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Lot 24
1714 | height: 20 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | Albarello, created in 1714, is an example of Italian faience pottery of the early 18th century. This type of pharmacy jar was used to store medicines, especially ointments and herbs. The inscription "N. T. 1714", which probably refers to the initials of the artist or workshop in which the jar was made and the year of its creation. The work is characterized by fine blue lines and landscape scenes, characteristic of the Neapolitan ceramic school. On the other side of the albarella is the inscription "RVBIE.", which probably refers to the Latin name of the medicinal plant or substance that was kept in the jar. For example, it may be a reference to Rubia tinctorum (dye's moraine), a plant used in both medicine and dyeing. This piece combines practical use in an apothecary environment with artistic craftsmanship, making it a valuable example of historic apothecary ceramics that is sought after by collectors. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Lot 31
18th century | height: 18 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello is a wonderful example of 18th century Italian faience pottery. Decorated with rich blue underglaze painting with typical architectural and natural motifs, this jar was originally used to store medicines in pharmacies. Stylized scenes on the front depict landscape scenes that were popular in the decorative arts of the time. The distinctive hand painting and quality workmanship make this albarello a valuable collector's item, combining both practical function and artistic value typical of 18th century ceramic workshops. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Lot 33
18th century | height: 20 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | Originating in 18th century Italy, this albarello is an example of faience apothecary pottery decorated with typical blue underglaze painting. The decor represents an idealized rural landscape with buildings and vegetation, a popular motif in Italian ceramic workshops of the period. The jar was used to store medicines, and its slim shape with a widened neck allowed for easy handling. Albarello, with its rich artistic processing, is not only an important historical artifact, but also a sought-after collector's item that reflects the union of aesthetics and functionality. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Lot 27
1735 | height: 23 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello from 1735 is another example of excellent faience pottery from the Baroque period that was produced for apothecary purposes. Adorned with a rich blue decor with scenes of architecture and landscape, the jar bears the typical features of Italian ceramic production, including a robust body and delicate painting details. The distinct blue lines and stylized elements are characteristic of the underglaze painting technique that was popular at the time. On the back of the jar is written "C.D.M. 1735", which refers to the year of manufacture and probably the initials of the apothecary or manufacturer. This jar was intended for storing medicines, which makes it not only a practical but also a decorative object. The combination of artistic processing and functionality makes this albarella a prized piece among collectors of historical ceramics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Lot 32
18th century | height: 26 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello is an example of 18th century Italian faience pottery, characterized by blue underglaze painting with scenes of landscape and architecture. Hand-painted motifs depict houses set in rich vegetation, while the stylization of flora and architectural elements is characteristic of the Baroque period. The jar was used to store medicines in pharmacies, where it not only fulfilled a practical function, but also acted as an aesthetic element of the interior. Due to its decorative style and historical value, this artifact is sought after by collectors of historical ceramics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Lot 50
1763 | height: 27 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This 1763 albarello is an excellent example of 18th century Italian faience pottery, specifically from the Savona region. Its blue decor on a white background shows the classic elements of this production, such as carefully rendered landscape scenes, architectural elements and vegetation details. The jar was probably used in pharmacies to store dry herbs or medicines. The date 1763 is clearly marked on the back of the albarella. The excellent condition and fine design make it a valuable artifact for collectors of European ceramics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/18rdpE50A-FprqLLrUivvROXAaMAEczHc?usp=sharing
Lot 8
18th century | height: 20 cm | region: Liguria | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This 18th century albarello, from Liguria, is made of earthenware and was used in pharmacies to store medicines, herbs or ointments. The blue and white decoration with the motif of a deer scene, complete with a yellow stripe on the lower part, represents a beautiful example of Italian ceramics of the period. Scenes of nature and fauna, often inspired by the local landscape, were popular motifs on these apothecaries. The decorative processing of albarella not only fulfills an aesthetic function, but also reflects the importance of the artistic tradition in the production of utilitarian objects in northern Italy during the Baroque period. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Lot 26
1735 | height: 24 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello from 1735 is another example of excellent faience pottery from the Baroque period that was produced for apothecary purposes. Adorned with a rich blue decor with scenes of architecture and landscape, the jar bears the typical features of Italian ceramic production, including a robust body and delicate painting details. The distinct blue lines and stylized elements are characteristic of the underglaze painting technique that was popular at the time. On the back of the jar is written "C.D.M. 1735", which refers to the year of manufacture and probably the initials of the apothecary or manufacturer. This jar was intended for storing medicines, which makes it not only a practical but also a decorative object. The combination of artistic processing and functionality makes this albarella a prized piece among collectors of historical ceramics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Lot 28
1746 | height: 22 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello from 1746 is an example of Baroque Italian faience ceramics that were used in pharmacies to store medicines. The front of the jar is decorated with blue underglaze painting with architectural and landscape motifs, which is typical of Italian ceramic production of the 18th century. These scenes not only contributed to the decorative appearance of the jar, but also underlined its functionality in a pharmacy environment. On the back of the jar is the inscription “C.D.M. 1746", which probably refers to the manufacturer or apothecary for whom the jar was made and the year it was made. This artifact is valuable not only for its historical function, but also for its artistic workmanship, making it an important item for collectors of historical ceramics. | condition: dents on the edges | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1Oh6LrOa34Cn-iygOVB-zH8Xk8GlwXsFo?usp=sharing
Lot 30
18th century | height: 29 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello is a wonderful example of 18th century Italian faience pottery. Decorated with rich blue underglaze painting with typical architectural and natural motifs, this jar was originally used to store medicines in pharmacies. Stylized scenes on the front depict landscape scenes that were popular in the decorative arts of the time. The distinctive hand painting and quality workmanship make this albarello a valuable collector's item, combining both practical function and artistic value typical of 18th century ceramic workshops. | condition: restored | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Lot 25
1726 | height: 26 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | Albarello from 1726 is a typical example of Italian faience from the early 18th century. This slender apothecary jar was used to store medicines and was decorated with a blue underglaze decoration depicting a rural landscape with houses and trees. Such a scene evokes the Italian countryside and is characteristic of the production of ceramic workshops of the time, especially in the Naples area. On the back of the albarello is the inscription "1726", which refers to the year of manufacture. The hand-painted blue decor is executed with the finesse and precision that was typical of Italian ceramic masters of the time. Albarello not only fulfilled its functional role in pharmacies, but was also a highly valued decorative element, reflecting the combination of practical use with fine art. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Lot 61
20th century | height: 49 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | Large majolica vase inscribed "Charitas" and "S.P.A.", Savona or Liguria, Italy, 17th-18th century century. The vase is richly decorated with the typical blue and white motifs of Italian faience, including architectural and landscape scenes, which are elaborated to the smallest detail. The distinctive handles of the vase, formed by complex curves, testify to the high skill of the ceramicists of this region. jars of this type were often used in apothecaries or monasteries, and their decoration indicates a connection with religious or charitable institutions. An exceptional collector's artefact of Italian ceramics. | condition: good | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Lot 48
1725 | height: 26 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This Savona albarello from 1725 is a typical example of the faience pottery of the area, known for its underglaze blue painting. The jar is decorated with a rural landscape scene with architectural elements, complete with a decorative coat of arms with the inscription "Charitas", which refers to the Christian virtue of love and charity. This motif was often used to decorate jars in pharmacies, where these moral values ​​had a special meaning. On the back of the jar is the date "1725", confirming its origin in the first half of the 18th century. The slender shape and widened neck allowed for easy storage and handling of medicinal preparations, which is typical for this type of apothecary ceramics. This piece represents an important historical and aesthetic artifact, sought after by collectors of Italian ceramics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1iLLjGlpF9zwuwX3mt3aOoy8jnBx9u2zf?usp=sharing
Lot 49
1740 | height: 26 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | Dating from Savona in 1740, this albarello is a typical example of 18th century Italian faience pottery. The front of the jar is decorated with a coat of arms with the inscription "Charitas" and a landscape with architectural motifs, which refers to the moral value of charity and love. This type of decor was often used on apothecary jars, which were intended to serve not only as functional objects, but also as aesthetic artefacts in pharmacies. The back of the jar bears the date "1740", confirming its origin in the first half of the 18th century. This piece is not only historically valuable, but also an excellent example of the savoir-faire of Savon ceramic masters, who were famous for their blue-decorated products. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1RguPUzCIJ0xX9xh1w-3Q68rWUhzbo6_7?usp=sharing
Lot 29
1775 | height: 26 cm | region: Naples, Nicola Petrone | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This 1775 albarello, signed “D. N. Petrone", is a wonderful example of Neapolitan faience ceramics from the end of the 18th century. On one side of the jar is a hand-painted inscription with the date and name of the creator, which in this case is Dr. Nicola Petrone, a well-known ceramic maker in Naples. The other side of the jar is decorated with a landscape painting in the typical blue underglaze color, which represents a rural scene with buildings and trees, set in a decorative frame. This style of painting is characteristic of Italian ceramics of the time, where aesthetic elements were combined with practical use in a pharmacy environment. The albarello was used to store medicines and its artistic processing makes it a sought-after collector's item. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Lot 78
Novo-Hispanic School. Mexico. Late 17th century. Nicolás Correa Juárez Circle."The Mass of Saint Gregory"Oil on copper. 29,5 x 23,8 cm.An exquisite and very unusual, unique depiction of the well-known Mass of Pope Saint Gregory, as the vision of the Blessed Souls being rescued from Purgatory by angels and taken to heaven also appears in the scene. The composition is designed to save space, as it could have been distributed over two sections of a small diptych. To the right of the scene, as is customary, we see a door with a landscape and figures, and/or members of the papal entourage or donors joining in the main act of the Eucharistic miracle. The ‘pray for the souls, present and absent, and pray for their tribulations’ scene is depicted with a great deal of light in order to attract attention. The painter depicts the apparition of Christ to Pope Saint Gregory the Great while he is celebrating mass on Christmas Day in the Roman Basilica of the Holy Cross in Jerusalem with detail and finesse. His assistants also appear, one carrying the cross to guide them and the other with a halo, who also participate in the miracle. Christ, surrounded by the symbols of his Passion, shows his stigmata to assuage the doubts of some of the people present or the Pope's own doubts about Transubstantiation. In some paintings blood appears to flow from the arma christi and is collected in a chalice, but not in this case.Due to its small format, the painting could have been a devotional copper commissioned by a member of the Church, with the aim of moving his soul to devotion and capturing the essence and depth of the Eucharistic celebration at all times, and, at the same time, the vision of hell/purgatory. With it, following the catholic doctrine, he would not forget the sacrament of forgiveness and mercy and would save all souls from their sins and evils that keep them in a constant purgatory. In short, a small copper that embodies the symbol of the Eucharist as a renewal of Christ's sacrifice to save humanity.
Lot 59
Attributed to Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772).‘Casta painting. Black and Spanish produces mulatto’Oil on copper.52 x 48 cm. Morlete was one of the Novo-Hispanic painters who most often painted landscapes and, in fact, there are other examples by him of caste pictures painted in the open air. This characteristic, together with the great pictorial quality of the three figures depicted, and the model of the pedlar located near the family, (which is repeated in other of his artworks) and that Morlete is the only painter who mentions the word ‘produce’ in his titles instead of other terms to define mestizos (as we find in other paintings of his, for example in the painting entitled ‘Valle de Iztacalco, de yndia y español produce mestiza’ (Indians from the Valley of Iztacalco, and Spanish produce mestiza), which is in the Kaluz Museum) allows us to attribute this marvellous caste painting to the artist. This painting is a real rarity as it depicts the caste family scene in an outdoor landscape. Usually, these caste paintings were depicted in domestic settings, interiors of houses... and almost always with very repetitive models. In this case, we are presented with the Mexican Alameda Park, recognisable by its fountain, next to the Paseo Bucarelli. In the foreground are the protagonists, and around them, pedlars, couples strolling, a man on horseback, noblemen riding in a carriage, etc. In the lower margin we find the usual cartouche on which the painter originally entitled the work with the inscription ‘Negro y española produce mulata’ (‘Black and Spanish produces mulatto’), which one of its owners, who probably treasured it, covered with white paint and renamed it ‘Paseo de Bucarelli’, presumably in an attempt to conceal the obvious message of the work. The theme of caste painting was developed in 18th-century New Spain and was intended to show and classify the diversity that arose from the mixing of ethnicities. This was a complex task, as the Prado Museum reports in the catalogue published for the exhibition ‘Tornaviaje. Ibero-American Art in Spain’, as “natives of the West Indies, Spaniards and Europeans, African slaves and a small amount of Asian emigrants ... made up a stratified society, but with threads of communication between them”, a diverse society that gave rise to caste painting.Even so, the value of this pictorial genre does not lie exclusively in ‘the classificatory tendency of the 18th century’ or even to ‘European concepts of the exotic’, but studies such as Ilona Katzew's reveal the value of this genre for ‘the construction of its own differentiated image’ of New Spanish society. In fact, Katzew continues, caste painting ‘is a unique pictorial genre that has no equivalent in European art’, indeed, ‘it is fundamentally limited to the viceroyalty of New Spain’, although mixing of ethnicities took place in all the Spanish colonies. In this sense, the Director and Curator of Latin American Art at the Los Angeles County Museum of Art, concludes in her study that ‘caste painting is not a monolithic genre, but one that encloses multiple simultaneous meanings’ and that, furthermore, ‘it offers a clear example of how New Spain could be a generative centre and not just an area that remained on the periphery of artistic events’, as it has traditionally been considered.Reference bibliography:- Katzew, Ilona. (2004). "Casta Painting: Images of Race in Eighteenth-Century Mexico". Yale University Press.- Katzew, Ilona. (2004). "La pintura de castas: Representaciones raciales en el México del siglo XVIII". Turner Publicaciones S.L.- López Guzmán, Rafael (Ed.). (2021). "Tornaviaje. Arte iberoamericano en España." Museo Nacional del Prado. (pp. 165-181).
Lot 68
Diego Quispe Tito (Cuzco, Peru, 1611 - 1681)"The Annunciation"Oil on canvas. It has lacks of painting.157 x 218,5 cm.Provenance: this lot is the couple of lot 81 from the auction, "Beauty and Devotion. Picasso between the Old and New World", 25th of April, 2024. A palace-house of an Andalusian marquisate, a Spanish noble family whose lineage dates back to the 12th century.Specifically, our painting was placed next to its partner, "The Holy Family in the workshop of Nazareth".It is obvious that these two pieces were a pair, because the model used to portray Mary is the same in both paintings, as well as the basket with clothes that we find centering the scene is the same in both paintings.As we read in the Real Academia de la Historia Quispe Tito "Member of a family of the Inca aristocracy, is considered among the main initiators of the Cuzco school for painting. He apparently came from the indigenous village of San Sebastián, which houses a significant part of his production. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church.These groups of canvasses summarise Quispe Tito's original maturity, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours.His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus among the Doctors of the Temple and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda of that city.In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of The Last Things or the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas for depicting the Last Judgement, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme, in the form of successive The Holy Family Returning from Egypt (National Museum of History), dated 1680, displays the virtuosity characteristic of his later works. Here the painter based himself on a widespread composition by Rubens, but Quispe Tito considerably reduced the proportion of the figures in relation to the background in order to place the scene of the sacred story within a vast idealised and fantastic landscape, thus heralding the emergence of one of the favourite genres of painting in Cuzco in the following century. At the same time he executed the well-known series of the zodiac, hung on the walls of the side naves of the Cathedral of Cuzco. Today only nine of the twelve signs exist, either because three of them were destroyed or because the artist died before completing the commission.It is a Christianised cycle, in which each of the zodiacal signs is identified with a parable of Christ or a Gospel story. In this case Quispe literally follows his Flemish graphic sources, while at the same time displaying a European-inspired pictorial craft, the high technical level of which is unsurpassed in the Cuzco context.In this way the artist, in the last stage of his life, seemed to adapt his work to the aesthetic preferences of a cultured, urban clientele, which may have attracted the attention of Bishop Mollinedo and his cathedral chapter.Bibliographic reference:- Wuffarden, Luis Eduardo. (n.d.). "Diego Quispe Tito". https://dbe.rah.es/biografias/54757/diego-quispe-tito
Lot 52
Circular, gold snuff-box. France. Dated 1657.Circular in shape, the outside and the bottom are alternately decorated with thin strips of gold and slate.The lid is decorated with an oil-painted miniature depicting a country landscape. The interior is covered in tortoiseshell.An old clipping of the fragment of the Christie's catalogue of the auction from which the box was purchased is to be found in the box. The clipping has the handwritten inscription ‘Hawkins Coll’The snuff box is in a superb state of conservation, despite the fact that 4 of the small gold strips at the top of the box are missing. 3 x 5.5 cm.Provenance: Christie's auction, 27 March 1928.
Lot 116
A Chinese Canton-style enamel wine cup of urn form, painted with Famille Verte scenes of a pair of red bats in a landscape of bamboo, persimmon, and peony, bearing a four-character mark for Qianlong to the base, 5.5 cm high x 5 cm diameter, together with a Canton style enamel snuff flask, of flattened elliptical form painted in the 18th-century European taste with a mother and child, in own fitted case,Loss of enamel to the interior of the cup (as shown). No apparent damage to either item. Minor enamel loss visible on close inspection to the exterior of both.
Lot 557
A rare gold and enamel almanac charm pendant, France, late 18th century, designed as a book, the front and back covers applied with blue and white enamel, each centring on an oval grisaille enamel landscape, opening to reveal a printed book titled 'Le Reveil Matin Almanach Pour L'Année 1777 A Paris', pendant length 2.6cm including later jump ringMiniature almanacs were popular in Paris from the early 1760s, and typically contained a list of saint's days for the year ahead, alongside illustrations of various street vendors and related poems. Created as gifts for young ladies, they were also used as New Year’s presents, given out by pastry shops and chocolatiers.
Lot 232
Three mid 19th century framed oval silk embroidered pictures, the first with a garlanded girl seated before a neo-classical plinth in landscape, 17.5cm high, and two small oval pictures one with Cupid, billing doves and hearts in landscape, the second with a Bacchic figure playing a pipe before goats, in landscape, 7.5cm high Condition ReportOverall the embroidered pictures are in good condition, but the larger one has some small brown marks starting to appear on the material and the smaller ones both each have a small stain. The sizes quoted in the description are excluding the frame. The ebonised frame is broken in parts , the large embroidery - the frame has a chip at the base.
Lot 89
John Alfred Arnesby Brown (1866-1955) Oil on canvas "Wells - Next - The - Sea, Norfolk", sail boats in the harbour, signed, with Mandell's label verso and Mandell's Gallery invoice dated 1989, 63cm x 76cm From the collection of the late Maurice Costley John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportIn good decorative order overall. Minor surface wear. The upper edge of the reverse of the canvas with wear and small tear (at reverse, so does not effect front). Uninspected out of frame. The frame itself is lacking one piece of corner ornament and has some chipping to gilding.
Lot 93
James Fullarton DA (b.1946) Oil "Study of Mushrooms", signed, Richard Hagen Gallery label and with Richard Hagen receipt dated 1994, 9cm x 19cm From the collection of the late Maurice Costley James Fullarton is a Scottish artist born in Glasgow. He studied at the Glasgow School of Art. He works in both acrylic and oils and his oeuvre includes portraiture, landscape and still life, working from his home in Ayrshire. With his keen eye for colour, his work can be seen as following on from the Scottish colourists of the early 20th century. He has exhibited at the Royal Glasgow Institute of Fine Arts and with the Royal Scottish Academy.
Lot 101
Sir John Alfred Arnesby-Brown (1866-1955) Oil on panel "Haddiscoe Church", initialled and titled verso, with Mandell's Gallery label verso and with Mandell's Gallery receipt dated 1984, 21cm x 26cm From the collection of the late Maurice Costley John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportRecto: Overall in good condition, a little surface dirt, no signs of restoration under UV, including initials lower right. Frame in good order, canvas slip slightly dirty. Verso: Inscribed with pencil and original Mandell's label, panel in good condition, slight signs of wear and tear.
Lot 289
Two late 19th century painted folding fans, comprising: an example with pierced gilt mother-of-pearl sticks, painted with an 18th century style couple in landscape flanked by gilt scrolls, 20cm long, the other painted with pink roses and gilt scrolls with yellow celluloid sticks and guards, 21cm long (2)
Lot 83
Sir John Alfred Arnesby-Brown (1866-1955) Oil on board The Bend in the River, 1915, with Messum's Gallery label verso and Messum's Gallery invoice dated 2014, initialled, 15.5cm x 23cm From the collection of the late Maurice Costley John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportRecto: Overall good condition, no sign of restoration under UV - including initials AB lower left. Very slightly dirty upper left sky. Frame and slip also good condition. Verso: Messum's label, very slight chip on edge of the board, upper right hand corner, not visible from the front.
Lot 91
Carel Weight CBA RA (1908-1997) Oil Two figures in a landscape, country scene with two people beside cottage, signed, Fosse Gallery label verso and Fosse Gallery receipt dated 1998, 51cm x 60cm From the collection of the late Maurice Costley Carel Weight was born in Paddington, London of German and Swedish descent. He studied firstly at the Hammersmith School of Art and then Goldsmiths College. During WWII he was an official war artist travelling to Italy and Greece, depicting the work of the British Army restoring everyday life after the war ended. Known for his suburban scenes, often with distorted figures striding out of the canvas, he also painted landscapes and portraits. He talked about his paintings being concerned with all the human emotions. He was a senior member of the Royal Academy and taught at the Royal College of Art. His work can be found at the Tate, Victoria and Albert Museum and the Imperial War Museum. Condition ReportRecto: cracking lower left and slight cracking upper left. Some minor cracking mid right. Otherwise no apparent wear and tear. Frame and slip in good condition. Verso: gallery label on back, canvas protected by board, uninspected out of frame.
Lot 619
Steve Shipman (British, 1957-2018) c.1990, a collection of portrait and landscape photographs, for advertising campaigns, including Gilette, with examples submitted to the Fifth AFAEP (Association Of Fashion Advertising And Editorial Photographers) Awards, signed and limited edition examples, the largest 50 x 60cm approx (qty.)
Lot 269
A pair of Japanese Satsuma ware plates, Meiji period (1868-1912), of lobed form, each painted with a rakkan, seated in a landscape or accompanied by a dragon, 30.5cm long,together with a pair of Kutani plates, of circular form, painted with literati with attendants, signed Kutani Sanmyou sei,33.5cm diameter (4)Condition ReportSatsuma - one cracked. All with enamel and gilt losses.
Lot 173
A pair of Chinese clobbered jars and covers, 20th century, of ovoid form, painted with butterflies and florets against a blue and white landscape, the cover similarly decorated, overall 25cm high (4)Provenance: The property of the late Baron John Mauger Langin Condition ReportWith metal fittings to rim of cover and jar, unable to check condition underneath. Both jars with star cracks to body. One cover chipped.
Lot 281
A Chinese red-glazed vase, 20th century, of baluster form, covered with a rich oxblood glaze thinning to the rim,37cm hightogether with a blue and white vase,of cylindrical form, painted with a landscape,32cm high (2)Condition ReportBlue and white - surface scratches. Red glaze - surface marks and scratches. Uneven glaze. Please see the additional images.
Lot 178
A collection of Chinese export plates, 18th-19th century, including famille rose and blue and white, of circular form, painted with flowers or landscape,22.4 to 32.3cm diameter (8)Provenance: The property of the late Baron John Mauger Langin.Condition ReportLargest plate - restored, gilt losses. Soup bowl - a large crack across body. Imari - chipped to rim.Pair of famille rose with precious objects - both chipped to rim.
Lot 146
A pair of Delft pottery vases and covers, late 19th century, the reticulated bodies, with painted reserves of a lady and gentleman in a landscape, and ships, each 33cm highProvenance: The property of the late Baron John Mauger Langin Condition ReportWith chips and nibbles all over, loses to the glaze commensurate with the material. No damage to the reticulated bodies. Please see the additional images.
Lot 233
A LANDSCAPE VIEW OF THE TOMB OF RACHEL IN BETHLEHEM (ALSO KNOWN AS BILAL BIN RABAH MOSQUE) Atelier des Beaux-Arts, Paris, France, early 20th centuryOil on wood, the horizontal landscape view depicting the beloved and revered burial place of the Biblical matriarch, Rachel, in Bethlehem, Holy Land, held in esteem across all monotheistic faiths (Ahl al-kitab: Jews, Christians and Muslims) and built in the traditional style of a maqam (shrine), the view probably dating to the early 1900 (pre-1930, before telegraph posts were installed on site) replicating a famous postcard by Fr Vester & Co, Jerusalem, Palestine, depicting the same scene, the reverse stamped Atelier des Beaux-Arts, Aram H. Haschadour, Jerusalem (Palestine), mounted and framed.35cm x 44.5cm including the frame 35cm x 44.5cm including the frame Qty: 1
Lot 278
Eric RAVILIOUS (ill): 1- Proof? Bookplate by Ravilious for Roger Beban, pasted to front pastedown of: David Wooster: Alpine plants. 1872, 1st. Edn. With 54 colour plates. Cont. half leather, rubbed; 2- British Art: BBC Talks Pamphlet. The Kynoch Press, 1934, 1st. Edn. Pictorial boards by Ravilious; VG+/Fine; 3- Ravilious; Gill; etc (ill): IMAGE: 5, English wood engraving 1900-1950. 1st. Edn. Original card covers and DW, VG; 4- Powers, Alan: Eric Ravilious: Imagined Realities. Imperial War Museum, 2003. Title page SIGNED by Powers. 4to. Card covers; Fine; 5- Russell, James: Ravilious. Dulwich Picture Gallery, 2015, 1st. 4to. Original card covers; Fine; 6- Russell, James: Ravilious in Pictures: Sussex and the Downs. Mainstone Press, Norwich, 2009, 1st. Edn. DW, Fine; 7- Binyon, Helen: Eric Ravilious: Memoir of an Artist. Lutterworth Press, 1983, 1st. Edn. DW. VG+; PLUS: John PIPER (ill): Richards, J.M: The Castles on the Ground. 1946, 1st. Edn. DW (with a few tears); & English Scottish and Welsh Landscape 1700 - c.1860. 1944, 1st. End. Pictorial boards; rubbed. (9)
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