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Oswell Blakeston aka Henry Joseph Hasslacher (1907-1985):'The Day the Sun Fell in the Sand', oil on canvas, labelled verso, 25 x 35 cm; together with 'The 1920s', mixed media collage, Sandford Gallery label verso, 34 x 28 cm (2). Note: Oswell Blakeston was the pseudonym of Henry Joseph Hasslacher (1907-1985), a British writer and artist who also worked in the film industry, made some experimental films, and wrote extensively on film theory. He was also a poet and wrote in non-fiction areas including travel, cooking and pets. Provenance (Lots 173-190): Private, local collection amassed by the present vendor's late father, an associate & friend of the artist John Bratby.
Collection of dolls house furniture and miniatures, including black tin-plate cooking range, (6” (15cm) tall, gilt soft metal crib with canopy, (slight damage), a selection of later wooden dolls house furniture, carpet sweep and hoover, other pieces include picture frames, glassware, lead fireplace, clocks, kitchen ware, tin-plate wash stand and more. (lot).
A quantity of Victorian and Edwardian pie funnels to include funnels from the Nutbrown Company, pie funnels in the shape of tweeting bird, various Edwardian stoneware bottles, a ceramic sugar sifter, an Edwardian bowl 'The Quick Cooker Excellent for Stews of All Kinds, Meat Can Be Kept Hot For Hours Without Oven Cooking or Getting Dry' made by Grimwades, two early 20th century white metal hand mirrors, a non-matching hairbrush and a gentlemen's brush, two Edwardian babies' bottles, a part Edwardian skipping rope, a decanter with an engraving of sailing ship, lacking stopper and six small tumblers with engraving of the Liver Bird and a leather-cased Chesterman Sheffield tape measure etc.
A COLLECTION OF ASSORTED ROYAL YACHT DINING WARE comprising a porcelain soup tureen, cover and stand; a shaped vegetable side plate; a bowl; a copper covered cooking pot and spoon; together with a manuscript menu from the R.Y. Osborne dated 19th May 1899; a piece of treen from the first Victoria & Albert in the form of a book (7)
Comprising: 21 round dinner plates, 14 oval plates, 22 fish plates, 20 soup plates, 21 side plates, 19 dessert bowls, 2 large tureens and covers, a round salad bowl, a deep round fruit bowl, an oval serving dish, a round fluted pie dish, a rectangular serving dish, 2 small rectangular dishes, a rectangular entre dish, a small oval dish, 3 small round bowls, various sizes, a water jug, 4 assorted milk jugs, various sizes, 3 canisters with wooden lids, in sizes, a butter dish and cover, a sugar bowl and cover, with wooden spoon, a jam pot and cover, 6 small rounds, a mustard pot with wooden spoon, a sauce bowl with cover and saucer, 6 mugs, an enamel cooking pot and cover, a flower vase and a bud vase, printed factory marks, minor chips, very good overall condition (166)
Animals / Anthropomorphic. Collection of 27 Victorian & Edwardian chromolithographic greetings cards depicting anthropomorphic animals, predominantly Christmas cards. Including depictions of robins drinking wine and eating Christmas pudding; a goat running a milk cart; frogs playing a drum; monkeys dining at a table; a dog cooking a pork chop; cats taking photographs; mice wearing dresses; cats smoking cigars; cats on a racetrack; monkeys drinking tea (by Helena Maguire); cats reading books and writing. To include a c.1905 folding die-cut card of cat wearing driving goggles and hat (27)
William Scott CBE RA (1913-1989)Two Pears (1977)Oil on canvas, 25 x 35cm (9¾ x 13¾)Exhibited: Dublin, Twelve Recent Paintings, The Dawson Gallery, July 1977, Cat. No.12; Banbridge, William Scott in Ireland, F.E.McWilliam Gallery and Studio March - September 2009, Cat No. 34. Literature: William Scott, Catalogue Raisonne of the Oil Paintings, Vol 4, Cat No. 830, illus. p.217. Denise Ferran, William Scott in Ireland, F.E.McWilliam Gallery and Studio, 2009, illus p.31Although William Scott did make several forays into what might be termed ‘pure abstraction’ (as demonstrated by his exquisite ‘Berlin Blues’ series from the 1960s) he always returned to the recognisable subjects arranged in still life scenes. This painting from the mid 1970s exemplifies the artists preoccupation with the stuff of domestic life; fruit, eggs or fish arranged amongst pots, saucepans and cooking utensils upon a kitchen table. A preoccupation with these ubiquitous subjects remained consistent throughout Scott’s career because they provided him with ideal vehicles to carry out an exploration of form. However the artist was also drawn to familiar and quotidien subjects, such as pears, because they are universal, timeless and loaded with symbolic resonance.In 1973, the art critic Hilton Kramer wrote of William Scott’s still life paintings that although ‘the forms are highly simplified, they nonetheless boast a remarkable poetic resonance. They breathe and suggest a very personal emotional atmosphere ’. The coupling of two pears is a motif that possessed a personal significance for Scott. Variations on this theme in his work can be dated back to 1950 but he seems to have had a renewed interest in the subject throughout from the 1970s. In 1977 an exhibition organised by Edward Lucie-Smith took place at the Walker Art Gallery in Liverpool in which Scott exhibited a series of 17 small paintings titled An Orchard of Pears. This renewed predilection for the pear as a subject can be partly attributed to Scott’s move to a farmhouse in Coleford, England in 1967. An impressive pear tree stood in the garden of this house in front of which Scott was photographed on several occasions. Referring to his youth in Scotland and Northern Ireland, Scott once recalled ‘I was brought up in a grey world: the garden I knew was a cemetery and we had no fine furniture. The objects I painted were the symbols of the life I knew best and the pictures which looked most like mine were painted on walls a thousand years ago .’ Works such as Two Pears certainly highlights Scott’s admiration for ancient art, the elegant simplicity of which he became fascinated by following a visit to the Lascaux caves in France in the 1950s. However, the stark immediacy of Scott’s forms combined with his unique palette also make his work distinctly modern. Moreover, Scott imbues minimal and austere compositions such as Two Pears this with a deeply sensuous quality. Pádraic E. Moore, July 2019
Mahogany writing slope, a vintage blow lamp, two pewter mugs, a pair of cased binoculars, a copper warming pan, a carved storage pot (possibly Nepalese), a copper cooking pot and a silver-coloured metal candelabra with four branches Condition ReportNo maker's name obvious on binoculars but Wray London on case
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6887 item(s)/page