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Lot 209
A French Gilt Metal and Pink Porcelain Mounted Striking Mantel Clock with Garniture, circa 1890, urn shaped finial, ringed lions side masks, base with porcelain panel depicting a lady and gentleman in costume, porcelain dial with Roman numerals, twin barrel movement with outside countwheel striking on a bell, 30.5cm high, with matching three-light gilt metal porcelain mounted garniture, 26cm highClock case with damage to the top porcelain finial, some rubbing to the porcelain mounts, dial is slightly rubbed in parts and minor chips around the winding holes, some damages and old repairs to the garnitures.
Lot 1005
Circle of Jean-Frederick Schall (1752-1825) FrenchFête champêtreOil on panel, 29cm by 21.5cm Very yellowed, discoloured varnish2 wooden slats to the reverse cradling the panelGeneral surface dirtChips, scuffs and knocksSeveral cracks/splits running horizontally throughout the entirity of the panel at the centreNot examined under UV
Lot 1204
A Scottish Carved Oak Occasional Table, circa 1900, the circular top with stiff leaf carved border and trailing leaves, on a tapering column support with cruciform base above carved block feet45cm by 52cmAn Arts & Crafts Oak Hanging Corner Cupboard, late 19th century, the moulded pediment above a cupboard door with copper relief decorated panel of stylised flowers flanked by green ceramic panels, the interior with one shelf and apertures for pipes39cm by 21cm by 51cm (2)
Lot 219
Large tray containing: 1931-3 No.2 Water Tank, blue base & column, yellow tank, red inside, hose drain all blue (E) (BVG) taped edges on lid; two 1954-5 Island platforms ‘Trent’ white posts, green roof, only one ramp (VG); 1932-4 No.2E signal cabin, blue square tiled roof, blank name panel, brown & yellow woodwork (G-BG); another 2E signal cabin amended with a speed control (F); 1936-41 Platelayer’s hut fixed plank door (G)
Lot 132
A taxidermy Bittern, E F Spicer & Sons, Birmingham, circa 1910-20, standing with head raised amongst rushes and reed painted background, in a three-glass case with taxidermist’s label, 74cm high. Cond: uniformly faded. Slight lifting of back laminate panel. Otherwise good OBJECT LOCATION: ENTRANCE HALL
Lot 141
A pair of Victorian carved oak side chairs in elaborate “Jacobethan” style, the scroll pierced tops centred by carved masks (2 pairs): and a set of three Victorian mahogany framed side chairs, brown dralon upholstered, on front cabriole legs (2 pairs) Condition: Both good – one with slightly loose back panel – needs tightening OBJECT LOCATION: MAIN HALL + HALF LANDING
Lot 171
Icon. Gold and oil on wood. Romania - Ukraine. 19th century."Great Feasts of Orthodoxy"The fundamental motif is a mix between east and west. The centre of the panel depicts a Resurrection / Descent into Hell, and the rest of the motifs refer to, from left to right and clockwise: the Birth of Mary, Presentation of Mary in the Temple, Annunciation, the Nativity, the Circumcision, the Presentation of Jesus in the Temple, Baptism, Entering Jeruselem, Resurrection, the Ascension of Christ, Transfiguration, and the Assumption of Mary/Dormition of Mary.48,5 x 40 cm.
Lot 75
Pannello in antica maiolica policroma montato in cornice in legno scolpito e dorato a motivi ornamentali del secolo XVII (rotture e restauri). Probabile Urbino. Secolo XVIII. Cm 48x39; cm 68x57 (con cornice)Ancient polychrome majolica panel mounted in a carved and gilded wooden frame with ornamental motifs from the 18th century (breakages and restorations). Probable Urbino. XVI century. 48x39 cm; cm 68x57 (with frame)
Lot 426
Ambrosius Benson (¿,1519-Bruges, 1550)"Vanitas". Oil on board. Legend in Latin that reminds the viewer of the ephemeral and vain nature of physical beauty: "In front of the mirror you look beautiful, but turn around to see what's behind it, that which shows that beauty is nothing." Certificates from Georges Marlier and Paul Antonini are attached. 81 x 70 cm. In 1518 he worked for a time in the workshop of Gérard David. In 1519 he was already registered in the Guild of Painters as an independent master. From 1520 there is a growth in the production of Benson's workshop, and he rents, between 1522 and 1530, from one to three stalls in the annual market to sell his paintings. Benson held high posts in the Painters Guild. Ambrosius Benson died between January 12 and 19, 1550, and was buried in the Church of Our Lady in Bruges. Benson's workshop had an important production, but of irregular quality, generally destined for the Spanish market where his painting was highly appreciated and had a large number of followers, despite never having been to this country. Together with Adriaen Isenbrandt and Jan Provost he was part of the last generation of Bruges painters characterized by breaking with the Gothic tradition and introducing the innovations of the Italian Renaissance into their style. This influence can be seen in the plastic arts and in the monumental effects, since the themes and the composition continue to be inscribed in the Flemish tradition. His production is characterized by the variety of themes (religious, secular scenes and portraits) and fo Oil on panel. Legend in Latin that reminds the viewer of the ephemeral and vain nature of physical beauty: "
Lot 153
A Queen Anne walnut longcase clock, the domed caddy top above fret carved panel and 12" square brass dial inscribed 'Sam Ogborn, Londini Fecit' to the silvered chapter ring, with subsidiary seconds hand, date aperture and eight day movement, with long door above a moulded plinth base, height 238cm.Footnote: Samuel Ogborn is detailed as working in London 1698-1722.Additional InformationPlease refer to comprehensive photographs for condition report.
Lot 155
A George III oak longcase clock, the arched hood and dial with Roman numerals to the silvered chapter ring, subsidiary seconds hand, date aperture and signed 'Emanuel Hopperton Leeds', with eight day movement, long door and plinth base, height 122cm.Provenance: The contents of a Cheshire Country House.Additional InformationThere is a split to the front panel of the base. The clock retains a very good colour throughout. There is some surface wear and tear. Please refer to additional images showing the movement.
Lot 19
MAPPIN & WEBB; a late Victorian hallmarked silver gilt pierced pedestal bowl, with foliate decorated border, plain central panel and pierced shaped spreading circular foot, Sheffield 1895, diameter 23cm, approx 15.54ozt/483.4g.Additional InformationRetains original gilding throughout, clear hallmarks. Presented in good condition, with natural light tarnishing and toning throughout.
Lot 2
ROBERT SCOTT; a large late Victorian Scottish hallmarked silver tray of rectangular form with canted corners, the outer border embossed with signs of the Zodiac, the engraved central panel with vacant main cartouche within a border of stylised animals, Glasgow 1897, length 63.5cm, 105ozt/3260g.Provenance: The contents of a Cheshire Country House.
Lot 58
A set of six early 20th century Meissen cabinet plates, each with embossed detail to the border, set with various insects and with main central panel depicting birds, painted blue crossed swords marks to back, four of the plates diameter 23.5cm, two of the plates diameter 24.5cm (6).Provenance: The contents of a Cheshire Country House.Additional InformationVery very light surface wear and very minor rubbing to the gilding - this is being ultra critical. Overall in good condition.
Lot 61
A set of four late 18th century Sèvres porcelain bowls, each with bleu celeste floral decorated border and central panel depicting exotic birds in landscape, painted marks to the reverse, diameter 24.5cm (4).Provenance: The contents of a Cheshire Country House.Additional InformationOne of the bowls has historic significant restoration, but this is done very well indeed. Otherwise, light general surface wear and some rubbing to the gilding - noticeably around the rims.
Lot 67
A 19th century Vienna Porcelain rounded rectangular porcelain tray with reticulated gallery and central panel painted with birds, insects and a shelf of fruit, 32.5 x 24.5cm, the matching lidded jug similarly decorated and with cover and a matching pair of cups and saucers, diameter of saucers 13.5cm.Provenance: The contents of a Cheshire Country House.Additional InformationThe jug cover is restored, but this is done well. There is a tiny rim chip to the jug also. Minor surface marks and minor rubbing to the gilding, but overall condition is good.
Lot 109
IMANOL MARRODÁN, (Bilbao, 1964)."E.L 15, Ref. 75." Emotional landescapes series, 2006.Lacquered painting on aluminium panel.Signed, titled and dated on the back.Measurements: 48 x 77 x 1 cm.Imanol Marrodán is an interdisciplinary artist. He currently lives and works in Vitoria. He has exhibited in countries such as the United Kingdom, France, Germany, Portugal, Belgium, Korea, Argentina, Switzerland and the United States. His work has been shown at international contemporary art fairs such as ARCO, VALENCIA ART, ARTE SANTANDER and DFOTO (Spain), ART COLOGNE and KUNST KÖLN (Germany), KIAF (Seoul, Korea), ArteBA (Buenos Aires, Argentina), BALELATINA (Basel, Switzerland). In 2009 he gave a workshop seminar at the Bilbao Art Foundation entitled "New technologies and applications in contemporary painting". Recent solo exhibitions: Juan Silió Gallery in Santander, Blanca Soto Gallery in Madrid, Krisis Factory in Bilbao. He has been awarded in: V Bienal de Pintura Ciudad de Estella Lizarra; V Bienal de Pintura Cuidad de Albacete; First prize in the Sculpture Competition for the Natural Park of Aiako Harria; III Premio de Artes Plásticas Gobierno de Cantabria .... His work is represented in numerous private and institutional collections, including the Artium, Basque Museum of Contemporary Art; Bilbao Museum of Fine Arts; Caja Castilla La Mancha Collection; Museum of Navarre; Olor Visual Collection, etc. He also intervenes with large-scale works in public spaces: "Plenitud y Vacío, Centro", Aiako Harria Natural Park, Oiartzun. Gipuzkoa; "Conversations between Oteiza and Serra", Sculpture, Amurrio; etc. The series of "codified paintings" is inspired by the I Ching or "Book of Mutations", in Taoist thought. They are resolved with an innovative technique based on two-layer paint for car bodywork. Going beyond representation, which through "emotion cores" takes us into utopia through sensory communication. In "Emotional landscapes" he takes this research to a more refined level, suggesting horizons that only exist in our imagination. The pulsations recorded by an echocardiogram or the hexagrams of the I Ching provide more information about the phenomenological world, about the flowing universe in which we are immersed, than any documentary record of the apparent reality we inhabit. Marrodán's pictorial and photographic work draws on these informative references to make visible the energetic flow that underlies the objects.
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