We found 14769 price guide item(s) matching your search

Carole MCDOWALL (1944) Anima Mundi Oil on canvas, signed and titled verso, 107cm x 112cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.

Carole MCDOWALL (1944) Carver's Path Oil on canvas, signed and titled verso, 153cm x 160cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.

Carole MCDOWALL (1944) Susurris Oil and mixed media on canvas, signed and titled verso, dated '98/99, 148cm x 153cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.The frame shows previous signs of worm and would benefit from being treated. The canvas is fragile in areas affected by this.

Carole MCDOWALL (1944) Sancreed No.3 Oil on canvas, signed, titled and dated '92 verso, 138cm x 147cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.

Carole MCDOWALL (1944) Traces II Acrylic on canvas and paper, signed and titled verso, 140cm x 140cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.

Carole MCDOWALL (1944) Unnamed Collage Mixed media and oil on canvas, signed and titled, Royal West of England Academy label verso, 153cm x 160cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.

Carole MCDOWALL (1944) Dark Ambition Mixed media on canvas, signed and titled verso, 133cm x 110cm framed. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.

Carole MCDOWALL (1944) Madron II Acrylic on canvas, signed and titled verso, 140cm x 166cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.

Carole MCDOWALL (1944) Sancreed No 1 (Blue) Oil on canvas, signed, titled and dated '92 verso, 139.5cm x 169cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.

Carole MCDOWALL (1944) Madron Oil on canvas, signed and titled verso, 166cm x 140cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.

An Austin Reed  black Hamberg, cardboard hat box;   a grey felt tophat; Handbags - Waldybag, Maclaren, Zebra, Vanity Fair, Corde;  hats; Textiles - linen and lace table clothes, doylees;   various fabric; mink stole;  others;  fur collars; mid 20th century ladies gloves;   a Victorian lace  centrepiece with eight conforming place mats and six smaller; a Rodex coat in green tweed; Beales of Bournemouth 1970's suede jacket, size 40; a very large pure wool hooded cape; House of Fraser velvet two-piece;   etc

* JAMES MCINTOSH PATRICK OBE RSA ROI (SCOTTISH 1907 - 1998), DRONLEY ROAD NEAR DRONLEY BRIDGE (BELOW BIRKHILL) watercolour on paper, signed, titled and dated 1991 label versomounted, framed and under glassimage size 36cm x 57cm, overall size 66cm x 86cmNote: After the war, Patrick returned to Dundee with his wife and family and began painting outdoors rather than in the studio which he had upstairs in his house. By the 1950's he had perfected his style and technique in outdoor landscape painting and began recording his beloved Angus countryside on canvas, working in all seasons and all weather conditions. His style was traditional and he didn't have much time for ''contemporary'' interpretations of landscape. ''The Tay Bridge from My Studio Window'', painted in 1947, is probably the best known of Patrick's works and illustrates the detailed style which he had finally decided upon as suiting his temperament best. He was elected a full member of the Royal Scottish Academy in 1957. His reputation grew throughout the sixties and seventies and by the early eighties, he was a giant in the Scottish art world. James McIntosh Patrick was an exemplar in his life and work and imparted his knowledge freely. He was, without doubt, the most able landscape painter that Scotland has produced in the 20th century and stands on equal terms with most of Europe's best landscape painters of that era. Sixty of his pictures are held in UK public collections at many of the finest museums and galleries in the UK.

ANDY WARHOL (1928-1987), Attribué à. Corice ARMAN, circa1979. Lithographie offset sur papier. Signé de la main de l’artiste à droite au milieu. Editeur inconnu. 26,67 x 22,86 cm la planche. 18 x 18 cm le sujet. Vendu encadré. Certificat d'authenticité. Offset lithography on paper. Signed by Andy WARHOL, black ink signature. Full sheet 10.5 x 9 inches. Colored print 7 x 7 inches. Bibliographie: "Portrait of the 70's", The Whitney Museum -Random House ed., Janvier 1979.

BOOKS: A collection of assorted farming related periodicals, including Scottish Farmer from the 1930's and similar (a lot) The Alastair & Sheila Brooks Collection: of Oaklands (& past owners of Ednam House Hotel), Kelso 

A 1950's stool with red vinyl seat on spring support, 64 x 35 cm.  The Alastair & Sheila Brooks Collection: of Oaklands (& past owners of Ednam House Hotel), Kelso  Please note one of the springs is broken. 

Naipaul (V. S.) A House for Mr. Biswas, first edition, publisher's review slip loosely inserted, some very light spotting to endpapers, original cloth, slight bumping to spine tips and corners, dust-jacket, spine ends and corners chipped, a few short nicks and tears with creasing to head and foot, extremities rubbed, ligth surface soiling to lower panel, 8vo, 1961.*** Naipaul's post-colonial novel which received world-wide acclaim and remains his most loved work. Scarce in such bright and unrestored condition. 

AN INTERESTING SILVER MOUNTED SHEEP'S HORN POCKET SNUFF BOX NEW ZEALAND, DATED 1864 With Inscription in Māori 'Pakeha Day Kote Pai A Rewi New Zealand 1864' Translating as 'A Gift To You On Whitemans Day From Rewi New Zealand 1864' 1.5cm high, 5.5cm wide, 3.5cm deep Provenance: Ex Private New Zealand collection Acquired from Gerald Satin London 1960's who purchased it from the descendants of the British Military Commander Lieutenant-General Duncan Cameron Commander of Imperial Forces in New Zealand. Rewi Manga Maniapoto (1807 - 1894) was a principal Ngati Maniapoto chief who led rebel 'Kingitanga' forces during the New Zealand government invasion of Waikato in the New Zealand wars. The famous defeat in a hilltop peach grove at Orakau, known as 'Rewi's last stand' in April 1864 brought the Waikato War to an end and was immortalised in Rudall Hayward's 1925 silent film, remade as a talkie in 1940, 'Orakau'. Although the Māori led by chief Rewi lost the battle they are still remembered for their courage and their refusal to surrender. From March 31st to April 2nd the battle raged for three days between British troops and the Māori warriors. On the last day almost out of food, water and ammunition the Māori defenders of Orakau were of-fered a last chance to surrender. This demand was met with a now famous reply, 'E Hoa Ka Whai Whai Tonu Mātou Ake! Ake! Ake!' 'Friend we will fight on forever! Forever! Forever!' Many attribute these words to Rewi, but others believe they were uttered by Hauraki Tonganui, a Taupo Māori chief. However, their intent was clear and the phrase helped create the impression that Orakau was a historic last stand for the Māori. This was the decisive victory that Lieutenant-General Cameron had sought, and presumably Rewi knew this and it was one of the reasons for his presentation of this horn snuff box to Cameron. Twenty years after the war the New Zealand state restored to Rewi a measure of his 'mana' by building him a government house on a plot of land close to the site of his destroyed council 'whare' which he called 'Hui Te Rangiora'. It is here, in the soil for which he fought, that his bones lie buried, a sacred shrine to Māori patriotism in the heart of a Pakeha village. Condition Report: Slight dryness to surface that natural oils may remedy- natural shrinkage faults to organic material including slight split to right hand side of lid and some wear around lid front edge. Over engineered hinge and clasps, faintly inscribed with name(?) to underside Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer

Henry Pether (British, 1800-1880), Crowley House on the Thames, signed l.r., titled on a plaque below, oil on canvas, 61 by 91.5cm, gilt frame. Provenance: Lot 149, Fine Victorian Pictures, Christie's, London, 14th March 1997; and with Fine Art of Oakham. Note: the view is eastward across the frontage of Crowley House, Greenwich, just east of the Trinity Hospital almshouses, which lie behind the river wall on the right. They are now somewhat altered and the steps are no longer there. Greenwich Power Station (c.1906-1910) now stands on the site of Crowley House. Ballast Quay, to its east and roughly where the pitched roof building at the far end of the frontage stands was the related Crowley warehouse. Named after a seventeenth-century northern ironmaster and early owner of the house, it was demolished in the late 1850's. See Hastings Museum and Art Gallery for another version of this view by Pether.

* EMMA S DAVIS RSW PAI (SCOTTISH b. 1975), TABLETOP TEXTILES mixed media on board, signed, titled versoframed and under glassimage size 31cm x 31cm, overall size 55cm x 55cm Note: Emma Davis studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show. From the time of graduating she has been working full time as an artist. She has received many awards over the years including the House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she also became one of the youngest ever artists to receive the Paisley Art Institute Diploma.

* EMMA S DAVIS RSW PAI (SCOTTISH b. 1975), TWO BIRDS, TWO BEES mixed media on board, signed, titled versoframed and under glassimage size 31cm x 31cm, overall size 54cm x 54cm Note: Emma Davis studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show. From the time of graduating she has been working full time as an artist. She has received many awards over the years including the House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she also became one of the youngest ever artists to receive the Paisley Art Institute Diploma.

* EMMA S DAVIS RSW PAI (SCOTTISH b. 1975), FIELD OF LOVE oil on board, signed, titled label versomounted, framed and under glassimage size 23cm x 23cm , overall size 49cm x 49cm Note: Emma Davis studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show. From the time of graduating she has been working full time as an artist. She has received many awards over the years including the House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she also became one of the youngest ever artists to receive the Paisley Art Institute Diploma.

A collection of 6 assorted dolls house dolls and miniature jointed bisque dolls including a mulatto bisque dolls house doll, 2½" (6cm) high and a bisque jointed doll with miniature fan, come and mirror etc. (6)

A bisque dolls house doll with painted features, white moulded socks and black shoes in faded costume and hat, 5" (12.5cm) high, a bisque dolls house doll with painted features on cloth body and dressed in a blue dress and cape, 3½" (9cm) high, a miniature all bisque doll in knitted outfit, 1¼" (3cm) high and a China pudding doll, 1" (2.5cm) high

Nine assorted dolls house dolls, two Grecon figures and one Peggy Nisbet doll

A China dolls house doll dressed as a boy, with yellow moulded hair, painted features, white moulded socks and black heeled boots, dressed in beige faded silk top, blue trousers and a red and blue waistcoat, 7" (17.5cm) high

A Victorian silhouette with gilt detail depicting a young girl holding a doll and a boy seated with a dog, glazed, gilt surround and in maple frame, picture size 8" (20.5cm) x 6" (15cm), together with a Victorian silhouette depicting one young girl with pull along horse and a young girl holding a cat with a pencilled house and garden background, glazed and in a maple frame, picture size 8" 20.5cm) x 6" (15cm) (P26)

A 19th Century Grodnerthal Pedlar doll, painted wood with black painted hair with curls on the face, held by a yellow comb, finely painted features, jointed body with red painted shoes, green cotton and silk dress, 9" (23cm) high, in decorative rectangular box, depicting a mother and two children in a garden setting with a peacock, top cracked, ink written message to inside lid Terregles House February 27 1860, Presented by Matilda Carter, To Elizabeth Fall, who is requested every time she opens this box lid to say a little prayer, for the diner, box size 11" (28cm)L, 6" (15cm)W, 2" (5cm)D

Four assorted dolls house dolls comprising one German bisque head doll, with blue sleeping eyes, open red mouth, painted feathered brows, blonde mohair wig with faded blue ribbon on composition body with painted shoes and socks 5" (12.5cm) high, once bisque head doll with blue fixed eyes, painted red mouth, feathered painted brows, blonde wig and on bisque jointed body, 4" (10cm) high, one bisque head doll dressed as a boy in blue spotted trousers, jacket and matching hat 5" (12.5cm) high and one parian doll with yellow moulded hair and dressed in a cream silk wedding gown with train, 5½" (14cm) high

Kenwood/Trio 'twins', including T-599S transmitter, R-599 receiver and an S-599 speaker (T-599S and R-599 both power up and are boxed). All electrical items in this lot have been PAT tested for safety and have passed. This does not confirm that the item is in full working order. Not available for in-house P&P

A box of assorted dolls house furniture to include 1920's etc.

Wada, Emi.: My Life in the Making. 2005. Kl.Fol. Mit zahlr. Abb., 272 S. Opbd. in Stoff gehüllt. Emi Wada war eine renommierte japanische Kostümbildnerin. Ihre Arbeiten sind in den Filmen wie Peter Greenaways Film Prospero's Books und Zhang Yimous Film House of Flying Daggers zu sehen.

Cinderella doll with sleeping eyes in a floral basket. Not available for in-house P&P

Ferdinand Pautrot (French, 1832-1874), a seated pointer with hare, patinated bronze, bearing signature to base 'F. Pautrot',20cm wide 31cm deep46.5cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

A pair of Louis XV-style ormolu wall lights, 19th century, each with three scrolling foliate branches, 52cm wide 64cm high (2)Provenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

After Isidore-Jules Bonheur, a charging bull, patinated bronze, on a naturalistic base inscribed 'BONHEUR',52cm wide18cm deep 31cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportGood condition overall, no large dents/cracks. Some light rubbing and surface scratches commensurate with age.

A pair of terracotta garden urns, each of campana form with relief decoration,41cm diameter 62cm high (2)Provenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

A red-lacquered wooden cabinet, 19th century, Chinese, fitted with two cupboard doors and raised on style feet, the whole decorated with gilt chinoiserie decoration, 94cm wide 46cm deep 110cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

A Persian tribal wool runner, 20th century, the indigo and ivory fields with six central diamond medallions, surrounded by further medallions and flower head motifs within a triple border, 505 x 178cmProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

A pair of chestnut benches, 19th century, French, each of joined construction with a plank top raised on stile supports, 169cm wide17cm deep48cm high (2)Provenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

A George II mahogany side table, 18th century and later, Irish, the grey marble top inset with a Florentine pietra dura panel of a bird on a branch, above a shell-carved apron and cabriole supports, terminating in ball and claw feet, 81.5cm wide 58.5cm deep 68cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportSome historic breaks and repairs to the marble top. The pietra dura panel possibly later inset. General light surface wear and scratches to top. The base with several later elements, including much or all of the apron. Splice repairs to legs. General knocks and wear. The table is sturdy, structurally sound and appears in good cosmetic condition in its current restored state. Ready for use.

A late Victorian walnut stool by Howard & Sons, c.1890, the deep, buttoned, brown leather seat, raised on bulbous turned supports terminating in brass caps and castors, stamped beneath with remnants of a paper label to the stretcher, 142cm wide 68cm deep 31cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportThe leather is replaced, with a few light marks, scuffs and scrapes, but free from tears. Some knocks to supports, general tarnish and discolouration to castors. Castors wheel freely. Joints sound and solid. Overall appears in good order and ready for use. Please see additional photos.

A pair of Knole sofas, 20th century, each upholstered in red velvet, with studded details and fringing, with giltwood finials, 199cm wide 91cm deep 87cm high (2)Provenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportLight wear and dust to upholstery, which is free from large tears, marks or stains. A few tiny knocks to gilt finials. No studs lacking. Joints sound and solid. Very minor fraying to fringe. Castors wheel freely. Springs and cushions good. Overall appear in good order and ready to use.

A pair of George III mahogany chests on chests, c.1770, each fitted with two short over five long drawers, with canted corners and brushing slides to the sides, raised on bracket feet, 98cm wide 63.5cm deep 166cm high (2)Provenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

A wool runner, 20th century, Caucasian, the indigo and ivory fields with repeating stylised flower head decoration within a triple border, 510 x 158cmProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

An imitation rosso antico scagliola column, 19th century, of cylindrical form and raised on an ebonised stepped base,35cm diameter113cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportPlease note diameter should read 35cm. The majority of the chips, knocks and surface wear are simulated. Otherwise minor surface wear and light scratches. Some light wear to base.

A George III-style mahogany settee, early 20th century, with a camel back and twin-cushioned seat, upholstered in green fabric, on cabriole feet, 207.5cm wide 95cm deep 92cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

A pair of marble Medici lions, 19th century, each typically modelled and raised on a rectangular base, 53cm wide19cm deep 40cm high (2)Provenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportOne with large break to one corner.

A pair of Louis XIV-style giltwood console tables, late 19th century, French, each with a porphyry top above a gadrooned frieze, raised on square tapering supports united by a scroll stretcher with urn centre, 94cm wide 39.5cm deep 79cm high (2)Provenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportA few small chips to edges and corners of tops. Some tiny areas of repair and infill. Some chips, knocks and losses to gilding. Joints sound and solid, and the pair are in usable order. Please see additional photos.

A large reconstituted stone garden urn, the flared neck with a basket weave rim, over a similarly decorated body,101cm diameter60cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

A pair of maiolica table lamps, 20th century, in chinoiserie style, each with a white ground painted with bamboo and cranes, the base with a 'TS' painted monogram and dated '1987',50cm diameter 55cm high including shade (2)Provenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportGood condition overall. Some crazing. One with chip to foot - see images. Lamps at widest point 20cm, base of lamp 10cm, shades 50cm diameter, height without shades 40cm.

A walnut liqueur box, 19th century, Belgian, inlaid with mother-of-pearl, the hinged top revealing a fitted interior comprising a suite of glasses and decanters, 35cm wide 26cm deep 28cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

A William and Mary walnut chest of drawers, late 17th century and later, the crossbanded top above two short and two long drawers, raised on bun feet, fitted with brass carrying handles to either side, 94cm wide 56.5cm deep 79.5cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportSome splits to the top, with some cracks, chips, losses and repairs to the veneer. Left hand piece of moulding a little loose. Split to each side. Some breaks, repairs and small replacements to mouldings. Feet later, indicating that there may be further cosmetic and light structural alterations. Backboards replaced. General wear and splits to drawer interiors. Drawers run smoothly. Joints sound and solid. Handles and locks replaced, with some drawer pulls lacking. Seemingly free of woodworm damage. Perfectly usable in its current condition. Please see additional photos.

A carved and painted armorial crest, early 18th century, depicting a carved and giltwood helmet above a shield, flanked by acanthus leaves, 43cm wide11cm deep 54cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

An export black-lacquered chinoiserie tripod table, 19th century, Chinese, the circular top with central decoration of figures around a temple, with a birdcage action and tripod base, 60cm diameter 77cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

A Directoire mahogany and brass guéridon, c.1800, French, the inset marble top on a central column and tripod base, 74cm wide 87cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportOverall the table is in good condition and ready for use. Some light surface marks and scratches to the top. Slight movement between top and support, with some splits underneath but appears stable. Metal componenets with some light dents/marks. Some small veneer splits. Signs of strengthening underneath. Please see additional images for reference.

A Kazak wool rug, 20th century, Caucasian, the indigo fields with repeating geometric motifs within a triple border, 330 x 159cmProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

A Victorian buttoned leather chesterfield sofa, c.1890, raised on ring-turned oak supports, terminating in caps and castors, 187cm wide 90cm deep 77cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportLeather upholstery is later, with a few losses to buttons, as well as light wear and a few small scuffs. Appears horsehair filled. General knocks and small losses to supports. Some wear and abrasions to ceramic castors. Joints sound and solid and springs sound. One or two protrusions visible through hessian base. Overall appears in fairly good order and is usable. Please see additional photos.

A Persian tribal wool runner, early 20th century, the indigo and ivory fields with a triple-medallioned centre, enclosed by flowers within a triple border, 394 x 151cmProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.

A George II oak dresser, second quarter of the 18th century, the moulded rectangular top above three frieze drawers on cabriole supports, 212cm wide 45cm deep 80cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportSeparation to planks at top. One side panel a little loose. Some splits & knocks. Evidence of repair, strengthening and replacement, with front legs likely later. Handles later. Drawers run smoothly. General wear to drawer interiors. Joints sound and solid. Overall appears in good structural and cosmetic condition and is ready for use.

A pair of George II walnut side chairs, c.1730, each vase-shaped splat above a drop-in seat, raised on cabriole supports united by stretchers, 100cm high 51cm wide 44cm deep (2)Provenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportGeneral knocks and wear. Some fairly minor cracks, breaks and repairs. Some re-polishing. Joints sound and solid. Silk seat covering later. Generally appear in fair order.