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Lot 84
Breitling SuperOcean Heritage II automatic stainless steel gentleman's wristwatch, ref. AB2020, serial no. 5002xxx, ceramic blue bezel and dial, mesh bracelet, 46mm ** with Breitling box and spare bracelet link-Movement - currently functioing.Dial - good.Glass - good.Hands - good.Case - good.Crown - adjusting correctly.Bracelet - some light marks on the clasp, otherwise good, wrist size 7.75-8" approx.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 86
Breitling SuperOcean Heritage 46 automatic stainless steel gentleman's wristwatch, ref. A17320, serial no. 1800xxx, circa 2017, ceramic black bezel and dial, mesh bracelet, 46mm** fine condition, with the original boxes, tags, International Warranty, tags, bezel protector, spare bracelet links. Purchased originally in January 2017-Movement - functioning.Dial - good.Glass - good.Hands - good.Case - good.Crown - adjusting correctly.Bracelet - good.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 211
A selection of studio pottery ware, to include; a stoneware pot pouri, 20th century, of compressed circular form on three raised feet with pierced cover, mottled glazed decoration, 9cm high, a stoneware vase, 20th century, of compressed form with blue an purple drip glaze, 10.5cm high, a stoneware bowl, 20th century, of circular form on raised foot with blue-green mottled glaze, 14.8cm diameter, a ceramic vase, 20th century, with mottle green drip glaze, 19cm high, and further seven studio pottery vases and vessels of assorted shapes, styles and colours (11)
Lot 421
A selection of vintage dolls house furniture and accessories, to include; a cast iron range cooker, 10cm high, a wooden Welsh dresser, 17cm high, a four drawer drop front bureau, 8cm high, a French style armoire, 13.5cm high, a Coalbrookdale style wirework settee, 10cm wide, a ceramic kitchen sink top, 11.5cm wide, and further household furniture, with a small bisque head doll, 14cm high, and a Victorian style pram, 12cm high (max) (Qty) (at fault)
Lot 623
A set of six oak 17th century revival dining chairs, late 19th century, each with a 'C' scroll leaf carved aperture above a padded back and seat, raised upon turned baluster and block supports, united by a conforming 'H' cross stretcher, upon ceramic front castors, to include two elbow chairs with padded arms, heights 98cm and 104cm (6)
Lot 80
A George V silver mounted novelty inkwell in the form of a bell, Birmingham 1912 (maker's marks worn), weighted leather base and hinged cover opening to reveal ceramic liner, inscription for 'Noel 1915', 8.5cm high, together with an Edwardian silver topped dressing table jar by Arthur Willmore Pennington, Birmingham 1901, 9cm high, a silver mounted green glass scent bottle, 7.5cm high, a silver topped scent bottle, 9.3cm high (at fault) a silver dressing table jar cover, 3.4cm wide, and an Art Nouveau cut glass brass mounted inkwell, 7cm high (6)
Lot 57
JOAN RIPOLLÉS (Castellón, 1932)."The flower".Oil on canvas.Signed in the lower left corner.Measurements: 130 x 97 cm.Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, being still very young and in the middle of the postwar period, he entered to work in an industrial painting workshop. From then on he dedicated himself to painting at night, and later he took drawing classes at the Ribalta Institute in Castellón. After his debut in a collective exhibition held in 1951 at the Caja de Ahorros de Castellón, in 1954 there was a turning point in his career, as a result of a trip to Paris where he established contact with the artistic circles of the city. He remained in the French capital until 1963, and during these years he made twelve paintings for the church of Saint-Paul de Trigan in the Commune des Chaulegnes. However, he could not leave industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organized his first major solo exhibition at MACBA in 1962, and in 1967 he traveled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse Gallery, acquires all his work, something that will be repeated on his trip to Japan. From that moment on, he began a brilliant international career that has taken his work all over the world. In 1977 he moved to Holland, where he made the engravings for the book in homage to Josep Plà. Between 1986 and 1987 he devoted himself to sculpture, creating sixty-two works in ceramic and bronze that were exhibited at the 1988 edition of ARCO. He has organized solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, several American cities, Germany and Japan. He is currently an exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Arts Prize of the Valencian Community. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. After a first stage of correct figuration in which he recreates the landscape of his land, his work is leaning first towards a dramatic expressionism, and then towards a simplified painting based on the imaginative and poetic recreation of reality. Within this lyrical, ironic world and a certain eroticism, a work is developed whose roots hide a deep admiration for Picasso and Chagall. Ripollés is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.
Lot 306
Francis Hewlett (British 1930-2012), Yellow Splash (1971), glazed ceramic in sections, the largest 45cm x 37cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 402
*John Maltby (1936-2020),a standing crowned figure, stoneware, the crown with two hanging ceramic beaded suspensions, with geometric motifs to the body, with artist's monogram60cm high, on a fixed painted wood plinth*Artist's Resale Right may apply to this lot.John Maltby (1936-2020) Rejecting the conventional Anglo-Oriental traditions defined by Bernard Leach, John Maltby spearheaded the development of a new Modernist movement in British Studio Pottery from the mid-1960s until his death in 2020.Initially trained as a sculptor at Leicester University and Goldsmiths, Maltby's career as an art potter began in 1962, working with David Leach at Bovey Tracey. Leaving Leach's tutelage in 1964, however, he felt no connection with the practices and aesthetics, and instead set out his own artistic direction, which would redefine British Studio Pottery.Rather than drawing from the Japanese styles worked by his contemporaries, Maltby was influenced by artists such as Henry Moore, Alfred Wallis, Picasso and Paul Klee, emphasising the symbiosis of abstract geometry and colour. Working in bolder colours and asymmetric shapes, Maltby never regarded his work as mere vessels, but rather each piece as a sculptural work, enclosing particular memories and emotions.The concept of memory was always at the heart of Maltby's work, and this notion was reinforced in 1996 when, following heart surgery, Maltby was forced to change his practice being unable to work the clay as he had previously. Rather than abandoning his craft, Maltby made the most significant change in his artistic career - the transition from turned pottery vessels to sculpture. The shift in practice made Maltby's previously employed patterns and aesthetics spring to life and introduced many returning 'characters', taking the form of birds, fishermen, kings, knights and many more. These characters took on token characteristics of Maltby's life and he embodied into them specific memories or emotions evoked by pieces of art or music.Maltby always sought for his work to regale a narrative, be it the far away chivalrous stories of knights and kings, or the humble tales of the local fishing folk surrounding his Devon home - they all held equal importance in Maltby's mind. Continuously revisiting these for the last twenty-four years of his life, Maltby has built a unique legacy in the echelons of British Art Pottery. The playfulness in his work continues to attract collectors, new and old, and has made it universally applicable in any interior context. They are, at their heart, conversation pieces, and in discussing them, they become subject to new narratives and new memories.
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