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Lot 102
A collection of Royal British Legion boxed Poppy Day items comprising a ceramic mug depicting events of 1916; Paschendale 100 pin to commemorate Rifleman J Rogerson, a Somme 100 pin to commemorate Private C E Hilder, a white metal pin made from components taken from spitfire active in Battle of Britain 1940, two boxed poppy pin badges, one large and one small.P&P:- £20.00+VAT (uk only)
Lot 96
Two pairs of cloisonne vases - one pair baluster shape, height appx21.5 cm, and smaller pair bulbous shape with extended neck, height appx 11cm. Also 2 cloisonne plates diameter 18cm, and 2 pin dishes, diameter 8cm. Also included, a small ceramic dish, diameter appx 5cm, with 2 Chinese character marks to base
Lot 363
Three trays of James Kent Ltd Staffordshire 'Crinoline Lady' 3087 teaware, together with another tray of various china including Sandland ware and other ceramic items, overall with Victorian lady amongst flowers: biscuit barrel, condiments etc. (4)(B.P. 21% + VAT) 'Crinoline lady' - some wear to gilding and some crazing but generally looks good. One coffee saucer has been badly glued together. One coffee cup has small chip, one has hairline crack, wear to the gilding on butter dish lid . One stopper missing from cruet set , small chip to oval dish.One tea saucer has crack ,milk jug has hairline crack and one teacup has chip and crack. 4th tray - crack to large bowl and small chip to underside of one small bowl. Some crazing to glaze.
Lot 671
A late Victorian ladies walnut writing desk by S E & R Johnson, Warrington, the rectangular moulded top inset with a leather skiver, above an arrangement of one long and two small cedar lined drawers, the long drawer stamped with the makers name, the sides inset with arcaded fretwork panels, raised upon legs of slender tapering square section terminating in ceramic castors, 71cm H x 79cm W x 46cm D
Lot 691
A Victorian button back tub chair, upholstered in red velour, the arched padded back and arms, enclosing the serpentine seat, raised upon walnut French cabriole legs, and plain back swept rear legs, upon ceramic castors, 87cm highCondition reportGeneral light marks and scuffs to the legs, although no visible cracks or faults, chair has been later re upholstered with the fabric in good condition with only very light wear.
Lot 721
An Edwardian mahogany and satinwood cross banded bonheur de jour, in the manner of Edwards & Roberts, the raised back centred with a shaped mirror flanked by a gilt metal gallery above hinged stationery compartments with single drawers, over the skiver inset writing surface and a pair of frieze drawers, raised upon slender tapering legs of square section and ceramic castors, 105cm H x 91cm W x 49cm D
Lot 21
RENÉ PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985)."Portrait of a woman", 1963.Ink on Arches paper.Signed and dated in the lower left corner.Size: 50 x 33 cm; 60 x 43 cm (frame).Ink on paper, in which the artist represents one of his famous female silhouettes. The woman is dressed with large floral headdresses, which gives rise to the interpretation of the same as representations of Flora, a theme that was recurrent in the life and work of the author.René Portocarrero is best known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his work in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, alongside other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He participated in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the International Sambra Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.
Lot 26
RENÉ PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985)."Portrait of a woman", 1963.Ink on Arches paper.Signed and dated in the lower left corner.Size: 50 x 33 cm; 60 x 43 cm (frame).René Portocarrero is known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his work in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, alongside other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He participated in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the Sambra International Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.
Lot 459
*JEAN LURÇAT (French, 1892-1966), 1950s, an impressive French Expressionism ceramic charger by Jean Lurçat, signed on the reverse ‘Dessin J Lurcat Sant.Vicens, D, 43/50’,46cm diameter*Artist's Resale Right may apply to this lot.Condition report: Excellent condition, small scratch to front and small running to base – see photos
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