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Lot 31
A CHINESE BLUE AND WHITE MOON FLASK, each side decorated with a central spiral motif surrounded by eight tapering ogee panels with Buddhist symbols, the shoulder and sides with flower sprays beneath scroll handles and a garlic-form neck, Qing, 18th century, 10.25" high. Provenance: The Collection of Edward Cozens-Smith, Esq. (1834-1925), 16 Kensington Square, London. Acquired by the Cozens-Smith family at the Maple & Co. March 26th 1928 auction of the contents of the property following his death. Thence by descent within the Cozens-Smith family. The present lot almost certainly formed part of lot 543 in the above mentioned auction in 1928. It was described in the catalogue simply as a 'Nankin Pilgrim bottle' and can be seen in the centre of the mantelpiece in the photograph opposite showing the dining room at 16 Kensington Square around 1928. This vase exemplifies the revived interest in 15th century ceramics during the 18th century and clearly refers to Xuande and Yongle prototypes.
Lot 97
Five black-glazed 'Baby' Vases, early to mid-18th century, baluster or double gourd, the shiny black glaze gilt with flowers, 7 to 7.5cm (5) These miniatures were popular ‘set dressing’ round walls or a large mirror or mantelpiece in the very large ‘dolls’ houses’; called 'baby houses' in the 18th century and played with by women, not children. 清十八世纪前半期 黑釉描金花卉纹小瓶 一组五件
Lot 1883
A SUPERB 19TH CENTURY WHITE MARBLE FIREPLACE with mantelpiece of serpentine outline, the frieze with well carved shell and foliate decoration, the uprights similarly carved, complete with rectangular marble hearth. 4ft 8ins wide x 3ft 10ins high. Provenance: Dudley House in Park Lane was built in 1827 for the Dudley Ward family, but would later be used by Edward VII, who would meet his mistress Lillie Langtry there in secret.
Lot 387
A SUPERB 19TH CENTURY WHITE MARBLE FIREPLACE with mantelpiece of serpentine outline, the frieze with well carved shell and foliate decoration, the uprights similarly carved, complete with rectangular marble hearth.4ft 8ins wide x 3ft 10ins high.Provenance: Dudley House in Park Lane was built in 1827 for the Dudley Ward family, but would later be used by Edward VII, who would meet his mistress Lillie Langtry there in secret.
Lot 408
Edwardian arch top mantel clock in mahogany and inlaid case, the arch top glazed door enclosing a brass and steel dial with spandrels, chapter ring with Roman numerals, chime and silent movement, brass side handles and perforated panels, on four turned bun feet, 45cm high. Condition Report Cherished. Nice condition - off an old lady's mantelpiece!
Lot 292
A SUPERB 19TH CENTURY WHITE MARBLE FIREPLACE with mantelpiece of serpentine outline, the frieze with well carved shell and foliate decoration, the uprights similarly carved, complete with rectangular marble hearth 4ft 8ins wide x 3ft 10ins high Provenance: Dudley House in Park Lane was built in 1827 for the Dudley Ward family, but would later be used by Edward VII, who would meet his mistress Lillie Langtry there in secret.
Lot 1218
A SUPERB 19TH CENTURY WHITE MARBLE FIREPLACE with mantelpiece of serpentine outline, the frieze with well carved shell and foliate decoration, the uprights similarly carved, complete with rectangular marble hearth. 4ft 8ins wide x 3ft 10ins high. Provenance: Dudley House in Park Lane was built in 1827 for the Dudley Ward family, but would later be used by Edward VII, who would meet his mistress Lillie Langtry there in secret.
Lot 84
Jack Butler Yeats RHA (1871-1957) A Rose (1936) Oil on panel, 23 x 35.5cm (9 x 14") Signed Provenance: Senator Joseph Brennan from the sale of whose collection purchased 1942 by John P. Reihill Snr; Deepwell, Blackrock, Co. Dublin Exhibited: -Royal Hibernian Academy Annual Exhibition, Dublin, 1939, Cat. No. 355 -Exhibition by Irish Artists, presented by Victor Waddington Galleries in Waterford and Cork -Paintings and Sculptures by Irish Artists, presented by Victor Waddington Galleries, RDS, Dublin, May 1941 -Jack B. Yeats: National Loan Exhibition, National College of Art & Design, Dublin, June-July 1945, Cat. No. 104 -Irish Art from Private Collections 1870-1930, Wexford Arts Centre, 1977, Cat. No. 40 Literature: Jack B. Yeats: A Catalogue Raissoné of the Oil Paintings, Hilary Pyle, 1992, Vol I, p.438, further illustrated Vol III p.207 Jack B. Yeats by Bruce Arnold, 1998, p.278-280, illustrated p.279 This is one of a series of four paintings of roses begun by Jack B. Yeats in the late summer of 1936. All are of the same proportion and three of them were shown together in the major Jack B. Yeats National Loan Exhibition in Dublin in 1945. But each work is a separate study and they were never intended to be shown together. Another The Rose in the Basin, (Private Collection, 1936) belonged to Kenneth Clarke and was included in the exhibition of Yeats's work that he curated at the National Gallery of London in 1942. In 1936 when he began working on the series, Yeats wrote to the then director of the National Gallery of Ireland Thomas Bodkin, an old friend, telling him that he had 'painted a new subject for me - a rose'. The flower had in fact appeared in an earlier work, the Scene Painter's Rose, (Private Collection, 1927), where a rose in a vase stands on a table in the artist's studio, as a symbol of natural beauty in contrast to the artificiality of the artwork. In A Rose he concentrates on the flower, rather than its surroundings. At the centre of the composition is the dark red form of the rose, drooping over the edge of a white basin on a mantelpiece. The blossom takes on a theatrical quality contrasting dramatically with its muted backdrop. The apparent simplicity of this traditional subject, a still-life painting of a flower, is challenged by the complex handling of colour and light in the work. The white wall against which the bowl is placed is constructed of vibrant flecks of blue, yellow, pink and green made from diverse brushstrokes. This suggests movement and life as opposed to the solemnity of the dark sculptural rose. It is testament to Yeats's ability as a painter that he can draw so much drama from such a simple device. Samuel Beckett was much taken with the paintings when he saw them on a visit to Yeats's studio. He referred to this work, the first to be completed, as 'the tyranny of the rose'. There is in fact something tyrannical or at least compelling about A Rose which while full of potent symbolism and beauty is at the same time fragile and transitory. The work subtly conveys both aspects of the subject while retaining its integrity as a complex painting in its own right. Dr. Róisín Kennedy Dublin September 2014
Lot 253
Julien Le Roy à Paris, Orologio da camino, Francia, fine XVIII secolo. l’orologio con suoneria ore e quarti, quadrante in smalto con doppia numerazione (romana e araba) e doppia carica frontale, è inserito in una struttura in marmo bianco son decorazioni in bronzo dorato a cornici e ghirlande e poggia su quattro piedi a trottola anch’essi in bronzo dorato. Sul colmo, ai lati di un’anfora con fiori, sono poste le figure di due puttini, ognuno con gli strumenti del proprio mestiere, simboli rispettivamente della pittura e della scultura. Funzionante. cm 47x39x16. - Julien Le Roy à Paris, mantelpiece clock, France, late 18th century. In working order. Start Price: €2500
Lot 412
Orologio da camino, Francia, circa 1930. curioso ed elegante orologio in vetro colorato agli acidi d’ispirazione equestre: il quadrante a ferro di cavallo con numeri a forma di chiodo, nella parte inferiore appaiono applicati due cappelli da fantino . Sovrasta il tutto la silhouette di un cavallo e del suo fantino lanciati al galoppo. cm 30x54x8. - Mantelpiece clock, France, circa 1930. Start Price: €900
Lot 427
An Adam style chimneypiece an elegant George III pine and gesso surround in the manner of Adam, the breakfront mantelpiece with foliate moulded border, above a central plaque with classical cherub scene flanked by two side panels with floral swags, supported on two upright jambs with mask and vine decoration topped with classical maiden and child capitals, white three piece marble inset within which is housed a black cast fire piece, 76 x 61in. (193 x 155cm.). See Illustration.
Lot 66
Illuminated Mantelpiece Clock in the shape of a Zeppelin. A novelty clock, produced in the 1930s by the Howard Manufacturing Corporation of Chicago. The clock is manufactured of chromed metal (some pot metal, some steel) and glass, with a rolled steel stand. At the left end of the stand, a support rises gracefully in 3 parts to support the clock, and above the clock, the light. The clock is in the shape of a ship’s wheel, with a clear white face and black hands. The ‘Airship’ light above has a gondola cast of pot metal, the light fitting being in the fins. The bulb is an elongated tune, and the shade is of blue glass, with silver painted longitudinal. (39cm Long, 31cm high 11cm deep)Original ‘Electro-pendulum’ is missing, and the casting has been broken in several places. AF. Requires sympathetic restoration. For picture See the-saleroom.com
Lot 358
GEORGIAN STYLE CARVED MARBLE FIREPLACE MANTLE GEORGIAN STYLE CARVED MARBLE FIREPLACE MANTLE First Quarter 20th Century. Shaped rectangular top above the frieze, centered by a carved relief, above the fireplace opening, inset with mottled green marble, and supported by a pair of columns. Height 49, Length 63, Depth 7 1/2 inches. Provenance: Estate of E.F. Hutten, Palm Beach. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by A.B. Levy`s is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE." Very good condition throughout. The mantelpiece has a nice patina almost no build up of surface dirt. ( White not yellow tone of the marble ) It has a few chips along the rear edge with only a few nicks along the front and side edges. The central table is in excellent condition. A few light scratches on the top. Starting Price: $1,500
Lot 436
4 commemorative copper Mantelpiece decorations and a duralumin Ashtray. A collection of 4 pieces, 3 in copper and one in Duralumin. The first piece is a copper plaque (17cmx14cm) commemorating R100, the plaque is shaped as a shallow dish with scalloped edges, and the lower edge being fashioned into a stand. Low relief image of R100 and on the lower border is inscribed “On her voyage to Montreal, 1930”. Also similar plaque of different outline, showing R101 in low relief; on the lower edge is inscribed “Oct 5th, 1930”. The third item is a well-used oval visiting card tray (15cmx9cm), polished so that the detail is worn away; just visible are the words “In Memoriam”. The fourth piece is a duralumin ashtray impressed with a shield containing an image of the Akron, together with the words “Duralumin used in the Airship Macon. Souvenir of Akron Municipal Airport, Akron, Ohio. GC See Plate 25
Lot 13
Derek Clarke RWS RSA (b.1912) Connemara Family Oil on canvas, 91.5 x 122cm (36 x 48") Signed and dated 1946 Exhibited: The Royal Hibernian Academy, London 1947, Cat. No. 335; The Royal Scottish Academy 1948; "Derek Clarke - Paintings and Drawings in Connemara 1938, 1939, 1946" Exhibition, The Frederick Gallery, September 2004, Cat. No. 41, where purchased by current owner Derek Clarke wrote for the Frederick Gallery about his time in Ireland and how this painting came about: "I am one of those artists who, having completed their Art School training by 1935, only had four years in which to establish themselves before war put an end to their careers - in many cases forever. In those days there were few travelling scholarships bursaries or prizes: those who could went off to Paris to further their development. My main influences were Cézanne and Van Gough, but I had no desire to be an adherent of any art movement. Instead I wished to find out whether I had a voice of my own. In 1937 I was in Ireland, carrying out commission portraits in Co. Tipperary and Co. Donegal. My patrons suggested that the place I was seeking might very well be Connemara, and a visit was arranged. The following year I set off on my bike across Ireland, travelling over the Burren to Galway, then along the coast road until I came across the village where the greatest number of red petticoats could be seen among the white or blue-washed houses, Rossaveel. Surely this must be the heart and centre of the Gaeltacht! The lodgings in which I settled provided a room in which to paint, but I was deprived of this facility on the arrival of a young man, Brian MacLochlainn, sent by the Irish Folklore Commission to discover whether there were any seanachaÃs (Gaelic storytellers) still in the district. He was a great help to me. I accompanied him on his evening sessions, equipped with his clockwork waxed drum recorder. Next day he would write the stories out in longhand, explaining obscure passages and obsolete words. He suggested that I would be considered very stand-offish if I went knocking on people's doors. So this set a pattern of my visiting. I would enter their houses, out would come The Chair and be dusted for me; I would decline and sit on the bench or stool. There ensued lengthy apologies that I regretted I had no Irish, and that they had no English. None of the children had any English, but usually some older person could speak it, having returned from America to get married or to claim some property. Then I would ask them whether I might make a drawing of them or their children. Apart from the women's paisley shawls, all clothes were made in the village; wool was carded and spun in the cottages, woven by the village weaver into all-purpose cloth, and made into clothes by the village tailor. All the young children wore the petticoat and had cropped heads with a small fringe or forelock. I was given to understand that the inability to tell the difference between the girls and the boys was to safeguard against losing the boys for changelings. When the children first went to school the mother was given 'the boot money', but the children continued to pad to school on their beautifully shaped feet. The older boys wore knickerbocker suits, and the older lads, like the men folk, wore the banÃn, a coat without lapels or buttons, made from white wool. After Christmas I moved to nearby Carraroe, where I was given a large white-washed bedroom and my own turf fire. So at last I had the facilities to do more painting. Unfortunately war was declared in September of that year. Having been wounded in Tunisia during the war, I was fortunate to be given a whole year's sick leave, which gave me the opportunity to do some painting based on my Connemara experience. In 1946 I returned to Carraroe with my wife, and was given the same large whitewashed room. To start painting again from scratch was like starting a new life. Post-impressionism was now history, American and International Art has not yet taken over. Some artists turned to abstraction, others to surrealism. Others, like me, felt the need to go back to nature and start learning again. One hot Sunday afternoon, I was painting a watercolour and ran out of water. I went into the nearest house to ask for more. The whole family stood around the fireplace, staring at me exactly as for the desired painting; the composition was already completely determined for the painting 'Connemara Family'. Father was at home dandling the baby. Mother was baking the daily loaf of soda bread in the pot oven. Best of all, they agreed to let me paint them in their house, and to pose for me whenever I wanted. I could not possibly have carried this out, if it had not been for the kindness of a young couple who lived a hundred yards down the road, and allowed me to leave the painting overnight, or contemplate it, or work on it on stormy days. My canvas and the sitters were lit by the window on the left, and the door open on the right. This interest in a double source of light is an important feature of this painting, and has stayed with me in all my paintings of people. When painting this picture, I usually started by asking two of them to pose together, before concentrating on one. I kept a strict record of the number of hours that each posed for me. The eldest girl (on the far right) worked in a knitting 'factory' which employed a few girls, learning to knit jerseys in imitation of the ingenious Aran Island patterns. Her sister wears a dress sent by her cousin in America. The little boy in the foreground wears the petticoat. Those worn by the two sisters in the centre had been improved by their mother, who added collars and dyed them blue. The elder of the two had the reddest hair that I have ever seen, yet as dark as the sooty fireplace behind her. The image of the Sacred Hear above the mantelpiece, which was a feature of every house, was the apex of the composition. Thanks to their co-operation I was able to complete this painting in circumstances which I doubt if another artist has experienced."
Lot 146
Herbert Barnard John Everett (1876-1949) View of the Thames Oil on panel, 25 x 34cm Signed. Inscribed verso Christmas 1896 This panel was a very precious possession of the artist and kept on the mantelpiece of whatever studio he occupied from the time of its creation until he died. Oils are very rare as the artist bequeathed the entire body of his work to The National Maritime Museum in Greenwich at the time of his death. Herbert Barnard John Everett (1876-1949) Herbert Everett, a member of the Herbert Family seated at Muckross Estate in Killarney, was arguably the preeminent maritime painter of his generation. His cousin and former wife, Katherine Everett, in her Anglo-Irish memoir, Bricks and Flowers, grudingly concedes that from the time of his matriculation at The Slade School that he "was thought to be one of the most promising students." She relates that the drawing instructor Henry Tonks thought his early work "mature and excellent," and that the painting instructor Wilson Steer regarded him as "being full of promise." Herbert, or as he came to be known, "John," faced stiff competition in this estimation by his instructors, two of his classmates being William Orpen and Augustus John. The three men soon became fast friends. Everett's improbable mother, Aurelia, let rooms to both her son's friends in her house at 21 Fitzroy Street, as she did to many of the art students at the Slade School and the house soon became the Bohemian Mecca of many art students of the period. The three men often met there to "draw at night. They picked up strange unusual models; but I was shy, after seeing John's brilliant nudes, of drawing in his company," records the painter William Rothenstein. One can only surmise where these models were engaged in London's Victorian Twilight. Often, it seems the trio's caroussing was funded by John Everett, he being the recipient of a private income from his Herbert relations. It is during this period that Orpen painted the full length seated portrait of Everett, now in the collection of the National Maritime Museum at Greenwich to which it was transferred by the National Portrait Gallery in 1950. This portrait was among Orpen's early public submissions of his art for exhibition to the public to the New English Art Club along with his seminal works, The Mirror and A Mere Fracture as well as a portrait of Augustus John, all painted in Fitzroy Street. In this portrait, Orpen depicts Herbert "John" Everett, as the quintessential aristocrat, lounging cross-legged with gloves, a silk top hat, and a silver-topped walking stick before a background of his own drawings and watercolours of ships with a telescope and a roll of maps inferring the insouciance and swagger of the gentleman adventurer that Everett was to become. His training at the Slade and also subsequently at the Academie Julian in Paris encouraged him to paint en plein air and in his work we see continual experiment with brightly sunlit stippled brushwork and natural daylight tones coupled with his own sense of informality and spontaneity. John Everett was to use his private income to fund no less than 16 sea voyages including two circumnavigations during each of which he produced hundreds of paintings. He worked on deck, lashed to a mast if necessary in pursuit of truth in his art, . In the spring of 1918, he was commissioned as an official war artist and asked to produce paintings of the naval aspect of the war. This led to the end of his marriage and his whole-hearted pursuit of a life exemplified as that of a bohemian artist like that of his lifelong friend Augustus John. It is perhaps, owing to John Everett's background that we have known so little about him until recently. Not needing to generate an income from his art, he very simply never sold any of his marine pictures, albeit he did sell some of his landscapes. When he died, he bequeathed the entire body of his marine canvases, some 2000 paintings to the National Maritime Museum at Greenwich where they remain. This is the first time that any of his marine pictures have come to the public market. The landscapes offered for sale were among his private collection of his own work. Allof the lots offered were acquired by the present owner from the Everett descendants. 1. Katherine Everett; Bricks and Flowers, "Memoirs of Katherine Everett,"Constable and Company, Ltd., London 1949. P.92. 2. Ibid., P.93. 3. William Rothenstein; Men and Memories, Volume I., P.334. 4. Bruce Arnold; Orpen, Mirror to an Age.,Jonathon Cape, London,1981.P.81.
Lot 764
A collection of trimmings, etc., mostly wound on card, comprising; eight different fine braids and a length of unusual lace, a length of Antimacassar braid in original covers, a length of Cash’s tucking, two cords of fine braid , a traveller’s sample lace card, Honiton and Point lace, braids and purls, on seven cards, a traveller’s folding printed sample sheet of 147 different designs, a card of two commercial cotton edgings, and a long length of macramé lace probably for a mantelpiece. (qty)
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