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ASSORTED SILVER & PLATED COLLECTIBLES, including enamelled teaspoons variously decorated bowls and handles inscribed Llandudno, Arras, Ypres, Gibralter, 1953 coronation, White Ensign Club, Albert etc., a silver gilt butter knife with porcelain handle (broken), and a George V 5-piece cruet, cased plated grape shears, silver money clip (qty)

LOUIS-LÉOPOLD BOILLY , LA BASSÉE, 1761 – PARIS, 1845Maternal caressesOil on canvas 46,5 x 38,5 cmIn the quiet of a garden, a tender family scene is offered to us. A young mother, like a modern Madonna, embraces the face of her little girl. Busy with the contemplation of her child, she shows us her medal profile, while the little girl stares at us, with her head in front. Standing against each other, they offer a striking contrast. One is brunette, the other blonde. The mother, hieratic, is dressed in a long white dress in the antiquisite fashion of the Empire, whose long folds descend to the ground with elegance. The little girl, in full movement, makes her black dress shimmer with curved folds that catch the light. Particular care is given to their clothes, in which the painter excels. The decor, with its romantic allure, is skilfully organised. It prefigures in a singular way the staging of photographic portraits in the studio. From the background, a halo of light, corresponding to a gap in the trees, discreetly frames the maternal embrace. However, the main lighting comes from the front, focusing on the mother from whom the light seems to emanate, thus reinforcing the expression of her maternal love.Boilly is the painter of scenes of family intimacy, which he knows how to stage with subtlety under an impression of simplicity. Here he renews the genre of portraiture by bringing a profoundly sensitive dimension to it.Louis-Léopold Boilly (1761-1845) was a French painter and engraver, renowned for his portraits and genre scenes testifying to the lives of his contemporaries. The son of a woodcarver, he studied painting, and more particularly 'trompe-l'oeil', with Dominique Doncre in Arras. Established in Paris in 1785, he began his career with gallant scenes in the spirit of Greuze and Fragonard. However, a great admirer of 17th century Dutch painting, he developed a fine, porcelain touch like Gérard Dou or Van Mieris, whose paintings he owned. Having to change his subjects, considered immoral, under the Revolution, he became a portraitist. These Caresses maternelles are evidence of this turning point in his career. He then developed a particular care to suggest the intimacy of family or friendly relationships. Although he exhibited for the first time at the Salon in 1794, it was mainly under the Directoire and the Empire that he became famous. He had great success at the Salon of 1798 with a group portrait Réunion d'artistes dans l'atelier d'Isabey, and then received the gold medal at the Salon of 1804 for L'Arrivée de la diligence (both in the Louvre Museum), which represents one of his first scenes of urban life that was to become his speciality. As a chronicler of the social life of his time, Boilly became a 'painter of modern life' before his time. Knight of the Legion of Honour and then member of the Institut de France in 1833, he ended his career covered with honours.Provenance: Former collection of Antenor Patiño (1896-1982) for his residence on Avenue Foch, Paris.Work reproduced in, L.-L. Boilly, sa vie, son oeuvre, H. Harisse, Paris, 1898, p. 93, cat. no. 114.

A Pair of Arras Porcelain Plates, circa 1780, painted in underglaze blue with chantilly style foliage, B mark in underglaze blue, 24.5cm diameter; A Vienna Porcelain Plate, painted with flowersprays and scattered sprigs, shield mark in underglaze blue and impressed 42, 25cm diameter; A Limbach Porcelain Coffee Cup and Saucer, circa 1780, painted in puce monochrome with figures and buildings in landscape, crossed Ls mark in puce; A Nymphenburg Porcelain Coffee Cup and Matched Saucer, circa 1800, in Empire style, painted in colours and gilt with stylised foliage, scrolls and strapwork, impressed shield marks; A Rue Thiroux Paris Porcelain Coffee Can and Saucer, circa 1790, painted with chantilly sprigs, stamped crowned A mark in red; A Tea Bowl and Saucer, decorated with the Worcester Rich Queens pattern, painted Sèvres marks; A Doccia Porcelain Leaf-Shaped Butter Boat, circa 1780, 10.5cm long; A Cozzi Porcelain Tea Bowl, circa 1790; and A Porcelain Tureen Stand, probably Italian, circa 1790, painted with chinoiserie flowers, 22cm diameter (qty)

Collection of continental porcelain houses, Arras (10)

An Arras porcelain glass cooler (seau à verre) c.1775-90, the rounded form painted in underglaze blue with the Ronda pattern, painted AR and P mark, 12.4cm high. Cf. Victoria and Albert Museum, Accession No. 3406-1853 for an identical example from the Bandinel Collection.

PORCELAIN LEAF SHAPED PICKLE DISH, probably Doccia, circa 1780, painted with flowers inside a gilt rim, the underside with moulded leaf feet. length 10cm; together with a French porcelain sauce boat, Tournai or Arras, circa 1780, blue painted with flowers from a rock, length 19cm (2)

Two trays inc. a Union flag, German three section porcelain dish, white metal kitchen piping tools, AA car mascot, World War I souvenir textile of Arras, two 1930`s Maling bowls etc.

A pair of English porcelain plaques, second half 20th century, painted by Leighton Maybury, signed, with titled views of 'Le Moulin Saint-Nicolas-lez-Arras' and 'Le Chemin de Sevres', after Camille Corot, in giltwood frames. pencil script marks to reverse. each approx 38 by 30cm., 15 by 11.75in. (2).