fine art sale

A collection of eight steel engravings, coloured, north east and Lake District, including Bamborough Castle, Tinemouth Castle & Priory, Loweswater, Buttermere, etc. Each 4 ins x 6 ins, various artists, principally Allom.

Sold for £80

William James Blacklock (1816-1858), an oil on canvas, "Blea Tarn and The Langdale Pikes". 17.5 ins x 23.25 ins, signed and dated 1854 (see illustration).

William James Blacklock
1816-1858

THE LANGDALE PIKES ABOVE BLEA TARN
1854

It is no exaggeration to say that William James Blacklock is one of the great landscape painters of the nineteenth century, and perhaps the most remarkable of all of those who devoted themselves to the representation of the Lake District. He is less well known than he should be - the modern 'rediscovery' of the artist commenced in 1974 with an insightful article in Country Life by the late Geoffrey Grigson ('A Painter of the Real Lakeland', 4 July 1974, pp. 24-26), and was carried forward in a ground-breaking exhibition at Abbott Hall in Kendal, organised by Mary Burkett in 1981 - but on other occasions he has been omitted from landscape surveys, perhaps because of the very individuality of his work which makes them difficult immediately to characterise or readily to place in conjunction with those of his contemporaries. Nonetheless, Blacklock is a most fascinating and rewarding artist, who in the last half-decade or so of his tragically short life painted a small handful of masterpieces which serve as a testament to his deep love and knowledge of Cumberland and the English Lakes.
The Blacklock family had been long established in the neighbourhood of Cumwhitton, to the south west of Carlisle, farming there at least since the 1500s. W.J. Blacklock's father was in fact living in London, where he made his living as a bookseller and publisher, at the time of the painter's birth, but returned to Cumberland in 1818. The younger Blacklock's career as an artist commenced when he was apprenticed to the Carlisle engraver and lithographer Charles Thurnham, with whom he later collaborated on a series of prints showing the railway line between Newcastle and Carlisle. W.J. Blacklock enrolled for a period at the Carlisle Academy of Arts, prior to its closure in 1833, working under Matthew Ellis Nutter. In 1836 he returned to London, then aged twenty, living there for the following fourteen years. How he occupied himself at this stage is not known, nor is it clear whether he could rely on the sale of works for a livelihood. Works by him - generally showing north-country landscapes - were exhibited at the Royal Academy and British Institution. Clearly he gained some reputation on the metropolitan artistic scene, as his landscape paintings were commented upon enthusiastically by J.M.W. Turner, David Roberts and John Ruskin.
Much concerning Blacklock's career, and especially the question of his contact with other artists, is a matter of speculation. His name is largely absent from the diaries, correspondence and memoirs of the Pre-Raphaelite circle, the members of which were in any case much younger than him, but Blacklock would certainly have seen early works exhibited by members of the group and their associates. We know that he was in contact with William Bell Scott, headmaster of the Government School of Design in Newcastle, and who was in turn a close friend of Dante Gabriel Rossetti. It was almost certainly by Scott's introduction or recommendation that Blacklock built up a circle of patrons in the North East. Scott and Rossetti may have hoped to meet Blacklock on the occasion of a walking tour they made together from Newcastle to Carlisle in June 1853. Scott, who like Rossetti was a poet as well as a painter, seems to have recorded a vain attempt to visit the painter in a poem entitled 'An Artist's Birthplace', published in 1854. The verse describes the arrival of two men at the cottage home of a painter who may clearly be recognised as Blacklock:

A fit place for an artist to be reared;
Not a great Master whose vast unshared toils,
Add to the riches of the world, rebuild
God's house, and clothe with Prophets walls and roof,
Defending cities as a pastime - such
We have not! but the homelier heartier hand
That gives us English landscapes year by year.
There is his small ancestral home, so gay,
With rosery and green wicket. We last met
In London: I've heard since he had returned
Homeward less sound in health than when he reached
That athlete's theatre, well termed the grave
Of little reputations. Fresh again
Let's hope to find him.

The verse corroborates what sparse biographical information we have for the painter (and which derives principally from an article in the Glasgow Evening News, 25 July 1900, entitled 'An Artist's Career' and contributed by Edward Pennington presumably on the basis of information received from the artist's family, despite forty-two years having passed since his death): the painter had returned to Cumberland because his health was deteriorating, probably as a result of syphilis, but also - according to Scott's account - because of the professional frustrations and commercial pressures that went with trying to work as an artist in London. In 1850 Blacklock seems to have engaged in a last determined bout of activity as a landscape artist, perhaps fearing that he had not many years remaining to him and wanting to put together a group of works in which his particular artistic principles were to be defined. This small corpus - consisting of views in the Lakes and countryside around Cumwhitton, and all made in a period of about four years - serve as his lasting memorial. Paintings such as Devock Water (Abbott Hall, Kendal), of 1853, and Catsbells and Causey Pike (Tullie House Art Gallery, Carlisle), of 1854, represent timeless images of particular places which speak of the painter's love for the landscape that he was representing.
The present view is of the Langdale Pikes, seen beyond Blea Tarn, and therefore from a vantage-point looking towards the north west, and with the direction of afternoon light from behind the artist's left shoulder. A shoreline of purple heather and strewn boulders forms the foreground, with a brown-coated fisherman on the left side. E. Lynn Linton, in his book The Lake Country (1864), used an engraving of the same view by W.J. Linton to head his chapter 'Langdale and the Stake', describing in his text the mountains seen from this vantage-point at 'the back of Blea Tarn': 'the highest to the right is Harrison Stickle, that to the left Pike o' Stickle, and the long sweep to the right of Harrison Stickle is Pavey Ark, in the cup or lip of which lies Stickle Tarn'. Harriet Martineau in her 1855 Complete Guide to the English Lakes invoked the place as the scene of one of Wordsworth's Excursions to dwell upon the Solitary, and also described the remoteness of the location and the 'very rough road [that] scrambles up from Langdale, by Wall End, to the upland vale where the single farmhouse is, and the tarn'.
The atmospheric effect of the painting is beautifully observed, with the forms of the mountain partly suffused in shadow but with other areas brightly lit as cloud shadows sweep over, and with clefts and exposed rock faces recorded with painstaking attention. Blacklock's particular mastery in the treatment of mountain landscapes depended in great part on his understanding of the constantly fluctuating quality of light, and here especially the scale and structure of the distant ranges are given volumetric expression by the graduated fall of light. Thus the mountain range seems both massive and distant, but at the same times almost tangible and lending itself to close and detailed scrutiny. Martineau commented on a similar optical ambiguity whereby 'the Langdale Pikes, and their surrounding mountains seem, in some states of the atmosphere, to approach and overshadow the waters [of Windermere]; and in others to retire, and shroud themselves in cloud land'.
Blacklock did not work directly from the motif but instead drew landscape sketches in watercolour which later formed the basis of his studio compositions, or perhaps worked largely from memory. He may in addition have used photographs - probably daguerreotypes which in the 1850s were beginning to be made available by commercial photographers - to remind himself of the broad outlines of his chosen subjects (as may be suggested by the way he treats shadows in his paintings, which sometimes seems reminiscent of photographic images). He did not seek the kind of literal transcription of the forms of the landscape that artists influenced by Ruskin attempted in the period, but sought a quintessential representation of topographical type which might be recognised as a timeless record of a hallowed place, treated with an extraordinary intensity of vision. The Langdale Pikes seem to have had a particular hold on the artist's imagination, as he painted the range on a number of occasions and from different vantage-points. An earlier work showing Blea Tarn and the Langdale Pikes of 1852 is in the collection of a descendant of the artist, while a painting entitled Esthwaite Water and the Langdale Pikes (although in fact showing Elter Water) was commissioned by William Armstrong [later Lord Armstrong, the Newcastle industrialist and arms manufacturer whose house Cragside near Rothbury was built by the architect Richard Norman Shaw] in 1855.
Clearly the Lakeland landscape was enormously important to Blacklock. All his exhibited works were of northern settings, and we may be sure that even during the years that he spent in London he will have made frequent visits to Cumberland, and that he believed himself to have as his essential purpose the representation of a beloved North. Analogy may be made between Blacklock and other European artists who like him felt it was their mission to explore and describe a landscape setting which they had known from earliest childhood, feeling such close personal identity with those places as to amount to obsession. His near contemporary Gustave Courbet (1819-1877) never tired of painting landscape and country life subjects set in Ornans in the Jura Mountains of eastern France, and created an extraordinary and indelible imagery of that region. Likewise, Paul Cézanne (1839-1906) painted series of views of the Mont Sainte-Victoire in his native Provence so as to capture the essential identity of a topography that was to him living and imbued with vital and personal associations. These were all painters for whom the intimate knowledge and long contemplation of a specific locality was a vital requirement for an art to be vital and true, and who found themselves in the representation of places with which they had long association, as if the landscape forms, light and air, which were the object of their art, retained some kind of subliminal resonance of the pattern of their own lives.
Blacklock's last extraordinary surge of creativity was sadly short lived. By the time the present work was painted, he was seriously afflicted by symptoms of the disease that would kill him. In the first place, he suffered from an inflammation of the eyes that would in due course make him partially blind. In November 1855, having become increasingly erratic in his patterns of behaviour, he was placed in the Crichton Royal Mental Institution in Dumfries, and where he died on 12 March 1858 as a result of 'monomania of ambition and general paralysis'. Interestingly, the Crichton hospital, under the direction of Dr William Browne, had recently introduced therapies to attempt to aid their deranged inmates including drawing, as happened also at the Royal Bethlehem Hospital for the Insane in London during the time that Richard Dadd was incarcerated there, so Blacklock was able intermittently to continue at least to draw to the end of his life. A number of landscape sketches made at the Crichton are reproduced in Maureen Park's book Art in Madness - Dr W.A.F. Browne's Collection of Patient Art at Crichton Royal Institution, Dumfries, Dumfries, 2010.
The Langdale Pikes above Blea Tarn was painted for the artists' colourman Charles Roberson, probably to a commission and as a pendant to another work of 1854, The Miller's Homestead (private collection). Whatever professional difficulties Blacklock may have faced in the years that he lived in London, in the 1850s, after his return to Cumwhitton he began to find himself sought after by a small but discriminating circle of patrons. Roberson himself was a significant figure in the establishment of a progressive school of painting in the middle years of the century, because he supplied artists with a range of new and stronger pigments, often derived in their manufacture from industrial processes, and thus aided the move towards more brightly coloured works which was a characteristic of English painting in the period. A degree of rivalry seems to have come about between Blacklock's would-be patrons, chronicled in the letters that the artist wrote to the Gateshead metallurgist James Leathart (now held as part of the Leathart Papers, University of British Columbia). Roberson's two paintings are referred to in a letter to Leathart of 2 June 1854, 'one the same lake as I am going to do for Mr Armstrong - the other a Millers Homestead - the mill looking over a moor & distant hills they are for Mr Roberson the artists colourman'. In September 1855, just weeks before his final incarceration, Blacklock sent off the Lakeland views that he had made for Armstrong and Leathart, and in doing effectively concluded his professional career.
Blacklock is an important and intriguing figure who may be regarded both as a pivot between the early nineteenth-century landscape school and the achievements of Romanticism, and the earnest and obsessive innovations of the Pre-Raphaelite landscape school. Perhaps a vital factor in our understanding and appreciation of the particular character of Blacklock's art is his knowledge of historic schools of painting. Living in London in the late 1830s and 40s he would have had the opportunity to study the works in the National Gallery. It has been suggested that it was the unveiling of works long concealed under layers of discoloured varnish as a result of Charles Eastlake's cleaning programme of in the mid-1840s that prompted Blacklock to adopt brighter and more luminous colours. A further possibility is that he made a European tour at some point, seeing for himself works of the sixteenth and seventeenth centuries, and also perhaps making contact with working artists in France or Italy. Only the slightest indication survives of Blacklock's interest in the work of the Old Masters - in a letter to Leathart of 20 September 1854 he looks forward to hearing about the works of art that the latter had seen in the course of a Continental tour. Nonetheless, broad stylistic analogies may be drawn between the landscape paintings of Blacklock and those of other British artists who had visited Europe in their formative years. William Dyce, for example, who had visited Italy in 1825-26 and there made contact with the German Nazarene painters in Rome. Something of the clarity of light and simplicity of expression, along with a particular feeling for colour effects which are peaceful and never strident, that characterises Dyce's pure landscapes, is also infused into the less well known works of Blacklock, and may perhaps likewise be indebted to a knowledge of European schools of painting.

Provenance:
Charles Roberson, London
Private collection

Exhibited:
Grasmere, The Wordsworth Trust, Dove Cottage, 2003-9

Christopher Newall

Sold for £29000

Ron Green, a watercolour, "Crummock". 7 ins x 12.5 ins, framed and signed.

Sold for £125

Ron Green, a watercolour, "Across the Summer Isles" (towards Antallach Wester Ross). 8.5 ins x 12 ins, framed, signed.

Sold for £100

Ron Green, a watercolour, "Low Swinside". 9.75 ins x 14 ins, signed.

Sold for £150

Ron Green, a watercolour, "The Summer Isles from Achnahaird". 9 ins x 11 ins, signed, framed.

Sold for £10

Len Roope, a watercolour, "Carrick Fergus Castle Morning". 9.5 ins x 12.5 ins (see illustration).

Sold for £450

Len Roope, a watercolour, "Dolbadern Castle, North Wales". 10 ins x 13 ins, framed, signed (see illustration).

Sold for £90

Peter A. Skillen, a pastel, a salmon taking a fly. 22 ins x 29 ins, framed, signed (see illustration).

Not Sold

Richard McDonald (20th century British), a watercolour, Irish landscape with dog. 20 ins x 29 ins, framed, signed and dated 1980 (see illustration).

Sold for £300

Jane Soeder (20th century British), an oil painting on board, red and white poppies. 19.5 ins x 23.5 ins, framed, signed, originally purchased 1990 (see illustration).

Not Sold

Jane Soeder (20th century British), an oil painting on canvas, poppies. 23.5 ins x 35.5 ins, framed, signed, originally purchased 1990 (see illustration).

Not Sold

Sheila Arnot (20th century British), an oil painting on canvas, poppies. 24.5 ins x 28.5 ins, signed (see illustration).

Not Sold

Patricia Saddler (20th century British), a watercolour, "Summers Day, Berwickshire". 11.5 ins x 13 ins, signed and dated 1992 (see illustration).

Sold for £210

Patricia Saddler (20th century British), a watercolour, peony roses. 13 ins x 14.5 ins, signed and dated 1990 (see illustration).

Not Sold

Patricia Saddler (20th century British), a watercolour, vase of poppies. 11 ins x 12.75 ins, signed and dated 1992 (see illustration).

Sold for £130

Caroline Bailey (20th century British), a watercolour, larkspur. 30 ins x 23.5 ins, framed, signed (see illustration).

Sold for £260

Caroline Bailey (20th century British), a watercolour, gladioli by the window. 30 ins x 23 ins, signed and dated 1992 (see illustration).

Sold for £180

Caroline Bailey (20th century British), a watercolour, primulas. 13 ins x 11 ins, framed, signed (see illustration).

Sold for £120

R.F. Perling, a porcelain plaque depicting stag being attacked by dogs in waterfall, after Landseer. 20 cms x 24 cms, signed, framed (see illustration).

Sold for £130

D. Wakley (19th century), an oil painting on canvas, still life, nest and eggs. 17 ins x 21 ins, framed, signed.

Sold for £210

A framed collection of photographs knitting sticks, a collection of fifteen photographic images from the collection of the Late J. Charles Barty Smith 1925.

Not Sold

Othello Denwood, a pair of watercolours, "Derwentwater" and companion, each 6.5 ins x 9.5 ins, signed and dated 1923, together with another similar.

Sold for £55

J.W. Oddie, a watercolour, "Borrowdale". 9.75 ins x 13 ins, signed.

Sold for £28

C. Dodds, an oil painting on canvas, "Derwentwater 1904". 10 ins x 17 ins, framed, signed.

Sold for £20

Elsie Margaret Stones (1920- ), Australian, a watercolour, botanical study. 9 ins x 6 ins, framed, signed, dated verso 1961.

Not Sold

J. Barnes RCA, a watercolour, "Rydal Water". 10 ins x 14 ins, framed, signed.

Not Sold

W. Hodgson (19th century English School), a pair of oil paintings on canvas, "Grange in Borrowdale" and "Derwentwater". 8.75 ins x 15.5 ins, signed and dated 1876 (see illustration).

Sold for £700

A Japanese print on silk, hand coloured depicting a female figure lighting incense. 22 ins x 8 ins, framed.

Sold for £50

Sally Anne Lambert, a watercolour, "Elephant on a Scooter". 22 ins x 18 ins, signed, framed and dated 1992.

Sold for £80

David Gilbert, a silk screen print, "Umbrella". 11.5 ins x 14 ins, framed, signed with initials.

Not Sold

Ian Gardener, a limited edition print, "Shoot", 42/50. 8 ins x 7 ins, mounted, signed and dated 1974.

Sold for £60

I. Thearle, an oil painting on canvas, "Far Away". 19.5 ins x 15 ins, framed, signed.

Sold for £110

Len Roope, a watercolour, "Old Cockermouth". 8.25 ins x 11.5 ins, framed, signed and dated 1975 (see illustration).

Sold for £500

Len Roope, a watercolour, "Parsonage Farm, Brigham". 8.75 ins x 12.5 ins, framed, signed and dated 1977 (see illustration).

Sold for £200

An oil painting on canvas, portrait of a gentleman, feigned oval. 29.5 ins x 24 ins, in gilt frame.

Sold for £260

Edward Horace Thompson (1879-1949), a watercolour, lace scene. 10 ins x 14 ins, framed, signed.

Sold for £500

An oil painting on canvas, portrait of a gentleman, feigned oval. 29 ins x 24 ins, in gilt frame.

Sold for £300

A 19th century watercolour, profile full length portrait of an officer of the 95th Regiment. 12 ins x 8 ins, in maple frame, bearing label verso "Crimea 1854 95th Regiment" (see illustration).

Sold for £240

After C.B. Newhouse, a pair of 19th century engravings, "A False Alarm on The Road to Gretna" and "One Mile from Gretna". Each 12.5 ins x 16 ins, in maple frames.

Sold for £90

After J. Pollard, a 19th century engraving, "Quicksilver Royal Mail". 15.5 ins x 18 ins, in maple frame.

Sold for £50

After J. Sturgess, a 19th century coloured engraving, "Rounding The Bend". 22 ins x 32 ins, framed.

Sold for £40

A 19th century coloured engraving, "The Royal Mail Coming Downhill". 7 ins x 10.5 ins, London published March 1837.

Not Sold

A 19th century coloured engraving, "The Dancing Lesson", 1822, published G. Humphrey, St. James Street, London. 5.5 ins x 7 ins, framed.

Not Sold

An Anglo-Indian hardwood necessaire, inlaid with bone and with fitted interior and raised on short turned feet. Width 12.5 ins.

Sold for £95

A Victorian Ottoman, rectangular, with foliate patterned top and hessian type material to sides, with moulding below raised on short feet. Width 26 ins.

Not Sold

A large Victorian mahogany barometer, by Chadburn Brothers, Opticians, Sheffield, Opticians & Instrument Makers to H.R.H. Prince Albert, with mercury thermometer, 10 inch dial and applied scrolling foliate mouldings to case. Height 47.5 ins (see illustration).

Sold for £300

A good Victorian twin-weight Vienna regulator wall clock, in walnut and ebonised case, with broken triangular pediment above the glazed door enclosing the 7.25 inch enamelled dial with Roman numerals and two-train movement with subsidiary seconds dial. height 50 ins (see illustration).

Sold for £580

A late 19th century clock garniture, the clock with architectural case in pink and amber, with ceramic dial with single-train movement flanked by a series of columns and with conforming vases. Clock height 13 ins, vase height 11 ins (see illustration).

Sold for £120

A late Victorian wall clock, with circular dial painted with Roman numerals with single-train clockwork movement, glass lenticle beneath. Width 11 ins.

Sold for £70

A 19th century French ormolu mantle clock by Dussaults, Passage Choiseul number 15, Paris, the elaborate case decorated with neo-classical urns, human and goats masks, ribbon bows, foliate swags and laurel festoons, the two-train striking movement by Japy Freres Et Cie, circa 1855, having a white enamelled dial with Arabic and Roman numerals. 39 cms x 47 cms high (see illustration)

Sold for £700

A Vienna style regulator wall clock, of typical form with detachable pediment and enamelled dial with two-train movement.

Sold for £100

A Regency style mirror, with eagle mount to circular mirror with applied metal balls and ebonised slip. Diameter 21 ins.

Sold for £95

A Japanese tortoiseshell miniature cabinet, painted with birds and foliage, with metal mounts. Width 7 ins (see illustration).

Sold for £150

A 19th century tortoiseshell veneered work box, rectangular, with well fitted interior. Width 12 ins (see illustration).

Sold for £340

A 19th century brass clock garniture, French, in the classical style with applied ceramic numerals to the circular dial, with two-train striking movement. Height 18 ins.

Sold for £280

A pair of Girandole mirrors, last quarter 20th century, with scroll and ribbon mounts to oval mirrors and with two branch candelabra to base. Height 49 ins.

Sold for £170

A gilt framed mirror, with foliate and scroll frame to rectangular mirror. Height 49 ins, width 26 ins.

Sold for £150

A late Victorian brass magazine rack, with five divisions, with oak base and raised on three brass legs terminating in ball feet.

Not Sold

An oak mantle clock, with domed hood above a glazed door enclosing the silvered brass dial with strike and silent to arch, with three-train movement by Gustav Becker Gold Medal, flanked by fluted columns and with stepped base. Width 13.5 ins.

Sold for £335

A Victorian walnut jewellery casket, with glass top and fall front opening to a fitted interior and drawer. Width 11.5 ins.

Sold for £240

A Regency tortoiseshell tea caddy, of octagonal bombe form, with two lidded compartments and raised on four ivory ball feet. Height 17 cm, width 17 cm (see illustration).

Sold for £1000

A late Victorian oak smokers cabinet, with shelf above a pair of glazed doors with bevelled glass opening to an interior fitted with a tobacco jar and series of drawers for accessories. Width 16.5 ins.

Not Sold

A mahogany wall mounting shelf unit, the four open shelves with fretwork sides and single drawer beneath with brass drop handles. Width 16 ins.

Sold for £140

A William IV rosewood bracket clock by Whitehead Market Harboro, the arched case with applied foliate and scroll carved mouldings, with glazed door enclosing the 7.5 inch white painted dial with Roman numerals and two-train fusee movement with repeat mechanism striking on a bell. Width 14.5 ins, height 17.5 ins (see illustration).

Sold for £1250

A Victorian walnut veneered safe form smokers cabinet, the pair of panelled doors modelled as a safe with brass furniture and enclosing a fitted interior. Width 12 ins (see illustration).

Not Sold

A French bronze and champleve enamel clock garniture, with two-train Japy Freres movement. Height 34.5 cms, width 18 cms.

Not Sold

A George III tortoiseshell tea caddy, of rectangular form, with silver coloured lock escutcheon and raised on short ivory ball feet. Width 7.5 ins (see illustration).

Sold for £800

A French ormolu and porcelain mantle clock, with cherub and basket of flowers seated above the clock case, with blue Sevres style porcelain dial marked "Leroy & Fils, 13-15 Palais Royal, Paris and Regent Street, London", with two-train movement striking on a bell and raised on a gilt wooden base. Height 18 ins, width 13 ins (see illustration).

Not Sold

A 19th century French ormolu timepiece, with Cupid mount to rococo body, the glazed door enclosing the 5 inch enamelled dial with two-train movement stamped "Medaille de Bronze". Height 19 ins, width 11 ins.

Not Sold

A brass framed mirror, in the style of Glasgow or Keswick School style, repousse with Cupid at a forge making arrows with rectangular mirror beneath. Width 17 ins, height 37.5 ins.

Not Sold

A brass framed mirror, in the Glasgow or Keswick School style, the circular frame repousse with sunflowers and with bevelled glass mirror to centre. Diameter 23.5 ins.

Not Sold

A Seth Thomas American wall clock, weight driven, with a square painted dial, two-train movement and glazed door below a portion painted with a floral spray, flanked on either side by half round pillars. Width 15 ins.

Sold for £40

A pair of Regency ebonised corner shelves, mirrored and galleried. Width 15 ins.

Sold for £90

An Art Deco sunburst wall clock, by Elliott London, with silvered dial and single-train movement to giltwood sunburst frame. Length 18.5 ins.

Not Sold

A Victorian butlers tray, with stand, the rectangular tray with carrying recess to either side and with folding stand beneath.

Sold for £80

A William IV Anglo-Indian padouk wood teapoy, of sarcophagus form, with lobed lid hinging to interior with three compartments, two lidded, raised on an inverted tapering square stem with foliate carved and lobed column, with quatreform base raised on scroll feet. Width 18 ins (see illustration).

Not Sold

A large 19th century brass bound writing slope, with well fitted interior. Length 24 ins.

Not Sold

A miniature pine painted chest of six drawers, 19th century. Width 11 ins.

Sold for £80

An Art Deco onyx and marble mantle clock, of architectural form with applied brass dial with Arabic numerals. Width 21 ins.

Sold for £50

A 19th century gilt framed mirror, with well moulded frame to rectangular mirror with gilt slip. 25 ins x 32 ins.

Not Sold

A late Victorian walnut cased wall clock.

Sold for £75

A late 19th/early 20th century Japanese parquetry and lacquered tea caddy, the rectangular casket hinging to an interior lacquered with an image of Mount Fuji, with two lidded compartments beneath. Width 9.5 ins.

Sold for £35

A George III mahogany apothecary's cabinet, of rectangular form with hinged lid opening to fourteen original bottles with stoppers, fitted with a frieze drawer enclosing scales and weights. Width 7 ins (see illustration)

Sold for £520

A mahogany tea caddy.

Not Sold

A pair of giltwood brackets, with floral and bird mounts and each with hand painted oil still life flowers. Width 16 ins.

Sold for £130

An oak "The Monoplane" cake stand, of propeller form, bearing plaque.

Sold for £25

A 19th century mahogany Chippendale style fretwork wall mirror, with gilt slip. Height 26 ins.

Sold for £10

A walnut veneered and floral painted mirror, in the Queen Anne style, circa 1930.

Sold for £80

An early 20th century walnut framed mirror, in the Queen Anne style, with fretwork pediment and gilt shell to shaped moulded frame. Height 31 ins, width 18.5 ins.

Sold for £20

An Edwardian combined workbox and coal receiver, inlaid with bats wing medallions and being crossbanded in satinwood, with boxwood and ebony stringing. Width 18 ins.

Sold for £80

An Indian hardwood occasional table, the circular dished beaded top supported by an elephant base. Diameter 16 ins.

Sold for £130

A Treen beehive money box, with turned finial, coin aperture and circular base raised on three short turned feet. Diameter 9 ins (see illustration).

Sold for £140

A late Victorian slate mantle clock by Alexander & Son Glasgow, with architectural case with classical frieze flanked on either side by a dome with column supports and raised on a stepped base. Width 14 ins.

Sold for £65

A Victorian giltwood and gesso overmantle mirror, in the rococo manner and raised on a stepped mahogany base. Height 44 ins, length 90 ins (see illustration).

Not Sold

A George III mahogany angle barometer, with boxwood and ebony strung moulded edge to the signpost, with silvered brass plate from 28-31 inscribed "John Caven Fecit Aiskew", with exposed tube and turned half round cistern cover. Height 33 ins, length 22 ins (see illustration).

Sold for £3400

A William IV/early Victorian bracket clock by Bryer Barbican London, with arched silvered brass dial with advance and retard subsidiary dial, chime and silent to arch, with Roman numerals and three-train fusee movement striking on 8 bells and a gong inscribed "Bryer Barbican, London ", in ebonised case being brass strung also inlaid with foliate scrolling brasswork and with canted angles and raised on four short brass feet. Width 14.75 ins, height 24 ins (see illustration).

Sold for £1100

An Edwardian mahogany kidney shaped tray, with oval shell medallion to centre, with brass carrying handle to either side. Width 23 ins.

Sold for £25

A set of two carver arm and six single Regency mahogany brass strung dining chairs, each with a bowed top rail with stylised incised decoration, with shaped stiles and rope twist back rails, with stuff over seats upholstered in a striped material, moulded front rail and raised on turned legs (see illustration).

Sold for £1450

A George III wing easy chair, with serpentine back and shaped wings, with rounded arms and upholstered seat, raised on moulded legs of square tapering section terminating in brass capped brass castors (see illustration).

Sold for £1250