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Click here to subscribeA Burmantofts Faience pottery model of a grotesque toad creature, model no.583, modelled standing on three legs, covered in a vivid yellow glaze, impressed marks, professional restoration to hind leg, minor glaze frits 16.5cm. high Literature Burmantofts Pottery Bradford Museums & Art Gallery/Leeds City Museums, 1984 an example illustrated on the front cover.
A large Burmantofts Faience Partie-Colour jardiniere and stand, model no.2115-2116, the ovoid bowl decorated in low relief with peacocks in a formal garden setting, before balustrade, the base with stylised flowers and foliage, in blue, turquoise, ochre and green, impressed factory marks, Sotheby's paper lot label, minor damages, 95cm. high (2) Provenance The Harriman Judd Collection British Art Pottery part 1, Sotheby's New York, 22nd January 2001, lot 186 private collection.
A Burmantofts Faience mantel clock, model no.1434, tapering rectangular form, cast in low relief with a heron wading in a river, with panels of tall flower stems, the top surmounted with a Sphinx, glazed red, impressed and incised marks, remains of paper label, 34cm. high Literature Jason Wigglesworth Burmantofts Faience A Compendium of Design, private press, page 57 for a comparable clock illustrated, glazed turquoise blue. Burmantofts Pottery Bradford Art Galleries & Museum, page 51 catalogue number 55 for a comparable example.
A Burmantofts Faience Partie-Colour vase designed by Joseph Walmsley, model no.2147, decorated with stylised water lily flowers with sinuous Art Nouveau tendrils, glazed in shades of yellow, green, brown and turquoise, and two Burmantofts Faience vases similar impressed marks, second vase with professional restoration, 26cm. high, (3)
A Burmantofts Faience wall plaque by Pierre Mallet, model no.947, modelled in low relief with a classical maiden seated in a garden setting with peacock, glazed lime green, another decorated with a stork with a frog in its beak, and another with a fox and heron on a riverbank, impressed marks, main plaque signed P. Mallet, 28cm. diam. (3) Literature Malcolm Haslam English Art Pottery 1865-1915, Antique Collector's Club page 162 figure 118 the heron design illustrated.
A Burmantofts Faience Pottery plaque by Harold Leach, model no. 1121, modelled in low relief with sailing vessels at sea, a galleon at anchor and cliffs in the background, glazed blue impressed marks, incised monogram,HL, restored rim chips, 45.5cm. diam. Literature Burmantoft Pottery Bradford Art Galleries & Museums & Leeds City Museums, 1984, page 52 catalogue number 63 for a comparable example.
A Burmantofts Faience Dragon vase, ovoid with waisted cylindrical neck, applied to the neck with a Dragon, the base modelled with bull-rushes, glazed yellow graduating to brown, the dragon glazed green, blue and turquoise with silver aventurine impressed marks, incised AF monogram, minor professional restoration to dragon's tail, 19cm. high. Literature Malcolm Haslam English Art Pottery 1865-1915, Antique Collector's Club, page 160-161 figures 115-117 for three comparable examples illustrated.
The Maide at The Inn and The Stayble Man two rare Burmantofts Faience wall plaques designed by William Neatby, rectangular, tubeline decorated and glazed in colours, framed, cast titles and impressed facsimile signature, 50 x 30cm (plaques), 56.5 x 36cm. (2) Literature Burmantofts Pottery Bradford Art Galleries and Leeds City Museums, 1984, page 65-66 catalogue number 154 for an example of The Maide at the Inne plaque illustrated. Burmantofts Decorative Tiles for Interiors, TACS volume 22 2016, page 34 catalogue number 76 and 77 these plaques illustrated. Catalogue Notes Born in Barnsley, Yorkshire in 1860, William James Neatby worked for six years at Burmantofts, from 1884 he was employed as ceramic tile designer, and later moved to Doulton where he would carry out the tile mural decoration for Harrods Meat Hall in 1902.
A garniture of five Burmantofts Faience Grass vases, model no.1659, 1397 and 1398, modelled in low relief and glazed in turquoise blue, impressed marks, 41cm. high, (5) Literature Burmantofts Pottery Bradford Art Galleries/Leeds City Museum, page 50 catalogue number 49 for two similar vases illustrated. These vases were retailed in the Liberty & Co catalogue, circa 1900.
Circle of William Powell Frith (1819-1909, British) The Tambourine Girl, oil on canvas, indistinctly initialled lower right, 24 x 19cmBorn in Aldfield, North Yorkshire, Frith was encouraged to take up art by his father, a hotelier in Harrogate. He moved to London in 1835 where he began his formal art studies at Sass's Academy in Charlotte Street, before attending the Royal Academy Schools. Frith started his career as a portrait painter and first exhibited at the British Institution in 1838. In the 1840s he often based works on the literary output of writers such as Charles Dickens, whose portrait he painted, and Laurence Sterne. He was also a member of The Clique, which also included Richard Dadd. The principal influence on his work was the hugely popular domestic subjects painted by Sir David Wilkie. Wilkie's famous painting The Chelsea Pensioners was a spur to the creation of Frith's own most famous compositions. Following the precedent of Wilkie, but also imitating the work of his friend Dickens, Frith created complex multi-figure compositions depicting the full range of the Victorian class system, meeting and interacting in public places. In Ramsgate Sands, Life at the Seaside (1854) he depicted visitors and entertainers at the seaside resort. He followed this with The Derby Day, depicting scenes among the crowd at the race at Epsom Downs, which was based on photographic studies by Robert Howlett. This 1858 composition was bought by Jacob Bell for £1,500. It was so popular that it had to be protected by a specially installed rail when shown at the Royal Academy of Arts. Another well-known painting was The Railway Station , a scene of Paddington station. In 1865 he was chosen to paint the Marriage of the Prince of Wales.Later in his career he painted two series of five pictures each, telling moral stories in the manner of William Hogarth. These were the Road to Ruin (1878), about the dangers of gambling, and the Race for Wealth (1880) about reckless financial speculation. He retired from the Royal Academy in 1890 but continued to exhibit until 1902. Detail of After the Bath, a late nude by FrithFrith was a traditionalist who made known his aversion to modern-art developments in a couple of autobiographies - My Autobiography and Reminiscences (1887) and Further Reminiscences (1888) - and other writings. He was also an inveterate enemy of the Pre-Raphaelites and of the Aesthetic Movement, which he satirised in his painting A Private View at the Royal Academy (1883), in which Oscar Wilde is depicted discoursing on art while Frith's friends look on disapprovingly. Fellow traditionalist Frederic Leighton is featured in the painting, which also portrays painter John Everett Millais and novelist Anthony Trollope. Frith lived a curious domestic life - married to Isabelle with twelve children, whilst a mile down the road maintaining a mistress (Mary Alford, formerly his ward) and seven more children - all a marked contrast to the upright family scenes depicted in paintings like Many Happy Returns of the Day. Frith married Mary on the death of Isabelle in 1880. In his later years he painted many copies of his famous paintings, as well as more sexually uninhibited works, such as the nude After the Bath. A well-known raconteur, his writings, most notably his chatty autobiography, were very popular. In 1856 Frith was photographed at 'The Photographed Institute' by Robert Howlett, as part of a series of portraits of 'fine artists'. The picture was among a group exhibited at the 'Art Treasures Exhibition' in Manchester in 1857.
Sir Thomas Lawrence, PRA, FSRA (1750-1829, British ) Charles Abbot, 1st Baron Colchester PC, FRS 1757-1829, oil on canvas, 62 x 75cmProvenance: Deceased estate from country house in Suffolk in 2014There is an identical portrait of the same sitter By Sir Thomas Lawrece, PRA in the Parlimentary Art Collection at Westminster, Accession number: WOA 2725 and given by Lord Colechester in 1825, this portrait is catalogued as after the original, but it is likely that it is a studio version.Abbot, Charles, first Baron Colchester (1757-1829), speaker of the House of Commons, was born on 14 October 1757 at Abingdon, Berkshire, the son of the Revd John Abbot (d. 1760), a fellow of Balliol College, Oxford, and rector of All Saints, Colchester, and his wife, Sarah, the daughter of Jonathan Farr, a citizen and draper of London. He was educated at Westminster School from 1763 and at Christ Church, Oxford, from 1776, winning the college prize for Latin verse in his first year and the chancellor's prize the year after. In 1778-9 he studied civil law in Geneva and obtained a doctorate, which was complemented by bachelor's and doctoral degrees in English civil law in 1783 and 1793. Elected Vinerian scholar by the University of Oxford in 1781, he was promoted to a residential fellowship in 1786. After being called to the bar from the Middle Temple in 1783 and joining the Oxford and Chester circuits, he surrendered his fellowship in 1792 to practise in the equity courts.Artist:Lawrence, Sir Thomas (1769-1830), painter and draughtsman, chiefly of portraits, was born on 13 April 1769 at 6 Redcross Street, Bristol. Within two or three years the very young Lawrence had revealed his talent for drawing, being capable particularly of sketching, in pencil, likenesses of people.The year 1790 marked full public recognition of Lawrence's achievements, in terms of prestige as well as of art. In that year he exhibited at the Royal Academy twelve portraits, among them two full lengths, the actress Elizabeth Farren (1789-90; Metropolitan Museum of Art, New York) and Queen Charlotte (1789-90; National Gallery, London). Reviews of the exhibition warmly praised both paintings, which rank among his finest achievements. Paint is handled with a richness, crispness, and confident pleasure seldom seen in British art, while the likenesses and costumes are seized with equally pleasurable confidence. And complementing the freshness of portrayal is a vivid, fresh response to differing aspects of English landscape.Lawrence had been bidden to Windsor in September 1789, to paint the queen and also Princess Amelia (1789; Royal Collection). Although the queen's portrait was not acquired by the king, Lawrence at twenty had received his first important royal patronage. Gainsborough was dead, and Lawrence was widely recognized as the successor to Reynolds, whose health and art were in decline. George III pressed the Royal Academy to elect him an associate in 1790, but it refused because of the regulation against election of associates aged under twenty-four. However, it elected him the following year. When Reynolds died in 1792, the king appointed him painter-in-ordinary. In 1794, at the earliest permitted age of twenty-five, he was elected a full academician.During the 1790s Lawrence seems to have believed that he could combine activity as a portrait painter with producing occasional history paintings. At the Royal Academy in 1791 he exhibited, as well as several portraits, a small history painting, Homer Reciting his Poems (1790; Tate collection), a composition commissioned by the antiquarian scholar and connoisseur Richard Payne Knight. The effect is of a pastoral landscape, attractive but hardly ambitious, nor particularly classical in mood. More interesting may have been the Shakespearian subject Prospero Raising the Storm (exh. RA, 1793), a large canvas he is said to have later utilized for the portrait of John Philip Kemble as Rolla (1800; Nelson-Atkins Museum of Art, Kansas City, USA).In 1797 Lawrence exhibited his most ambitious attempt at a history picture, turning back for inspiration to Milton's Paradise Lost, the poem which had been a source for recitation and delineation by him from his boyhood. The huge canvas of Satan Summoning his Legions (1796-7; RA) was his final effort to create a grand historical composition. It was very unfavourably received, but Lawrence himself defiantly continued to esteem it. After seeing it again in 1811, he wrote despondently of experiencing a sense of 'the past dreadful waste of time and improvidence of my Life and Talent' (Layard, 84). Darkened though the painting now is, and extremely difficult to assess, it is by no means unimpressive, for all the old master echoes and its debt to the style of Fuseli.Lawrence's international reputation was recognized by a succession of honours from foreign academies of art, including those of Rome (1816), Florence (1820), Venice (1823), Denmark (1823), and New York (1818). From his status and official position flowed numerous obligations, many performed, it seems, more dutifully than eagerly, and as printed his annual addresses to the Royal Academy students can only be termed insipid. But he made a point of being accessible and helpful to younger, sometimes foreign, artists, and would thus be gratefully remembered by, for instance, Eugène Delacroix. On the death of John Julius Angerstein in 1823 he actively urged the retention of his collection in Britain, for the nation, and was appointed one of the superintending body (later trustees) when the government purchased the collection and the National Gallery was founded in 1824.Despite the pressures upon him, Lawrence's art preserved all its vitality, while gaining in empathy and depth. To the annual Royal Academy exhibitions he regularly managed to send some six or more new portraits, and the range of his sitters was matched by the range of his interpretation. With absolute assurance he captured the bright-eyed vivacity of the two very young Calmady girls (1823-4; Metropolitan Museum of Art, New York) and the stony, quasi-judicial severity of an octogenarian in Lady Robert Manners (1825-6; National Gallery of Scotland, Edinburgh). Simplicity and directness characterize his Lady Blessington (c.1821; Wallace Collection, London). A quite unusually serious, Wordsworthian blending of sublime natural setting and reflective child gives resonance to the deservedly famous portrait Charles William Lambton, 'The red boy', (1824-5; priv. coll.).
Two vintage evening purses. A black French crocheted and tasselled evening bag with a moulded early plastic fastening and chain handle. The moulding depicts a lions head in an Art Deco style. The bag is lined with fine green silk (some damage) encirlcled with floral silk trimming. A further black beaded drawstring bag lined with black silk. Very nice condition with no noticeable damage to beading throughout. The bag fastens with black cord through silver metal rings which are tipped with two Venetian style beads.(2)
An early 20th century Swiss-made Ebel slide-wind hermetic watch, with white enamel square dial featuring Arabic numerals, hour and minute markers, Art Deco hour and minute hands and 'Ebel' under the twelve, and a base metal body inside a crocodile skin case with a ring for attaching a chain, 7cmL when extended
Australian Interest: An Australian 18ct gold and black opal solitaire ring by Rod Edwards, the oval cabochon held in an open frame above an oval concave base, stamped with maker's initial, circa 1960s? Size IRod Edwards (born Sydney, 1921) moved to England in 1954, where he trained as a jeweller before establishing his own company. His pieces were displayed at the seminal International Exhibition of Modern Jewellery 1890-1961 at Goldsmiths Hall, which was the beginning of a new appreciation of modern jewellery design. Famed for his elegant, modernist pieces, Mr Edwards is also an authoritative writer on the art and technique of jewellery making, his books including the substantial manual for goldsmiths 'The Technique of Jewellery', 1977.
WWII interest: A metal German Luftwaffe belt buckle, bearing the crest of a flying eagle originally holding a swastika in its talons, the swastika later removed, on a leather belt with the name 'M. Gothel' faintly visible on the inside, together with a trench art letter opener, the handle made from a bullet with a raised star shaped mark
Attributed to William Holman Hunt (1827-1910, British) A Troubadour Resting with his Capuchin Monkey, 19th century, oil on canvas, 45 x 36cmThere have been performances in public places for gratuities in every major culture in the world, dating back to antiquity. This art form was the most common means of employment for entertainers before the advent of recording and personal electronics. Prior to that, a person had to produce any music or entertainment, save for a few mechanical devices such as the barrel organ, the music box, and the piano roll. Organ grinders were commonly found busking in the old days. The term "busking" was first noted in the English language around the middle 1860s in Great Britain. Up until the 20th century buskers were commonly called minstrels in America, Europe and other English-speaking lands.The word "busk" comes from the Spanish root word "buscar", meaning "to seek" - buskers are literally seeking fame and fortune. Busking is common among some Gypsies, also known as the Romani people. Romantic mention of Gypsy music, dancers and fortune tellers are found in all forms of song poetry, prose and lore. The Roma brought the word busking to England by way of their travels along the Mediterranean coast to Spain and the Atlantic ocean and then up north to England and the rest of Europe. In medieval France buskers were known by the terms troubadours and jongleurs. In northern France they were known as trouveres. In old German buskers were known as Minnesingers and Spielleute. In obsolete French it evolved to busquer for "seek, prowl" and was generally used to describe prostitutes. In Italian it evolved to buscare which meant "procure, gain" and in Italy buskers are called buscarsi or, more simply, Buskers (see loan word). In Russia buskers are called skomorokh and their first recorded history appears around the 11th century.Mariachis are Mexican street bands that play a specific style of music by the same name.] Mariachis frequently wear ornate costumes with intricate embroidery and beaded designs, large brimmed sombreros and the short charro jackets. Mariachi groups busk when they perform while traveling through streets and plazas, as well as in restaurants and bars.Around the middle 19th century Japanese Chindonya started to be seen using their skills for advertising, and these street performers are still occasionally seen in Japan.In the US, medicine shows proliferated in the 19th century. They were traveling vendors selling elixirs and potions to improve the health. They would often employ entertainment acts as a way of making the clients feel better. The people would often associate this feeling of well-being with the products sold. After these performances they would "pass the hat".Easily recognized as the "organ grinder" or "greyhound jockey" monkeys, capuchins are sometimes kept as exotic pets. Sometimes they plunder fields and crops and are seen as troublesome by nearby human populations. In some regions they have become rare due to the destruction of their habitat. They are also used as service animals, sometimes being called "nature's butlers". Some organizations have been training capuchin monkeys to assist quadriplegics as monkey helpers in a manner similar to mobility assistance dogs. After being socialized in a human home as infants, the monkeys undergo extensive training before being placed with a quadriplegic. Around the house, the monkeys help out by doing tasks including microwaving food, washing the quadriplegic's face, and opening drink bottles. Capuchin monkeys are featured in the movies Pirates of the Caribbean: The Curse of the Black Pearl (and its sequels), The New Adventures of Pippi Longstocking (and its sequels), Night at the Museum (and its sequel), Anacondas: The Hunt for the Blood Orchid, Ace Ventura When Nature Calls, and Monkey Shines. Ross Gellar (David Schwimmer) on the NBC sitcom Friends had a capuchin monkey named Marcel.
Perard Victor “Anatomy and Drawing” publ. Victor Perard New York 1948, ills throughout, cloth with gilt titles and decoration, Wright, Alan & Vernon Stokes ills. “ Rural Life in England by Washington Irving, George Routledge and Sons, photogravure ills, blue cloth with Art Nouveau decorations and gilt titles, “Watteau L'Oevre du Maitre”, Librairie Hachette & cie. 1912, ills throughout, gilt titles with Art Nouveau gilt decorations to front board and back strip, and other related vols (8)
A pair of Art Deco period Bookends hand gilded and lacquered in Chinoiserie style, each 11cm high CONDITION REPORT: Gilt decoration generally in very good order, some probably re-touching to extremities of bookends (on gilt borders), some wear to material on underside. On close inspection under a glass some rubbing and wear to gilding in relief on figures and buildings etc., right hand bookend has sustained minor damage to edge of gilded side.
Charles Knight ( 1791-1873) (ed.) " The Pictorial Museum of Animated Nature - vol I Mammalia. Birds." Vol II Birds, Reptiles. Mollusca Insects." London, George Cox, col frontis to both volumes. Numerous black and white full page ills throughout both vols, blind stamped cloth with gilt titles and decoration, binding loose, rubbed and worn both vols., aeg. folio, With, Brandard, Robert " Scraps of Nature" etched by… Art-Union of London, 1864, plates, obl folio, both boards detached. (3)
A late 19th century silver Box of rectangular form, the hinged lid decorated repoussé style with the scene of an Art Nouveau maiden surveying an horizon with sunrays, surrounded by further Art Nouveau style flowers, foliage etc. (hallmarks rubbed) 10cm wide, approx. 98g CONDITION REPORT: Tarnished and minor dents and surface scratches but otherwise good. Approx. 98.5g
Schwob, Marcel “François Villon - Rédactions et Notes”, J. Dumoulin, Paris 1912; Longnon, Auguste Honoré “Étude Biographique sur François Villon: d'après les documents inédits conservés aux Archives Nationales” Henri Menu, Paris 1877, signed by the author: 'A mon cher ami, A Guy. Hommage affectueux, Aug. Longnon', bookplate of Dr Wolfgang von Wurzbach (1879-1957), the Austrian author, philologist, art critic and collector; Paris, Gaston et Pannier, Léopold “La Vie de Saint Alexis- Poème du XI Siècle” F. Vieweg, Paris 1887; Louis Moland, M. “Oeuvres Complètes de François Villon” Garnier Frères, Paris (4)
An interesting set of twelve 19th century Continental tin glazed earthenware/faience Tiles hand decorated, mostly in cobalt blue, within an oval frame and depicting St. Christopher carrying the Christ Child across a river, initialled lower middle Tile PhA. (This image of the Saint crossing the river with the Christ Child on his shoulders came to be extremely common in Western art from the 13th century. Most images have the staff already in leaf, an orb in the child's hand and fish in the river. Some images also put the Hermit on the bank of the river; otherwise the variations are few.) 56.5cm x 42.5cm
de Vere Stackpole, H. “The Poems of François Villon” translation of, Hutchinson & Co. 1913; Bourdillon, F. W. “The Early Editions of The Roman de la Rose” Chiswick Press, 1906; de Mezieres, Phillipe “Le Songe du Viel Pelerin edited by G.W. Coopland”, two volumes, Cambridge University Press, 1969; “Vocabulary in French and English - a facsimile of Caxton's Edition c.1480”, Cambridge University Press; “Lancelot do Lac edited by Elspeth Kennedy” two volumes, Clarendon Press 1980; Bogdanow, Fanni “The Romance of the Grail” Manchester University Press 1966; Duggan, Joseph J. “The Song of Roland” University of California 1973;Francis Cook, Robert “The Sense of the Song of Roland” Cornell University Press 1987; Laidlaw, J.C. “The Poetical Works of Alain Chartier” Cambridge 1974; Cartellieri, Otto “The Court of Burgundy” Routledge & Kegan Paul 1972; Hope T.E. “Lexical Borrowings in the Romance Languages - Volume I” New York University Press, 1971; Fox, John “The Poetry of Villon” Thomas Nelson 1962; Hunt, Tony “Villon's Last Will” signed by the author, Clarendon 1996; Blayney, Margaret S. “Fifteenth-Century English Translations of Alain Chartier…” OUP 1974; Ferrier, Janet M. “Forerunners of the French Novel” MUP 1954; Chaney, Edward F. “François Villon in his Environment” B.H. Blackwell 1946; Garabedian, Dikran “The Sonnets of Shakespeare translated into French 'regular' sonnets” Clarendon Press 1964; Atkinson, Geoffrey “The works of François Villon” limited edition of 600, Eric Partridge Scholartis Press 1930; “The Testaments of François Villon translated by John Heron Lepper” privately printed for subscribers, the Casanova Society, 1924; “The Poems of François Villon translated by H.B. McCaskie”; Evans, John “Art in Mediaeval France 987 -1498” OUP 1948; the Cresset Press 1946; “A Miscellany of Studies in Romance Languages & Literatures presented to Leon E. Katsner” Cambridge 1932; “Studies in French Language and Mediaeval Literature presented to Prof. Mildred K. Pope” MUP 1939; Rutson, E.M.“Thesis submitted to Oxford University - 'The Life and Works of Jean Marot'”
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