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Lot 193
A Herend Cache Pot, in Rothschild Bird pattern, together with other porcelain, including a Rosenthal trinket box and cover painted with a hunting scene, Bilston & Batersea Golden Jubilee box and cover, WH Goss model of HM Princess Victoria's shoe, Emmie Philps studio pottery vase, etc (one tray)
Lot 223
Nine decorative paintings and prints, to include an early 20th century oil, rural scene with sheep, shepherd and cottage in the background, unattributed; rural scene of country lane with cottages and figures, unattributed; rural scene with figures in the foreground, chickens and couple fishing, with cottage to background, three decorative wooden panels, all with rural scenes, one of hunting dogs, one of a farmyard scene with kittens climbing trees, an Oriental machine tapestry of wildcat in forest, and unattributed, oil on board, Chester, various sizes, some framed and glazed (9).Qty: 9
Lot 291
A vintage Japanese made fixed blade hunting knife. The knife having a shaped wooden grip secured to the tang with x3 steel rivets and knuckle guard. The blade clipped to the point and marked to the ricasso ' Stainless III-Carbon Steel Japan '. Further marked to the blade' Daiwa Allex '. Housed in a black leather scabbard. Measures approx 23cm.
Lot 105
Spanish school, 18th century."Saint Charles Borromeo before the Virgin and Child".Oil on copper.Measurements: 41 x 33 cm; 56 x 47,5 cm (frame).A court of angels, in the lower plane, holds a phylactery and garlands, forming a first ascending circle, which is followed by a choir of seraphim. In the upper plane, Charles Borromeo in prayerful pose is about to be canonised by the Child Jesus, whom the Virgin is holding in her arms. This is a typically Baroque break of glory. Golden lights envelop the figures and model them in their rounded, sculptural forms. Saint Charles Borromeo was a reformer saint of the post-Tridentine period, cardinal nephew of Pius IV and archbishop of Milan. From an aristocratic family, he received the clerical tonsure at the age of eight, and shortly afterwards was sent to Milan to study humanities under the preceptor Bonaventura Castiglioni. In 1559 he obtained a doctorate in law, and in the same year his uncle, Giovanni Angelo de' Medici, was elected pope, a decisive event in the life of the young Charles. The recently appointed Pope Pius IV sent him to Rome and showered him with honours and dignities, including that of cardinal. A man of extraordinary talent for government, his life changed radically when he was ordained a priest in 1563. He gave up his worldly tastes, such as hunting and music, and retired to the Jesuits. However, he again took part in Vatican politics at the third convocation of the Council of Trent, where he was able to avoid serious conflict. Later, when he was ordained Cardinal of Milan, the most famous event of the saint's life took place, which defines the heroic self-sacrifice and sense of responsibility of his office: the so-called plague of St. Charles in his city. Borromeo was away, but when he heard of the outbreak of the plague, he hastened his return to help the sick both materially and spiritually. Once there, he made alms begging in the city and sold his remaining precious objects from his own patrimony. He even gave up the hangings of his palace to make clothes. He went everywhere in person, visited all the neighbourhoods and administered the last sacraments himself to the priests who succumbed to this work of charity, disregarding the danger of contagion.
Lot 19
Spanish school, 17th century."Hunting Scene". After models by PAUL DE VOS (Antwerp, 1591/95 - 1678).Oil on canvas.Re-coloured.Frame of the 20th century, following ancient models.Size: 96 x 152 cm; 115 x 172 cm (frame).The pack of hounds is a subject of great tradition in Flemish Baroque painting, which was also very popular in Spanish circles in the 17th century, as it was in great demand among the aristocracy. The present painting is inspired above all by the fierce fights between animals that Paul de Vos repeatedly staged. A lion is being attacked by three dogs, but he has already defeated one of them. The tension and drama is concentrated in the gaping jaws, the torn flesh, the bloodshot eyes, the scarred muscles of the dogs' beautiful anatomies. The landscape background is also reminiscent of many of De Voos's models. The silver sky, heralding a storm, provides an ideal context for the drama of wildlife. The white and ochre fur combines in a studied contrast of velvety chromaticism.
Lot 54
Spanish school following models by PAUL DE VOS (Antwerp, 1591/95 - 1678); 17th century."The hunting of the wild boar".Oil on canvas. Re-drawn.It has perforation and repainting.It has faults in the frame.Provenance: Marquises of Cortina.Measurements: 119 x 162 cm; 142 x 187 cm (frame).We see in this canvas a hunting scene with only animals, a particularly violent moment, full of tension and even pathos, features that are reflected both in the composition, the light and the chromatism and in the expressions of the animals. During the 17th century, in Flanders there was an increasing demand for paintings to decorate the houses of the bourgeoisie. In addition to portraits and large canvases with religious, historical or mythological themes, artists specialised in painting medium-sized works that gradually increased in size, including still lifes, animals, landscapes and genre scenes.The present work continues the aesthetic models of Paul de Vos, an artist who specialised in hunting scenes among animals. His works are characterised by compositions with pronounced diagonals, as we see here, and by the frequent presence of live animals. In his compositions zigzags are formed to provide movement. Paul de Vos was a painter trained with Snyders who throughout his career incorporated innovative features into his work, with various variations on his hunting scenes, a genre in which he specialised. Vos was more velvety in his textures than Snyders and was characterised by a greater development of the landscape, particularly in his hunting scenes. In addition, he used a personal chromaticism based on warm tones, ranging from ochres to earthy tones, but lighter and paler than Snyders. His technique is also looser, blurring the contours and rich textures of Snyders in favour of a more atmospheric and diffuse overall appearance. Vos's work is also more dramatic and tense, as he always preferred scenes of great violence, often depicting animal struggles in a bloody and ferocious manner. His images are therefore highly pathetic, particularly evident in his hunting scenes, which are endowed with a dramatic quality that was also reflected in his illustrations of fables featuring animals. He also took a different approach to the anatomy of animals, depicting them in a less naturalistic manner, with more elongated bodies.
Lot 46
"TINO", CONSTANTINO GRANDIO LÓPEZ (Santa Olalla de Lousada, Lugo, 1924 - 1977)."Hunter", 1966.Oil on canvas.With a label on the back from the Macarrón Gallery.Signed and dated in the lower right-hand corner.Measurements: 70 x 52 cm; 79 x 58,5 cm (frame).Grandio's painting always oscillates between neutral tones, especially white in contrast with black, in such a way that this work stands out for the play of colour that he achieves on the basis of wide fields of different tones, which make up an idealised landscape. As the protagonists of the scene, the silhouettes of a dog and a gentleman carrying a shotgun show us the conceptualisation of traditional hunting paintings. This same concept, in which scenes with an almost costumbrista theme are presented based on figures cut out against a background of faint, neutral tones which blend into each other, was common in the work of Tino Grandio, as can be seen in his painting "Ploughing with a Roman plough", which belongs to the Abanca collection. It is an image aesthetically conceived from the point of view of abstraction, as if it were a primordial path that the artist follows until he reaches figuration in a subtle and lyrical way. The treatment, based on broad brushstrokes, brings a great symbolism to a totally indeterminate atmosphere.Tino Grandio studied high school in Lugo and then moved to Santiago, but soon abandoned his studies to devote himself definitively to painting. In 1949 he went to Madrid, where he was assisted by the sculptor Cristino Mallo and the painter Díaz Caneja, joining the group of the Madrid School. In 1955 his work was selected for the Hispano-American Art Biennial held in Barcelona, and he made his individual debut in 1957 with an exhibition at the Dirección General de Bellas Artes in Madrid. Since then he has held numerous solo exhibitions in Madrid, Barcelona, Lisbon, Paris, New York, Munich and Alexandria. He also took part in group exhibitions in Europe and South America. An award-winning painter since his youth, he won the Lugo provincial prize in 1944, and since then he has been awarded other important prizes such as the Stanley Kramer (1956), Cance (1960) and Unicef (1968) prizes, and was awarded first prize at the Anthological Exhibition of the Círculo de las Artes in Lugo (1964), grand prize and medal of honour at the first Galician Biennial (1966), and the International Grand Prize for Painting at the Marbella Biennial (1971). He took part in the National Exhibitions of Fine Arts, being awarded the third medal in 1962, the second in 1964 and the first in 1966. In 1963 he was awarded the Grand Prize of the General Directorate of Fine Arts. In 1965 he was awarded a scholarship by the March Foundation. After his death, several anthological exhibitions were dedicated to him in different parts of Galicia, sponsored by the Fauna gallery, among which the Homage Exhibition held in the Provincial Council of Lugo in 1979 stands out. In 2005, the Museum of Fine Arts of La Coruña dedicated an anthological exhibition to him entitled "Painting with the mists". Tino Grandio is currently represented in the Centro Galego de Arte Contemporánea de Santiago de Compostela and in the Museo de Arte Contemporáneo de Madrid, as well as in many other museums in Spain, Europe and America.
Lot 176
A pair of paper silhouette cut pictures depicting hunting scenes, glazed and in brass oval frames, each overall 11.5 by 10cms (2).Condition ReportThe backing paper to both images has yellowed with age, gilding is rubbed away on both frame edges, oval frame size 11.5 by 10cms, general wear but good overall condition
Lot 204
ELIAS RIDINGER (Ulm, 1698-Augsburg, 1767)."Paradise or The Creation", 18th century.Etching on paper.It presents faults, damages and restorations.Measurements: 37 x 53 cm.German painter, engraver and publisher, Elias Ridinger is considered one of the best engravers of his time. Although he specialised in images of animals and hunting scenes, on this occasion he offers us a scene from the Old Testament, that of Paradise with Adam and Eve.
Lot 31
An Elizabeth Hamilton for Doulton Lambeth Loving cup, hunting scene to one side, hunting trophies and emblems to ther other, 15cm; a Doulton Lambeth vase, mallet form, incised monogram SWE, 23.5cm; and a Doulton Lambeth jug with silver-plated mount, 22cm.Qty: 3Condition report:One the loving cup there is damage and repairs to the dogs design on one side, there is restoration to the top rim in one place. The jug has a restored handle, and most of the plate has rubbed of the rim. The vase has no cracks or chips, but does have a small firing floor to the side.
Lot 453
Brian Porteous, Hounds and Landscape,signed, dated '86, oil on board, 28cm x 39cm.Unsigned hunting scene with huntsman and hounds,oil on canvas,22 x 33cm. Condition report:Both works are framed (see additonal images). The Porteous has a faint surface scratch to the skyline between the trees near the top margin, and patches of surface dirt most evident to the pale sky and green grass. The Unsigned work has a significant amount of surface dirt throughout. No damage to the canvas.
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