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Lot 272
Benjamin Creswick (1843-1946)-Art Nouveau plaster relief plaque-A dancing lady with flowing robes, signed to upper right, 50cm x 38cm, in an oak cabinet frame A.R. A protege of John Ruskin, Benjamin Creswick was to become a member of A.H. Mackmurdo`s Century Guild in 1886. He was Master Of Modelling And Modelled Design at the Birmingham School Of Art between 1889 and 1918
Lot 226
A ROYAL WORCESTER ROSE JAR AND COVERthe jar painted by Freeman, signed, with an all over still life of fruit above basket moulded gilt lower body and conforming cover, inner cover, 25cm h, printed mark, painted 1286 M/S, D of the gilder Dennis Hancocks and RE/BO, c1970++In fine condition, kept in a display cabinet since purchased when new by the present Vendor
Lot 227
A PAIR OF ROYAL WORCESTER ROSE JARS AND COVERSthe jars painted by Freeman, both signed, with all over still lifes of fruit above basket moulded gilt lower body and conforming cover, inner covers, 25cm h, printed mark, painted 1286 M/S and initials of the gilders Dennis Hancocks or Paul Wilson, c1970++In fine condition, kept in a display cabinet since purchased when new by the present Vendor
Lot 229
A PAIR OF ROYAL WORCESTER VASESof shield shape, painted by Freeman, both signed, with a still life of fruit, having scrolling gilt shoulder handles and flared gilt neck and foot, on square base, 31cm h, printed mark, painted 1969 and gilder`s initials of Dennis Hancocks, c1970++In fine condition, kept in a display cabinet since purchased when new by the present Vendor
Lot 230
A ROYAL WORCESTER VASEof shield shape, painted by Freeman, signed, with an all over still life of fruit, having upswept gilt shoulder handles and flared neck and foot, on square base, 31cm h, printed mark, painted 1969, s/s and gilder`s initials NW, c1970++In fine condition, kept in a display cabinet since purchased when new by the present Vendor
Lot 231
A ROYAL WORCESTER ROSE JAR AND COVERthe jar painted by Freeman, signed, with an all over still life of fruit above basket moulded gilt lower body and conforming cover, inner cover, 25cm h, printed mark, painted 1286, M/S and initials of the gilder Paul Wilson, c1970++In fine condition, kept in a display cabinet since purchased when new by the present Vendor
Lot 232
A ROYAL WORCESTER VASE AND COVERthe globular vase painted by Freeman, signed, with an all over still life of fruit, with gilt zoomorphic shoulder handles and flared neck and foot, conforming cover with pointed knop, 37cm h, printed mark, painted 1691 and initial of the gilder Dennis Hancocks and another, c1970++In fine condition, kept in a display cabinet since purchased when new by the present Vendor
Lot 234
A ROYAL WORCESTER SOUP TUREEN, COVER, STAND AND LADLEpainted by Freeman, each piece signed, with an all over still life of fruit, in gilt rim, the handles gilt, stand 39.5cm w, gilt printed mark, painted Z2704 in gilt, c1970++In fine condition, kept in a display cabinet since purchased when new by the present Vendor
Lot 235
A ROYAL WORCESTER ROSE JAR AND COVERthe jar painted by Freeman, signed, with an all over still life of fruit in lightly moulded gilt borders, conforming cover, inner cover, 34cm h, printed mark, painted 2048, M/S and gilder`s initial, c1970++In fine condition, kept in a display cabinet since purchased when new by the present Vendor
Lot 238
A PAIR OF ROYAL WORCESTER POT POURRI VASES AND COVERSpainted by Freeman, both signed, with a still life of fruit, a sprig of three cherries to the reverse, in lightly moulded gilt borders of strapwork and with reticulated cover with pointed gilt knop, 19cm h, printed mark H1969 and date code for 1962++In fine condition, kept in a display cabinet since purchased when new by the present Vendor. One vase slightly wobbly, this small defect un-noticed by the factory`s quality control and not immediately obvious since it stands without leaning
Lot 240
A ROYAL WORCESTER SHELL SHAPED DISHpainted by Freeman, signed, with an all over still life of fruit, in undulating gilt gadrooned rim with shell handle, the footrim also gilt, 24.5cm w, printed mark, c1970++In fine condition, kept in a display cabinet since purchased when new by the present Vendor
Lot 241
A ROYAL WORCESTER SHAPED OVAL DESSERT DISHpainted by Freeman, signed, with an all over still life of fruit, in undulating gilt gadrooned rim with shell handles, the footrim also gilt, 30.5cm w, printed mark, c1970++In fine condition, kept in a display cabinet since purchased when new by the present Vendor
Lot 966
A FLEMISH IVORY AND EBONY INLAID padouk and ROSEWOOD AND BUREAU CABINETthe upper part with dentil cornice and fitted with shelves enclosed by a pair of chevron banded, panelled doors, the bureau with conforming interior centred by a mirror inset door above a well and with three short and two graduated drawers to the front, on bracket feet, the sides also chevron banded in ebony and a light wood, 221cm h; 60 x 106cm, mid 18th c++The brass locks and eagle angles and lockplates all present. The handles possibly early replacements. Minor veneer loss and repair, lightly linseed oiled by the present vendor and with other small restorations, long in the present local private family`s ownership
Lot 979
A NEO CLASSICAL STYLE CARVED AND PAINTED MAHOGANY BOW CENTRED CABINETthe fluted frieze with paterae above three doors centred by panels of bacchantes framed by swags and urns, the apron with rosettes, on eight tapering turned and fluted legs with curved stretchers, 145cm h; 45 x 140cm, early 20th c++In fine condition
Lot 1003
A FRENCH MAHOGANY AND VERNIS MARTIN BUREAU À CYLINDREin Louis XVI style, with gilt brass mounts, the cabinet enclosed by a panelled door flanked by pilasters and pillars with galleried open shelves, the bureau with sliding writing surface and drawer, on tapering legs with sabots, 140cm h; 79 x 48cm, early 20th c++The decoration to the cylinder with a number of small paint chips, minor veneer knocks and scratches but in basically sound original condition
Lot 1007
AN EDWARD VII MAHOGANY CABINETcrossbanded in satinwood and line inlaid, fitted with adjustable shelves enclosed by a pair of glazed thirteen pane doors, the stand with two drawers and moulded square legs, 182cm h; 36 x 95cm++Some restoration, various old knocks and stains especially on the top of the table stand
Lot 84
A LATE 19th CENTURY KOMET OAK CASED PENNY IN THE SLOT FLOOR STANDING MUSICAL DISC PLAYER OR POLYPHON, having an ornate cabinet with domed simulated slated roof with bobbin turned gallery, projecting cornice, plain frieze, the upper section containing the mechanism, enclosed behind an engraved and gilt decorated panel door, arched glass with pierced corner spandrels, turned and carved pillars either side to the hinged door, the lower section of architectural form with a centre fall front cabinet containing storage for additional discs, stepped flanged base carried on concealed bun feet, 103cm wide x 57cm deep x 240cm high. The cast metal mechanism plate inscribed Komet, having twin combs either side of the centre roller, together with thirty-eight 60cm diameter metal discs. See illustration
Lot 200
A ROYAL WORCESTER PORCELAIN CABINET CUP AND SAUCER polychrome painted with plums,strawberries, blackberries and pears on a naturalistic ground further embellished in gilt, the cup signed H Ayrton, the saucer signed E Townsend, both with printed puce mark, one date coded for 1901, the other for 1902. See illustration
Lot 687
A 19TH CENTURY ROSEWOOD SIDE CABINET the mirrored back in a serpentine cushion frame with foliate scroll cresting, the breakfront base with a white/grey marble top over three doors, each with painted panel of summer flowers, divided by mirrored panels, on a plinth base, 155cm high x 153cm wide x 43cm deep
Lot 48
Margaret Clarke RHA (1888-1961) Portrait of Éamon de Valera Oil on canvas, 50.5 x 40.5cm (20 x 16") Inscribed verso 'sketch of Eamon de Valera - two sittings by Margaret Clarke' Provenance: The sitter and thence by descent to current owners Margaret Clarke was commissioned to paint Éamon de Valera in the autumn of 1928. De Valera had abandoned abstentionism and taken his seat in Dáil Éireann the previous year, an important year for Margaret Clarke also: she had been granted full academic membership of the Royal Hibernian Academy (RHA), only the second woman to be so honoured. Dermod O'Brien, president of the RHA, was a great admirer of her portraiture: What I like about her work is her sincerity and insight and characterization. She does not content herself with setting a surface likeness but seems to search into the character of the sitter and get at the soul of him or her. (Extract from a letter to Mr Dwyer, Fitzwilliam Square, regarding a commission, July 1932) O'Brien recommended Clarke for a number of commissions, including this one from John J. Shelly of Winnipeg, Manitoba. Shelly had specific ideas regarding the work, which he put to Clarke in a letter now unfortunately lost. In a subsequent letter dated Nov. 1928, he was jubilant with relief, having just received long-awaited confirmation from Frank Gallagher of Fianna Fáil that de Valera was willing to sit for Clarke. Shelly seems to have hoped that the portrait would be part of a promotional campaign. He confided to Clarke that he 'thought his [Gallagher's] silence was one way of "freezing me out"'. Gallagher was de Valera's media and public relations man, soon to be the first editor of the Irish Press. Obviously Shelly had reason to believe that he might not welcome outside interference. Perhaps, in the end, Gallagher had his way. Shelly had specifically requested that the painting should be exhibited at the next RHA annual exhibition. Clarke exhibited works there in 1929 and for many years thereafter, but her portrait of de Valera never appeared publicly. The painting is carefully composed to combine informality and status. A formally dressed De Valera is casually leaning on a bookcase with an academic backdrop of swathes of red fabric partially obscuring a green wall. Most uncharacteristic of Clarke as a portrait artist and of de Valera as a public figure is the hint of a smile on his relaxed face. Arguably, Shelly wanted the image of a civilized, benign gentleman to be used to help banish memories of de Valera's more violent past Margaret Clarke had one more encounter with de Valera: Harry Clarke's work known as the Geneva Window had been in storage in government buildings since his death in Jan 1931. She had tried to buy it back from Cosgrave. On taking office in 1932, de Valera ordered that she be asked if she was still interested in it, and noted that it had 'acquired' two cracks. During negotiations with Seán Lemass and others, Clarke argued strongly for some sort of favourable terms but de Valera and his cabinet insisted she repay the full purchase price of £450. Clarke was deeply disappointed and may well have regretted ever accepting Shelly's thirty guineas and endowing de Valera with a smile. Fiana Griffin
Lot 1060
A George III and later mahogany Breakfront Secretaire Bookcase having moulded and dentil cornice with a blind fret frieze and four astragal glazed doors above the secretaire drawer and eleven drawers. 7ft 7in H x 6ft 9in W Provenance: Ex Patshull Hall, Staffordshire, based on designs by Thomas Chippendale in The Gentleman and Cabinet Maker`s Directory see plates 91 and 95.
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