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534325 Los(e)/Seite
Los 112
Spanish school of the 17th century. Attributed to FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700)."Penitent Mary Magdalene".Oil on canvas.With label of the Servicio de Defensa del Patrimonio Artístico Nacional.With label of Inventory of the General Directorate of Fine Arts.Measurements: 31,5 x 43 cm; 46 x 58 cm (frame).In this canvas, close to the aesthetic precepts of Francisco Antolínez, Mary Magdalene is represented as a penitent in the desert (not understood in the scriptures as such but as an isolated and uninhabited place), dressed in a simple sackcloth, probably barefoot, accompanied by her iconographic attributes; such as the crucifix, the sacred scriptures and the skull. Formally, the work combines the contrasting, chiaroscuro light treatment based on the earth tones typical of the period with a conception of the figure and composition directly derived from the Sevillian school. The present painting shows elements inherited from the Baroque period; however, the softness of the forms, the restrained composition and a certain luminism show the aesthetic progress of the painting, resulting in a more restrained image, in which we are presented with a reflective Mary Magdalene rather than the dramatic image of the figure.The brother of the painter José Antolínez, Francisco was a lawyer by profession, although his curiosity led him to take an interest in a wide range of subjects. He thus became a painter, achieving success with small-format works generally featuring small figures against a background of landscape or architecture. Ceán Bermúdez stated that after studying law in Seville he learned painting at Murillo's school and attended the academy established in the Casa Lonja in the same city, where he is recorded as having attended in 1672. That same year he must have moved to Madrid to join José Antolínez, although it is likely that after Antolínez's death he returned to his native city for some time. He finally settled permanently in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, as he preferred to present himself as a lawyer. Antolínez was heir to the Flemish style of Ignacio de Iriarte in his landscapes, and to the architectural backgrounds of Matías de Torres. His figures have a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum in Ciudad Real, the Episcopal Palace in Huesca, the parish church of Santa Ana in Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centres, public and private collections, etc. His work is completely dominated by the landscape, which becomes the protagonist of the image.
Los 115
FRANS FRANCKEN II (Antwerp, 1581 - 1642)."Adoration of the Magi.Oil on copper.It has a 19th century Dutch frame.Measurements: 23,5 x 17,5 cm.This work represents the moment in which the three kings, accompanied by their entourage, present their gifts to the child Jesus. This one, in his mother's arms, seems to play with the incense that Gaspar, kneeling before him, presents him. The scene is set outside, with a reference to the manger on the right, transformed into classical architecture, defined by a semicircular arch and a column. The kings' robes, with richly coloured and richly embroidered cloaks, such as Balthasar's adornments of precious stones and jewels, show the luxury of this procession. The scene takes place almost in semi-darkness, as can be seen in the opening to the landscape in the last shot. However, the luminosity is clear and the focus is on the figure of the child Jesus, who radiates the light that falls on the rest of the figures. The grandeur of the work can be seen in the multitude of figures. It is a composition full of movement and dynamism, where each of the figures is studied individually and as a whole, showing different postures and planes. This mastery of the profusion of figures and the mastery of a complex composition are inherited from Frans Francken.The work is part of the Flemish Baroque style and its stylistic characteristics can be related to the circle of Frans Francken II. The most prolific of his family of painters, he trained with his father, Frans Francken I, and in 1605 joined the Painters' Guild of Saint Luke in Antwerp, thus embarking on a career that lasted until 1640, during which time he specialised in cabinet painting. His contribution to this genre was of great importance and influenced artists such as Teniers. His style is based on that of Jan Brueghel de Velours, although it is also strongly influenced by his father and his uncle, Hieronimus Francken. His early works reveal debts to Mannerism and 16th-century painting, both in the structure of the compositions and in the rhythm and expression of the figures. They also include clear references to the work of Italian artists such as Raphael, Veronese and Zuccaro. Similarly, the use of prints by Dürer and Lucas of Leyden for some of the figures has been demonstrated. In addition to cabinet painting, Francken painted mythological and biblical subjects, some altarpieces and, in collaboration with other artists, painted figures in landscapes or interior scenes by Tobias Verhaecht, Joos de Momper II, Pieter Neefs and Paul Vredeman de Vries, among others. He is now represented in the world's leading art galleries, including the Prado Museum, the Louvre, the Royal Museum of Fine Arts in Antwerp, the Kunshistorisches Museum in Vienna, the Hermitage in Saint Petersburg and the Royal Collection in London, among many others.
Los 39
Italian school; 17th century."Still life with fish and pots".Oil on canvas. Re-coloured.With repainting and restorations. Frame with damages.Measurements: 82 x 93 cm; 100 x 120 cm (frame).In this canvas the author offers us a still life rooted in the baroque tradition of the genre, both for its composition and for the chromatic and light treatment, the care of the qualities and the precise and detailed brushstroke. As was the case with many of the Baroque masters, especially the Dutch, here we see the elements that make up the still life arranged in a disorganised but clear manner on a flat surface that runs parallel to the lower edge of the painting. Furthermore, in the same tradition, the still life is placed in the foreground against a neutral, dark background that delimits the space, focusing the viewer's gaze on what the painter considers most important.While during the first half of the century the still life was ordered and clear, with a classicist aesthetic, the works of the second half of the century have very different characteristics, the result of the stylistic evolution towards the full Baroque, leaving behind the dominant classicism of the beginning of the century. In works such as the one we present here, the taste for naturalism is maintained, leading the author to describe not only the details in detail, but also to convey their different tactile qualities. This work presents. It is a dynamic composition in terms of the arrangement of the elements. It is a composition centred and dominated by geometry, fleeing from the open and dynamic structures, full of diagonals, of the full baroque. The lighting aspect, on the other hand, is key in this work, and reveals the direct influence of the Tenebrist Baroque, which reached these still-life painters and lasted until well into the 18th century.The still life or still life occupied the lowest rung of the hierarchy of pure genres in the history of art, yet it became increasingly popular with buyers. In addition to the independent subject of still life, still life painting encompasses other types of painting with prominent still life elements, usually symbolic, and images that rely on a multitude of still life elements apparently to reproduce a part of life.
Los 78
Italian school; 17th century."Susanna and the old men".Oil on canvas. Re-coloured.Measurements: 122 x 90 cm.We see in this painting the theme of Susanna in the bath, story narrated in the Old Testament, concretely in the Book of Daniel. It belongs to the Greek version of the Bible, known as the Septuagint, whose origin dates back to the 3rd century B.C. Susanna was a beautiful and chaste woman, wife of Joachim, a rich Jew in the Babylonian Exile. She is seen and desired by two elders who had been appointed judges among the Jews in exile; the two agree to surprise her alone and convince her to give herself to them. In the version most widely circulated in the art of the story, this occurs during the young woman's bath. Susanna, however, confronts the elders, telling them that she prefers death to sin. The men, seeing themselves rejected, accuse Susanna of adultery, and she is brought to trial, where they falsely testify against her. In view of the importance of her accusers, Susanna is condemned to death by stoning. On the way to her death, however, the prophet Daniel, then only a child, stops the popular procession and rebukes the people for acting without full knowledge of the cause, and calls for the two elders to be separated for intelligent questioning. The two false witnesses then contradict each other in their statements, and are condemned to death in Susanna's place.Formally, this is a composition in the Italian school, with two clearly differentiated parts in terms of composition, colour and light. In the foreground we see Susanna slightly covered with a cloth dominated by folds, a characteristic that evokes the Venus of Antiquity and her wet cloths. Behind the figure of Susanna we see the busts of the old men, shrouded in a kind of half-light, emerging from the shadows of the foliage, their faces caricatured and aged. Unlike other works on the same theme, here violence is avoided by depicting the moment before the attack, when Susana remains calm, unaware of the presence of the two men.
Los 93
Romanesque Christ. Limoges workshops, 13th century.In gilded copper and champlevé enamel.Measurements: 23 x 14.5 cm (cross); 28 x 18 cm. (wooden plaque).Romanesque Christ made in the workshops of Limoges, a centre which in the Middle Ages was particularly renowned for its work in enamel on copper. The figure and the cross are made of copper, decorated with champlevé enamel. It is a crowned Christ with four nails (as was usual in the early Middle Ages, until the Gothic period when the iconography of three nails began to predominate). The details are incised and the eyes are highlighted by cobalt-blue enamel.The Limoges workshop appeared in the last quarter of the 12th century and continued its activity until the 14th century. It flourished again in the 15th century with the new technique of painted enamel. It became the most important enamel workshop, ahead of the Rhineland and Meuse, which disappeared in the 12th century and were dedicated to the production of individual plates on commission, which were then mounted on an object or joined together to form altar frontals. In Limoges, on the other hand, the production of objects, no longer just plaques, decorated with enamel, began, above all for religious but also for secular use. They were cheaper, copper-based pieces, and very attractive because of the enamelled decoration, which made them a huge and immediate success throughout Europe. Limoges is also mentioned in documents, indicating that it was an important centre known throughout Western Europe. One of the distinguishing characteristics of Limoges is its very shallow background dragging, which does not go beyond two or three millimetres. To depict detail, such fine partitioning is used that it can only be distinguished from the excavated one by close observation through a magnifying glass. In Limoges, the enamels were applied according to the client's taste, filling only the background, only the figures, or both. As for the colour range, he used that of the Meuse workshops, which was very varied, but added new colours, such as olive green, a light greyish blue or white for the flesh tones. In the long history of these workshops, one of their main successes was precisely the fact that they not only made plaques, but also complete pieces, as in the case of the Crucifixion shown here.
Los 21CR
Make & Model: Mazda 2 Sport 5drDate of Reg: FV09 GAXColour: Silvercc: 1498MoT: 31-03-2022Fuel Type: PETROLMileage: 77kTransmission: MANUALSummary: Three registered keepers with the last registered keeper since March 2016. Four service records on Mazda digital service record. Some light marks to bodywork.Vehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=151306
Los 388
Outline Sofa F244G 2 Seater Visually Light And Elegant Sofa Series With Deep Seating For High Comfort Driftwood, satin white lacquered steel , seat in white Bleu Nature came from Frank Lefebvre’s unique vision of the raw and natural material that is driftwood. The forgotten material from the waters moulded by time and current has been bewitching him since 1995. His passion is to breathe new life into driftwood and to bring nature into modern interiors. Bleu Nature is now the unrivalled leader in driftwood products and furniture design. They claim to have used over 150 tonnes of raw material since they started production.163 X 89 X 64cm
Los 176
A mid 20th century wisteria embroidered kimono on a pink ground and a similar kimono with dragon embroidery on a black groundCondition:Wisteria Kimono: A few pulled threads, some light staining in places, two or three tiny moth holes to left hand side breast section and two areas of moth damage at the back of the collarDragon Kimono: Staining and discolouration to black silk, numerous pulling to the embroidery, some small moth holes, seams have come apart on the sleeves
Los 5
A 19th century Sunderland lustre bowl with sailors farewell and other scenes and verses, 7 1/2" dia (minor chip to foot rim), a two handle Gladstone and Bright loving mug, 5" dia, and a Godspeed the Plough tankard, 5" diaCondition:Bowl has chip to foot, scratching to glaze which is light but all over
Los 102
A SILVER KING EDWARD THE MARTYR LOVING CUP AND COVER TOYE, KENNING & SPENCER LTD, LONDON 1977 (JUBILEE MARK) Feature hallmarks, with a textured finial to the commemoration inscribed cover, a textured band to the cup, the interior gilt, limited edition 19/500 with certificate and banquet menu to celebrate the millennium of the ceremony of the loving cup, 3rd April 1978 17.5cm (7 1/2in) high 306g (9.85 oz) Condition Report: Marks are clear Cup rim is slightly misshaped Slight gap to the cover Stands well No box Light scratches and wear commensurate with age and use Condition Report Disclaimer
Los 103
THREE IDENTICAL SILVER BALUSTER MUGS IN GEORGIAN STYLE BARROWCLIFT SILVERWARE, SHEFFIELD 1977 (JUBILEE MARKS) With feature hallmarks, leaf-capped double scroll handles, on moulded spreading bases 10cm (4in) high 932g (29.95 oz) Condition Report: Marks are well struck One wobbles due to minor knock to the foot rim No engraving or signs of erasures Light scratches and wear commensurate with age and use Condition Report Disclaimer
Los 113
A SET OF SIX ARTS AND CRAFTS SILVER AND AVENTURINE GLASS SET TEA SPOONS BERNARD INSTONE, BIRMINGHAM 1925 the handles hammered, the terminals with an applied wire heart and a cabochon-set aventurine glass boss 11 (4 3/8in) long g (2.45 oz) gross, in a case Condition Report: Marks are clear No apparent cracks/chips Light scratches and wear commensurate with age and use Condition Report Disclaimer
Los 115
A GEORGE III SILVER PUDDING TROWEL OR FISH SLICE EDWARD ALDRIDGE II, LONDON 1770 The triangular blade pierced and engraved with an urn issuing fruiting vine, flowers and tulips, the feather edge handle with a scroll pierced terminal, engraved with a crest 28.5cm (11in) long 114g (3.65 oz) Condition Report: Cracked by handle join, solder repaired Slice pushed in near the handle Marks partially obscured Crest to reverse of the slice Light scratchers and wear commensurate with age and use Condition Report Disclaimer
Los 119
TWO PAIRS OF GEORGE III SILVER OLD ENGLISH PATTERN TABLE SPOONS Later chased and engraved as berry spoons, the first by William Sumner I, London 1804, with gilt bowls, engraved with a crest; the second by Josiah & George Piercy, London 1818, engraved H 242g (7.8 oz) Condition Report: William Sumner - Maker's marks partially obscured, gilding worn, engraving crisp Josiah & George Piercy - Marks clear, engraving crisp Light scratches and wear commensurate with age and use Condition Report Disclaimer
Los 129
A GEORGE III SILVER OVAL NUTMEG GRATER MATTHEW LINWOOD, BIRMINGHAM 1804 With a shell form upper cover, threaded sides, plain lower cover and a steel grater 3.3cm (1 1/4in) long 25g gross Condition Report: Marks partially obscured to base Cover appears unmarked Cover hinge with play, base hinge tight Base tight, cover fits loosely Grater rusted Light scratches and wear commensurate with age and use Condition Report Disclaimer
Los 13
Y A LATE GEORGE III SILVER COMPRESSED SPHERICAL TEA POT REBECCA EAMES & EDWARD BARNARD I, LONDON 1810 With a button finial to the dome centred cover, the shell-capped angular handle with ivory spacers, a cape rim, a moulded girdle, on four bun feet, engraved with a very worn crest 26.5cm (10 1/2in) long 731g (23.5 oz) gross Condition Report: Marks clear Play to the hinge Handle is tight Splits to the ivory Cover sits well Slightly wobbles Crest worn Dent to the finial Light scratches and wear commensurate with age and use Condition Report Disclaimer
Los 131
A WILLIAM IV SILVER BOOK FORM VINAIGRETTE TAYLOR & PERRY, BIRMINGHAM 1830 Engraved with foliate swag borders, opening to a gilt foliate pierced and engraved grille, 3.5cm (1 /14in) long; and a George IV vinaigrette by Edward Smith, Birmingham 1827, with engine turned decoration, opening to a gilt pierced and engraved floral grille, 3.5cm (1 1/4in) long 35g (1.13 oz) gross (2) Condition Report: Taylor & Perry - Marks are partially obscured, hinges good, slight gap when closed, engraving good, no splits to grate Edward Smith - Marks are partially obscured, hinges good, engine turning worn, no splits to grate Light scratches and wear commensurate with age and use Condition Report Disclaimer
Los 134
A VICTORIAN SILVER SHAPED RECTANGULAR VINAIGRETTE YAPP & WOODWARD, BIRMINGHAM 1853 Engraved with a monogram to a central reserve, the linear ground with flower sprays in four shaped panels, the rest engine turned, the gilt interior with a scroll pierced grille 4.5cm (1 3/4in) long 30g Condition Report: Marks inside cover clear, marks to base obscured Hinges good No splits to the grille Cover closes well Engraving good Light scratches and wear commensurate with age and use Condition Report Disclaimer
Los 14
AN OLD SHEFFIELD PLATE OBLONG BREAD TRAY MATTHEW BOULTON MANUFACTURING CO., BIRMINGHAM, CIRCA 1810 The gadrooned rim with shell and acanthus lifts, further smaller similar motifs to the sides, engraved with a crest 40cm (15 3/4in) long The crest for ELPHINSTONE, barons Elphinstone of Scotland. See Bradbury, Frederick History of old Sheffield plate Sheffield 1968, p. 221 for an illustrated example. Condition Report: Maker's mark beneath the rim Crests are crisp Borders good Plating in generally good condition, with little signs of rubbing Light scratches and wear commensurate with age and use Condition Report Disclaimer
Los 141
A LATE VICTORIAN SCOTTISH SILVER NOVELTY PEPPERETTE BROCK & SON, EDINBURGH 1892 Modelled as a gutta-percha golf ball, the interior gilt, 4cm (1 1/2in) diameter, loaded; and a tea light holder by Garrard & Co., London 1994, modelled as a flowerpot, 5.8cm (2 1/4in) high 80g (2.55 oz) (2) Condition Report: Both in good condition, clear marks Condition Report Disclaimer
Los 143
AN EDWARDIAN SILVER CASED TRAVELLING CLOCK ANDREW BARRETT & SONS, BIRMINGHAM 1909 The eight-day watch movement with captive wind, fast/slow lever and stamped Swiss Made, no. 578828, the white dial with bold black Roman numerals, gilt spade hands, subsidiary seconds dial at 6 o'clock and signed A. Barrett & Sons 63 & 64 Piccadilly, London, the interior gilt, the exterior of the square case plain and engraved M.E beneath a baron's coronet 8cm (3 1/8in) square Condition Report: Case fine, marks clear, slight gap when closed, engraving crisp Movement functioning at time of cataloguing Dial, glass and hands good Light scratches and wear commensurate with age and use Condition Report Disclaimer
Los 144
A SILVER CASED TRAVEL CLOCK MAPPIN & WEBB, BIRMINGHAM 1913 With a hinged case opening to a white metal pocket watch with a white dial, skeleton hands and Arabic numerals, 8 day movement with a lever escapement, bimetallic spilt balance and overcoil balance spring The case 10cm (4in) 208g (6.7 oz) weighable Condition Report: Marks are clear Hinge good Minor crease to the cover Movement is currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible to the naked eye. Dial appears to be in a generally good condition with no marks visible when viewed under a 4x loupe. Hands show marks and tarnishing when viewed under a x4 loupe. Glass has some scratches and marks when viewed under a 4x loupe. Case shows light scratches and marks. Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved. If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
Los 145
A SET OF FOUR EDWARDIAN SILVER NOVELTY PLACE CARD OR MENU HOLDERS SAMPSON MORDAN & CO., CHESTER 1908, REG. NO. 43309 In the form of owls with two-colour glass eyes, the disc bases engraved FOR AULD LANG SYNE 3cm (1 1/4in) high 84g (2.7 oz) gross, in a case from Edwd. Ewen, Castle Douglas Condition Report: Marks are generally clear Engraving clear Two slightly wobble, other two good Eyes good Light scratches and wear commensurate with age and use Condition Report Disclaimer
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534325 Los(e)/Seite