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Lot 276
Brian Shields, 'Braaq' (British, 1951-1997):Numerous figures in a gloomy industrial landscape, oil on panel, signed lower right & dated '75, H 44 x W 68 cm. Provenance: Phillips & Bonhams labels verso. Please note that Artist's Resale Rights may apply to this lot. Lots 274-286, consigned from the collection of the late Paul Buckley (1944-2016), please see Lot 274 for full biography.
Lot 338
Follower of Sir Peter Paul Rubens (Flemish, 1577-1640):Portrait of a lady, said to be Susanna Fourment, oil on panel, H 65.5 x W 50.5 cm, contained within an impressive giltwood frame. Note: Susanna Lunden, born Susanna Fourment, was the third daughter of Daniel Fourment, an Antwerp tapestry & silk merchant. Her younger sister Helena became Rubens' second wife in 1630.
Lot 403
A Pair of Wine Cisterns:George III, mahogany, each cistern in the form of a fluted urn vase, on a rectangular crossbanded pedestal, the removable lids having lead lined interiors, above panel cupboard doors, enclosing slated shelves for warming plates and a cellarette in the other, on plinth bases, H 153cm x W 36cm x D 38.5cm
Lot 53
A Collection of 19th Century China:Possibly Davenport, comprising three comports and a large twin-handled tazza, the central panel depicting exotic handpainted birds amongst mountainous scenes, the largest H 39cm CONDITION REPORT: All pieces in this lot are in very good condition with no losses or damages, no losses to the gilt edging.
Lot 77
NINE-TILE PANEL IN THE MANNER OF CHARLOTTE RHEAD FOR T. & R. BOOTE CIRCA 1930 decorated in tube line with a ship in full sail, each tile 15.3cm square; a FLAXMAN TILE WORKS TILE, possibly a later painted blank, depicting a longboat, 15.4cm square; and TWO T & R BOOTE TILES, each depicting a ship in full sail, 15.2cm square, each with moulded maker's marks (12)
Lot 83
AN OAK FRAMED FIRE SURROUND CIRCA 1920 AND LATER the panelled surround enclosed with tiled panel, each tile printed in blue on white with designs by John Burningham and Helen Oxenbury enclosing a Gothic revival cast iron grate 148cm wide, 149.5cm high, 17cm deep Note: Tiles include illustrations for the following amongst others: John Burningham illustrations for: Aldo; Mr Gumpy's Outing; Borka; Humbert; Harvey Slumfenburger's Christmas Present Helen Oxenbury's illustrations for: Going on a Bear Hunt; Farmer Duck; Alice in Wonderland
Lot 430
A set of four carved oak pilasters, 17th century, each Doric capital above a stylised tablet section and repeated lappet decorated upright, each approximately 58cm high, 12cm wide, a pair of carved oak term figures, probably 17th century, depicting a male and female figure respectively, each 41cm high, 11cm wide, and a carved oak Romayne panel, centred by a carved profile portrait of a bearded man, 41cm high, 39cm widePlease Note: This lot also contains a turned wood bowl, with iron mounts and ring handles, 19cm high, 51cm at its widest point.
Lot 468
After Luca della Robbia, (Florentine 1399/1400 ~ 1482), the Cantoria, a painted plaster figural relief panel, late 19th century, portraying seven choir boys in song, all draped in the classical manner, the foremost sculpted almost in the round, 102cm high, 65cm wide Set within a contemporary carved mahogany and parcel gilt composition frame, with egg-and-dart and gadrooned mouldings, beneath a dentil worked and ogee moulded entablature, the overall dimensions 138cm high, 103cm wide Provenance: Previously at the Old Hall, Melton Mowbray Della Robbia's output was noted for its charm more than for its sense of drama (which was more obvious in the work of some of his contemporaries). This is clearly apparent in the faces and figures of this, his first major commission, the gallery for liturgical singers in Florence's Duomo -the Cantoria (1431 ~ 1438) Della Robbia was praised by his compatriot Leon Battista Alberti for genius comparable to that of the sculptors Donatello and Lorenzo Ghiberti, the architect Filippo Brunelleschi, and the painter Masaccio. By ranking him with contemporary artists of this stature, Alberti defined the interest in and strength of Luca's work in marble and bronze, as well as in the terracottas for which his name is now more usually associated As for the structure of the Cantoria itself, the Victoria & Albert Museum (which holds a 19th century plaster cast of part of the Cantoria in its collection) states that: 't he Cantoria, or Singing Gallery, was probably designed as an organ loft, and may have acquired its name when, in 1688, the balustrade was replaced by a larger wooden structure to hold a choir to sing at Ferdinando de'Medici's wedding. It was not until 1891 that the reliefs and the surviving lower part were reunited by Luigi del Moro in an erroneous reconstruction, with single, fluted pilasters dividing the reliefs. The discovery in 1899, of a selection of the original paired Corinthian pilasters and a retrieval of part of the architrave and of the upper inscription in 1941 permitted a more accurate reconstruction of the Cantoria in 1954'
Lot 529
A George IV mahogany games table, circa 1825, attributed to Gillows, the rectangular top incorporating a central sliding panel incorporating an inlaid chessboard and a mahogany lined well section beneath, above moulded trestle uprights centred by a turned pole stretcher and on twin platform bases decorated with scroll and roundel terminals above turned feet and concealed castors, 73cm high, 99cm wide, 53cm deep
Lot 533
A mahogany secretaire bookcase in George III style, early 20th century, after the manner of Thomas Chippendale, of serpentine outline with swagged frieze above astral glazed doors enclosing shelves, above a pair of cupboard doors with false drawer fronts enclosing a secretaire drawer with an arrangement of drawers and pigeonholes, above two further panel doors, the who flanked by cluster columns, 217cm high, 101cm wide, 50cm deep
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