Merchante has a lot of awards and scholarships and his work has been acquired for important collections of contemporany art like Art-Circle Fundation (Slovenia), Bogliasco Fundation (New York) or Valentín Madariaga Fundation. In 2019 has been one of the ten finalist of the Painting BMW Award, among 2500 works submitted and his works has been exposed in nationals and internationals fairs like Arco.   Education   Master Art: Idea and Production_ Sevilla University (2012 - 2014) BBAA Seville (2007 - 2012) Bachelor of Music (Conservatory of Seville) 2003   Select Exhibitions/Awards   2022. Blue wood true wood. Digallery (Seville) 2019. Enjoy neck, hair. Digallery (Seville) 2019 . Since. Duoshow. With Manuel M. Romero. El Butrón Gallery (Seville) 2018. LIHN (La Lonja Gallery) Logroño. (Nov 16, 2018) 2017. We are very lonely. Espace 0 Gallery (Huelva) 2015. Animals. Space California (Seville) 2014. Dance or I'll kill you. Exhibition Hall of the Caja Rural (Huelva) 2014. The national-thirteen. Diogenes creative space (Barcelona) 2013. The impotence of the ugly. GB space. BBAA (Seville) You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Pablo Merchante In Barber Shop, 2022 Wax and Marker Pen on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Pablo Merchante (1979, Sevilla) studied Fine Arts in the University of Seville and continous with the Master of Idea and Production in focus in Contemporany Art at the same university. Merchante has a lot of awards and scholarships and his work has been acquired for important collections of contemporany art like Art-Circle Fundation (Slovenia), Bogliasco Fundation (New York) or Valentín Madariaga Fundation. In 2019 has been one of the ten finalist of the Painting BMW Award, among 2500 works submitted and his works has been exposed in nationals and internationals fairs like Arco.   Education   Master Art: Idea and Production_ Sevilla University (2012 - 2014) BBAA Seville (2007 - 2012) Bachelor of Music (Conservatory of Seville) 2003   Select Exhibitions/Awards   2022. Blue wood true wood. Digallery (Seville) 2019. Enjoy neck, hair. Digallery (Seville) 2019 . Since. Duoshow. With Manuel M. Romero. El Butrón Gallery (Seville) 2018. LIHN (La Lonja Gallery) Logroño. (Nov 16, 2018) 2017. We are very lonely. Espace 0 Gallery (Huelva) 2015. Animals. Space California (Seville) 2014. Dance or I'll kill you. Exhibition Hall of the Caja Rural (Huelva) 2014. The national-thirteen. Diogenes creative space (Barcelona) 2013. The impotence of the ugly. GB space. BBAA (Seville)   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Mel Reese Tiny Bay Sunset, 2022 Acrylic on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Mel Reese is a Brooklyn-based abstract painter. She is an observational artist inspired by formalism. Lines, shapes, colors, and textures are as central to her work as is the process of creating them. A complex layering of these abstract elements allows her work to echo the representational through symbolic formalism.   Education   2017 MFA Fine Arts, School of Visual Arts, New York City, NY 2014 Post-Baccalaureate Certificate, San Francisco Art Institute, San Francisco, CA 2013 B.S. Studio Art, Skidmore College, Saratoga Springs, NY Select Exhibitions/Awards   Solo Exhibitions 2021 Echo, MILCON Gallery, Digital Exhibition 2019 Color & Light, 173 Green Street Gallery, Greenpoint, Brooklyn, NY 2018 Alaska Landscapes, Suzette LaValle, Brooklyn, NY 2018 SSS #26, R&D Studios Ridgewood, NY 2018 BLUEPRINT Piano Series: 1913, Greenwich Music House, New York, NY 2018 New Year, New Nature, R&D Studios Ridgewood, NY 2017 4 Trumps, Suzette LaValle, Brooklyn, NY Group Exhibitions 2022 TRUE STORIES, Untitled Space, New York, NY 2022 Les Étrangers, Maison 10, New York, NY 2022 EMBRACING 2022, THE GALLERY by Odo, New York, NY 2022 Depth Perception, The Yard - City Hall Park, New York, NY 2021 Leaving the Body, The Yard - City Hall Park, New York, NY Other Professional Activities & Awards 2022 Artist Talk - THE GALLERY by Odo 2021 IG Live Interview - A Women's Thing 2017 Residency - Vermont Studio Center, VT [November] 2017 Award of Excellence - 58th Long Island Artist Exhibition, Art League of Long Island 2013 Residency - Elsewhere Studios, CO [October]   Gallery Representation   Counterpoint Gallery   Statement about AOAP Submitted Artwork   Reese's most recent series of paintings is inspired by nature. Observations are distilled down, removing the extraneous, to capture the essence of human interaction with natural forms. Each layer considers the negative space, which she paints with liquid tape. Once sealed, a shape is revealed in the positive space of the canvas, into which she pours acrylic paint and drag across the canvas with a squeegee. Every gesture creates new lines and textures. The liquid tape removed, a monochromatic shape with a precise edge is revealed. Repeating this process, Reese methodically builds up sheer layers of monochromatic forms. Each new layer is informed by all previous layers.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Mel Reese Tiny Salt Marsh, 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Mel Reese is a Brooklyn-based abstract painter. She is an observational artist inspired by formalism. Lines, shapes, colors, and textures are as central to her work as is the process of creating them. A complex layering of these abstract elements allows her work to echo the representational through symbolic formalism.   Education   2017 MFA Fine Arts, School of Visual Arts, New York City, NY 2014 Post-Baccalaureate Certificate, San Francisco Art Institute, San Francisco, CA 2013 B.S. Studio Art, Skidmore College, Saratoga Springs, NY Select Exhibitions/Awards   Solo Exhibitions 2021 Echo, MILCON Gallery, Digital Exhibition 2019 Color & Light, 173 Green Street Gallery, Greenpoint, Brooklyn, NY 2018 Alaska Landscapes, Suzette LaValle, Brooklyn, NY 2018 SSS #26, R&D Studios Ridgewood, NY 2018 BLUEPRINT Piano Series: 1913, Greenwich Music House, New York, NY 2018 New Year, New Nature, R&D Studios Ridgewood, NY 2017 4 Trumps, Suzette LaValle, Brooklyn, NY Group Exhibitions 2022 TRUE STORIES, Untitled Space, New York, NY 2022 Les Étrangers, Maison 10, New York, NY 2022 EMBRACING 2022, THE GALLERY by Odo, New York, NY 2022 Depth Perception, The Yard - City Hall Park, New York, NY 2021 Leaving the Body, The Yard - City Hall Park, New York, NY Other Professional Activities & Awards 2022 Artist Talk - THE GALLERY by Odo 2021 IG Live Interview - A Women's Thing 2017 Residency - Vermont Studio Center, VT [November] 2017 Award of Excellence - 58th Long Island Artist Exhibition, Art League of Long Island 2013 Residency - Elsewhere Studios, CO [October]   Gallery Representation   Counterpoint Gallery   Statement about AOAP Submitted Artwork   Reese's most recent series of paintings is inspired by nature. Observations are distilled down, removing the extraneous, to capture the essence of human interaction with natural forms. Each layer considers the negative space, which she paints with liquid tape. Once sealed, a shape is revealed in the positive space of the canvas, into which she pours acrylic paint and drag across the canvas with a squeegee. Every gesture creates new lines and textures. The liquid tape removed, a monochromatic shape with a precise edge is revealed. Repeating this process, Reese methodically builds up sheer layers of monochromatic forms. Each new layer is informed by all previous layers.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Mel Reese Tiny Winter Wind, 2022 Acrylic on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Mel Reese is a Brooklyn-based abstract painter. She is an observational artist inspired by formalism. Lines, shapes, colors, and textures are as central to her work as is the process of creating them. A complex layering of these abstract elements allows her work to echo the representational through symbolic formalism.   Education   2017 MFA Fine Arts, School of Visual Arts, New York City, NY 2014 Post-Baccalaureate Certificate, San Francisco Art Institute, San Francisco, CA 2013 B.S. Studio Art, Skidmore College, Saratoga Springs, NY Select Exhibitions/Awards   Solo Exhibitions 2021 Echo, MILCON Gallery, Digital Exhibition 2019 Color & Light, 173 Green Street Gallery, Greenpoint, Brooklyn, NY 2018 Alaska Landscapes, Suzette LaValle, Brooklyn, NY 2018 SSS #26, R&D Studios Ridgewood, NY 2018 BLUEPRINT Piano Series: 1913, Greenwich Music House, New York, NY 2018 New Year, New Nature, R&D Studios Ridgewood, NY 2017 4 Trumps, Suzette LaValle, Brooklyn, NY Group Exhibitions 2022 TRUE STORIES, Untitled Space, New York, NY 2022 Les Étrangers, Maison 10, New York, NY 2022 EMBRACING 2022, THE GALLERY by Odo, New York, NY 2022 Depth Perception, The Yard - City Hall Park, New York, NY 2021 Leaving the Body, The Yard - City Hall Park, New York, NY Other Professional Activities & Awards 2022 Artist Talk - THE GALLERY by Odo 2021 IG Live Interview - A Women's Thing 2017 Residency - Vermont Studio Center, VT [November] 2017 Award of Excellence - 58th Long Island Artist Exhibition, Art League of Long Island 2013 Residency - Elsewhere Studios, CO [October]   Gallery Representation   Counterpoint Gallery   Statement about AOAP Submitted Artwork   Reese's most recent series of paintings is inspired by nature. Observations are distilled down, removing the extraneous, to capture the essence of human interaction with natural forms. Each layer considers the negative space, which she paints with liquid tape. Once sealed, a shape is revealed in the positive space of the canvas, into which she pours acrylic paint and drag across the canvas with a squeegee. Every gesture creates new lines and textures. The liquid tape removed, a monochromatic shape with a precise edge is revealed. Repeating this process, Reese methodically builds up sheer layers of monochromatic forms. Each new layer is informed by all previous layers.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Mel Reese Tiny Night Walk, 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Mel Reese is a Brooklyn-based abstract painter. She is an observational artist inspired by formalism. Lines, shapes, colors, and textures are as central to her work as is the process of creating them. A complex layering of these abstract elements allows her work to echo the representational through symbolic formalism.   Education   2017 MFA Fine Arts, School of Visual Arts, New York City, NY 2014 Post-Baccalaureate Certificate, San Francisco Art Institute, San Francisco, CA 2013 B.S. Studio Art, Skidmore College, Saratoga Springs, NY Select Exhibitions/Awards   Solo Exhibitions 2021 Echo, MILCON Gallery, Digital Exhibition 2019 Color & Light, 173 Green Street Gallery, Greenpoint, Brooklyn, NY 2018 Alaska Landscapes, Suzette LaValle, Brooklyn, NY 2018 SSS #26, R&D Studios Ridgewood, NY 2018 BLUEPRINT Piano Series: 1913, Greenwich Music House, New York, NY 2018 New Year, New Nature, R&D Studios Ridgewood, NY 2017 4 Trumps, Suzette LaValle, Brooklyn, NY Group Exhibitions 2022 TRUE STORIES, Untitled Space, New York, NY 2022 Les Étrangers, Maison 10, New York, NY 2022 EMBRACING 2022, THE GALLERY by Odo, New York, NY 2022 Depth Perception, The Yard - City Hall Park, New York, NY 2021 Leaving the Body, The Yard - City Hall Park, New York, NY Other Professional Activities & Awards 2022 Artist Talk - THE GALLERY by Odo 2021 IG Live Interview - A Women's Thing 2017 Residency - Vermont Studio Center, VT [November] 2017 Award of Excellence - 58th Long Island Artist Exhibition, Art League of Long Island 2013 Residency - Elsewhere Studios, CO [October]   Gallery Representation   Counterpoint Gallery   Statement about AOAP Submitted Artwork   Reese's most recent series of paintings is inspired by nature. Observations are distilled down, removing the extraneous, to capture the essence of human interaction with natural forms. Each layer considers the negative space, which she paints with liquid tape. Once sealed, a shape is revealed in the positive space of the canvas, into which she pours acrylic paint and drag across the canvas with a squeegee. Every gesture creates new lines and textures. The liquid tape removed, a monochromatic shape with a precise edge is revealed. Repeating this process, Reese methodically builds up sheer layers of monochromatic forms. Each new layer is informed by all previous layers.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Terry Ekasala Ghost Gathering, 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Born in Weymouth, Massachusetts, Terry Ekasala graduated from the Art Institute of Fort Lauderdale, Florida. In 1983, she set up her first studio at the Clay Hotel and Youth Hostel on Espanola Way in Miami Beach, a broken down palace of art deco dreams. Ekasala became a member of the Artifacts Art Group, which staged weekly events at Miami's Fire and Ice nightclub. She was also part of a group of graffiti artists whose work on abandoned buildings was featured in the Miami Herald and as background in major advertising campaigns.   In 1987, Ekasala moved to Paris and eventually set up a studio in Belleville, the colorful 20th Arrondissement at La Forge where she was part of a diverse artistic community that organized the first artist squat or reclaimed studio space to become legal in Paris. During this time, her style underwent numerous changes, moving from figurative to abstract, and she exhibited widely in Paris, Berlin, and New York.   In 2001, Ekasala moved to Vermont's Northeast Kingdom. In Vermont, she has exhibited work at Catamount Arts in St. Johnsbury, Hall Art Foundation in Reading, and the Burlington Center for the Arts (BAC). She has also shown work at the Metalstone Gallery in New York City, Matter & Light in Boston, and in 2019, the Piermarq Gallery in Sydney, Australia.   Ekasala's work is in numerous private collections. She resides with her family in East Burke, Vermont and creates large and small abstract paintings in what she calls her dream studio looking out over a nearby mountainside.   Education   1980/1983 | Associates Degree in Advertising Art Institute of Ft Lauderdale, Florida   Select Exhibitions/Awards   2021 May 15 - Aug 22 | Solo Exhibition, Hall Art Foundation, Reading, Vermont 2019 May 9 | Two-person exhibition, Pendulum Piermarq Gallery, Paddington, New South Wales, Australia 2019 March 8- April 26 | Group show, Looking North Vermont Arts Council Spotlight Gallery, Montpelier, Vermont 2018-2019 Dec 1- Feb 15 | Juried group show, 4th Annual Arts Connect Catamount Arts, St. Johnsbury, Vermont 2018 May 12 - Nov 25 | Group show, Made In Vermont Hall Art Foundation, Reading, Vermont 2017 Aug - Sep | Two-person exhibition The Gallery at WREN, Bethlehem, New Hampshire 2017 June 2 - July 13 | Solo show, Speak Up Matter & Light Gallery, Boston, Massachusetts 2017 Jan 6 - Feb 6 2017 | Group show, Gala Season Review The Gallery at WREN, Bethlehem, New Hampshire 2017 Jan 14 - Mar 12 | Juried group show, 2nd Annual Arts Connect Catamount Arts, St. Johnsbury, Vermont 2016 April 25 - May 2nd | Artist residency, Vermont Artist Week Vermont Studio Center Residency, Johnson, Vermont 2015/16 Nov-Jan 2016 | Juried group show, Catamount Arts Juried Members Show St. Johnsbury, Vermont 2015 Nov | Group show, Process/Result 337 Project Space, Grand Rapids, Michigan 2015 Jan 5-11 | Group show, New Work City Momenta Art Gallery, Brooklyn, New York 2014, Sep 24-28 | Group show, Second Family Rivington Street Gallery, New York, New York 2014 Feb/Mar | Solo show, Inside Out New City Galerie, Burlington, Vermont 2012 Feb | Solo show Catamount Arts, St. Johnsbury, Vermont 2006 Oct/Nov | Group show, Annual Holiday Benefit Party Aidan Savoy Gallery, New York, New York 2004 July | Solo show Catamount Arts, Saint Johnsbury Vermont 2003 Sept/Oct | Solo show Metalstone Gallery, New York, New York 2000 May | Solo show Dactyl Foundation, New York, New York 1998 Nov/Jan | Group show, Le Paris Des Quartiers Hotel de Ville, Paris, France 1995 Feb | Solo show Bjorn Olafs, Paris 75001 1994 Jul/Aug | Group show, L' Egaliser La Culture Kunstmesse im Kunsthof, Berlin, Germany 1994 Mar/Apr | Group show, Belleville Belleville Espace Belleville, Paris, France 1993 Sept | Group show Salon d'Art Contemporain, St Gervais, France 1993 Jan | Group show, Europe' Art sans Frontiere Paris, France 1992/2000 | Group show, Portes Ouverts de Belleville La Forge, Paris, France 1991 May | Solo show Galerie Klam, Paris, France 1986 Group show Joy Moose Gallery, Miami, Florida 1985/1987 | Collective expositions, Member of "Artifacts" Miami, Florida     You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Terry Ekasala Pile, 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Born in Weymouth, Massachusetts, Terry Ekasala graduated from the Art Institute of Fort Lauderdale, Florida. In 1983, she set up her first studio at the Clay Hotel and Youth Hostel on Espanola Way in Miami Beach, a broken down palace of art deco dreams. Ekasala became a member of the Artifacts Art Group, which staged weekly events at Miami's Fire and Ice nightclub. She was also part of a group of graffiti artists whose work on abandoned buildings was featured in the Miami Herald and as background in major advertising campaigns.   In 1987, Ekasala moved to Paris and eventually set up a studio in Belleville, the colorful 20th Arrondissement at La Forge where she was part of a diverse artistic community that organized the first artist squat or reclaimed studio space to become legal in Paris. During this time, her style underwent numerous changes, moving from figurative to abstract, and she exhibited widely in Paris, Berlin, and New York.   In 2001, Ekasala moved to Vermont's Northeast Kingdom. In Vermont, she has exhibited work at Catamount Arts in St. Johnsbury, Hall Art Foundation in Reading, and the Burlington Center for the Arts (BAC). She has also shown work at the Metalstone Gallery in New York City, Matter & Light in Boston, and in 2019, the Piermarq Gallery in Sydney, Australia.   Ekasala's work is in numerous private collections. She resides with her family in East Burke, Vermont and creates large and small abstract paintings in what she calls her dream studio looking out over a nearby mountainside.   Education   1980/1983 | Associates Degree in Advertising Art Institute of Ft Lauderdale, Florida   Select Exhibitions/Awards   2021 May 15 - Aug 22 | Solo Exhibition, Hall Art Foundation, Reading, Vermont 2019 May 9 | Two-person exhibition, Pendulum Piermarq Gallery, Paddington, New South Wales, Australia 2019 March 8- April 26 | Group show, Looking North Vermont Arts Council Spotlight Gallery, Montpelier, Vermont 2018-2019 Dec 1- Feb 15 | Juried group show, 4th Annual Arts Connect Catamount Arts, St. Johnsbury, Vermont 2018 May 12 - Nov 25 | Group show, Made In Vermont Hall Art Foundation, Reading, Vermont 2017 Aug - Sep | Two-person exhibition The Gallery at WREN, Bethlehem, New Hampshire 2017 June 2 - July 13 | Solo show, Speak Up Matter & Light Gallery, Boston, Massachusetts 2017 Jan 6 - Feb 6 2017 | Group show, Gala Season Review The Gallery at WREN, Bethlehem, New Hampshire 2017 Jan 14 - Mar 12 | Juried group show, 2nd Annual Arts Connect Catamount Arts, St. Johnsbury, Vermont 2016 April 25 - May 2nd | Artist residency, Vermont Artist Week Vermont Studio Center Residency, Johnson, Vermont 2015/16 Nov-Jan 2016 | Juried group show, Catamount Arts Juried Members Show St. Johnsbury, Vermont 2015 Nov | Group show, Process/Result 337 Project Space, Grand Rapids, Michigan 2015 Jan 5-11 | Group show, New Work City Momenta Art Gallery, Brooklyn, New York 2014, Sep 24-28 | Group show, Second Family Rivington Street Gallery, New York, New York 2014 Feb/Mar | Solo show, Inside Out New City Galerie, Burlington, Vermont 2012 Feb | Solo show Catamount Arts, St. Johnsbury, Vermont 2006 Oct/Nov | Group show, Annual Holiday Benefit Party Aidan Savoy Gallery, New York, New York 2004 July | Solo show Catamount Arts, Saint Johnsbury Vermont 2003 Sept/Oct | Solo show Metalstone Gallery, New York, New York 2000 May | Solo show Dactyl Foundation, New York, New York 1998 Nov/Jan | Group show, Le Paris Des Quartiers Hotel de Ville, Paris, France 1995 Feb | Solo show Bjorn Olafs, Paris 75001 1994 Jul/Aug | Group show, L' Egaliser La Culture Kunstmesse im Kunsthof, Berlin, Germany 1994 Mar/Apr | Group show, Belleville Belleville Espace Belleville, Paris, France 1993 Sept | Group show Salon d'Art Contemporain, St Gervais, France 1993 Jan | Group show, Europe' Art sans Frontiere Paris, France 1992/2000 | Group show, Portes Ouverts de Belleville La Forge, Paris, France 1991 May | Solo show Galerie Klam, Paris, France 1986 Group show Joy Moose Gallery, Miami, Florida 1985/1987 | Collective expositions, Member of "Artifacts" Miami, Florida     You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Terry Ekasala Laundry, 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Born in Weymouth, Massachusetts, Terry Ekasala graduated from the Art Institute of Fort Lauderdale, Florida. In 1983, she set up her first studio at the Clay Hotel and Youth Hostel on Espanola Way in Miami Beach, a broken down palace of art deco dreams. Ekasala became a member of the Artifacts Art Group, which staged weekly events at Miami's Fire and Ice nightclub. She was also part of a group of graffiti artists whose work on abandoned buildings was featured in the Miami Herald and as background in major advertising campaigns.   In 1987, Ekasala moved to Paris and eventually set up a studio in Belleville, the colorful 20th Arrondissement at La Forge where she was part of a diverse artistic community that organized the first artist squat or reclaimed studio space to become legal in Paris. During this time, her style underwent numerous changes, moving from figurative to abstract, and she exhibited widely in Paris, Berlin, and New York.   In 2001, Ekasala moved to Vermont's Northeast Kingdom. In Vermont, she has exhibited work at Catamount Arts in St. Johnsbury, Hall Art Foundation in Reading, and the Burlington Center for the Arts (BAC). She has also shown work at the Metalstone Gallery in New York City, Matter & Light in Boston, and in 2019, the Piermarq Gallery in Sydney, Australia.   Ekasala's work is in numerous private collections. She resides with her family in East Burke, Vermont and creates large and small abstract paintings in what she calls her dream studio looking out over a nearby mountainside.   Education   1980/1983 | Associates Degree in Advertising Art Institute of Ft Lauderdale, Florida   Select Exhibitions/Awards   2021 May 15 - Aug 22 | Solo Exhibition, Hall Art Foundation, Reading, Vermont 2019 May 9 | Two-person exhibition, Pendulum Piermarq Gallery, Paddington, New South Wales, Australia 2019 March 8- April 26 | Group show, Looking North Vermont Arts Council Spotlight Gallery, Montpelier, Vermont 2018-2019 Dec 1- Feb 15 | Juried group show, 4th Annual Arts Connect Catamount Arts, St. Johnsbury, Vermont 2018 May 12 - Nov 25 | Group show, Made In Vermont Hall Art Foundation, Reading, Vermont 2017 Aug - Sep | Two-person exhibition The Gallery at WREN, Bethlehem, New Hampshire 2017 June 2 - July 13 | Solo show, Speak Up Matter & Light Gallery, Boston, Massachusetts 2017 Jan 6 - Feb 6 2017 | Group show, Gala Season Review The Gallery at WREN, Bethlehem, New Hampshire 2017 Jan 14 - Mar 12 | Juried group show, 2nd Annual Arts Connect Catamount Arts, St. Johnsbury, Vermont 2016 April 25 - May 2nd | Artist residency, Vermont Artist Week Vermont Studio Center Residency, Johnson, Vermont 2015/16 Nov-Jan 2016 | Juried group show, Catamount Arts Juried Members Show St. Johnsbury, Vermont 2015 Nov | Group show, Process/Result 337 Project Space, Grand Rapids, Michigan 2015 Jan 5-11 | Group show, New Work City Momenta Art Gallery, Brooklyn, New York 2014, Sep 24-28 | Group show, Second Family Rivington Street Gallery, New York, New York 2014 Feb/Mar | Solo show, Inside Out New City Galerie, Burlington, Vermont 2012 Feb | Solo show Catamount Arts, St. Johnsbury, Vermont 2006 Oct/Nov | Group show, Annual Holiday Benefit Party Aidan Savoy Gallery, New York, New York 2004 July | Solo show Catamount Arts, Saint Johnsbury Vermont 2003 Sept/Oct | Solo show Metalstone Gallery, New York, New York 2000 May | Solo show Dactyl Foundation, New York, New York 1998 Nov/Jan | Group show, Le Paris Des Quartiers Hotel de Ville, Paris, France 1995 Feb | Solo show Bjorn Olafs, Paris 75001 1994 Jul/Aug | Group show, L' Egaliser La Culture Kunstmesse im Kunsthof, Berlin, Germany 1994 Mar/Apr | Group show, Belleville Belleville Espace Belleville, Paris, France 1993 Sept | Group show Salon d'Art Contemporain, St Gervais, France 1993 Jan | Group show, Europe' Art sans Frontiere Paris, France 1992/2000 | Group show, Portes Ouverts de Belleville La Forge, Paris, France 1991 May | Solo show Galerie Klam, Paris, France 1986 Group show Joy Moose Gallery, Miami, Florida 1985/1987 | Collective expositions, Member of "Artifacts" Miami, Florida     You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Terry Ekasala Whirl-Wind, 2022 Acrylic on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Born in Weymouth, Massachusetts, Terry Ekasala graduated from the Art Institute of Fort Lauderdale, Florida. In 1983, she set up her first studio at the Clay Hotel and Youth Hostel on Espanola Way in Miami Beach, a broken down palace of art deco dreams. Ekasala became a member of the Artifacts Art Group, which staged weekly events at Miami's Fire and Ice nightclub. She was also part of a group of graffiti artists whose work on abandoned buildings was featured in the Miami Herald and as background in major advertising campaigns.   In 1987, Ekasala moved to Paris and eventually set up a studio in Belleville, the colorful 20th Arrondissement at La Forge where she was part of a diverse artistic community that organized the first artist squat or reclaimed studio space to become legal in Paris. During this time, her style underwent numerous changes, moving from figurative to abstract, and she exhibited widely in Paris, Berlin, and New York.   In 2001, Ekasala moved to Vermont's Northeast Kingdom. In Vermont, she has exhibited work at Catamount Arts in St. Johnsbury, Hall Art Foundation in Reading, and the Burlington Center for the Arts (BAC). She has also shown work at the Metalstone Gallery in New York City, Matter & Light in Boston, and in 2019, the Piermarq Gallery in Sydney, Australia.   Ekasala's work is in numerous private collections. She resides with her family in East Burke, Vermont and creates large and small abstract paintings in what she calls her dream studio looking out over a nearby mountainside.   Education   1980/1983 | Associates Degree in Advertising Art Institute of Ft Lauderdale, Florida   Select Exhibitions/Awards   2021 May 15 - Aug 22 | Solo Exhibition, Hall Art Foundation, Reading, Vermont 2019 May 9 | Two-person exhibition, Pendulum Piermarq Gallery, Paddington, New South Wales, Australia 2019 March 8- April 26 | Group show, Looking North Vermont Arts Council Spotlight Gallery, Montpelier, Vermont 2018-2019 Dec 1- Feb 15 | Juried group show, 4th Annual Arts Connect Catamount Arts, St. Johnsbury, Vermont 2018 May 12 - Nov 25 | Group show, Made In Vermont Hall Art Foundation, Reading, Vermont 2017 Aug - Sep | Two-person exhibition The Gallery at WREN, Bethlehem, New Hampshire 2017 June 2 - July 13 | Solo show, Speak Up Matter & Light Gallery, Boston, Massachusetts 2017 Jan 6 - Feb 6 2017 | Group show, Gala Season Review The Gallery at WREN, Bethlehem, New Hampshire 2017 Jan 14 - Mar 12 | Juried group show, 2nd Annual Arts Connect Catamount Arts, St. Johnsbury, Vermont 2016 April 25 - May 2nd | Artist residency, Vermont Artist Week Vermont Studio Center Residency, Johnson, Vermont 2015/16 Nov-Jan 2016 | Juried group show, Catamount Arts Juried Members Show St. Johnsbury, Vermont 2015 Nov | Group show, Process/Result 337 Project Space, Grand Rapids, Michigan 2015 Jan 5-11 | Group show, New Work City Momenta Art Gallery, Brooklyn, New York 2014, Sep 24-28 | Group show, Second Family Rivington Street Gallery, New York, New York 2014 Feb/Mar | Solo show, Inside Out New City Galerie, Burlington, Vermont 2012 Feb | Solo show Catamount Arts, St. Johnsbury, Vermont 2006 Oct/Nov | Group show, Annual Holiday Benefit Party Aidan Savoy Gallery, New York, New York 2004 July | Solo show Catamount Arts, Saint Johnsbury Vermont 2003 Sept/Oct | Solo show Metalstone Gallery, New York, New York 2000 May | Solo show Dactyl Foundation, New York, New York 1998 Nov/Jan | Group show, Le Paris Des Quartiers Hotel de Ville, Paris, France 1995 Feb | Solo show Bjorn Olafs, Paris 75001 1994 Jul/Aug | Group show, L' Egaliser La Culture Kunstmesse im Kunsthof, Berlin, Germany 1994 Mar/Apr | Group show, Belleville Belleville Espace Belleville, Paris, France 1993 Sept | Group show Salon d'Art Contemporain, St Gervais, France 1993 Jan | Group show, Europe' Art sans Frontiere Paris, France 1992/2000 | Group show, Portes Ouverts de Belleville La Forge, Paris, France 1991 May | Solo show Galerie Klam, Paris, France 1986 Group show Joy Moose Gallery, Miami, Florida 1985/1987 | Collective expositions, Member of "Artifacts" Miami, Florida     You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

A large collection of Chinese and European teawares18th century and later, to include a New Hall teapot, 16cm high a Chinese export Famille rose sparrow beak jug, 13cm high saucers etc (qty.)Condition ReportEvery piece is chipped, cracked or restored with the exception of the items in image 4. The Newhall teapot is chipped, the lid is chipped and the finial is pinned. Please see the additional images.

A large leather-bound scrap book containing a quantity of early 20th century theatre,ballet, symphony and jazz programs, with a number of tickets, including The Bradford Alhambra 'Sleeping Princess' 1948, Theatre Royal 'Oklahoma' 1949, Apollo Theatre 'The Happiest Days of Your Life' 1949, Empress Hall 'Festival of Ballet' 1949, London Coliseum 'Annie get your Gun', Opera House Manchester 'Swan Lake', His Majesty's Theatre 'Brigadoon', London Casino 'Welcome to the Latin Quarter', Grand Theatre Halifax 'The Continental Ballet', Royal Opera House ' Ballet Season 1950', Royal Opera House 'New York City Ballet' 1950, Theatre Royal Carousel 1950, The York Festival 'Cycle of Mystery Plays', Stadttheater Aachen, Royal Festival Hall 'International Ballet', Leeds Grand Theatre 'Graduation Ball', Wyndham's Theatre 'The Love of Four Colonels', Palace Theatre 'Zip Goes a Million', The Floral Hall - Scarborough, Halifax Playhouse 'Beauty and the Beast', Comedy Theatre 'For Better for Worse', Shakespeare King Richard III and The Merchant of Venice, The Taming of the Shrew, The Tragedy of King Lear, Theatre Royal Antony and Cleopatra, Queen's Theatre 'Present Laughter', Queen Elizabeth Hall 'Mainly Schubert', Her Majesty's Theatre 'The Teahouse of the August Moon', Royal Festival Hall 'National Jazz Federation Jazz Part 2, Piccadilly Theatre 'The Jazz Train', Theatre Royal Bath 'Seagulls over Sorrento', Theatre Royal 'The Confidential Clerk', Shakespeare Theatre 'Macbeth' 1955 with Laurence Olivier in the title role; The Opera House Manchester 'Pardon my Claws', Stoll Theatre 'Kismet', Duke of York Theatre ' The Punch Revue', Globe Theatre 'The Private Ear The Public Eye', Saville Theatre 'Pickwick', New Lyric Theatre 'Oblomov', Theatre Royal Drury Lane 'Camelot', Piccadilly Theatre 'Who's afraid of Virginia Woolf', William Shakespeare 'As you Like It' Much Ado About Nothing', amongst many others.  

Reynolds, Sir Joshua (PRA FRS FRSA, 1723 - 1792) The Rev and Mrs Lloyd in Turquerie (1757) A pendant pair of portraits Oil on canvas Property of a lady Dimensions: (Canvas) 30 in (H) x 25 in (W) Literature: D. Mannings, Sir Joshua Reynolds: A complete catalogue of his paintings, New Haven and London, 2000; no. 1138 & 1139; Figs 272 & 273. A Ribeiro, The dress worn at masquerades in England, 1730 to 1790, and its relation to fancy dress in portraiture, London, 229; cf. ch. IV, pl. 23.  G&C volume II, 589. Provenance:  Rev William Lloyd: Aston Hall sale, 1923 Christie?s, 29 June 1928 (Lot 157), bt Rothschild Anonymous sale, 17 April, 1931 (Lot 97), ?From the coll. of General Lloyd?, bt Parker Sir Austin Harris and thence by descent  Mrs William Lloyd (née Snyed): D H Sneyd sale, Puttick & Simpson?s 1913 (bought Huggins, 720 guineas) Sold 16th April 1929 by the Dowager Victoria Sackville to Sir Austin Harris for 1000 guineas Thence by descent  Lot Essay: Turquerie was the Orientalist fashion in Western Europe from the 16th to 19th centuries for emulating aspects of Turkish art and culture. This phenomenon became more popular through trading routes with the West and increased diplomatic relationships between the Ottomans and European nations. The ?Oriental? Turkish costume was quickly adopted by elegant European sitters as a reference to their worldliness and internationalism. British historian and anecdotalist Joseph Spence, for instance, spoke with great admiration of John Montagu, fourth Earl of Sandwich, who extended his grand tour in the late 1730s to the Ottoman Empire: ?A man that has been all over Greece, at Constantinople, Troy, the pyramids of Egypt, and the deserts of Arabia, talks and looks with a greater air than we little people can do that have only crawled about France and Italy?. As such, the 18th century marked the apex of ?turquerie?, with Sir Joshua Reynolds too engaging in painting a few of his sitters in the sought after turquerie dress (see Reynolds? portrait of Mrs Baldwin, 1782). The present pendant portraits depict the Rev William Lloyd and Mrs Elizabeth Lloyd (née Snyed) of Aston Hall, Oswestry and are probably one of, if not the, marital portrait of the couple as they were painted the same year of their marriage. The Reverend and Mrs Lloyd married in February and there is documentation of appointments with 'Mr Loyd' in 1757 on Mar. 24 (2 0'clock), 28 (midday); 30 (either at eleven or at three, cf. Mrs Lloyd) and Apr. 2 (at 10). There is a cancelled appointment with either Mr or Mrs Lloyd on Apr. 1 (at 2). Both the Reverend Lloyd and Mrs Elizabeth Lloyd can be seen dressed in detailed, luxurious Turkish dress. Aileen Ribeiro defines this as "an oriental masquerade dress, with the Rev Lloyd's turban pinned on top with a jewel and his fur-lined, short-sleeved garment - jacket or long gown ? delicately and finely painted with the decoration of embroidery and tassels" (Masquerades 1984, 221). Mrs Lloyd can be seen in a heavily embroidered and tasselled gown. Her hand on her hip draws striking attention to the detail of a small Ottoman-style dagger slipped into her metal-worked belt. The paintings have been in the family of the vendor since the 1930s, with letters existing from the Dowager Sackville (April 16, 1929) regarding the sale to Sir Austin Harris (family of the vendor) regarding the purchase of Elizabeth Lloyd. The pair of portraits were separated and then reunited by Sir Austin. The Reverend Lloyd was sold by Rothschild, 1931 and purchased by Parker - then to Sir Austin Harris.

Quantity of late 18th/early 19th Century English porcelain tea-wares, possibly New Hall and others, painted with Chinese scenes, 14cm high and smaller

Two late 18th Century wrythen moulded tea bowls and saucers, possibly New Hall, both with painted with floral sprays, 5cm high and smaller

A COLLECTION OF SCENIC AND PORTRAITURE CARTE DE VISITE ETC, comprising a selection of historical buildings to include Chatsworth House, Haddon Hall, St Annes Well Malvern etc., a collection of various ladies and gentlemen with their dogs / horses - 'Three Lazy Dogs' noted to reverse William Everett on leave from Judea, many examples with annotations to front and reverse - Pauline Markham, Hon. Eliah Yorke, Dupree Porcher Esq., Junius Brutus Booth, Sir Charles Eastlake 1793-1865 and the painter / artist Charles Landseer 1799-1879, the collection comprising local, British, European and Worldwide examples from places such as Armagh, Notting Hill, Whitchurch, Keswick, Stoke Newington, Weston super Mare, Wincanton, Clifton, Chester, Islington, Germany, Torgail. Paris, Brooklyn, Broadway New York, Equeurdreville, Perth, Boston, Philadelphia, Kingstown, etc. (Approx. 250)

A GEORGE I WING ARMCHAIR FRAMECIRCA 1720 118cm high, 84.5cm wide, 81cm deepProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The front legs appear to be walnut, the back legs elm, oak elements including the wings.There are losses, restorations and observations including: two spliced uprights of the back; there are old upholstery tack marks to the whole frame; there are some later screws; there is evidence of worm; some ears to the front legs later; later low blocks to the front legs with holes from previous casters. It is possible that elements of this chair are from various dates, but it is difficult to conclude.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer

A GEORGE II CARVED PINE AND PAINTED WALL BRACKET CIRCA 1750 75cm high, 30cm wide, 32cm deep overallProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: Bracket with the marks, knocks, scratches and abrasions commensurate with age and use. Some old chips, splits and minor losses. Painted surface is later. Some old glued repairs to carved elements - see images for details. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A SET OF SIXTEEN GEORGE III MAHOGANY DINING CHAIRSCIRCA 1780 each 99cm high, 58cm wide, 64cm deep overallProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport EstateRecently on loan to Wimpole Hall, Cambridgeshire The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use. Some seat rails inscribed ' WIM.F.252' followed by a letter of the alphabet, eg 'D' and 'F'. There are losses and restorations and observations including some missing sections of stretcher; there is evidence of worm including to elm seat rails; chips to the tips of some of the corners of the feet; some loose stretcher sections, some later stretchers and repairs with patches, seat rails and frame sections; hessian and webbing of various dates; cracks to some legs along the grain of the timber.The hide upholstery is variously aged, worn, torn and removed from some areas, there are a variety of fabric loose covers. We are unable to inspect some areas covered in horsehair, hessian, webbing or upholstery and so cannot comment on the condition and originality of these areas we are unable to see.Please refer to the additional photographs as a visual reference of condition.  Condition Report Disclaimer

A GEORGE III PAINTED AND PARCEL GILT OPEN ARMCHAIR IN THE MANNER OF JOHN LINNELL, CIRCA 1780100cm high, 61cm wide, 46cm deep overall Provenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips and abrasions consistent with age and use.The paintwork is later with scratches, scuffs, some flaking and craquelure.There are losses and restorations including repairs to the back frame; there is evidence of worm; the side and back seat rails with chamfered edges; the back feet with less wear than the front.The linen and horsehair upholstery is distressed with some insect holes.We are unable to inspect some areas covered in upholstery and so cannot comment on the condition and originality of these areas we are unable to see.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer

A PAIR OF GEORGE III PAINTED AND PARCEL GILT SOFAS IN THE MANNER OF JOHN LINNELL, CIRCA 1780each 94cm high, 200cm wide, 77cm deepProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips and abrasions consistent with age and use.The later paintwork and gilding has some wear, craquelure, scratching and knocks.There is evidence of worm; there are recessed clamp marks to the underside of the seat rails either side of the legs; the bottom of the back legs show less sign of wear and age than the underside of the front legs; the frames have holes from upholstery tacks and some marks and stains.The top layer upholstery fabric is removed other than the padded arm ovals. The remaining upholstery is linen covering horsehair; the linen to the sides and back is removed or only partially fixed to the frame. The linen to the back of one sofa has a stamped bale mark in red ink '66 87' and with an ink inscribed monogram 'A ?m'. One sofa has the corner of the inner seat upholstery revealed showing the multiple layers of seat upholstery to the wood frame in sequence: wood frame/ hay / linen / coarse horsehair / linen / horsehair / linen / second layer of linen. There are vestiges of green damask to some of the padded arms, and smaller remains of red fabric.We are unable to inspect some areas covered in upholstery and so cannot comment on the condition and originality of these areas we are unable to see.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer

A PAIR OF GEORGE III MAHOGANY AND UPHOLSTERED LIBRARY ARMCHAIRSIN THE MANNER OF HEPPLEWHITE, LATE 18TH CENTURYUpholstered in natural suede with brass studded borderseach 91cm high, 63cm wide, 60cm deepProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.