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Click here to subscribeA GEORGE III WALNUT CHEST OF DRAWERS, with an unusual configuration of three small drawers, above two short and three long graduated drawers, with rosewood turned handles and six drawers with ivory escutcheons, flanked by reeded columns, on bracket feet, width 126.5cm x depth 57cm x height 125cm, Ivory Submission reference ZXQ4JXSH (condition:-good condition, some historical repairs to the left side and crack to top with repair)
A MOORCROFT POTTERY SQUAT BALUSTER VASE DECORATED WITH PINK AND BLUE CLEMATIS ON A BLUE GROUND, painted initials and impressed marks to the base, height 12cm, together with a Shelley Mabel Lucie Atwell nursery plate, diameter 17.5cm and a Royal Worcester circular blush ivory trinket box and cover, printed and painted with floral sprays, printed puce mark, diameter 6.5cm (3) (Condition report: Moorcroft vase has a glaze scuff to the rim, Shelley plate possibly a second, has scratches in the glaze, trinket box would benefit from a clean)
A PORCELAIN 'TROUT' SIX PIECE SERVICE SET, WOODS IVORY WARE, ENGLAND, EARLY 20TH CENTURYcomprising of four plates, serving platter and sauce boat, each with similar trout design with light green and cream ground, each with factory mark in black underglaze some with additional impressed marks and numerals; diameter of plates: 22 (8 5/8 in.), platter: 35.5 cm (14 in.), height of sauce boat: 8 cm (3 1/8 in.)PROVENANCEPrivate Brooklyn Heights collection
Miniature 19th century chest with a plain rectangular top above a single secret drawer above three short and three graduating long drawers, with ivory escutcheons and ebonised bun handles. 58 x 62 x 28 cm. (Please note: Franklin Browns have applied for a de minimis exemption licence for the ivory in this lot (87ZS7YTF)
19th century mahogany and chequer banded dressing mirror of small proportions, the uprights with ivory finials, single long drawer to the base, raised on ogee bracket feet, 47 x 33cm (Please note: Franklin Browns have applied for a de minimis exemption licence for the ivory in this lot (6WNL4146)
A Victorian rosewood mercury Wheel Barometer and thermometer, signed A. Rozenbaum, Blandford, with a swan-neck pediment and brass finial, the case profusely inlaid with marquetry and mother of pearl inlays, silvered dial with decorative engraving, circular hygrometer and boxed mercury thermometer, rectangular level bubble and recording hand setting disc, 101.5cm high x 25cm wide. DEFRA Ivory Act submission ref: JUN5MG4Y.
Laurence Stephen Lowry RBA, RA (1887-1976)"The North Sea"Signed and dated 1966, inscribed, signed and dated 1965/6 verso on the canvas overlap, oil on canvas, 55.8cm by 86.36cmProvenance: With Lefevre Gallery London, stock no. X8461Property of a Lady, North West UKExhibited: London, Lefevre Gallery, "Paintings by L.S.Lowry RA," 11th May - 3rd June 1967, Catalogue No.2 (Not illustrated) For a related preparatory pencil study (1965) see Sotheby's London, Modern and Post War British Art, June 10 2015 lot 144, (£47,500)A highly comparable oil painting to the present work was sold Christie's, Modern British & Irish Art Evening Sale, London, March 22, 2022, Lot 7The North Sea is one of the finest examples of Lowry’s large scale ‘sea’ paintings. These rare, seemingly simple yet highly sophisticated paintings appear far removed from Lowry’s normally busy, densely populated coastal scenes and his archetypal street and mill scenes. Lowry had always painted seascapes albeit populated with boats and people from as early as 1914, they are almost all views on the North West coast at his Mother’s favoured holiday resorts of Lytham and Rhyl, never Blackpool !After his mother died in 1939 Lowry could make his own holiday choices and the place he loved to go on holiday the most was the Seaburn Hotel in Sunderland. He said he ‘liked it because nobody else did’ this was probably helped by the fact that the hotel always made a huge fuss of him during his stays . These unpopulated seascapes first appear in the 1940s, which coincided with Lowry’s newly found freedom and improved personal finances thus allowing him extended holiday stays on his own at the Seaburn. Here from his hotel room(always the same room) Lowry could look straight out at the North Sea which obligingly offered up its wide empty skies and far distant horizons to feed Lowry’s imagination and to inspire him.Lowry continued to return to this same subject in various mediums well into the 1960’s and it is often suggested that we should see these pictures as images of loneliness, however I believe they represent something altogether different and more positive. In his 2003 Lowry exhibition catalogue, the great Lowry dealer and connoisseur Andras Kalman commented as follows on a similar but smaller 1950’s Sea picture on loan to the exhibition from the collection of Glasgow City Art Gallery … ‘There is hardly anybody in 20th Century English art, nor among the great French artists who have even begun to re-state what the sea looks like, this is the cold, frightening Nordic Sea, seen from an un-picturesque shore, with nothing in it but waves. It still makes me shiver to look at these pictures, but all the same they are beautiful, I don’t think anyone since Turner has looked at the sea with such an original eye’ … The North Sea demonstrates Lowry’s sophistication, skill and pure joy derived from working with his favourite Flake White pigment as the main colour which he expertly mixes with the other four colours in his preferred five colour only palette (Ivory Black, Vermillion, Prussian Blue, Yellow Ochre and Flake White). Each evening when painting he would lay up layer upon layer of paint leaving the picture it to dry then adding another layer over and over again over many months until he had achieved the desired texture and depth to create a picture that draws the viewer irresistibly into this masterly composition.We are grateful to Jonathan Horwich for his assistance with this catalogue entry.
A CHONDZORESK RUG, KARABARAGH, SOUTH CAUCASUS, CIRCA 1900. the rich terracotta field with two typical indigo ‘Swastika’ medallions framed by ivory ‘leaf and calyx’ borders flanked by carnation guard stripes, 245cm x 135cm. * General wear, some losses and wear to edges and selvedges, presents well. **BP 22.5% inc VAT + Lot Fee of £8
A Late XIX Century Negretti & Zambra Walnut Cased Table Top Stereoscope Viewer, of rectangular form with domed lid, the lift-out glass tray above a rotating carriage of cards, round handles to the sides, makers label to ivory plaque on the back, 54cm high. Ivory Act 2022 Registration number QEK3TFXZ
A Royal Worcester Porcelain Jug, with coral effect handle, the blush ivory ground printed and painted with flowers, shape number 1507, date code for 1901, printed mark, 13cm high; a similar tea cup and saucer and a bread and butter plate, a Royal Worcester blush ivory and green pierced leaf moulded vase and cover, 14.5cm high and a Minton's miniature mug painted with blue flowers. (7)
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**A pair of interlined silk damask curtains, late 20th century, in cream and gold, with 260cm drop, within a nine swag pelmet with plum fringe and two double tasselled tie backs (total length 6.3metres: together with matching watered ivory silk inner curtains with protective outer liner. Cond: sold as seen. Generally good but some stains and holes noted.
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**A highly ornamental canopied bed, modern, with light green, blue and gold striped taffeta upholstery, the padded bedhead in watered ivory silk, with VI Spring divan, a mattress (152cm x 200cm approx), similar bed cover, and all bedding and cushions thereon, and a pair of circular bedside tables with chipboard cruciform frames, glass tops and textile drapes ensuite, 56cm diameter (quantity) Cond: very good slight fading with age.
A George III silver samovar / hot water urn, the domed detachable cover with ball finial, engraved with border decoration, crest and FRASER, above urn shaped two handled body, lion's head terminals with ring handles, on raised square plinth base, ball feet, spout with ivory handle, hallmarked by probably Thomas Gibbard, London, 1792, approx 3 kg (96.45 ozt), marked on underside **CITIES REF: RMT84J1F
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