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Lot 297
A selection of hardback books, primarily relating to local and natural history, titles including: Grace Darling: The Heroine of the Farne Isles, by Eva Hope; Canny Newcastle, by Paul J. Brown; Highways and Byways in Northumbria, by F. A. Graham; The Northumbrian Saints, by Elizabeth Grierson; The Romance of Northumberland, by A. G. Bradley; The Charm of Birds, by Viscount Grey of Fallodon; and other titles, contained across two boxes.
Lot 333
A selection of hardback and other books, primarily relating to the publication and collecting of books and bookplates, titles including: An Inquiry into the Nature of Certain Roman Nineteenth Century Pamphlets, by John Carter and Graham Pollard; Westminster and London Printers, 1476-1535, by E. G. Duff; Joseph Crawhall, 1821 to 1896, by Charles F. Felver; Bookplates by Beilby & Bewick, by Nigel Tattersfield; The Book Trade in Northumberland and Durham to 1860, by C. J. Hunt; A Reference Catalogue of Books Relating to the Counties of Northumberland and Durham, compiled by Henry Thompson, rebound; A Bibliography of Book-Plate Literature, by Winward Prescott; Early Printed Book Labels: A Catalogue of Dated Personal Labels and Gift Labels Printed In Britain In The Year 1760, by Brian North Lee; and other titles, one box.
Lot 339
Kirkup (James), Scenes from Sutcliffe: Twelve Mediations upon Photographs by Frank Meadow Sutcliffe, portfolio, in folder, Kyoto Editions, 1980; together with The Poacher's Progress, in eight plates by C. Blake, engraved by C. Turner, elephant folio, half morocco, Paul Harris Publishing, 1981; and Wood (John), Town Atlas of Northumberland and Durham, folio, cloth, Frank Graham, 1991, limited edition no. 240/400. (3)
Lot 279
Wood (John), Town Atlas of Northumberland and Durham, elephant folio, cloth, Frank Graham, 1991, limited edition no. 246/400; Plans, Elevations, and Sections of the Castle of Newcastle upon Tyne, volume V, imperial folio, half morocco, The Society of Antiquaries of London, 1817; Plan of the Town and County of Newcastle upon Tyne and the Borough of Gateshead with their Respective Suburbs from an Actual Survey by T. Oliver, engraved by W. H. Lizars, Edinburgh 1830, on canvas, 134 x 103cms wide, with accompanying reference book, 1831, both contained in slipcase; Map of the County of Northumberland from an Actual Survey Made in the Years 1827 & 1828 by C. and J. Greenwood, Most Respectfully Dedicated to the Nobility, Clergy, and Gentry of the County by the Proprietors Greenwood & Co., London, 1828, made up of two maps (North and South), on canvas, in slipcase. (4)
Lot 197
Nine Period Fishing Books - Troutfishers Entomology 1930 Charles Wauton, Anglers' Knots in Gut & Nylon c1950 Stanley Barnes, The Salt Water Angler 1924 Leonard Hulit, The Fish Gate 1943 Michael Graham, Trout Fisherman's Saga 1959 Ieuan D Owen, Angling Ways 1948 E Marshall-Hardy, Life In Lakes and Rivers 1951 T T Macan & E B Worthington, The Enterprising Angler 1950 W A Adamson, Fishes Their Journey and Migrations 1933 Louis Roule, mixed condition, some missing dust jackets, marks, small additional writing
Lot 409
A lot of Hardy's mixed Catalogues and Ephemera to include a Fly Dressers Guide by John Veniard Shop display sign, Hardy's 1976 Catalogue, House of Hardy Fishing Tackle & Countrywear Catalogue 1986/87, Hardy Zane Grey Big Game Tackle 1983, a John H. Graham & Co headed letter to W. Metcalfe with a 1942 Yorkshire Fishery District Licence, a Hardy Bros. envelope, a Hardy Brothers 1919 New Workshop Regulations sheet, A Balanced Fly Fishing Outfit by J.L Hardy four page publication, a Hardy's Anglers Guide and Catalogue Export Only Price List, the Hardy Book of Flies, House of Hardy Mail Order Catalogue & Price List January 1983, House of hardy Fishing Tackle & Countrywear recommended retail price list 1986, House of Hardy Fishing Tackle & Countrywear Catalogue 1984/85
Lot 170
Millwards split cane course rod 10ft 9" 3pc, brass fittings, cloth bag. Unnamed split cane float rod 11ft 6" 3pc, alloy sliding reel fittings, stand off rings, butt/tip lined rings, cloth bag. Graham & Co Maker Inverness, split cane pike/carp rod, 9ft 2pc, 23" handle with brass fittings, red agate lined rings throughout, twist lock joint, cloth bag. (3)
Lot 185
Elegant porcelain figurine, part of the esteemed Connoisseur series. This finely sculpted piece captures the tender bond between a mare and her foal, rendered in a rich matte black finish. The detailing in the musculature and expressive posture reflects Beswick's dedication to realism and artistry, making this an exceptional piece for collectors of equestrian figurines. Issued under model numbers A2466 and 2536, this figurine stands on a wooden display base with a nameplate. It comes with its original green Beswick box, adding to its collectible value. A sought after addition to any Beswick collection, this figurine exemplifies the craftsmanship and lifelike beauty the brand is known for.Artist: Graham TongueIssued: Late 20th centuryDimensions: 8.25"HCountry of Origin: EnglandCondition: Age related wear.
Lot 182
Crafted in a satin-finish black glaze, this detailed sculpture captures the elegance and strength of the beloved mare and foal standing on a wooden base with a nameplate. Part of the esteemed Connoisseur Series, this piece was designed with lifelike precision, making it a prized addition for collectors and equestrian enthusiasts. Marked Beswick England. This item includes its original box.Artist: Graham TongueIssued: c. 1999 - 2002Dimensions: 8"HCountry of Origin: EnglandCondition: Age related wear.
Lot 149
Jazz EPs, approximately three hundred and fifty mainly Jazz EPs with artists including Charlie Parker, Urbie Green, Johnny Dankworth, Cannonball Adderley, Gerry Mulligan, Don Harper, Kenny Graham, Cat Anderson, Benny Green, Jelly Roll Morton, Modern Jazz Quartet, Bud Powell, King Oliver, Buddy Rich, Shorty Rogers, Bud Freeman, Mel Powell, Tyree Glenn, Andre Previn, Cleo Laine, Don Ewell, Erroll Garner, Victor Feldman, Allan Ganley and many more - various years and conditions
Lot 159
Demo / Promo 7" Singles, approximately seventy-five Demo and Promo singles, mainly from the 1970s and 1980s with artists including Prince, The Ladybirds, The Alarm, Nektar, Caravan, String Driven Thing, Eddie Floyd, Desmond Dekker, David Coverdale, The Broughtons, Graham Nash, The Police, Argent, Ayshea, Film Stars, Steve Harley, Billy Preston, Adam Ant, Cat Stevens, Russ Ballard, War, Nilsson, Chaser, Gordon Lightfoot, Donovan, Chicago, Universal Energy and more - various years and conditions
Lot 563
Wyandotte, Budgie - A mixed lot to include a Wyandotte (USA) (no makers mark) light up Saloon/Graham Coupe. A red pressed metal car body with headlights that light up via battery. (untested). Rooster comb design to front top of bonnet, rubber wheels (which are bent/cracked/perished). Approx 22 cm long. An unusual collectable. Also included are two boxed Budgie vehicles: A red railway engine and a British railways articulated container transport (the metal cab has split/broken) (This does not constitute a guarantee) [L]
Lot 621
Brooklin Models - a boxed 1:43 scale Brooklin diecast BML 09 1933 Graham Blue Streak M64 - 4-Door Sedan (Golden Tan). The model appears to be about mint, in foam and inner cardboard box, and outer cardboard box. The outer box appears to be in about excellent condition. The item has not been checked for completeness. (This does not constitute a guarantee.) [GM]
Lot 205
Autograph book. Music covering 1997/99/04/06/08, Clinton Gregory, Hank Cochran, Royal Wade Kimes, Jeff Carson, Joy Lynn White, David Ball, Trini Triggs, Beverly Ellis, Melba Montgomery, Lane Brody, Branda Lee, Stella Parton, Jody Miller, Claudia Church, Jon Randall, Victoria Shaw, The Whites, George Hamilton IV, Jack Greene, Jim and Jesse McReynolds, Kelly Willis, Danni Leigh, Radney Foster, Lee Roy Parnell, Freddy Weller, Jean Shepard, Jan Howard, T G Sheppard, Jim Ed Brown, Rosie Flores, Doug Stone, Ricky Van Shelton, Charlie Walker, Dallas Frazier, Ernie Ashworth, Gene Watson, T Graham Brown, Billy Walker, Joni Harms, Shane Minor, Karen Staley, Bruce Robinson, Susan Ashton, Gary Alan, M C Potts, Julie Reeves, Jett Williams, Lynn Anderson, Holly Dunn, John Hughey, Trent Willmon, Ken Mellons, David Frizzell, T G Sheppard Josh Turner, Sonny James, Johnny Carver, The Browns, Bobby Bare, Margo Smith and Holly, Leanne Rimes, Billy Yates, Michael Johnson, John Berry, Michelle Po, Jimmy Fortune, Don Helms, Con Hunley, Deborah Allen, Carolyn Martin, Randy Travis, Helen Cornelius, Barbara Fairchild, Patti Mitchell, Sunny Sweeney, Mel Tillis, Paul Franklin, Larry Cordle. Music autograph. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 204
Autograph book. Music covering 1996/97, Charley Pride, Jo Dee Messina, Hawkshaw Hawkins Jnr, Bill Anderson, Jimmy Dickens, Grandpa Jones, Ricky Skaggs, Deborah Allen, Mindy McCready, Tammy Graham, Gail Davies, Rhonda Vincent, Victoria Shaw, Ray Pillow, Lane Brody, John Hartford, Leona Williams, Gene Watson, Bryan Smith, Sara Evans, Holly Dunn, John Hartford, John McEuen, John and Audrey Wiggins, Stonewall Jackson, Dawn Sears, Kippi Brannon, Jean Shepard, Sylvia Hutton, Stephanie Bentley, Tom T Hall, Carol Mack Parker, Billy Walker, John Conlee, Jan Howard, Grandpa Jones, Johnny Russell, Bill Anderson, Ricky Skaggs, Skip Ewing, Jo Dee, Messina, Charlie Louvin, Connie Smith, Leann Womak, Jimmy C Newman, Carol Lee Singers, Jimmy Dickens, Jody Miller. Music autograph. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 715
GRAHAM CLARKE (BRITISH B.1941) ⊕ RYEsigned Graham Clarke lower right; titled and numbered Rye 1/75 lower leftetching on paper15 x 18cm; 5 3/4 x 6in 27 x 30cm; 10 3/4 x 11 3/4in (sheet)offered for sale without reserveThis work is unframed. Some spots of discolouration on the reverse. Slight dogear to lower right and upper left corners. This work is in very good original condition.
Lot 401
A Pair of Carved Walnut Buffets, late 19th century, of rectangular four-tier form with fluted egg and dart cornice above three graduated shelves with carved and fluted turned supports, the base section with two nulled frieze drawers flanked by shelves with carved cupboard doors below, all above a moulded breakfront platform base 172cm by 71cm by 273cmProvenance: Sir Graham Wyllie The buffets split into three pieces - the base section is one piece, the shelves, spindels and the backboard are another piece and the canopy top is the third section.
Lot 403
A Pair of Regency-Style Mahogany and Brass Footstools, 19th century, each covered in floral needlework, one stool decorated with a dog, the other a cat, with moulded square-form bases and rococo-style cast scroll feet 33cm by 33cm by 22cmProvenance: Sir Graham Wyllie The needlework is in reasonable condition for its age. The moulded bases have some scuffs and losses. The gilded brass feet are rather tarnished and one of the feet is split/damaged (as photographed). The webbing is damaged and loose to the underside of the stool which has the damaged leg and the seat on this example is particularly soft. The stuffing/webbing seems OK on the opposing seat (cat). Please see additional images online.
Lot 397
A Set of Twelve (10+2) George II Style Carved Mahogany Dining Chairs, modern, covered in close-nailed green floral fabric, the armchairs with padded back supports, armrests and overstuffed seats with moulded and flower carved hand grips, the upholstered seat rail on acanthus carved forelegs with ball and claw feet carvers 67cm by 69cm by 115cm singles 61cm by 69cm by 115cmProvenance: Sir Graham Wyllie The chairs are in good cosmetic condition. The upholstery is also good. Some general scuffs and small faults around the carved legs and the claw and ball feet. Please see additional images online.
Lot 396
An Imposing Mahogany, Satinwood-Crossbanded and Boxwood-Strung Circular Dining Table, 19th century, the removable top on a block support above a tapering column with moulded panels and triform base, on carved claw and ball feet with recessed castors 220cm by 75cmProvenance: Sir Graham Wyllie Numerous scratches. The veneers to the top are rather thin. The veneer is lifting slightly in places throughout the crossbanded section and with a small patch repair. The table is structurally sound. 220cm diameter. English made - no maker's mark. Please see additional images online.
Lot 398
A Set of Four 17th Century-Style Walnut Open Armchairs, late 19th/early 20th century, recovered in multi-coloured floral velvet, with scrolled hand grips above S shaped carved arm supports, the upholstered seat rail on scrolled forelegs joined by an H stretcher 66cm by 59cm by 129cmProvenance: Sir Graham Wyllie
Lot 1033
John Constable (1776-1837)Dedham Vale looking towards Langham, c.1809-14Oil on millboard laid onto canvas, 31.5cm by 39cm (12 x 15 3/8 inches)Provenance: Ann Durning Holt (1899-1980), either acquired by her on the art market during her lifetime, or possibly to her by descent from her father Sir Richard Durning Holt (1868-1941), nephew of the distinguished Liverpudlian collector, George Holt (1825-1896); by descent to the current owner.Dedham Vale looking towards Langham is an impressive and vigorous early plein-air sketch by John Constable which has not previously been recorded in the Constable literature. It bears a close relationship to the painting, Dedham Vale, c.1825, in Munich Bayerische Staatsgemäldesammlungen, Neue Pinakothek; Graham Reynolds, The Later Paintings and Drawings of John Constable, Yale University Press, 1984, no 25.39; see fig. 001). Constable is well known for his commitment to making oil sketches in the open air - an exercise he first embarked on in 1802 and continued to practice until as late in his career as 1829. In 1802 he was still a young man undertaking his artistic training in London at the Royal Academy Schools but had already decided that he wanted to specialize in landscape painting. However, that year he decided he no longer wished to imitate the work of earlier landscape artists but rather to turn to ‘Nature herself’. He resolved to return to his home in East Bergholt in Suffolk and make some ‘laborious studies from nature’ (John Constable’s Correspondence II, 1964, Suffolk Records Society, Ipswich, p.32; letter to John Dunthorne, 29 May 1802). Determined, then, to paint his native Suffolk scenes – being those with which he had the greatest attachment – Constable at first made slow progress with this new procedure. However, by around 1810 he had developed a colourful and highly expressive oil sketching style. Moreover, until 1816 when he married and moved permanently to London, he continued to make many, usually quite small, plein-air sketches of the scenery in and around East Bergholt. These consisted mainly of panoramic vistas over Dedham Vale, more often than not, like this example, looking westwards from the Suffolk side of the Vale, more enclosed views taken in the lanes nearby, or scenes in and around Flatford where his father owned a mill for grinding corn. Occasionally Constable dated these plein-air oil sketches. Otherwise, as is the case with Dedham Vale, they can usually be broadly dated on the basis of style or on the support which Constable used when painting them. Dedham Vale looking towards Langham is painted on board (and subsequently laid down onto canvas). Constable is known to have started using millboard for plein-air work from around 1809. Although he continued to use this support at intervals during his career, his most frequent use of board for oil sketching was generally in these earlier years, and especially around the period 1809-10. Furthermore, with its relatively smoothly applied brushstrokes, Dedham Vale looking towards Langham is close in style to other oil sketches Constable made around 1809 at Epsom and at Malvern Hall in Warwickshire (see, for example, Graham Reynolds, The Early Paintings and Drawings of John Constable, Yale University Press, 1996, nos. 09.08, 09.18 and 09.19). This sketch, by comparison with the latter examples, is notable for the more dramatic way in which he handles light and shade. Rays of sunlight can be seen bursting through cloud and sharply illuminating stretches of Dedham Vale in the middle and far distance. Meanwhile, a tiny touch of white paint indicates the tower of Langham Church close to the horizon on the right. These on-the-spot sketches would often prove useful to Constable many years later when he was working in his London studio and planning new pictures for exhibition or sale. Rarely now able to spare time for visits to Suffolk, he would often turn to his earlier sketches for inspiration. Around the mid-1820s Constable used this sketch to serve as the basis of the aforementioned painting of Dedham Vale now in Munich, which shows the same stretch of the Vale, albeit somewhat extended on the left, and the tower of Langham Church in the same position on the far right. The biggest difference between the two works is in the extensive foreground which Constable added to the Munich picture, and into which he inserted a couple of seated figures (one of whom is seen pointing to the view) as well as a few animals such as donkeys and cows. Constable even incorporated into the Munich picture the idea of the sun bursting through cloud, albeit now positioning this feature further to the left. Constable’s expressive use of light and shade (‘chiaroscuro’) lends animation to his landscapes and was something he wrote about in a letterpress accompanying the publication in 1830-32 of a series of mezzotints from his work known as English Landscape. By 1836 he was even arguing (in a draft for a lecture) that chiaroscuro was the very ‘soul and medium of art’.NoteThere is another oil sketch recorded in the Constable literature similar to this one, in oil on paper set onto panel, which Graham Reynolds described as being ‘somewhat damaged’ (The Early Paintings, op.cit, no.08.58). Meanwhile, Ian Fleming-Williams referred to this sketch as ‘puzzling in the extreme’, as it shows Langham church in the wrong place (The Burlington Magazine, vo.130. no.1025, August 1988, p.654; review of Constable exhibition at Salander-Reilly Galleries, New York). Given this discrepancy, and also the recent appearance of this sketch from the Holt collection, perhaps the attribution of R.08.58 should now be re-evaluated.Anne Lyles, 2025We are grateful to Anne Lyles for her assistance with this catalogue entry.The board is backed with a canvas on stretcher, which has four keys missing. It is not possible to see if/how the board is adhered to the canvas. Please click HERE for the condition report on this lot
Lot 1050
Robert Cree Crawford RSW (1842-1924) Scottish Portrait of David W Shaw Esquire, three-quarter length, standing, in hunting attire Indistinctly initialled and dated 1911, with original artist's inscribed label verso, oil on canvas, 126cm by 100.5cmPlaque to the lower frame reads 'David W Shaw Esquire, presented by the Eglington Hunt (1911)'Provenance: Sir Graham Wylie Unlined, two keys missing, adequate tension. One old patch repair to a tear in the top left quadrant, with associated loss of paint and ground and restoration and a slight dent at the face. Brittle age craquelure and stretcher bar cracks, starting to lift and there has been a continuing history of micro-flaking throughout. Some of these losses are fresher and unrestored, but there has been a campaign of brushy overpaint to cover some of these in the past. There are open drying cracks in the white passages and flesh, and the background has had drying issues resulting in aligatoring, which has been suppressed with a broad brushy campaign of overpaint (see images in ultraviolet light). Scuffs and damages at the edge of the canvas, which has slipped in the frame a little. Fairly patchy upper varnish, likely a little degraded. A quantity of surface dirt and accretions.
Lot 248
Graham Kingsley Brown (British 1932-2011): ‘Siren Rock’, oil on board, signed titled and dated 1985 verso, 59.5cm x 65cm Notes: This is a very rare, one-off, larger work, which employs clear abstract forms of in a style of the mid 1980s which followed the surrealist pieces. The 'Siren Rock' refers to the Greek myth of the Sirens of Homer’s Odyssey, female humanlike beings with alluring voices who lured sailors to their death.
Lot 250
Graham Kingsley Brown (British 1932-2011): ‘City by the Sea 21’, acrylic on board, signed titled and dated ‘05 verso, 22.5cm x 27.5cm (unframed) Notes: one of the artist's painterly, textured, and expressive 'City by the Sea' series painted between 1998 and 2007. This is number 21 of 31 and is distinctive in featuring larger buildings as well as a figure in the foreground. Some of the work was created using finger painting, as well as palette knife and brushes.
Lot 251
Graham Kingsley Brown (British 1932-2011): Woman Paddling along a Rocky Shore, acrylic on board, signed and dated ‘05 verso, 20cm x 29cm Notes: one of only two paintings of female figures by the sea by the artist, painted in the same year as 'City by the Sea Number 21'. This is another work in Graham's painterly expressive style, which was influenced by the Irish landscape painter Jack Yeats.
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