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Lot 105
A small Regency mahogany chiffonier, with lattice brass detail on doors, and ebonised insert detail, 1 drawer under and 1 shelf in cabinet, height 85cm, width 65cm, depth 36.5cm Good overall condition. Rear right of top panel has a 2cm veneer split extending to a small block repair on edge lip, left-hand front striped upright is slightly lifting from main carcass, 2 front grille flowers have been replaced, a few inactive woodworm holes on backboards, rear right and front left legs have been re-glued to carcass
Lot 164
Lewis Foreman Day (1845 - 1910), Victorian Aesthetic Movement mantel clock, ebonised wood with inset hand painted porcelain panels and painted ceramic dial, 8-day striking movement, case height 56cm, width 33cmThe central panel on the top has a crack through the centre, otherwise all in good condition, no restoration, retailers John Mortlock & Co Oxford Street, with pendulum, no key
Lot 65
A 19th century mahogany library bookcase, with 4 lattice-glazed cabinets above, and 15 drawers below with original embossed brass drop handles and bracket feet, length 216cm (7'1"), base depth 31cm, height 213cm (7')Generally in good original condition with minor surface marks, left-hand end of the top has an inset patch repair, 1 glass panel is cracked, a few very small pieces of drawer cock-beading missing, 1 drop handle missing, generally would benefit from re-polishing
Lot 60
* After Anthony van Dyck (1599-1641). The Crucifixion, circa 1680-1720, oil on canvas, a good copy of Van Dyck's original work of 1627, 119 x 83.8 cm (46 7/8 x 33 ins), in an 18th century gilt frame with a foliate, ribbon and egg and dart motif (42.3 x 103.7 cm)QTY: (1)NOTE:Provenance: Downside Abbey, Somerset, UK.This is a larger interpretation by an unknown artist of Anthony van Dyck's Crucifixion, in the Thyssen-Bornemiza collection, Madrid, oil on panel, 105.3 x 73 cm (Inv. no. CTB.1995.26), which he painted in 1627 for the prior of the Augustinian convent in Antwerp.
Lot 120
* Micromosaic Panel. Ecce Homo (after Guido Reni) by Ludovico Lucietto, Rome, Vatican Mosaic Workshop, circa 1920-25, oval polychrome mosaic panel on a metal cassette (or base), 32 x 25.5 cm (12 1/2 x 10 ins), contemporary gilded wood frame, with original printed studio label to verso 'REV. FABBRICA/ DI/ S. PIETRO IN VATICANO/ STUDIO DEL MOSAICO/ Numero d' Ordine 3938/ Prezzo Lire 7.500/Nome del'Artista Lucietto/ Oggeto: Ecco Homo del Guido Reni', and modern presentation inscription 'presented by Dr Gadnicot? 1980' in red ink to verso, framed (45.5 x 39 cm)QTY: (1)NOTE:Provenance: Downside Abbey, Somerset, UK.Based on the original painting of the Ecce Homo by Guido Reni (1575-1642) in the Louvre, Paris. Ludovico Lucietto was one of the principal artists of the Vatican Mosaic Workshop from 1893 to 1934. Originally founded in the late 16th century to provide mosaics to decorate the basilica of Saint Peter's, the Vatican micromosaic workshop continued to produce micromosaics for the wider market for centuries after.
Lot 129
* Attributed to Charles François Daubigny (1817-1878). Willows by a Stream, oil on wood panel, depicting a sunset between trees with reflections on a river, small faint scratch to left-hand edge, 15 x 23 cm (5 7/8 x 9 1/8 ins), gilt moulded frame, with typed title and attribution label on versoQTY: (1)
Lot 114
* Wood Relief Sculpture. The Coronation of the Virgin, & The Pieta, possibly 18th century, two wooden panels carved in high relief, originally created as cupboard doors (hinge depressions to upper and lower edges, lock cutout to verso of one panel), each scene within foliate and floral border, the Pieta with a couple of vertical cracks (one hairline), each with brass ring on verso and with paper label 'Lalonde Bros. & Parham's Depositories, Bristol & Weston-Super-Mare' with pencilled name 'Mas? Smyth-Pigott', each approximately 67 x 59.5 cm (26 3/8 x 23 3/8 ins)QTY: (2)NOTE:Provenance: Collection of the Smyth-Pigott family, of Brockley Hall, North Somerset; Downside Abbey, Somerset, UK.The Smyth-Pigott family of Brockley bought the manor of Weston in 1696 and owned much of Weston until 1914 when their estate was sold at auction. Lalonde Bros. & Parham were a Bristol firm of auctioneers, valuers, estate agents and removal contractors, in business from at least 1900 until the late 1980’s.
Lot 145
* Jobbins (William Henry, fl. 1872-1893). Venice, oil on wood panel, depicting a young man on a gondola talking to a woman in a red shawl and a small child standing on the steps of a pedimented doorway set into a wall with shuttered windows, stone ball finial topped balustrade, and 2 other doorways, signed and titled lower left, a few flecks of white to margins, 17.5 x 28.4 cm (6 7/8 x 11 1/8 ins)QTY: (1)
Lot 175
* Italian School. Virgin and Child, first half 19th-century, oil on thin wood panel, 135 x 90 mm (5 1/4 x 3 1/2 ins), in a gothic style gilded wood tabernacle frame (213 x 121 mm), together with After Pierre-Auguste Cot (1837-1883). The Swing (Springtime), miniature oil on wood panel, a late 19th-century oval copy (the much larger original dating from 1873), 122 x 95 mm (4 3/4 x 3 3/4 ins), ebonised oval wood frame, glazedQTY: (2)
Lot 78
* Florentine School. Virgin and Child, late 16th century, pen with black and brown ink on laid paper, sheet slightly irregular in shape, depicting Mary seated full-length with the Infant Christ amongst clouds, toned and slightly edge-frayed, verso with 4 further pen & ink figure studies, including 2 foreshortened male figures, verso margins with 2 adhesive tape remains and stain from a third (with consequent show-through to recto), sheet size at largest points 15 x 9.8 cm (5 7/8 x 3 7/8 ins), mounted, late 19th century gilt moulded frame, with panel between rebate and outer moulding hand-painted in gilt with volute cornerpieces on a bright blue groundQTY: (1)
Lot 66
* Flemish School. Christ before Herod, circa 1700, oil on slightly bowed wood panel, some scratches and surface marks, early carved initials to verso 'I G y' (?), old black stencil to verso AO163, 28 x 21.5 cm (11 x 8 ,1/2 ins), together with one other oil on thin wood panel sketch of a crowded hall, possibly French or Italian, early 19th century, 19 x 13.5 cm (7 1/2 x 5 1/4 ins)QTY: (2)
Lot 115
* Wood Relief Sculpture. Adoration of the Magi, & Adoration of the Shepherds, probably 18th century, two wooden panels carved in high relief, originally created as cupboard doors (hinge depressions to upper and lower edges, lock cutout to verso of one panel), each scene within foliate and floral border, Magi with long horizontal crack, each with brass ring on verso, Magi verso with faint chalk inscription indicating the item was 'for Downside Abbey', also with paper label 'Lalonde Bros. & Parham's Depositories, Bristol & Weston-Super-Mare' with pencilled name 'Mrs Smyth-Pigott', each approximately 41.5 x 57.5 cm (16 1/4 x 22 5/8 ins)QTY: (2)NOTE:Provenance: Smyth-Pigott family, Weston-super-Mare; Downside Abbey, Somerset, UK.The Smyth-Pigott family of Brockley bought the manor of Weston in 1696 and owned much of Weston until 1914 when their estate was sold at auction, the chalk inscription on one panel verso possibly from this auction date. Lalonde Bros. & Parham were a Bristol firm of auctioneers, valuers, estate agents and removal contractors, in business from at least 1900-1930 until the late 1980’s.
Lot 363
* Melehi (Mohamed, 1936-2020). Composition, circa 1980s, cellulose paint and spray paint on thick wood panel, of a wave motif in yellow, pink and purple on a dark blue background, with original printed label to verso of Art and Design Consultants label with 'artist: Melehi, reference number: 55, dimensions: 400 cms L x 236 cms H and specifications: enamel steel' in manuscript to verso, some minor chips to lower edge, 29.5 x 45 cm (11 5/8 x 17 3/4 ins)QTY: (1)NOTE:The present work may have been submitted as a small-scale sample for the large mural by Mohamed Melehi commissioned by Jeddah Airport in the 1980's. The label to verso refers to the suggested size of the completed work: 4 metres x 2.36 metres.Melehi was born in Asilah, Morocco, in 1936. He studied at the Ecole des Beaux Arts in Tétouan in Morocco from 1953–1955, and in Seville, Madrid, Rome and Paris before crossing the Atlantic to Minneapolis and New York, spending time at Columbia University with a Rockefeller Foundation scholarship. He returned to Morocco in 1964 and was an influential teacher at the School of Art in Casablanca as well as a founder member of the ‘Casablanca group’ of artists that included Farid Belkahia and Mohamed Chabâa. He was also arts director at Morocco’s Ministry of Culture (1985–1992) and a cultural consultant at the Ministry of Foreign Affairs and Cooperation (1999–2002). His work has encompassed being a publisher, graphic designer, sculptor, painter, muralist, teacher, organiser of exhibitions and festivals. He is regarded as a major figure of postcolonial Moroccan art and of modernism in the Global South.
Lot 63
* Flemish School. Eleven Portraits of the Apostles, probably late 17th century or early 18th century, oil on thin wood panels, each inscribed with Saint's name, 53.5 x 42 cm (21 x 16 1/2 ins), framed, together with a similar oil on wood panel portrait of Saint Gregory, late 17th or early 18th century, 53 x 42 cm (21 x 16 1/2 ins), framed with mid-twentieth century label of G. Bennet, Wimbledon Ltd., Framers, to versoQTY: (12)NOTE:Provenance: Lord Clifford, Ugbrooke Park, Dublin; Downside Abbey, Somerset, UK.The Saints depicted are: S. Bartholomaeus, S. Paulus, S. Symon, S. Iudas, S. Matthaeus, S. Thomas, S. Petrus, S. Philippus, S. Matthias, S. Ioannes, S. Andreas, and the oil on board of St. Gregoery.
Lot 326
AR * Attributed to Charles March Gere (1869-1957). Portrait of a Boy in Profile, circa 1925, oil on wood panel, of a boy with ginger hair seen in profile against a river landscape, unsigned, a few small abrasions to panel edges, 33 x 28 cm (13 x 11 ins), attractive art nouveau style gilded frame, glazedQTY: (1)
Lot 58
* Attributed to Jacob Willemsz. Delff the Younger (Delft 1619 - 1661). Portrait of a Man, traditionally thought to be Hugo Grotius, circa 1642, oil on bevelled wood panel, 49.2 x 63.3 cm (19 3/8 x 25 7/8 ins), with an early to mid 20th century German label verso typewritten: ‘Maler: Willem Jacobszoon Delff / 1580-1638 Delft, Niederl./ Hugo de Groot, gen. Grotius/ 49,2 x 63,3 cm’ numbered in pen and ink ‘236’, a further red chalk number '36' verso, with a further 18th to 19th century label numbered in pen and ink '467', in a fine, early gilded foliate and beaded frame (75 x 61 cm)QTY: (1)NOTE:Provenance: Prince Frederick George William Christopher of Prussia (1911 – 1966), also known as Friedrich von Preussen, who married Brigid Guinness on 30 July 1945 at Little Hadham. He was the owner of Schloss Reinhartshausen at Erbach, Germany. In 1966, he drowned in the Rhine, aged 54. Following his death, parts of his estate were sold at auction; Colin Bather (1933-1996), who purchased the present work directly from the estate, circa 1972-73 at the invitation of Brigid Guiness; thence by descent.Although this very fine portrait, traditionally depicting the Dutch scholar Huigh Grotius, or Hugo Grotius (1583-1645) bears an attribution to Willem Jacobsz. Delff (1580-1638) on an old typewritten German label to verso, there are no comparable works to our portrait by this artist, who as far as is known was exclusively a reproductive portrait engraver. However, Dutch expert Jasper Hillegers (see biography below) has identified a compelling comparison in a portrait of A Young Man by Willem Jacobsz. Delff’s son, Jacob Willemsz. Delff II (1619-1661), in the Boijmans van Beuningen Museum, Rotterdam, dated 1642, in which the sitter wears a very similar collar and jacket to those of our sitter. Although 1642 is a little later than Hillegers would have estimated on the basis of the fashion, which he would have dated to circa 1635, he believes that this fashion was clearly also worn in the 1640s. Hilleger feels that the execution of the face of the Rotterdam sitter seems a little more bland than that of the present work, the striking overall affinities seem to make a case for Jacob Willemsz. Delff II. The overall pose, painterly treatment of the flesh, finesse of the painting of the fine soft hair, beard and moustache, and the transition in the background from dark to light, all seem to argue for Delff’s authorship here.We are indebted to Jasper Hillegers for this catalogue essay. Hillegers was former assistant curator at the Frans Hals Museum, Haarlem, who has (co)curated several exhibitions (including Gérard De Lairesse in Enschede); and has contributed to numerous catalogues (among others, Salomon Lilian, Frans Hals Museum, Rembrandthuis, Joods Historisch Museum, Paleis op de Dam, Szépm?vészeti Múzeum, Städel Museum/National Gallery of Canada, Fondation Custodia) and co author of The Art of Laughter: Humour in Dutch Paintings of the Golden Age, 2018.
Lot 328
* Walker (Ethel, 1861-1951). Beachscape, probably Robin Hood's Bay, oil on thin chamfered wood panel, depicting a lifeboat at the water's edge, with figures and a horse drawn wheeled launch going out to meet it, unsigned, 27.5 x 35.5 cm (10 3/4 x 14 ins), with old typewritten note attached to verso giving biographical details of the artist, small near-contemporary printed label to verso bearing the number X3588 and handwritten mark in large black letters B L 8, and a later black felt tip number 2991, framed (36 x 44 cm)QTY: (1)NOTE:Provenance: Private Collection, Hampshire.Dame Ethel Walker was a highly decorated artist, she was elected a Member of the Royal Society of British Artists in 1932. A year later she became a Member of the Royal Society of Portrait Painters. She was made a Companion of the British Empire in 1938 and elected an Associate of the Royal Academy in 1940. In 1943 she was made a Dame of the Order of the British Empire.
Lot 64
* Manner of Carlo Dolci (1616-1686). Virgin Mary in Prayer, oil on wood panel, with old (probably later 18th century) handwritten label to verso 'The Virgin Mary by Carlo Dolci, obit 1686 aged 70', 50.5 x 39 cm (20 x 15 1/2 ins), gilt frame with Frost & Reed printed label to verso, bearing the handwritten number R2946 and date '12-1-68', overall size 57.5 x 46.5 cmQTY: (1)NOTE:Provenance: Downside Abbey, Somerset, UK.
Lot 54
* After Fra Angelico (1395-1459). Madonna della Stella, with Six Attendant Angels, Florence, circa 1850's, oil or tempera and gilding on seven individual panels, each figure with punctured nimbus, central panel 47 x 21 cm (18 1/2 x 8 1/4 ins), side panels 42 x 15.5 cm (16 1/2 x 6 ins), presented within original integral architectural or tabernacle gilded wood frame, some restoration and replacement to the outer decorative ornamentation, overall size 90 x 141 cm (35 1/2 x 55 1/5 ins)QTY: (1)NOTE:Provenance: Downside Abbey, Somerset, UK. Presented to Downside School by Alfred Jones of Bath in 1927 (see inscription to lots 53 and 55).An impressive seven-panel reredos, freely adapted from the works of Fra Angelico, including the Madonna della Stella (central panel), the original of which, dating from around 1433-34, was made for the sacristy of Santa Maria Novella in Florence, and moved to the Museo Nazionale di San Marco in 1868. The six panels of attendant musician angels are copied from the the Linaiouli Tabernacle of 1432-33, now also in the Museo Nazionale di San Marco.
Lot 53
* After Fra Angelico (1395-1455). Three Musician Angels, Florence, circa 1850's, tempera and gold on wood panels, with punctured nimbus and contours, two angels with a trumpet, dressed in green and red robe respectively, and one angel in a blue robe with a drum, each panel 42 x 15 cm (16 1/2 x 6 ins), each presented within three original architectural or tabernacle gilded wood frames, 75 x 24 cm (29 1/2 x 9 1/2 ins) QTY: (3)NOTE:Provenance: Downside Abbey, Somerset, UK. Painted inscription to verso of each panel 'Presented to Downside School from Alfred Jones of Bath June 1927' (or similar wording).The triumphant angels are taken from the surrounding border of Fra Angelico’s Linaiuoli Tabernacle (1432-3), now in the museum of San Marco in Florence. Richly decorative paintings of angel musicians, such as these examples, were produced in Florence during the 19th century as Grand Tour souvenirs.
Lot 75
* Flemish School. The Resurrected Christ appearing to his Disciples, 18th century, oil on canvas laid down on wood panel, indistinct inscription to verso, 145 x 192 mm (5 3/4 x 7 1/2 ins), later gilt frame, together with Female Saint gazing upwards, late 18th or early 19th century, oil on canvas laid down on wood panel, 190 x 180 mm (7 1/2 x 7 ins), plus a late 18th or early 19th century oil on wood panel study of a male saint, surface scratches and other marks, 152 x 135 mm (6 x 5 1/4 ins)QTY: (3)
Lot 364
* Melehi (Mohamed, 1936-2020). Composition, circa 1980s, cellulose paint on thick wood panel, of a wave motif in orange and grey colours on a light blue background, with original printed label to verso of Art and Design Consultants with artist: Melehi, reference number: 53, dimensions: 400 cms L x 236 cm H, and specifications: enamel steel in manuscript to verso, a few minor surface marks, 29.7 x 45 cm (11 5/8 x 17 3/4 ins)QTY: (1)NOTE:The present work may have been submitted as a small-scale sample for the large mural by Mohamed Melehi commissioned by Jeddah Airport in the 1980's. The label to verso refers to the suggested size of the completed work: 4 metres x 2.36 metres.Melehi was born in Asilah, Morocco, in 1936. He studied at the Ecole des Beaux Arts in Tétouan in Morocco from 1953–1955, and in Seville, Madrid, Rome and Paris before crossing the Atlantic to Minneapolis and New York, spending time at Columbia University with a Rockefeller Foundation scholarship. He returned to Morocco in 1964 and was an influential teacher at the School of Art in Casablanca as well as a founder member of the ‘Casablanca group’ of artists that included Farid Belkahia and Mohamed Chabâa. He was also arts director at Morocco’s Ministry of Culture (1985–1992) and a cultural consultant at the Ministry of Foreign Affairs and Cooperation (1999–2002). His work has encompassed being a publisher, graphic designer, sculptor, painter, muralist, teacher, organiser of exhibitions and festivals. He is regarded as a major figure of postcolonial Moroccan art and of modernism in the Global South.
Lot 330
* Post Impressionist School. Figures under a Tree, circa 1910, oil on thin wood panel, depicting five figures under a purple blossoming tree, one figure carrying items above their head, board size 27.5 x 34.5 cm (10 7/8 x 13 1/2 ins), early handwritten ownership inscription 'Lady Mond' in black and 'Lechertier Barbe, Ltd. 72 years at 60 Regent Street, Artists' Colourmen, 95 Jermyn Street, Regent Street, London, S.W.' label to verso, framed (33.5 x 40.5 cm)QTY: (1)
Lot 55
* After Fra Angelico (1395-1455). The Annunciation, and The Adoration of the Magi, Florence, circa 1850's, tempera and gold on two wood panels, some minor marks and slight paint loss (generally in good condition), 24 x 26.5 cm (9 1/2 x 10 1/2 ins), and 21 x 26.5 cm (8 1/4 x 10 1/2 ins) respectively, presented within original gothic-style architectural gilded carved wood frame, some minor restoration, 85 x 39.5 cm (33 1/2 x 15 1/2 ins)QTY: (1)NOTE:Provenance: Downside Abbey, Somerset, UK. Painted inscription to verso of upper panel 'Presented to Downside School from Alfred Jones of Bath June 1927'.Fine Florentine copies of the reliquary made by Fra Angelico for the church of Santa Maria Novella in Florence, depicting scenes from the life of the Virgin Mary. The upper scene represents the Annunciation, with a kneeling Gabriel on the left and a pious Mary seated on the right with her arms folded across her chest. The figure at the top of the composition is God the Father, sending down the rays of the Holy Spirit. The lower scene depicts the Adoration of the Magi, with the Virgin Mary seated inside the manger with the baby Jesus on her knee and Joseph standing behind her.
Lot 136
Antique Chinese silk embroidered panels, worked with chrysanthemum and butterflies, approx 16w x 59.5 cms, both framed and glazed together with another silk embroidered panel worked with blue flowers, lilac butterflies on gold silk ground approx 9 x 60 cms framed and glazed. (3) Note: Property of a Yorkshire lady. Condition Report Some general staining and fading consistent with age, no splits or tears, a couple of pulled threads. The blue embroidery is of good colour although the lilac on the butterflies has faded somewhat the gold ground is of wonderful rich colour.
Lot 455
A 16th century and later Italian walnut cassone, the hinged lid with gadrooned edge, the front panel carved with central human mask and floral motifs, outer acanthus detail, above a gadrooned border, on paw feet, 163cm wide, 56cm deep, 60cm highProvenance: from the estate of Professor James Griffin, formerly White's Professor of Moral Philosophy at Oxford University and an Emeritus Fellow of Corpus Christi college, Oxford
Lot 339
French 19th century repeater carriage clock. With enamel, engine turned decoration, back plate stamped Aigullies, height 13.5cm handle down.One side panel has a large re-enamelled section and a few cracks, there is a single crack on the opposing panel.There is no key, however, the escapement rotates and the repeater functions but appears out of sync.
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