WALTER RICHARD SICKERT (BRITISH 1860-1942) THE GHETTO, VENICE Oil on panel Signed (verso) 14 x 23.5cm (5½ x 9¼ in.)Painted circa 1896.Provenance: The Redfern Gallery Ltd., London (by 1941) Private Collection, Mrs. Dunne (acquired from the above in 1941) Christie's, London, 22 November 2002, lot 12, where purchased by Robert Kime Exhibited: (Probably) London, Leicester Galleries, Exhibition of Paintings and Drawings by Richard Sickert, June 1929, no. 113Literature: Wendy Baron, Sickert Paintings and Drawings, New Haven & London, 2006, p. 199, no. 79.1 According to Wendy Baron's book on the artist, the line of tenement houses lining the canal is reminiscent of the background of a portrait of Israel Zangwill (ibid. no. 79), painted by Walter Sickert in 1896-98. Zangwill was a Zionist Jewish leader and novelist and friend of Sickert's first wife, Ellen Cobden. Baron asserts that Zangwill was in Venice in April 1896 and saw much of the Sickerts. Condition Report: Very light surface dirt. Otherwise appears to be in original condition. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
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CRETAN SCHOOL (SECOND HALF OF THE 16TH CENTURY) THE ELEOUSA MOTHER OF GOD Painted on a gold ground, the halo with punched decoration 33 x 25cm (12 x 9¾ in.) Provenance: Sotheby's, London, Russian Works of Art, Faberge and Icons, 22nd May 2003, lot 284, where purchased by Robert Kime Condition Report: The panel has a vertical crack through the centre of the image. There are chips and cracks to the edges making the paint surface uneven along the upper edge and top right corner. The paint surface has minor losses along the crack and numerous other small chips and losses as well as some surface cracking. There may also be some small areas of retouching but these are difficult to see under a layer of dirt and discoloured varnish. The frame is loose and a section is missing in the lower right corner. Please see additional images for visual reference to conditionCondition Report Disclaimer
RUSSIAN SCHOOL (CIRCA 1700) CHRIST PANTOKRATOR WITH TWO KNEELING SAINTS Tempera on panel 74 x 52cm (29 x 20¼ in.) Provenance: The Property of a European dealer His sale, Christie's, South Kensington, Oak, Country Furniture, Works of Art, Tapestries, and Icons, 28th February 2006, lot 198, where purchased by Robert KimeThe imposing figure of Christ Pantokrator, standing and frontally represented, bearing the open Gospels, blesses the two saints who are kneeling in supplication at his both sides. Although their names are not inscribed, the two saints could be identified either with Zosima and Savatii of Solovetskii, or with Sergius of Radonesch and Varlaam of Chutyn. The latter couple is identified on a similar icon in the 'De Wijenburgh' collection. The faces are dark and the garments are painted with pastel red and green; their folds are accentuated in white
A PAIR OF LINED AND INTERLINED CURTAINS THE RIBBED SILK BELIEVED TO HAVE BEEN DESIGNED BY FRANK BRANGWYN The curtains lined with 'Our lining blue' cotton fabric by Robert Kime Ltd, Together with a matching headboard and bed valance, a white embroidered voile inner curtain by Robert Kime Ltd, and a white woven and embossed bed cover with crocheted ends Each curtain panel 254cm long, 128cm wide, the headboard 121cm high, 145cm wide, 8cm deep
ALBERT GOODWIN (ENGLISH 1845-1932) A VIEW OF CAIRO AT SUNSET Oil on paper with pen and black ink, laid down on panel Signed (lower right) 31 x 47cm (12 x 18½ in.)Provenance: John Gabbitas, Carlton Lodge, Bournemouth Sale, Christie's, London, 29 April 1905, lot 90 (30gns to Silver) With The Maas Gallery, London Sale, Christie's, London, 16 July 2005, lot 179, where purchased by Robert Kime Condition Report: The work appears to be in good condition commensurate with age. Inspection under UV reveals no evidence of restoration or repair.Condition Report Disclaimer
SIR EDWARD JOHN POYNTER (ENGLISH 1826-1919) GRAPES AND PEACHES ON A WHITE PLATE Oil on panel Signed with monogram and indistinctly dated '1859' (centre right) 20 x 25.5cm (7¾ x 10 in.)Provenance: Christie's, London, 24 June 1927, lot 57 (label affixed verso) Sotheby's London, 12 June 2003, lot 237, where purchased by Robert Kime Condition Report: Very fine craquelure scattered in patches across the surface. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
AN ISLAMIC WOVEN CALLIGRAPHIC PANEL FRAGMENT 17TH CENTURY With repeating script in white on blue ground, associated border edge to the right, in later glazed gilt frame panel approximately 44 by 43cm, frame 60 by 59.5cmProvenance: Christie's South Ken, Islamic and Asian Costume and Textiles, 13th October 2004, lot 97Saleroom Notice: The catalogue entry is 'AN ISLAMIC WOVEN CALLIGRAPHIC PANEL FRAGMENT17TH CENTURY' Condition Report: Please see the saleroom notice re dating, this is 17th century and not 14th/15th as originally thoughtAs catalogued the frame is later appliedThe fabric fragment with rips and tears, some losses, pulled threads, marks and stains - these can be seen in the online images but please also refer to additional images that are available upon request.The rear of this can be seen in the additional online image, the fragment has not been inspected outside of the later framePlease see additional images for visual reference to condition Condition Report Disclaimer
ENGLISH SCHOOL (EARLY 17TH CENTURY) PORTRAIT OF A MAN WITH A PICKAXE AND A SPADE IN A LANDSCAPE Oil on panel Inscribed 'QVIA PATER CREDIDIT MVLIERI' (upper left) and 'ATATIS SVA. 36. A. DNI 1601' (upper right) 104.5 x 82cm (41 x 32¼ in.)Literature: E.S. Whittlesey, Symbols and legends in Western art; a museum guide, New York, 1972.This Elizabethan portrait of an unidentified member of the gentry by an unknown artist is replete with symbols, which depict the sitter's social standing. Dressed in aristocratic, ornate costume - a white linen under shirt with tassels and frilled cuffs; a red, billowing over shirt; silver and gold belt and black breeches with silver thread detail - the agricultural tools he carries, attributes of the hedger and ditcher, are a stark contradiction. The portrait is a morality painting about the illegitimate birth of the sitter and perhaps his exclusion from inheriting his 'paternal' social status and property. This is reinforced by the inscription on the upper left: 'QVIA PATER CREDIDIT MVLIERI' / 'Why should the father have believed his wife' suggesting that the 'father' was made a cuckold by his wife. The spade and pickaxe (mattock) represent Adam and Eve and the Expulsion from the Garden of Eden: for her disobedience, Eve was condemned to painful childbearing and to be ruled over by Adam, and Adam had to toil in the fields with a spade or hoe for his daily bread until he died (Hall's Dictionary of Subjects and Symbols in Art, p. 5). The pickaxe is also an attribute of Pluto or Hades, ruler of the underworld, and thus a further allusion to the ignominy of the sitter's birth (Whittlesey, p. 133). The painting was possibly commissioned by the sitter himself; an inscription on the upper right of the portrait records the age of the sitter and the date the painting was made: 'ATATIS SVA. 36. A. DNI 1601'. This proposal is strengthened by the inclusion of positive symbols such as the rising sun, often used as a symbol of hope, new beginnings, and the promise of a better future - although equally the sun can be read as 'the attribute of truth personified because all is revealed by its light' (Hall, p. 292). However, the pickaxe represents breaking through obstacles or barriers that stand in the way thus overall the painting's message is possibly triumph over adversity. Although no other closely related portrait has come to light, in 1644, Jan Steen painted Celebrating the Birth in which there is a subplot that the 'father' has been made a cuckold (Wallace Collection, London, Inv. P111). Condition Report: The following condition report has been provided by Hamish Dewar, Fine Art Conservation. Please contact housesales@dreweatts.com to access the full report with additional images. Structural conditionThe panel has vertical joins which have in the past been secured with canvas strips. The joins are visible in a raking light but appear to be reasonably secure, as are a number of other repaired splits and fracture lines within the panel.Paint surfaceThe paint surface has old historic discoloured varnish layers, together with numerous old retouchings which are visible in natural light and have also discoloured. They are also clearly visible under ultraviolet light. There are also areas of wear and abrasion which have not been retouched, such as those on the sitter's jacket.As the painting is stable it may well be felt that rather than fully cleaning the painting, and removing the old retouchings, it may be preferable to merely very lightly surface clean and revarnish the paint surface and not remove the old retouchings. If one was to remove all the old retouchings, and then retouch where found to be necessary, this would involve a considerable amount of work.SummaryThe painting has therefore undergone a considerable amount of restoration in the past but is now reasonably stable.Condition Report Disclaimer
A GILT AND POLYCHROME PAINTED PANEL INDIAN, 19TH CENTURY Possibly a Moghul carpet design 37cm (14½in.) high Condition Report: Frame overall = 23cm x 37.5cm; the glazed inner dimensions of the frame 16cm x 30.5cmThe ebonised frame is scratched and has knocks and chips.The silk fabric gilt with stylised flowers and laid on a board, three of the four corners with damage and loss, one end worse than the other. Some flaking to the gilding. Not examined out of frame. See additional images available from the Dept. upon request. YT/GSCCondition Report Disclaimer
FREDERICK LEE BRIDELL (BRITISH 1831-1863) SHEPHERD IN A LANDSCAPE Oil on canvas laid on panel 17 x 28.5cm (6½ x 11 in.) Provenance: A. Tilbrook, from whom purchased by Robert KimeThis picture was probably completed at some time during Bridell's stay near Lake Como/Lake Lecco in 1860/61. The background lake and boat are reminiscent of his work around that location. As an imaginative work, he has combined elements from sketchesmade as he travelled from Rome, through the campagna to Northern Italy. It is a possibility that these were done as gifts for friends, as they came back to England with the larger works completed at that time. We are grateful to Catherine Hull, the author of Frederick Lee Bridell (1830-1863), for her help in preparing this catalogue entry. Condition Report: Oil on canvas laid to board. The upper edge of the board is visible. Very light rubbing to the extreme edges and retouching visible to the right edge. Inspection under UV very light retouching to centre of the sky. Condition Report Disclaimer
VENETIAN SCHOOL (16TH CENTURY) THE FLIGHT INTO EGYPT Oil on cassone panel in a tabernacle frame, inscribed 'Ave. Maris. Stella. Dei. Mater' 28.5 x 40.5cm (11 x 15¾ in.) Provenance: The Collection of Prince Giovanelli, Venice Parke Bernet, 26 November 1948, lot 142, as Attributed to Francesco Botticini, where purchased by the 10th Earl of Bessborough His sale, Sotheby's, London, 16 December 1999, lot 336, where purchased by Robert Kime Condition Report: The panel has been cradled and re-varnished. The surface is quite uneven with horizontal fine surface cracks. There are a few areas where the paint surface has started to blister with minor losses and abrasions. Under UV light there is scattered retouching mostly to the background areas but also several spots to the figures. The frame with minor scuffs and abrasions with losses to the extremities. Condition Report Disclaimer
A WILLIAM & MARY OAK GLAZED 'PEPYS' BOOKCASE OR CABINET LATE 17TH CENTURY The interior with adjustable shelves 213cm high, 107.5cm wide, 40cm deep Literature: O.F. Morshead, 'The Colleges of Oxford and Cambridge: Magdalene College, Cambridge. II - The Pepys Library', Country Life, 3 March 1928, pp. 300-308. A. Oswald, 'Ludstone Hall, Shropshire - III: The home of Mr. and Mrs. M.H. Rollason', Country Life, 25 January 1952, pp. 222-225. K-M Walton, 'An Inventory of 1710 from Dyrham Park', Furniture History, 1986, pp. 25-80. K. Loveman, 'Books and Sociability: the case of Samuel Pepys's Library', The Review of English Studies, April 2010, pp. 214-233. This bookcase or cabinet is part of a select group of late 17th century tall glaze-fronted case-furniture, the most important of which is twelve, carved and stained oak bookcases (book-presses) with glass panes, supplied in August 1666 by the London joiner, Thomas Sympson (Simpson, fl. 1662-92), to the celebrated diarist and naval administrator, Samuel Pepys (1633-1703), for his house at York Buildings, Buckingham Street, London (BIFMO). On 23 July 1666, Pepys first records the engagement of Sympson the 'joyner' in his diary: 'Up and to my chamber doing several things there of moment, and then comes Sympson the joyner; and he and I with great pains contriving presses to put my books up in, they now growing numerous and lying one upon another upon my chairs' (Morshead, p. 302). The design, with its architectural features, is geometrically based and the glazing was inspired by the sash window which was introduced in England and Holland around this time. Pepys later bequeathed the bookcases and his important collection of 3,000 books to the library of Magdalene college, Cambridge. The library building was begun in about 1640 but not completed until the end of the century. Funds were raised through subscription with Pepys contributing £60, and other subscribers included the Masters of six of the Cambridge colleges including the mathematician, physicist and astronomer, Sir Isaac Newton FRS (1643-1727). The Pepys bookcases are still in situ; eight line the walls of the library, and four stand back-to-back in the centre of the room. Another pair of related carved oak bookcases was made for the library at Dyrham Park, Gloucestershire, commissioned by William Blathwayt (1649-1717), and described in the 1710 house inventory as: '2 Glass Presses wth Books' (BIFMO). Blathwayt was a friend and colleague of Pepys, as was his uncle, Thomas Povey, whose closet Pepys had admired in the 1660s. Blathwayt probably paid visits to York Buildings and subsequently had glazed bookcases similar to Pepys' made, possibly also by Sympson (Loveman, p. 222). Another possible maker of the Dyrham Park bookcases might be the London joiner, Thomas Hunter of the Angel, Piccadilly, who supplied much of the fine interior woodwork at Dyrham. One of the Dyrham bookcases survives in the Great Hall at Dyrham and its pair is in the Victoria and Albert Museum (NT 452939; Walton, p. 42; W.12:1 to 11-1927). A further carved oak bookcase, formerly at Cuckfield Park, Sussex, was illustrated in Country Life in 1931 (21 November 1931). Charles Sergison purchased Cuckfield Park in 1691. He knew Pepys and his younger brother John through his service to the crown as a dockyard clerk in 1671, and four years later, as clerk to the Clerk of the Acts, whose office was then held jointly by Thomas Hayles and John Pepys (ibid.). Other examples include one formerly at Kingston Lisle, Berkshire (later at Ludstone Hall, Shropshire), photographed by Country Life in 1952 (Oswald, p. 225, fig. 10); and another by repute at Penshurst Place, Kent (ibid., p. 224). While the bookcase offered here is plainer than the preceding examples, it too has been applied with a timber stain presumably to make the oak resemble what was then more expensive walnut or mahogany. Please note: the contents of the cabinet are not included in the sale of this lot Condition Report: Overall with marks, knocks, scratches, abrasions consistent with age and useThere are some quirks in the construction, this may be a sign of adaption or may be a quirk by the cabinet maker - the lateral bars to the doors have visible ends poking through the uprights, these have been cut to create the over-lap to the doors.The glazing has later putty and filler to secure, one glass panel with old crack and split throughThe shelves are certainly laterThe feet probably of the period but with repaired lower sections (the original bases probably lost due to rot),Another quirk is that there are scored lines to the left side roughly where the shelves align, the right side with old vacant nail holes - the purpose of these is unknown.The cornice is almost certainly later overall, there are later blocks to secure it to the top of the cabinet, there are various tacks and nails holding this in all place - the colour is quite dark in this area and appears to have been coloured to match the remaining cabinet (which as the footnote states is probably deliberate)Please see additional images for visual reference to condition Condition Report Disclaimer
A PLASTER PANEL 'TUDOR ROSES, ENTWINED' BY ERNEST WILLIAM GIMSON (1864-1919), CIRCA 1910 With inscriptions 'By Ernest Gimson, Sapperton' in pencil to reverse and in ink to front, bodycolour on plaster relief, with restorations and later bracing inscribed "Mended by HMC Nov. 1953" 40cm x 64.5cm Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. As per cataloguing- restored in 1953- with wood bracing and some areas of prior restoration now working loose- notably section to edge which will benefit from further remedial work. Surface dirty and with some rubbing to painted areas. Please see additional images for visual references to condition which form part of this condition report. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A small Coalport 'jewelled' landscape vase, early 20th century, the white and gilt ground decorated with turquoise jewelling, with a small oval panel of a named view of Loch Katrine, printed factory mark in green, titled to base, retailers marks for Townsend, Newcastle on Tyne, numbered 'V.5955 / Toy 320' in gilt, 7cm highProvenance: Ivor Southorn Collection.Condition:Good condition with no damages or repairs. The lower portion of the white body and the foot has crazing to the glaze. There are a few very minor spots of wear to the upper gilt rim.
Two small Coalport vases, late 19th/early 20th century, the first with twin rams head handles, with a floral printed gound and a small oval landscape panel surrounded by a gilt banded chain of blue roses, printed factory mark, numbered V5970 / mini71, retailed by Stonier and Co, 17cm high; the second, probably missing a cover, with twin wing handles, cobalt and yellow ground with scrolling floral cartouche, printed factory mark, numbered V7404 / 5236, 11cm highProvenance: Ivor Southorn Collection.Condition:Ram vase - both handles probably restored. Crazing to the glaze throughout.No damage to the smaller vase.
A group of Coalport, comprising three coffee cups and saucers, printed and and hand-coloured with roses, with tooled gilt interiors and upper borders, a moon flask, circa 1890, painted with a turkey and an opposing panel of a bee and flowers, 13.5cm high; a coffee can and saucer, a teacup and saucer, circa 1850, nicely decorated in the 'Sevres' style with a pink ground and panels of flowers, monogrammed CBD mark; a further Coalport teacup and saucer with matching sideplate; a Coalport part dessert service, circa 1850, painted with flowers within turquoise and gilt border, comprising four plates and a pair of low comport dishes, and a set of six drinking glasses etched with stars (qty)Provenance: Ivor Southorn Collection.Condition:Dessert service- 1 comport badly cracked. 1 plate crazed throughout.Moon flask - wear to gilding on the noses of the handles. Some glaze crazing.Blue and gilt coffee can and saucer- crazed throughout.Tooled gilt and roses coffee cups and saucers - one cup with large chip and associated crack. One other cup and two saucers crazedClaret trio - no damage.Glasses- no damage.Pink cup and saucer - both crazed.
A small group of Coalport, late 19th century, comprising a fan-shaped trinket box and cover, blue ground with a painted landscape scene to the cover, 9cm wide; and another, pink and yellow ground, painted with flowers, 7cm wide; together with a star-shaped trinket dish, pale yellow ground with square landscape panel of a figure in a boat, 9cm at widest point (3)Provenance: Ivor Southorn Collection.Condition:Blue fan trinket - One small restored chip and two restored hairlines, all to rim of the box. Gilt rubbing to the rim of the star-shaped dish.
A Coalport dessert plate, circa 1891-1919of shaped, circular form with a moulded border, the cobalt and pale yellow ground with rich gilding and painted with a circular landscape panel of the medieval Castle Campbell (Scotland), printed factory mark to the reverse, titled, numbered 'X228Y', 24cm diameterProvenance: Ivor Southorn Collection.Provenance:Crazing to the glaze. The plate appears to have fired quite oddly and there is a luminescent, almost mother-of-pearl-like, sheen to the landscape panel. There are two inclusions visible to the panel under a bright light, but this also appears to be on manufacture rather than restoration.
A Royal Crown Derby 'Green Derby Panel' mantel timepiece, 18.5cm high with a pair of matching candle holders, 9.5cm high, two items boxed. (3)Condition:All three pieces in a good first quality condition with no damages or repairs. The clock doesn't have any batteries and we are therefore unable to guarantee it is in working order.
Nicole Freres: A Swiss inlaid rosewood music box, circa 1856-57Of rectangular outline, the top inlaid with a marquetry panel of scrolling foliage, the movement stamped Nicoel Freres and numbered 33525, playing eight airs from range number 1485, with winding key.43cm wideFootnote:Nicole Frères were recognized makers of quality musical boxes in Geneva, Switzerland. They were established 1815 and continued in production until 1881 when the business closed on being purchased by a Mr. Charles Brun and transferred to London. Over the years the Geneva business produced some 48,000 cylinder musical boxes, the exact number is not known.Condition:The case has been professionally and sensitively cleaned and restored. There are four small areas of fill to the marquetry panel. Small chips to the base of the case at the back adjacent to the right 'foot'. Movement winds, runs and cycles through the airs. The comb is in good order with evidence of five teeth being replaced. The music card is intact, in original condition with some creasing to the top left corner.
An HMV (His Master’s Voice) model 163 cabinet wind-up gramophoneEnclosed in a mahogany veneered cabinet with lift-up top above twin doors inset with blind fretwork, enclosing fabric lined period fret, raised on baluster supports united by plain stretchers, retailer's plaque for M.Crymbal Ltd., 40 Wellington Place, Belfast.54cm wide x 53cm deep x 101cm highFootnote:This is a model 163 and not 194 as originally catalogued.Condition:Winds and runs, turntable functions, pick-up and stylus good (with many spare needles). Cabinet has a small veneer loss to lower right panel and also top front right corner. Minor cosmetic marks and scratches elsewhere consistent with age and use. Mechanism running with decent sound.
A pair of Coalport low pedestal dessert comport dishes, circa 1880, painted with named views of Dartmouth Castle and Ullswater, the yellow borders with painted cartouches of birds and white 'jewelled' dots, printed factory marks, 23.5cm high, 7.5cm high (2)Provenance: Ivor Southorn Collection.Condition:No damages or restoration. One comport has some minor losses to some white beads on the border. The other has rubbing to one bird panel. The gilding and landscapes are in good condition.
A pair of Coalport dessert or cabinet plates, circa 1891-1919painted by J.H Plant with named views of Dartmouth Castle and Ross Castle within broad cobalt and raised gilt borders, artist signed, printed factory mark, numbered X2169, 22.5cm diameter (2)Provenance: Ivor Southorn Collection.Condition:Crazing to both plates. Dartmouth Castle with some scratches to the clouds and one to the shrubbery below the castle. Ross Castle with a scratch to the very left-hand side of the panel. No damages or repairs.
A large Coalport ewer, circa 1891-1919, cobalt and lemon yellow ground with a large oval landscape panel of Arundel Castle, opposed by a further smaller landscape panel, the ground decorated with gilt scrolls, printed factory mark, numbered V5.327 / 149, 41.5cm high (some damage)Provenance: Ivor Southorn Collection.Condition:Section to mouth broken and re-stuck with small chip to the gilt. A few hairlines to the upper body. Some gilt loss to foot rim.
A large Coalport trophy cup, circa 1891-1919of chalice form with three handles on a pedestal foot, the bowl painted with a large panel of flying fancy birds and two smaller panels of flowers, printed factory mark in green, numbered V.5146 4M / 144, 37cm high (restored)Provenance: Ivor Southorn Collection.Condition:Stem restored.
A small and unusual 'jewelled' trinket dish, circa 1885, of shield form, the cobalt ground with a gilt border with white and red jewelling on textured ground, the centre painted with an oval panel of a small dog beside a reeded lake, surrounded by a ribbon wreath, printed factory mark in green, painted 'A9341' in black, 11.3cm overall widthProvenance: Ivor Southorn Collection.Condition:Some losses to a few of the foiled gilt surrounds around the jewelling and wear to gilding on the rim to one side.
A Coalport twin-handled vase and cover, circa 1891-1919, painted with opposing circular landscape panels and flowers, printed with leaves in blue and gilt, numbered V5742M printed factory mark, 22cm high (cover a.f)Provenance: Ivor Southorn Collection.Condition:Cover broken into pieces and re-glued, with a piece still missing. No further damages or repairs. There is some close packed fine crazing to the foot of the vase and some wider more noticable crazing to the interior near the rim and one landscape panel.
A good Coalport 'Coalbrookdale' vase, circa 1835-40of twin-handled form, finely painted with a view of Walcot Hall, Lydbury North with figures and farm animals in the foreground, opposed by a panel of closely packed flowers, the vase painted with flowers and butterflies and adorned with further foliage, titled 'Walcot Salop' in red to the base, otherwise unmarked, 22cm highSold together with a Walcot Ballroom advertisement card, black and white postcard of the hall and a newspaper clipping.Provenance: Ivor Southorn Collection.Footnote:Condition is generally good. There are two scratches to the landscape panel. Some of the tips of the flowers and leaves are broken or have small chips, but none are too significant beyond one flowerhead that is missing completely.Condition:Some breakages to flower petals and relief foliage. Otherwise, good condition. Please see additional images.
A small Coalport tri-form handled pot pourri vase and cover, circa 1891-1919, painted by E.O Ball with a landscape panel of Loch Tay and two smaller panels of flowers, reserved against cobalt and gilt ground, titled to the base, printed factory mark, numbered V5146 in gilt, 13.5cm highProvenance: Ivor Southorn Collection.Condition:Some crazing to the glaze but no damages or repairs.
A Coalport dessert plate, circa 1890-1919, centrally painted with a roundel of the Ruins of Brunnenburg, within a tooled gilt cartouche and foliate beaded shell border, printed factory marks, titled to the reverse, numbered X1995, 23cm diameterProvenance: Ivor Southorn Collection.Condition:Good condition with no damages or repairs. There are a couple of crazing lines to the left hand side of and and above the landscape panel. Please see images.
A group of ceramics, comprising a Coalport vase and cover, late 20th century, of urn form with rams head handles and an acorn finial to the cover, printed and hand-coloured with a bunch of polychrome flowers within raised gilt cartouche, printed factory mark in green, 24.5cm high; together with Copeland vase, of low oval form with twin handles, painted with panels of fancy birds and flowers with gilded insects to the blue ground, retailers marks for T. Goode London, otherwise unmarked, overall width 18.5cm; a small Coalport bottle vase, claret and white ground with small oval painted landscape panel, printed factory mark, 10.5cm high; a further Coalport rococo revival vase, dark blue ground with frilled upper rim and a single polychrome panel of flowers, unmarked, 19cm high; and a Samuel Alcock vase, numbered 2/868, 21cm high (5)Provenance: Ivor Southorn Collection.Condition:Copeland vase with restored handle.
D'APRES CLAUDE GELEE, DIT CLAUDE LORRAIN (1600-1682)Paysage avec un temple de Bacchus huile sur panneauoil on panel 41.5 x 53.5cm (16 5/16 x 21 1/16in)Footnotes:Le présent lot est une copie en contre-partie du tableau de même sujet de Claude Gellée dit le Lorrain, conservé au musée des Beaux-Arts du Canada (inv. 4422).For further information on this lot please visit Bonhams.com
PIERRE MATOSSY (BESSE-SUR-BRAYE 1891-1969 PLOUBAZLANEC)Dans la cuisine signé 'Matossy' (en bas à droite)huile sur panneausigned 'Matossy' (lower right)oil on panel25.3 x 20.2cm (9 15/16 x 7 15/16in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
ALBERT DEPRE (PARIS 1861-1937)Chemin fleuri à la campagne signé et dedicacé 'à M. et Mme Andrien. Souvenir de vive et cordiale sympatthie/ A. Depré' (en bas à droite)huile sur panneau signed and dedicated 'à M. et Mme Andrien. Souvenir de vive et cordiale sympatthie/ A. Depré' (lower droite) oil on panel33.7 x 25.2cm (13 1/4 x 9 7/8in)For further information on this lot please visit Bonhams.com
ECOLE HOLLANDAISE, XIXe SIECLEJeune homme offrant un verre de vin à une dame huile sur panneauoil on panel44.5 x 37cm (17 1/2 x 14 9/16in)Footnotes:Le présent tableau est inspiré par le Jeune homme offrant un verre de vin à une dame de Gerard ter Borch (1617-1681), conservé à la Leiden Collection (New York).The present painting was inspired by the Young Man Offering a Glass of Wine to a Lady by Gerard ter Borch (1617-1681), now in the Leiden Collection (New York).For further information on this lot please visit Bonhams.com
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