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Lot 1393
A 17th / 18th Century Chinese Bronze 'Elephant' Tripod Censer with flared rim and twin handles having spiral and pierced decoration and standing on three elephant mask legs. The base cast with an apocryphal six character Xuande mark in a recessed panel, 22cm diam. to handles, 12cm high, c. 1990g. Deceased estate
Lot 236
Various vintage collectibles to include an Art Deco Ekco AC/DC Mains Transportable Model U215 vintage radio in an ivory-coloured Bakelite case, a Box Brownie Junior, silver-coloured Chinese teaspoons with three shaped panels to the handle, each containing a Chinese symbol, a hallmarked silver backed hair brush, a gold plated Waltham USA full hunter pocket watch, a hallmarked silver thimble in case, a Railway Regulator reproduction chrome plated open face pocket watch, a late 19th century wooden inlaid snuff box, with inlaid figure to the oval panel on the lid and an Indian white metal three-panelled bracelet, each porcelain panel hand painted with ladies in garden scenes, with filigree fill, unmarked (9). CONDITION REPORT Radio sold electrically untested.
Lot 26
An Edwardian inlaid mahogany display cabinet with galleried arched inlaid top above a pair of glazed cupboard doors, divided by a bowed inlaid centre panel with Neo-Classical motifs, on square tapering legs, 166 x 155 x 36cm. CONDITION REPORT It is locked and we do not have a key. There are a few scuff marks and signs of wear commensurate with age. There is a split to the top arched section, but the split runs behind the oval inlaid panel.
Lot 296
SÈVRES PORCELAIN; an 18th century hand painted cabinet cup and saucer, the cup painted with a panel of a courting couple next to a wooden building by a riverside, within a gilt-heightened cobalt blue ground, with ear-shaped handle, the saucer decorated with a hand painted picture of a young boy with dog sat upright, holding staff, with sheep left and right, within a gilt circular border and a gilt-heightened cobalt blue ground, both marked with painted Sèvres mark to the underside, both with date letter 'J' for 1761, height of cup 8cm, diameter 7.5cm, height of saucer 3.5cm, diameter 13.5cm (2). CONDITION REPORT The cup has some slight rubbing to the gilt, as expected with age. The decoration is very crisp and brightly coloured. There is a rim chip and chaffing to the underside of the foot rim. The saucer has been repaired - it has had a crack that runs at two points at either side that join a hairline in the centre. It appears to have been repaired well and it not that noticeable when looking at it inside of the saucer, though it is obvious from the outside.
Lot 308
Various 19th and early 20th century floral decorated collectible porcelain, to include two Dresden cups and saucers, one teacup with right fluted body and hand painted Dresden sprays and a matching saucer, height of cup 4.5cm, diameter 8cm, diameter of saucer 12cm, the other a fluted cup with hand painted Dresden sprays, with fluted saucer, height of cup 7cm, diameter 7cm, diameter of saucer 14.5cm, a Copeland & Garrett felspar porcelain embossed ivory-coloured saucer with hand painted floral panels and a central panel depicting a butterfly on flowers, diameter 14.6cm, with red factory stamp to underside, a Royal Worcester small blush ivory hand painted floral bud vase of onion shape, height 12cm, a similar Continental blush ivory small ewer with hand painted flowers, height 14.5cm, also an opaque glass trinket box in the form of an egg, with hinged lid, the body decorated with bright floral enamels, held in a brass cage, height 13.5cm and a Coalport small daffodil ornament (7).
Lot 341
ROYAL DOULTON; 'The Shakespeare Jug', a series ware limited edition jug no.842/1000, with relief moulded Shakespearian figures in panel around the jug, with mask spout within laurel leaves, the top annotated 'Great Heir of Fame Dear Son of Memory', figures titled below on band, handle moulded with theatrical masks and daggers on a leafy ground, base named and numbers, 'William Shakespeare great for all time - whose genius presented an unsurpassed gallery of riches to the everlasting glory of the worlds literature', 'The rarest essence of all - human thought, sweet swan of Avon', height 26.5cm. CONDITION REPORT some crazing to the interior with hairline crack to the spout, one mark at bottom of the interior, possibly hairline crack not visible to exterior, there are no chips, otherwise in good condition
Lot 355
Four contemporary woven panels depicting various landscapes, some with scripture and seal marks, the largest 79 x 39cm, all framed and glazed (af) (4). CONDITION REPORT Largest panel has a crack to the glass and one of the smaller panels a water stain to the upper right corner, all are showing minor signs of foxing, as well as minor chips and losses to frames.
Lot 375
A pair of Gothic and Pugin-style brass candlesticks with candle holder within circular dish, twisted stem and ecclesiastical faceted and pierced knop to centre, on conical circular base, height of each approx 25cm, together with a Philipson & Golder of Chester Gothic-style coromandel sliding book trough, marked for the manufacturer to the brass panel in the centre, length unextended 34cm, length when extended 52cm (3).
Lot 720
14TH/20TH KING'S OWN HUSSARS INTEREST; four commemorative decorated plates to include a Seltmann Weiden Bavaria example, to commemorate the amalgamation in 1922 of the 14th and 20th regiments, diameter 26cm, together with two Minton plates with enamelled emblem to the centre, with a gilt lion on crown, within a blue circle and a ribbon inscribed 'King's Hussars', within a white circular panel, gilt and cobalt blue border, with Minton mark to the reverse, diameter of each 21.5cm, and a Weatherby Hanley white dinner plate with a small Hussars motif to the top in black, within a cobalt blue and gilt border, diameter 25.5cm (4).
Lot 122
A French brass carriage clock, the enamelled dial set with Arabic numerals, indistinct retailer's mark to face, in a plain case on bracket feet with swing handle, within a wooden/leather covered velvet lined carrying case with glass panel, height 11.5cm. CONDITION REPORT Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/
Lot 123
A French brass cased carriage clock, the ivorine dial set with Arabic numerals, foliate panel with pierced panels to the side, reeded columns, with swing carry handle, height 15.5cm, within original leather and glass carry case. CONDITION REPORT A few scratches commensurate with age, appear to tick when wound, case is very age worn and ton in places, all present including keyPlease note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/
Lot 144
A 19th century rosewood tea caddy with central mother of pearl and floral panel, with mother of pearl and ebony banded border, the interior with two rosewood lidded sections, 11.5 x 19 x 13cm. CONDITION REPORT In generally good condition, there are some tiny bits of veneer missing towards the bottom edge, typical with wear. All the mother of pearl appears to be present, but it does need a little bit of attention.
Lot 104
THREE CANDLE HOLDERS Comprising two silver plated candle sticks and a further example from Mexico with an inset circular glass panel decorated with a gold toned crescent moon on a bronze painted ground Silver plated candlesticks 35cm high Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com
Lot 127
An early 19th century porcelain jug, white glazed with gilt edged rim and handpainted floral sprays and inscribed Robert Gregson, 1811, together with a floral encrusted porcelain jar with landscape panel, the base inscribed Tivoli, with losses to the flowers, blue crossed sword style mark to the base, taller 22cm, (2)
Lot 1612
ERXLEBEN, AUGUST (1822-1867) "Schlachtenszene" Öl auf Leinwand/Platte, signiert und datiert "Erxleben 62", HxB: 23/30 cm. Leicht krakeliert, Rahmen, HxB: 36/44 cm. | ERXLEBEN, AUGUST (1822-1867) "Battle scene".Oil on canvas/panel, signed and dated "Erxleben 62", HxW: 23/30 cm. Lightly crazed, frame, HxW: 36/44 cm.
Lot 69008
Edouard-Léon Cortès (French, 1882-1969)Bouquet de pois de senteurOil and tempera on panel19-3/4 x 13-3/8 inches (50.2 x 34.0 cm)Signed and dedicated lower left: A l'ami Jombard / Edouard Cortès. PROVENANCE:The artist;His friend Jombard, Seine-et-Marne, France;Jombard family, Seine-et-Marne, France, by descent;S.V.V. Jakobowicz, Melun, France, June 15, 2019, no. 149;Collection of Michael Zikas, Columbus, Ohio, acquired from the above;Acquired by the present owner from the above.We would like to thank Nicole Verdier for confirming the authenticity of this painting, which will be included in her forthcoming Volume III of Edouard Cortès, Catalogue raisonné de l'oeuvre peint. HID12701242017
Lot 69024
Joza Uprka (Czech, 1861-1940)Slovácké d?v?e (Slovak girl), 1912Oil on panel20-3/4 x 9-3/4 inches (52.7 x 24.8 cm)Signed with artist's monogram and dated lower left: JU 12 PROVENANCE:Dr. Max Platschek, Prostejov, Czech Republic, by 1931;His wife Elsa Platschek, Haifa, Israel, by descent, 1951;Her daughter Greta Platschek Meitner and son-in-law Bruno Meitner, by descent, 1965;Thence by descent to the present owner, 2010.EXHIBITED:Myslbek Gallery, Prague, "Jozi Uprky: 70 Years," November-December 1931, no. 98. HID12701242017
Lot 69025
Studio of Michiel Jansz. van Miereveld (Dutch, 1567-1641)Portrait of a man, circa 1620Oil on panel12-1/2 x 8-3/4 inches (31.8 x 22.2 cm) PROVENANCE:Shapiro Auctions, New York, November 7, 2020, lot 217;Private collection, Chicago, Illinois, acquired from the above.We are grateful to Anita Jansen, Senior Curator of Old Master Paintings, Museum Prinsenhof, Delft, The Netherlands for generously sharing her expertise which was indispensable to the cataloguing of this lot. HID12701242017
Lot 69026
Manner of Giovanni Battista Moroni (Italian, 1520-1578)Portrait of a gentleman in a black cap and doubletOil on panel10-3/4 x 8 inches (27.3 x 20.3 cm)Property from the Collection of Bill and Margot Winspear, Dallas, Texas PROVENANCE:Christie's, South Kensington, July 13, 2001, lot 224;Acquired by the present owner from the above. HID12701242017
Lot 69040
Jules Dupré (French, 1811-1889)Paysage, 1830-32Oil on panel12-1/2 x 18-1/4 inches (31.8 x 46.4 cm)Signed lower right: J. Dupré PROVENANCE:Samuel Putnam Avery, Jr., New York;Frank Granger Logan, Chicago, Illinois;Sale: Kennedy Galleries, New York, February 1, 1945, lot 150;Sotheby's, New York, October 29, 1992, lot 205;Galerie Michael, Beverly Hills, California;Private collection, Las Vegas, Nevada, acquired from the above.LITERATURE:M-M. Aubrun, Jules Dupré: catalogue raisonné de l'oeuvre peint, dessiné et gravé, Paris, 1974, p. 49, no. 4.This lot is accompanied by a certificate of authenticity from Galerie Michael. HID12701242017
Lot 69052
Jean Baptiste Robie (Belgian, 1821-1910)Still life with basket of fruitOil on panel17-3/4 x 19-3/4 inches (45.1 x 50.2 cm)Signed lower right: J. Robie PROVENANCE:Hempel Fine Art, Munich, June 26, 2009, lot 515 (as Blumenstilleben);Private collection, Beverly Hills, California.We would like to thank Kathleen de Fays, Archivist, Foundation Jean Robie, for her invaluable cataloguing assistance. HID12701242017
Lot 321
A cupboardOak Upper section with central panel of stylised figure decoration flanked by two doors with foliage friezes and carved fleurons' Overhanging cornice supported on two turned and carved columns Lower section of two doors decorated with carved fleurons' and framed by braided friezes England, 17th century (losses and faults)185x165x61 cm
Lot 13
Basil Bradley (1842-1904)Irish Cabin Interior Showing a Man and Girl Making Súgán RopeOil on canvas laid down on panel 34.5 x 44.5cm (13½ x 17½”)SignedStraw was one of the most important organic materials in the economy of Irish rural life, and was used in fields as various – and vital – as clothing, building and agriculture. It also accrued religious, ritual and magical significance as well as developing rich linguistic associations. Straw was used for the fabrication of St Brigid’s crosses, for mummers’ costumes, fishing nets, toys and, as is shown here, rope – in Irish súgán or súgán cotháin.Basil Bradley portrays the weaving process as a collaborative effort between different generations of the family with the household’s two dogs noticeably indifferent to the task at hand. The artist’s ‘meticulous observation’ of detail has been noted and here the furniture, interior setting and costume are rendered accurately giving the painting great documentary value (Claudia Kinmonth, Irish Rural Interiors in Art (2006) p. 88).The work is closely comparable, especially in its earth-based colour scheme, to Bradley’s, Irish Cabin, Spinning and, as is in that work, the ‘women’s red petticoats’, which provide the one chromatic highlight, ‘suggest that the home is a western one’ (ibid.). In addition to its harmoniously controlled palette, there is a subtle deployment of light effects to evoke presence. Clearly, two sources of illumination are in play. The light from the window which silhouettes the standing girl’s profile is the most obvious. But there is also a secondary source from which light floods the left foreground of the image, bathing the seated man in its rays. This can only be from the cabin’s door and it is easy to imagine that this is the spot where Bradley has set up his easel. This makes him simultaneously a, literally, liminal presence – but also, rather suggestively, a witness as to the scene’s verisimilitude – standing very close by, just on the other side of the picture plane.Also enhancing the veracity of the scene is the way in which Bradley crops into the body of the bare-footed girl at the right-hand edge, rather than composing the scene into a balanced, classically-conceived composition. This is a technique more associated with the advanced Parisian modernity of Degas, than the stylistically retardataire tradition within which most painters of Irish rural life worked.While Bradley is careful to depict very scrupulously what he saw before him when visiting this particular cabin, his analytical viewpoint is not merely ethnographic, or at the expense of human interest. Instead, the image is both an endearing depiction of familial life and shared endeavour and an unmediated testament to the hardness of existence in the rural communities of the West of Ireland.Born in England, and excelling from an early date as an animal painter, Bradley was a careful recorder of the Irish landscape (for example in his View Of The Nine Pins, Connemara, 1873) and sympathetic chronicler of rural life (in for instance his Interior of an Irish Cabin in Connemara, 1879). Bradley exhibited with the Old Watercolour Society and, between 1873-99, with the Royal Academy. His Irish work is rare but examples of his art can be found in leading museum collections internationally including the Victoria and Albert Museum, London, Manchester Art Gallery and the Art Gallery of New South Wales, Sydney.
Lot 38
Harry Clarke RHA (1889-1931)St Hubert, St Luke and St George (1927) Colour Scheme for the memorial window, St. Brigid's Church of Ireland, CastleknockWatercolour, 34.5 x 22cm (13½ x 8¾'')Provenance: With Grants Fine Art Gallery, label verso; with The Fine Art Society, label verso.Exhibited: 'The Stained Glass of Harry Clarke', The fine Art Society, 1988, catalogue no.46.In May 1927 when the commission for the Brooke memorial window for St Brigid’s Church of Ireland, Castleknock had been confirmed Harry Clarke noted in his diary ‘…bear in mind to give the maximum light and rich colour. Excellent light and position. Will stand rich colour and treatment… Subjects in base could be seen.’(1) When Harry Clarke and other stained glass artists of the period were in the process of designing a window, a key aspect was the creation of small-scale designs (usually made at the scale of one inch to the foot) to establish the composition and to determine the colour scheme; this example falls into the latter category.Raymond Brooke had commissioned Clarke to create a window to commemorate military, hunting and artistic members of his family. Three male saints were selected: St Hubert is depicted in the centre light and is in memory of Sir George Frederick Brooke, 1st Baronet of Summerton (the name of their home in Castleknock) who although a wine merchant and banker preferred to spend his time hunting, maintaining a prestigious pack of harriers that later became the North Kildare Harriers, and hence the choice of St Hubert, patron saint of hunters (note also Clarke’s inclusion of a poised hunting dog in profile). According to his daughter Rose Brooke, Sir George was a great admirer of Harry Clarke’s work and often used to go into his studio.’(2)The left light depicts St George, and it was in memory of the only son from Sir George’s first marriage, also named George, who was a member of the Irish Guards and who died at the Battle of Aisne in 1914. The choice of St George being appropriate not only as it is the deceased soldier’s name but also of course as he is a notable soldier saint, who along with St Michael, is one of the most popular saints for war memorial depictions. The right light was erected in memory of Sir George’s second wife Emily Alma (née Barton) a deeply religious and artistic individual who died several years ahead of both her husband and step-son. In addition to the full-length depictions of the three saints, each of the lights contain a predella panel at the base, and the one beneath St Luke shows the saint in his role as patron saint of artists, standing at an easel painting a portrait of the Virgin and Child.The apex of each light accommodates an angel bearing an heraldic shield, and behind and above them, in the three spandrels which comprise the tracery, is what the late Dr Nicola Gordon Bowe (the leading authority on Harry Clarke), referred to as ‘a deep blue sky threaded with gossamer and brightly coloured galactic phenomena’, a visual device she noted that Clarke had employed in his previous window for Tullycross Church but used here, in her opinion, to even greater effect.(3)Dr David CaronQuoted in Nicola Gordon Bowe, ‘Harry Clarke 1889–1931: His Life and Work’, PhD thesis, University of Dublin, 1991, vol. 2, p. 743.Ibid, vol. 2, p. 769 (quoting a letter from Rose Brooke to Nicola Gordon Bowe, 24 February 1974).Nicola Gordon Bowe, Harry Clarke, The Life and Work (Dublin: The History Press, 2018), p. 268.
Lot 180
A VICTORIAN SILVER WAITER, GEORGE IVORY, LONDON, 1849 shaped circular, engraved with a crest surrounded by a scroll foliate and flowerhead band, moulded rim, on three cast foliate panel feet, underside stamped for the retail jewellers: TURNER'S 58 & 59 NEW BOND ST. 17.5cm diameter, 229gr (7oz)
Lot 194
A SPANISH SILVER INKSTAND, MAKER'S MARK E.MZ, PROBABLY REAL ESCUELA Y FABRICA DE MARTINEZ, MADRID, 1806 beaded borders throughout, the pointed oval stand with trellis pierced gallery, on shaped panel feet, with its silver cylindrical containers and covers, two as inkwells with glass liners, one with pierced cover, the central pounce pot with pierced top, undersides of all containers and stand with assay zigzag, maker's, town and assay marks 23cm long, 692gr (22oz)
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