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Lot 31
A Japanese Tansu chest, late Meiji period, With two long iron carrying handles above a pair of carrying handles to each side, with five long drawers behind a central panel, sliding doors opening to reveal shelves and three small drawers, height 109cm, width 99cm, depth 45cm.From the estate of Edward Leslie Costigan.Edward Costigan was born in London in 1939. He and his whole family were evacuated to St. Just in West Cornwall, where he spent his early years.He was educated at the Humphrey Davy Grammar School in Penzance where he won a scholarship to study English Literature at Magdalen College, Oxford through the Violet Vaughan Morgan national competition. He became a Professor after his degree, and taught both in the UK and in Europe. He went on to teach for the British Council in Africa, Canada and Japan.His interests were in film, music and architecture, and he travelled widely. He learned Japanese and particularly enjoyed walking in the mountains of Japan.Upon his retirement he returned to Cornwall, setting up home in Sancreed, West Penwith, where he continued walking and cycling until becoming ill. He died at home in February 2022.
Lot 391
A printed textile panel, early 20th century. Frame size 29 x 38cm and a framed cotton panel, 36 x 36cm. (2)From the estate of Edward Leslie Costigan.Edward Costigan was born in London in 1939. He and his whole family were evacuated to St. Just in West Cornwall, where he spent his early years.He was educated at the Humphrey Davy Grammar School in Penzance where he won a scholarship to study English Literature at Magdalen College, Oxford through the Violet Vaughan Morgan national competition. He became a Professor after his degree, and taught both in the UK and in Europe. He went on to teach for the British Council in Africa, Canada and Japan.His interests were in film, music and architecture, and he travelled widely. He learned Japanese and particularly enjoyed walking in the mountains of Japan.Upon his retirement he returned to Cornwall, setting up home in Sancreed, West Penwith, where he continued walking and cycling until becoming ill. He died at home in February 2022.
Lot 237
A Chinese Huanghuali tapering two-door cabinet with radiused corners, Qing Dynasty. Each door with fielded panels and bronze lock furniture, opening to reveal a shelf and two short drawers, supported by simple stile feet. 64 cm wide x 40 cm deep x 109 cm overall height.a crack to the left-hand door panel and a fine crack to the right panel.Both side panels have shrunken away from the frame stilesThe bottom board is crackedThe top left corner of the top is loose from the frameThe back panels have both shrunken away from the stiles of the frameSee the extra images
Lot 252
A Sri Lankan ebony and padauk wood cabinet, probably from the second quarter of the 19th century, with a bobbin, moulded overhanging cornice above a pair of two-panel doors with ebony strung detail and flanked by ebony half pilasters, the base fitted with a pair of short drawers and large carved rosette and inlaid decoration on distinctive legs with inverted and reeded cup turnings. 144 cm wide x 58 cm deep x 198 cm overall height.
Lot 263
An early 19th century crossbanded rosewood chiffonier, the top with satinwood strung and crossbanded decoration above a pair of panel doors with gilt grilles and pleated silk panels and parcel gilt detail, supported by painted octagonal section baluster feet. 107 cm wide x 34 cm deep x 89 cm high.Later feet(?)Some signs of old restoration,some bowing to the side mouldingsSee the images.
Lot 283
A 19th-century style Sri Lankan ebony and padauk wood cabinet, 20th century, with moulded cornice above a pair of shaped panel doors with large applied ebony rosettes flanked by a pair of turned ebony pilasters; the base fitted three short drawers and inlaid with a stylized shrub motif. Supported by bulbous-turned supports. 117 cm overall width x 56 cm deep x 182 cm overall height.Private estate
Lot 288
A fruit wood dole cupboard, 17th century and later , the upper section enclosed by turned spindles and a hinged single door, the base with an enclosed cupboard with a single panel door flanked by applied geometric mouldings supported by turned feet. 64 cm wide x 23 cm deep x 68 cm high.Old repairs and possibly replaced back boards and top, door top
Lot 300
A Jaeger LeCoultre brushed brass Atmos clock, no. 453672, with Arabic numerals at the quarter chapters, lacking front glass panel, 23.5 cm high, 16 cm deep, 21 cm wideProbably 1970s - serial number 453672. Front glass panel missing. Clock not running at the time of inspection (pendulum was unlocked), some rubbing to the brushed finish.
Lot 419
Four boxed Bachman Branch-Line locomotives, comprising 32-481 Class 40 Diesel D369 BR Green Small Yellow Panel, 32-817 Class 47 Diesel 47745 'Royal London Society for the Blind' RES, 32-781A Class 37/0 Diesel 37034 BR Blue Weathered and 21-529 Class A2 60534 'Irish Elegance' BR Green Early Emblem.Qty: 4Appear unused
Lot 155
A 20th century oak dresser, moulded cornice above arch carved frieze, over twin panel carved doors, foliage carving throughout, fitted on a three quarter gallery with turned columns on a moulded edge base above two frieze drawers, over two carved panelled doors, raised on a moulded plinth base. 225cm H x 152cm W x 56cm D
Lot 159
A French walnut bureau de cylinder, late 19th Century, with triple panel fall over a fitted interior and an arrangement of five drawers around the kneehole, on tapered square legs, 121cm(W) x 66cm(D) x 110.5cm(H) Condition: Top surface panel possibly a replacement, some old worm and older repairs, A/F
Lot 162
A set of four late 19th Century Italian carved and stained wood dining chairs in 17th Century style, the burgundy velvet padded back with canthus leaf ears, stuffed seats on legs carved with overlapping scales linked by panel carved with scroll faced satyr 120cm(H). *Provenance: Alexander and Berendt Limited, 1a Davies Street, London, W1 (1969-1982) Condition: One has a foot moulding missing, all require re-upholstering. One currently unseen in garage may have condition issues.
Lot 79
A 9ct gold Waltham pocket watch, with a Great War engraving on the inside panel From Felling Industrial Society to mark the service of R Harrison, along with an unusual star pierced Albert chain and a bloodstone and carnelian square shaped spinning fob. , gross weight approximately 41.3 grams. (1)
Lot 4284
König Ludwig II. - Dokumentmappe Vorlegemappe für die täglichen Unterschriften, aus schwarzem Leder mit vergoldeten Messingeinfassungen und -schloss sowie gekrönter Chiffre "L" auf der Deckelklappe. Die Unterteilungen mit blauem Papier ausgekleidet. Maße ca. 44 x 20 cm.USA-Los – weitere Infos hier A Document Folder of King Ludwig II of Bavaria Black leather document folder with gold foil embossed logo of King Ludwig II on cover flap, a document folder as used by the King for daily documents signing. Side and bottom accordion expansions with string ties, four outer bottom corners reinforced with L-shaped gold metal edge trim, each with a single decorative gold button. Gold metal lock plate attached to front pocket, flap closure panel with gold metal latch. Inside lined with blue paper folder pockets for document storage. Dimensions ca. 44 x 20 cm.USA-Los – weitere Infos hier
Lot 4254
Preußen - Waffenrock für einen Unteroffizier im Regiment Garde Du Corps Eigentumsstück aus feinem blauen Tuch mit roten Vorstößen und silbernen Knöpfen, der Stehkragen und die roten Ärmelaufschläge mit weißen Gardelitzen und rot-weiß-roter Kollarborte. Schwarzes Damastfutter. Vernähte weiße Schulterklappen mit roten Vorstößen, doppelter Lanzenfechterwinkel am rechten Oberarm, Ordensschlaufen, angestecktes EK 1 und VWA 1918.USA-Los – weitere Infos hier Prussian NCO Guard Du Corps Waffenrock Blue fine doeskin cloth, privately tailored, eight-button front with chrome-silver buttons, red piped down front panel, collar completely covered in red & white litzen with three hook and eye closure. Simulated French cuffs covered in red & white litzen with two ornamental chrome-silver buttons attached at outer side. Rear with red piped, scalloped vent and six buttons. Shoulder boards of white fabric with dark blue underside, edge piped in red, sewn into shoulder seam and secured with chrome-silver buttons. Right sleeve with rank chevrons and trade badge, hand-applied. Left breast with loops for ribbon bar and two badges (Iron Cross 1st Class and Wound Badge attached). Inside lined in black brushed cotton with waist adjustment tapes and metal buckles.USA lot - more info here
Lot 2418
Medaillonteppich mit Floralrankendekor. Mitte 20. Jh. Nordwestpersien, Heris-Region. Wolle, handgeknüpft. Polychromdekor mit vorwiegend Rot-, Blau- und Brauntönen sowie hellem Grün. Ca. 261 x 364 cm. 8-passiges Rosettenmedaillon auf geschweiftem Spiegel. Breite, 7-reihige Bordüre mit Herati-Dekor. Bleiplombe lose anbei. Teils stärke Gebrauchs- und Altersspuren, defekte Fransenabschlüsse. Shipping not available.Medallion carpet with floral border decoration. Mid-20th century Northwest Persia, Heris region. Wool, hand-knotted. Polychrome decoration with predominantly red, blue and brown tones and light green. Approx. 261 x 364 cm. 8-panel rosette medallion on curved mirror. Wide, 7-row border with Herati decoration. Lead seal loosely enclosed. Partly strong signs of use and age, defective fringe finishes. Shipping not available..*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 2822
Tafelgemälde Ruinenlandschaft mit FigurenÖl/Holz. Unsigniert. 18. Jh. 19 x 26 cm. Gerahmt : 28 x 35 cm. Bettler, Rastender und Reitende im Gespräch nahe einer Ruine im Sonnenschein. Minimale Altersspuren. Panel painting ruins landscape with figuresOil / wood. Unsigned. 18th c. 19 x 26 cm. Framed : 28 x 35 cm. Beggar, resting and riding in conversation near a ruin in the sunshine. Minimal signs of age. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 1304
Genfer Emailminiatur "Le Deniér de César" nach Rubens. Silberrahmen geprüft. Rückseitig beschrifteteter Titel, undeutlicher Name und Genéve. 6,5 x 5,3 cm. 29,4 g. Emaillierte Tafel mit fein gemalter Szene "Christus und der Denar des Cäsars". Offene Zargenfassung mit Spannring. Geneva enamel miniature "Le Deniér de César" after Rubens. Silver frame checked. Title inscribed on the back, indistinct name and Genéve. 6.5 x 5.3 cm. 29,4 g. Enameled panel with finely painted scene "Christ and the Denarius of Caesar". Open bezel setting with tension ring. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 2550
Barocke Zunfttruhe der Schneider. 18. Jh. Eiche massiv, Eisenbeschläge. 44 x 60 x 38 cm. Quaderkorpus mit Scharnierdeckel in Gewölbeform, wobei das Gewölbe gleichzeitig ein lose aufgelegter Schubdeckel ist (war ursprünglich scharniert). Seitliche Tragegriffe mit Rocaillen, große Schlüssellochblende mit Löwen, die eine Schere halten sowie Datum "1774". Kastenschloss mit automatischem Wächter, verzierte Scharnierbänder. Hinter dem Frontbrett Geheimfach mit Schub. Restauriert mit Ergänzungen/Veränderungen, wenige Alters-/Gebrauchsspuren. 1 Schlüssel. Baroque guild chest of tailors. 18th century Solid oak, iron fittings. 44 x 60 x 38 cm. Square body with hinged lid in the form of a vault, the vault being at the same time a loosely applied drawer lid (was originally hinged). Side handles with rocailles, large keyhole panel with lions holding a pair of scissors and date "1774". Box lock with automatic guard, ornate hinge bands. Behind the front board secret compartment with drawer. Restored with additions/changes, few signs of age/use. 1 key. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 3566
HEYMANN, Richard(1900 Rosswein - 1973 München) Blühender RosengartenÖl/Papier/Holz. Rechts unten signiert. 41 x 31,5 cm. Holztafel: 43,5 x 33,5 cm. Dunkelrote Rosen in einem Beet im Sonnenschein. Deutscher Maler, studierte in München und Dresden. HEYMANN, Richard(1900 Rosswein - 1973 Munich) Blooming Rose GardenOil/Paper/Wood. Signed lower right. 41 x 31.5 cm. Wooden panel: 43,5 x 33,5 cm. Dark red roses in a bed in the sunshine. German painter, studied in Munich and Dresden. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 26
Attributed to PIETER DE NEEFS (Antwerp, ca.1578 - between 1656 and 1661)."Interior of a Church.Oil on panel.It has a label on the back from the Sala Pares (Barcelona).Size: 13 x 15.5 cm; 23 x 27 cm (frame).The main contribution of Pieter Neefs the Elder to the pictorial genre consisted in the representation of nocturnal sacred interiors illuminated by two spotlights, torches or candles. He also produced numerous works such as the one presented here: magnificent Gothic church interiors with soft tonalities and sophisticated transitions between the spaces of light and shadow, in which the artist places particular emphasis on spatial geometry - note the chequered pavements on the floor, which help to effectively construct the space in perspective. His detailed works fill the space with numerous small figures, typical of Flemish church interiors of the Baroque period, a genre in its own right. The figures are finely detailed, perfectly identifiable by their clothes and physiognomies. Most of them are gentlemen, although we also see some ladies and children, all dressed in 18th-century Flemish fashion, and even dogs frolicking in such magnificent scenery.A Flemish Baroque painter specialising in sacred architecture, principally church interiors, Pieter Neefs was the head of a lineage of painters of the same name that included his sons Lodewijk and Pieter the Younger. Although we know little corroborated information about his biography, we can confirm that Pieter Neefs the Elder joined the Guild of Painters of Saint Luke around 1610, at which point he first expressed an interest in depicting Gothic church interiors, using stereotypical models for their execution. Although some of these churches have not been identified because they are imaginary, in many other cases they are the interiors of important Flanders churches, such as the interior of the church of Saint Paul in Antwerp (now in the Rijksmuseum, Amsterdam). Peter Neefs the Elder frequently collaborated with other painters, principally with Frans Francken the Younger, with whom he signed in 1636 "Viaticum inside a Church" in the Museo del Prado and "Evening Mass in a Gothic Church" in the Kunsthistorisches Museum, but also with his son, Frans Francken III, with Gonzales Coques and with Pieter Brueghel the Younger, who painted the figures that populate some of his compositions. The exact date of his death is not known, but it must be between 1656, the last year for which there are records, and 1661 when Cornelis de Bie speaks of him in the past tense in his Het gulden cabinet (Antwerp, 1661). His work is now in the Museo del Prado in Madrid and the Rijksbureau voor Kunsthistorische Documentatie in The Hague, among other important institutions.
Lot 29
Flemish school, 19th century. CCopy of part of the triptych of by Jan Floreins (1479), by HANS MEMLING (Seligenstadt, c.1423/1443- Bruges, 1494)."Saint Baptist and The Veronica.Diptych. Pair of oil paintings on panel.Frames from the 17th century.Measurements: 40 x 20 cm (each panel); 53.5 x 33.5 cm (frames).This pair of panels is a copy of the paintings that Hans Memling painted on the back of the Triptych by Jan Floreins (conserved in the hospital of St. John in Bruges (Belgium), which are shown with the triptych closed. The Nativity, the Adoration and the Presentation to the Temple preside on the obverse, while the two saints under beautiful Gothic arches dominate the reverse: John the Baptist on the left panel and Saint Veronica on the right. The pair of panels shown here are faithful to the original in every detail: the Baptist points to the Lamb at his feet; Veronica holds a cloth with the Holy Face. The lake landscape, composed in a wide panoramic view, depicts the theme of Christ's baptism in the Jordan. It is a representation that continues from one panel to the next, in the same way that the Agnus Dei on the left panel is symbolically linked to the Passion of Christ, which is foreshadowed by the image printed on the saint's cloth. Stylistically, the painter of this pair of copies remains faithful to Memling's soft, delicate style, the stylisation of his figures and his magnificent colouring, with a prevalence of emerald and glaucous tones. The detailed, almost miniaturist attention to detail in the vegetation and in the rendering of the bodies and drapery harmonises with an atmospheric creation based on shades of blue that are subtly densified in the distance. The figures in the background (Christ being baptised, John and the archangel) blend naturally into their surroundings. A trompe l'oeil architectural frame, with small statuettes (representing Adam and Eve) that seem to come to life on either side of the pointed arches, frames both scenes. All this is present in the original panels. The painter has succeeded in recreating the harmonious purification of forms and emotions that defined Memling's painting. The Flemish painter had been inspired by Rogier van der Weyden's Triptych of Saint Columba, but Memling softened his master's inheritance. This pair of panels must also have been based on the small diptych of Saint John the Baptist and Veronica painted by Memling around 1483. The two panels are now in separate collections (the Baptist in the Alte Pinakothek in Munich, the Veronica in the National Gallery of Art, Washington). On that occasion Memling located the saints in a rocky setting, but their attitudes and gestures were very similar to those of the triptych. This is a worthy tribute to the legacy of Flemish painting, from the early heirs of Van Eyck and his unusual sense of light and colour to the dreamlike landscapes of the 17th century.
Lot 54
Circle of Peter Paul RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640), last third of the 17th century."Triumph of the Eucharist over Idolatry". After a model of the cardboard in the Museo del Prado (ca. 1625).Oil on canvas.Re-drawn.Paint leaps.Period frame (remade).Measurements: 110 x 169 cm; 134 x 195 cm (frame).Excellent painting of Flemish school, from the circle of Rubens, in which we recognise the model that the painter takes to represent this scene: the "Triumph of the Eucharist over Idolatry" by Rubens, one of the cartoons that served as models for the tapestry makers to make the tapestries of the Triumph of the Church destined to the Monastery of the Descalzas in Madrid. Specifically, the model corresponds to one of the six panels in the Museo del Prado. The present painting is of a high technical and compositional level, evident in every detail. The sculptural forcefulness of each figure makes the foreshortenings a striking scene that is a veritable trompe-l'oeil. The highly allegorical scene is set between two sumptuous Solomonic columns. An angel, an allegory of the triumphant Church, appears in the upper right-hand corner. He carries a monstrance whose brilliance seems to dazzle and drive away idolatry, embodied in the calf whose horns the idolater pulls. The force of Good pushes the group to the right, causing each of the figures, representatives of paganism, to fall. The angels, amid festoons and garlands of fruit, allude to abundance and ecclesiastical virtues. The image of the classical god in the background reproduces the sculpture of Olympian Zeus by Phidias. The combination of pagan and Christian elements is characteristic of the culture of Christian humanism that predominated in Europe in the 16th and 17th centuries.Around 1625, the Infanta Isabella Clara Eugenia, governor of the Spanish Netherlands, commissioned Rubens to design a series of twenty tapestries for the Monastery of the Descalzas Reales, where all of them are still preserved. All the designs, painted on panel, deal with the theme of the Eucharist, the principal dogma of Catholicism that the Infanta defended. Rubens made several preparatory sketches for this series, which are among the best of his entire output and reveal his characteristic expressiveness and vitality, as well as his great knowledge of the works of art of Antiquity and the Renaissance.
Lot 64
Dutch school; early 18th century."Landscape with Figures.Oil on panel.Measurements: 18,5 x 24,5 cm.The canvas shows a rural scene in which some peasants celebrate a meal and different games in front of several houses. Thus recreating a stylistic pattern typical of the genre scenes made by David Teniers (Antwerp, 1610 - Brussels, 1690). The scene features some of the pictorial devices popularised by the young David Teniers, who succeeded in revitalising the genre. In depicting these popular festivals, Teniers departed from the aesthetic and compositional schemes of Jan Brueghel "the Elder", repeating the same idyllic vision of the peasant world that was also widely used in Flemish literature of the time. It was embodied in the representation of the kermesse, the name given to neighbourhood festivals with food and drink stalls, where games of skill, children's games, raffles and artistic performances were held.It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light.
Lot 65
Hispano-Flemish school, 16th century."Christ". After a model by DIRK BOUTS (Haarlem, c. 1410/1420 - Leuven, 1475).Oil on panel, adapted to a period tabernacle door.Size: 39 x 26.5 cm; 50 x 47 cm (frame).In this devotional image of Christ, personified as Redeemer and Saviour. It is a model derived from the iconography of the Holy Face. In this case, it also follows models by the Flemish painter Dirk Bouts, whose emphatic style and emphasis on drawing is revealed here. In this painting, the Spanish Tenebrist legacy and the Flemish school converge, resulting in a special attention to quality and at the same time in an expressiveness and pathos of Hispanic roots. In this work the artist reveals a remarkable sense of draughtsmanship and a skilful use of colour.Historians agree that Bouts may have studied with Rogier van der Weyden. His work was influenced by van der Weyden and Jan van Eyck. He worked in Louvain from 1457 (or possibly earlier) until his death in 1475. Little is known of this artist. The biographical note dedicated to him by Carel van Mander (1604) is, by his own admission, very incomplete. In 1468 he was appointed official painter to the city of Louvain, near Brussels. He is famous for his numerous religious paintings, in particular the Virgin and Child. Most of the time he used wooden supports on which he painted in oil. His mastery of perspective is visible in the precise settings in which the characters fit together with perfect coherence.During the 15th century, the influence of the Flemish school of painting was a key factor in the development of European art, especially in Spain, which was linked to the Low Countries by political and economic ties. At that time, Flemish painters established a stylistic model based on the search for reality, focusing on capturing the qualities of objects, giving special importance to secondary details and using a smooth, draughtsmanlike technique. In the 16th century, following the introduction of the novelties of the Italian Renaissance, the Flemish style evolved towards a more classical and sculptural style, while retaining its own characteristics.
Lot 84
Italian school of the first half of the 19th century. After RAFAEL SANZIO (Italy, 1483 - 1520)."The Holy Family of Francis I/The Large Holy Family".Oil on canvas.Size: 104 x 137 cm; 122 x 150 cm. (frame).This work is a faithful continuation of the one painted by Raphael Sanzio in 1518, an oil on panel transferred to canvas now in the Louvre Museum in Paris. In this canvas Raphael depicted the Holy Family accompanied by the infant John the Baptist and his mother, Saint Elizabeth. The placement of the various figures reflects the hierarchy of the figures in this iconography. Thus we see Saint Joseph in the background, almost hidden in the shadows, while the two women and the two children remain in the foreground, directly illuminated. These four figures form a typically Raphaelesque pyramidal scheme, much imitated by his followers, which is clearly classical, and which anchors and balances the composition. Furthermore, this scheme serves to focus attention on the two main figures: Jesus and Mary.With regard to the subject matter, the iconography that introduces the figure of Saint John into scenes of the Holy Family or Mary with the Child is not only due to the saint's status as a relative of Jesus, but also has a theological significance. These images present St John the Baptist as a prophet who announces Christ's redemptive mission, which is why, despite the fact that he is depicted as a child, before his retreat into the desert, he appears in the skin of a lamb or camel and generally accompanied by the iconographic attributes common in his images, which allude to the Passion of Christ. However, unlike in other paintings by Raphael and others, the children here appear to be oblivious to Jesus' dramatic fate. Only the two women show a certain restrained sorrow in their expressions that allows us to guess the sorrow with which they contemplate the children's games.
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