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Lot 55
Follower of Peter De Wint (British, 1784-1849) An oil on mahogany panel landscape painting with a farm beside a river and bridge with people sitting on the wall, cattle to the background. The far side of the bridge with county signpost to the crossroads. Set within a modern gilt frame. Frame measures 43cms x 22cms / panel measures 37cms x 16cms
Lot 59
ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)ROWING BOATS BY A HARBOUR QUAY, CONCARNEAU Oil on panel, also painted verso 'Fishermen on the quay'26.5cm x 35cm (10.5in x 13.75in)Note: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'
Lot 1
PIETER COECKE VAN AELST (follower) 1502 - 1550: THE HOLY FAMILY WITH AN ANGEL Second quarter of 16th century Oil on wood panel 95 x 42 cm Marked lower center with metal plate on frame: "COLLECTION PRINCE/ ESTER HAZY/ BUDAPEST." Label on back: "PRINCE ESZTERHAZY/ BUDAPEST" and seals This unique panel painting of the Holy Family is a work of exceptional quality that impresses with its deliberate composition outline, harmoniously balanced color, and excellently executed brushwork in the fabric. The individual figures are also charmingly and soulfully portrayed. The figure of the Virgin Mary, as the closest intermediary to God, is here the personification of motherhood, humilityand dedication, sitting at the table dressed in a red cloak and on her lap holding the naked Christ Child, who is clutching at her. The background is divided into two halves. On the right half Joseph is leaning towards the pair through a window that offersa view of the landscape.Pieter Coecke van Aelst was an excellent Flemish painter, sculptor, architect, and designer of wood engravings, goldsmith work, stained windows and tapestries. He worked in Antwerp and Brussels and was appointed court painter to Charles V. He was also a polyglot, translating ancient Roman and modern Italian architectural treatises about architecture into Flemish, French and German.His books played a pivotal role in the dissemination of Renaissance ideas and contributed to the transition from the late Gothic style in Northern Europe. From Italy he returned to Antwerp, where he inherited his father’s very productive workshop. The original The Holy Family with an Angel (right-angle panel, portrait orientation, 95 x 72 cm) is in a private collection. This work by his follower is also of high painterly quality. The subject of the painting was very popular and frequently repeated in various smaller iterations, with various backgrounds, architecture or landscapes or a different interpretation of Mary’s shroud (as documents at the Rijksbureau voor kunsthistorische Documentatie in The Hague demonstrate). The painting accurately characterizes the style of Pieter Coeck, with an ample landscape with tree avenues, a path and houses in the background. The painting's important provenance further increases the value of the painting: it is originally from the Esterhazy collection. Consulted with PhDr. Hana Seifertová.Restored.
Lot 2
ANTOON CLAEISSENS - CIRCLE 1536 - 1613: DAVID RETURNING IN TRIUMPH WITH THE HEAD OF GOLIATH Late 16th/early 17th century Oil on wood panel 72,5 x 103 cm King David, who is the subject of many legends, was the shepherd and warrior who went on to become the statesman and unifier of Israel. A versatile figure as well as a musician and the author of the Book of Psalms, in Christian art he is also important as the model of Christ (according to Matthew, he is his direct ancestor). The most frequent subjects are scenes either from his battle with Goliath or David’s triumphal return, holding Goliath’s head in his hand. In his fight against the giant he refused to use armour, choosing instead just five stones to use with his slingshot. After hitting Goliath in the head and killing him, he cut off his head with a sword. In the painting he is striding forward, dressed in a red cloak with a shepherd’s pouch and a sword resting on his shoulder; in his other hand he holds his trophy, the head of Goliath. He is surrounded by Israelite women, who came out playing timbrels and lyres, praising him and singing:“Saul has slain his thousands, and David his tens of thousands.”(1 Samuel 18: 6-7). This famous episode, understood in Christianity as the model for Christ’s entrance to Jerusalem, is masterfully depicted by an artist based in the style of Antoon Claeissens (c.1536–1613), who came from a line of painters in Bruges.Consulted with PhDr. Hana Seifertová. Restored.
Lot 25
JAROSLAV ŠPILLAR 1869 - 1917: VENICE 1892 Oil on paperboard and wood panel 15,5 x 23 cm Signed lower left: "JAR. ŠPILLAR/ VENEZIA/ 1892" In Venice, painter Jaroslav Špillar beautifully captures a glimpse through a bridge on one of the canals, with typical gondolas and the busy palace embankment in the background.Špillar, also known by the nickname Trávníèek, was a painter from the Chod region who was focused on historical and ethnographic subjects. His younger brothers Karel and Rudolf Vojtìch Špillar were also fine artists. He was one of the first students at the School of Applied Arts in Prague (1885–1887 under František Ženíšek and Jakub Schikaneder), and subsequently spent five years at the Academy of Fine Arts with Maxmilián Pirner.In 1888he developed an interestin the Chod region and settled there in 1891.Initially he lived in Postøekov, where he lived in the part of town called Trávniky; later, in 1902, he built a villa in Pec pod Èerchovem. At his first collected exhibition at Topiè Salon (1899) he presented 86 works. Špillar decorated the assembly hall at the Italian Court in Kutná Hora and his work is represented in the permanent exhibition of Jaroslav and Karel Špillar Paintings at the Špillar Brothers Gallery in Domažlice.
Lot 30
JAN VÁCLAV MRKVIČKA 1856 - 1938: PORTRAIT OF A MAN Late 19th/early 20th century Oil on wood panel 15 x 12 cm Signed upper left in Cyrillic letters: IVM Czech-born painter Ivan Mrkvička is regarded as one of the founders of the modern Bulgarian painting. He contributed to the artistic life of Bulgaria, newly liberated from Turkish domination, in the late 19th and early 20th century. Born in the village of Vidim near Dubá, he studied at the academies in Prague and Munich. Mrkvička came to Plovdiv in 1881 upon the invitation by the then-Eastern Rumelian government. He worked as a teacher of draftsmanship at a high school, cooperating with the most important cultural figures in the city: Ivan Vazov, Konstantin Velichkov, Petko Karavelov and Petko Slaveykov. Mrkvička settled in Sofia in 1889 and was one of the founders of the National Academy of Arts in 1896. A master of classic painting and drawing techniques, his most significant achievements are in scenes of everyday life, although he also worked in the historic painting genre and is the author of many high-quality portraits (including Tsar Ferdinand I of Bulgaria and the tsaritsa, Princess Eleonore). One of the creators of the coat of arms of Bulgaria and the coat of arms of Sofia, he became a member of the Bulgarian Academy of Sciences in 1918. He returned to Czechoslovakia in 1921, where he primarily focused on portraiture, including painting the portraits of important politicians. A number of Mrkvièka’s paintings are owned by the Sofia City Gallery and the National Gallery in Prague.
Lot 105
NO RESERVE Victoria (Queen of the United Kingdom of Great Britain and Ireland, and Empress of India, 1819-1901) Autograph address panel "The Earl Russell The Queen", cut address on mourning paper, laid down on an album leaf, folds, slightly browned, 78 x 92mm., [?c. 1860s].⁂ Ink inscription on album leaf: "Written in the Autograph of Queen Victoria, from a Dispatch Box."
Lot 534
A late 18th century provincial chestnut armoire, fitted with two fielded panel doors, carved with floral foliate designs, with entrelac uprights, 150x227cmHProvenance: from the estate of Elizabeth Pepys-Cockerell, whose husband John was a descendant of the diarist Samuel Pepys. His ancestors had a long association with Sezincote in Gloucestershire
Lot 263
Navy blue leather Jane Shilton handbag with zip internal pocket and two pouch pockets, very clean suede interior, together with a similar brown handbag with very clean suede interior, zipped internal pocket, two pouch pockets, one with mirror and small beige and brown leather purse and small blue leather handbad with lace panel and brass fittings (3)
Lot 408
A 19th century Henri II style oak pot cupboard fitted with a single panel door, the legs united by pierced stretchers and on ball and claw feetProvenance: from the estate of Elizabeth Pepys-Cockerell, whose husband John was a descendant of the diarist Samuel Pepys. His ancestors had a long association with Sezincote in Gloucestershire
Lot 200
A Chain Bracelet, with pearl spacers; a child's curb link bracelet suspending charm pendant; a multi set bracelet, rectangular set throughout with oval loop spacers, to snap clasp; a faceted hardstone oval panel bracelet; a single stone ring (stone damaged), single strand graduated pearl bead necklace; imitation pearls; dainty bar brooch etc.
Lot 451
Victorian pitch pine housekeepers cupboard, carved and moulded egg and dart cornice above three glazed arched doors, covering painted interior with six adjustable shelves, base with two frieze drawers, three central short drawers flanked by two single panel cupboards, original brass handles, fretwork plinth width 164cm (64”), depth 50cm (20"), height 110cm (83”). Condition reports are not available for this auction
Lot 9
An Oak Cased Part Canteen of Plated Cutlery, with lift up lid and two drawers, the fitted interior containing Old English and Fiddle pattern cutlery, knife rests and associated items, the hinged lid with inset brass plaque "Presented to Mr William Thacker on his Retirement as Clerk to the Guardians after 31 years service by Members & Ex Members of the Mile End Old Town Boards of Guardians Jan 9th 1908", with campaign style side carrying handles and hinged panel drawer lock.
Lot 131
A PAIR OF SILVER 'PIGS' CUFFLINKS AND OTHER ITEMS comprising; a pair of cufflinks modelled as standing pigs with chain and oval panel back-links, London 1989, and a matching pendant; a pair of similar cufflinks modelled as oak trees, stamped 'Silver'; a pair of engine-turned canted-rectangular panel and baton-twist cufflinks, Birmingham 1984; a pair of white-metal 'swoosh' baton-twist cufflinks; a single gold plated cufflink; a pair of 'hogs-head' stud earrings; and a silver teddy bear pendant, 20mm high overall (¾ in)
Lot 132
A GEORGE III ENAMEL AND SEED PEARL MARQUISE SHAPED PANEL LATER ADAPTED AS A BROOCH AND FOUR OTHER BROOCHES the George III brooch with a glazed panel enclosing a seed pearl flower spray on a blue ground and set within a blue and white-dot enamelled border, approx. 22mm long overall (¾ in); a late Victorian gold, peridot, ruby and half-pearl knife-edge bar brooch, applied panel '15ct', base metal pin, 35.5mm long overall; a late Victorian gold, demantoid garnet and half-pearl entwined-open circlet brooch, 23mm diameter overall; a yellow paste cabochon open quatrefoil brooch; and a shaped-oval brooch centred with a green paste
Lot 136
FOUR 9CT GOLD ;COMING OF AGE' CHARMS OR PENDANTS INCLUDING A STEERING WHEEL ST CHRISTOPHER comprising; a steering wheel with a central panel depicting St Christopher, London 1963, 18.5mm diameter (¾ in); a driving licence cover opening to reveal a miniature paper 'Wessex County Council Driving licence', London 1968; a coming of age '21' key, London 1963; and a round St Christopher, stamped '9ct'; the four 11.3g gross
Lot 138
A COLLECTION OF EDWARDIAN AND LATER JEWELLERY to include; an Edwardian gold-plated bangle the front set with an oval amethyst-coloured-paste within an engraved scrolling head; a modern 9ct gold and sapphire three stone ring in Victorian style, the three graduated oval and round mixed-cut stones set within a beaded scrolling mount, London marks, the date letter obscured, size Q+, 2.0g gross: a silver 'charm' bracelet; a similar pendant with three tassels and a padlock clasp; a collection of silver and white metal charms; a middle eastern panel bracelet, two imitation-pearl necklaces; various brooches and other items
Lot 142
A GROUP OF FOUR 19TH CENTURY AND LATER BROOCHES comprising; an early 19th century gold, flat-cut garnet and half-pearl stylised flower panel later adapted as a brooch, 31mm wide (1 ¼ in); a Bohemian garnet and red paste twin-circlets brooch; a modern 9ct gold and graduated half-pearl closed-crescent brooch, London 1988; and a black onyx oval cabochon brooch
Lot 166
A MODERN CULTURED PEARL AND ABSTRACT PENDANT NECKLACE AND MATCHING EARRINGS the necklace in the form of a row of alternate wire-work panels and cultured pearls on a lobster-claw clasp, stamped '750, the front in the form of a 'molten' shaped-circular panel decorated with beads and wirework around a central cultured-pearl and with twin-chain pendant drops, the panel stamped with a crown and '750', approx. 22mm diameter, the necklace approx. 43cm long overall, (17 in); together with a pair of cultured-pearl three stone pendent earrings to match the central pendant, approx. 18mm diameter, approx. 47mm high overall, unmarked
Lot 167
A MODERN CULTURED PEARL AND DIAMOND ABSTRACT BROOCH in the form of a satinised and textured abstract circular panel, within open spiralling wirework surround and set at the centre with two small graduated round brilliant diamonds on a spiral rope and suspending a cultured pearl drop, stamped with a crown and '750', approx. 56mm wide (2 1/4 in), approx. 45mm high overall, unmarked, 11.5g gross
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328190 item(s)/page