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Lot 7
A pair of 19th Century Chinese blue and white cylindrical vases with flared rims, decorated with figures in a garden setting, bearing faux Kangxi four character marks to base CONDITION REPORTS Both vases approx 35.5 cm high. One of the vases has numerous cracks and old repairs and a small chip to the base. Both vases have some light surface scratches, accretions, etc with wear and tear commensurate with age and use. See photos for more details.
Lot 27
A Chinese Qianlong style fruit bowl, the centre field polychrome decorated with figures in a garden setting, the circular foot similarly decorated to the centre field CONDITION REPORTS Numerous surface scratches and scuffs, accretions, wear and areas of loss to the decoration. Areas of discolouration. General wear and tear commensurate with age and use. See photos for more details. Height approx 11 cm x diameter approx 26.5 cm.
Lot 29
A Chinese famille-rose and blue and white decorated fruit bowl with panels of figures in garden settings, on a carved wooden base, together with a Chinese polychrome decorated and gilt outlined fruit bowl, painted with figures in landscape settings, on a carved wooden stand CONDITION REPORTS The famille-rose bowl has light surface scratches, scuffs, some wear to the gilt and decoration, accretions. There is an old repair to the rim with a couple of areas of loss to the rim around the old repair which then forms into two cracks going towards the middle of the bowl. There is also a crack to the opposite side starting from the rim going to the bottom of the bowl. The polychrome bowl has surface scratches, accretions, some wear to the decoration in the centre. There is a crack that spans the entire diameter of the bowl which has an old repair of metal staples along it and also three further cracks to the side of the bowl, both old repairs with staples.Both items have general wear and tear commensurate with age and use. See photos for more details.
Lot 20A
A collection of Chinese blue and white tea wares to include Kangxi tea bowl, eight various blue and white tea bowls, a small bowl decorated with boys prancing in garden, a set of four floral and insect decorated saucers, another blue and white saucer decorated with figures, together with two Japanese blue and white cups and four saucers, each with figural decoration bearing six character marks to base CONDITION REPORTS Most pieces with some damage. Items in one image particularly all with severe damage though two cups amateurly repaired. The remaining items with chips to the rims and various hairline cracks. See images for further examples / detail.
Lot 67
A pair of 19th Century Chinese polychrome decorated vases with relief work lion mask ring handles, the main bodies decorated with women in garden settings (as table lamps) CONDITION REPORTS Damage to one rim, surface scratches, hairline cracks, yellowing and a chip to one of the ring handles. General wear and tear to include firing faults. Some wear to the enamel decoration. General wear and tear to include surface scratches, etc. Converted to lamps and stuck to wooden bases. See images for more details.
Lot 210
Signed with initials, paper collage 31.5cm x 45.5cm ( 12.25in x 18in ), together with three screenprinted linens of the corresponding design in differing colourways, 30cm x 42cm ( 12in x 16.5in ), 32.5cm x 46cm ( 12.75in x 18.25in ), 32cm x 46.5cm ( 12.5in x 18.25in ), the three linens unframed (4) (Dimensions: .)(.)Footnote: Literature: Geoffrey Rayner et al., Textile Design: Artists' Textiles 1940-1976 , Antique Collectors' Club Ltd., 2014, p.93 for an example of the table linen in the grey colourway. Note: During Tate Britain’s major retrospective Barbara Hepworth: Sculpture for a Modern World in 2015, they used this textile design as inspiration, and a basis, for their first ever garden installation. Positioned at the front of Tate Britain, overlooking the Thames, it reflected the simplicity and bold lines of this significant design. Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 1155
An elm smoker's bow armchair, another armchair, assorted dining chairs, two painted tables, a blue trunk, a display cabinet and 11 metal garden chairs (qty)Provenance: From the Estate of the Late Dame Elisabeth FrinkThe demi line table is in poor condition. Front leg bent inwards. Generally weathered, paint flaking and in need of work. Wooden joints also coming apart around the frieze. Age unkown, probably early 20th century.
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