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Halls Fine Art Auctioneers
Lot 490

An album 'The Kings and Queens of England', containing 43 proof silver medals by John Pinches, Edward the Confessor to George VI, 45mm diameter

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Halls Fine Art Auctioneers
Lot 491

A large quantity of Great Britain silver, cupro-nickel, copper and bronze coinage, crowns, half-crowns and florins, to include; a James I sixpence, dated 1605, an Edward silver penny, Bristol farthing, copper tokens dated 1660 and 1662 and a European silver Ducat dated 1792 (probably Zeeland) (a quantity)

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Halls Fine Art Auctioneers
Lot 492

An assorted collection of British silver coinage, comprising; a George IV enamelled crown brooch, a George III crown brooch, crowns dated 1935 & 1937, half crowns dated 1883, 1885, 1888 and 1892, florin dated 1885, smaller silver denominations from William III, a Christ's Hospital silver medal, a USA 1891 dollar, German 5 mark dated 1876 etc (a quantity)

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Halls Fine Art Auctioneers
Lot 501

An assortment of British and Foreign coins, silver, cupro-nickel, copper and bronze, to include; crowns, a double-florin, half-crowns and miscellaneous buckles etc (a quantity)

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Halls Fine Art Auctioneers
Lot 511

A large quantity of British Commonwealth silver, cupro-nickel, copper and bronze coinage, to include; India, South Africa, Australia, Cyprus and Canada etc

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Halls Fine Art Auctioneers
Lot 513

A quantity of coins, of Guernsey, Jersey, Ireland and Eire, silver, cupro-nickel, copper and bronze, from Elizabeth I to Elizabeth II (a quantity)

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Halls Fine Art Auctioneers
Lot 514

A quantity of European and USA silver, cupro-nickel and bronze coinage, together with commemorative crowns and various medallions and tokens (a quantity)

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Halls Fine Art Auctioneers
Lot 522

A small collection of British silver shillings to penny, Victoria to George VI (34)

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Halls Fine Art Auctioneers
Lot 529

A collection of British Commemorative coins, to include; six £5 commemorative coins in wallets, three coin sets dated 1993, 1995 & 2002, three silver proof £5 commemorative coins in cases with certificates, a 1998 silver proof £2 coin with certificate and four silver proof commemorative crowns in cases (a quantity)

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Halls Fine Art Auctioneers
Lot 532

A Julius Caesar silver Denarius C.46.B.C., head of Ceres right, reverse; Priestly Implements, with original sale ticket description

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Halls Fine Art Auctioneers
Lot 534

Six assorted silver Roman Denarii and Antoniniani of Hadrian, Septimus Severus, Gordian III, Trajan Decius, Gratian and Magnus Maximus (6)

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Halls Fine Art Auctioneers
Lot 536

An assorted collection of British coinage from George III to Elizabeth II, comprising silver, cupro-nickel and bronze, to include; crowns dated 1819, 1821, 1889, 1894, 1884, 1937, 1951 and 1953 x 2, an Edward VII half sovereign dated 1910 and a cased George VI coronation specimen set (a quantity)

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Halls Fine Art Auctioneers
Lot 544

A large collection of Great Britain, silver, cupro-nickel, copper and bronze coinage, George III to Elizabeth II (a quantity)

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Halls Fine Art Auctioneers
Lot 547

An 18ct gold Masonic medal with ribbon and clasps, London 1917, by George Kenning & Son, together with a silver gilt medal, a silver and ivory badge, six gilt and enamel badges, a jewel, aprons, sashes and booklets etc, within original wood case

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Halls Fine Art Auctioneers
Lot 548

Fifty silver medals by John Pinches; 'The History of Man in Flight', each medal 44mm diameter and weight approx 40gms, within capsules with book of texts, a limited edition No.418

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Halls Fine Art Auctioneers
Lot 625

Please note this lot will not available for online bidding. For further information and to bid on this lot please contact Halls Fine Art 01743 450 700 Dirck Van Delen or Dirck Christiaensz Van Delen (Heusen 1605-1671 Arnemuiden) 'Dives and Lazarus', Figures Banqueting at a Dining Table in an Architectural Capriccio, other Figures and Servants nearby with Musicians in a Gallery above, signed with the artists initials and indistinctly dated, possibly 1626, oil on panel, 61.5cm x 73cm We gratefully acknowledge Mr Bernard Vermet's assistance in cataloguing this lot. Mr Vermet is currently writing the catalogue raisonne on the artist. Dirck van Delen was born in 1604 or 1605 in Heusden, Holland. His father was Corstiaen Dircksse from The Hague, who married a local girl, Cornelia Jansdochter. Van Delen's first tutor was thought to be the little known Hendrick Aerts, although another candidate is Jan Steenwijk the younger (c.1580-before 1649), whose influence and that of many of the architectural painters in Antwerp at the time, is very clear on Van Delen's first period The artist seemed to have been largely self-taught, using prints and books as inspiration. He may have been a pupil of Jacob Wijnants (c.1600-1637). Wijnants was a witness at his marriage to Maria van der Gracht, who was the daughter of the burgomaster of Anemuiden. Van Delen succeeded his father-in-law as burgomaster and also served as Consul of Zeeland. From 1718 he became a pupil of Frans Hals (1583-1666) and there are stories of how the painters, Adriaen Brouwer and Dirck van Delen, played practical jokes on their master. Most of the artists pictures from the 1620's feature dark angular Renaissance-style architecture and usually includes a vanishing point exactly in the middle of the work. Rarely would van Delen attempt asymmetrical views in early examples. Views of palaces and church interiors were some of van Delen's favourite subjects. The present work depicts the parable of the rich man and Lazarus, also known as "Dives and Lazarus". It is taken from the Gospel of Luke XVI: 19-31. It is most likely identical to the one sold for 19 guilders to Jonkers at the auction of the collection of the late Mr.D.G.Van der Burge van Kronenburg on 6th September 1824. The entry number 110 reads as follows: "In a beautiful room with a gallery, on which Lazarus seems to be sitting, one sees a distinguished company dining." Bernard Vermet tells us that the painting is one of the earliest known by the artist so far. There are at least three other pictures from later in 1626, A church interior and two Palace exteriors, showing that Van Delen used all three types of common architectural scenes from the very beginning of his career. Vermet goes on to tell us that all four paintings are already highly characteristic of the artist's personal style, with only small deviations, such as, in our case, a colonnade with pillars instead of columns, and a console above the middle of the windows. The Renaissance architecture, with it's dominance of black,red/brown and yellowish marble is imaginary and far too rich and heavy for a realistic interior. The silver glass ball that is hanging from the ceiling-as in Vermeer's "Allegory of Faith" should theoretically show us the distorted image of the painter at work, but this is not as such recognisable. The present work is of great value in that it sheds more light on Van Delen's development as an artist and shows that he made extensive use of sources in a very personal way and never to the extent of mere copying. The first and most important source for the artist was a work of the same subject by Bartholomeus van Bassen (1590-1652) that was auctioned in 1926 in Amsterdam. This is extremely interesting in that our vendor can remember his father purchasing the present work from "Gooden and Fox" of Bury Street, St. James's, London during the 1930's, when it was attributed to Bartholomeus van Bassen. John Quilter of that firm was a cousin of the family, and our vendor has a very clear recollection of the work hanging in his parents home "Bagpath Court" in Gloucestershire, as well as in several other earlier residences. The entire foreground, of our picture, including the dog between the vase and the wine cooler, as well as the table with all it's figures are directly copied from Van Bassen's picture (see accompanying documentation) however the staffage in his work was painted by Esaias van de Velde (1587-1630), who himself based his rich man behind the table on the work of Frans Francken II (1581-1642). This work is not dated, but from around the same time as a painting of the same subject by Van Bassen and Van de Velde that is signed and dated 1624. Both artists occasionally worked together on other versions, one of which can be seen in the Alte Pinakothek in Munich. In our painting the staffage and the figures are entirely painted by Van Delen, hence they are not transparent, do not show architecture underneath, and details like the shining light on the balustrade, were added after the staffage was finished. The couple entering the hall through the doorway on the right, though not too far in style from Van de Velde, is clearly based on a prototype by Dirck Hals and used by Van Delen on a number of occasions. This fact alone - that there are figures based on two different artists in a single painting - proves that neither of these two were involved personally here. Over the years however Van Delen's skills grew to such a level that there is a persistent misunderstanding that Dirck Hals, in the 1620's, and Anthony Palamedesz, in the 1630's, added the staffage to many of Van Delen's pictures.. **For further extensive documentation relating to the artist and his work, please refer to the printed material by Bernard Vermet, displayed in the Saleroom.

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Halls Fine Art Auctioneers
Lot 715

Mark Senior N.P.S (1862-1927) was born at Hanging Heaton near Dewsbury in the old West Riding of Yorkshire. He was educated in Batley and lived at Ossett near Wakefield. He will however always be associated with Runswick Bay on the coast of North Yorkshire where he and his family spent many holidays at the house he built in 1919. Senior completed his Art training at the Wakefield College of Art, and the Slade School of Art, under Alphonse Legros. He became a member of the British Impressionist Group of Painters, who drew inspiration from the French 'En Plein Air'. They painted with vibrant colours and with fleeting impressions of the natural world and the people in it. Senior is most remembered for his portrayal of the fishing community of Runswick and Staithes. His contemporaries were, Gilbert Foster, Harold and Dame Laura Knight, Frederick William Jackson, James William Booth (Who was Senior's pupil) Owen Bowen, Arthur Friedenson, Frederick William Mayor, Charles Mackie, and Roland Henry Hill who said of Senior,' he was one of the men for whom everybody had a great deal of affection and he regularly helped his fellow painters in a practical way'. A clay bust was modelled and cast of Senior by his friend and fellow artist, Caldwell Spruce , (a copy of this photograph showing the sculpture, can be seen in the Saleroom upon request, as well as copies of further photographs showing the artist and his self portrait, ) Also on view, (again upon request), is a copy of the Exhibition Catalogue from, 16th April-2nd July' 1983, held at the Wakefield City Art Gallery, Foreword written by, Gillian Spencer. Mark Senior N.P.S (1862-1927) 'Blue Sky and Summer - Runswick', signed, also inscribed on an old exhibition label verso, with the title and "circa 1915", oil on canvas, 51cm x 61cm **Provenance, Formerly in the collection of Mrs M.V.Hudson, the artist's daughter, and by direct descent from the artist, also exhibited at The Michael Parkin Gallery Ltd, "Mark Senior 1864-1927, London, 1974 ( Illustrated ) Also exhibited, Wakefield City Art Gallery, (16th April-2nd July, 1983) Catalogue No 31, Page No 32. "The Parasol", illustrated in Michael Parkin's catalogue, is also dated 1915 and shows a similar abstract handled subject. It is the closest that Mark Senior comes to abstraction, the thin broad sweeps of colour in the sky and the small accents of impasto colour in the figures are reminiscent of James Abbott McNeill Whistler's Nocturnes of the 1870's, "Blue and Silver, Chelsea". by descent the artist's family, (said to be the painter's Royal Academy entry to the Committee for full Royal Academy membership status.)

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Halls Fine Art Auctioneers
Lot 3

A cased pair of silver napkin rings, T Wilkinson & Sons, Birmingham 1918, presented within fitted case, together with a cased pair of antler knife rests with silver ferrules, Sheffield 1915, within fitted case, total weighable silver 1oz (2)

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Halls Fine Art Auctioneers
Lot 4

A cased set of twelve silver spoons and a pair of sugar tongs, Walker & Hall, Sheffield 1921, each with engraved initial to terminal and presented within fitted case, together with a cased set of six silver coffee spoons, Walker & Hall, Sheffield 1922, with engraved initials to terminals, total weight 7.8oz (2)

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Halls Fine Art Auctioneers
Lot 5

An Edwardian Irish silver box, Edmond Johnson Ltd, Dublin 1908, of rectangular form with cast scroll border and raised on four out swept legs, the interior engraved 'Sybil October 14.08', with silver plated pen tray, stamp box and inkwell free standing insert, 22cm wide, 13.5cm deep and 9cm high, total weight of silver 23oz (at fault)

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Halls Fine Art Auctioneers
Lot 6

A Victorian silver mounted glass decanter in the style of Christopher Dresser, Horace Woodward & Co., London 1888, with wrythen moulded circular glass body with star cut base and silver geometric handle with flat hinged cover, engraved 'From T.G. Gillespie 1889', with crest, 17cm high

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Halls Fine Art Auctioneers
Lot 7

A large silver mounted capstan inkwell with Goliath pocket watch insert, marks rubbed, the monogrammed hinged cover opening to reveal enclosed silver plated Goliath pocket watch, inkwell 20cm diameter (loaded) (at fault)

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Halls Fine Art Auctioneers
Lot 8

A Victorian silver taperstick, Thomas Bradbury & Sons, London 1895, the knopped stem with removable nozzle, all raised on stepped square base with canted corners, 11.5cm high (loaded)

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Halls Fine Art Auctioneers
Lot 10

An Edwardian silver sauce boat, Millar Wilkinson, London 1907, with cusped rim and acanthus leaf capped scroll handle, all raised on three paw feet, 12cm high, weight 9.4oz

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Halls Fine Art Auctioneers
Lot 11

A silver cream jug, Historical Heirlooms, London 1972, retailed by Prestons, Bolton, the cream jug a miniature replica of a ewer dated 1623 in the collection of Eton college to commemorate its 250th anniversary, engraved to the body 'E.T.H.P-W From T.H.B. 1975', 14.5cm high, weight 8oz

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Halls Fine Art Auctioneers
Lot 13

A set of twelve Newcastle Fiddle pattern silver teaspoons, IW, Newcastle 1837, each engraved 'JW to CMW', total weight 8oz (12)

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Halls Fine Art Auctioneers
Lot 14

A pair of Edwardian navette shaped silver salts, Holland, Aldwinckle & Slater, London 1908, each with pierced decoration, blue glass liners and raised on four claw and ball feet, together with a further pair of navette shaped silver salts with blue glass liners, London 1913 and a pierced silver mustard pot with red glass liner, Sheffield 1889, total weight of silver 11oz (5)

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Halls Fine Art Auctioneers
Lot 15

A part set of Victorian Fiddle pattern silver flatware, Elizabeth Eaton, London 1856, comprising; five table forks and three dessert forks, each with engraved 'S' to the terminal, total weight 18.4oz (8)

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Halls Fine Art Auctioneers
Lot 16

Seven Fiddle pattern silver table forks, comprising; a pair by John Sutter, Chester 1844, a pair by John William Blake, London 1824, a pair by William Eaton, London 1830 and a further fork, all engraved 'S' to the terminals, total weight 18.4oz (7)

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Halls Fine Art Auctioneers
Lot 17

Five Irish silver Fiddle pattern table forks, Joshua Buckton, Dublin 1821, each with engraved 'S' to the terminal, total weight 10oz (5)

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Halls Fine Art Auctioneers
Lot 18

Five Fiddle pattern silver serving spoons, William Eaton, London 1845, each with engraved 'S' to terminal, total weight 11oz (5)

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Halls Fine Art Auctioneers
Lot 19

A pair of George IV silver muffin tongs, William Eley & William Fearn, London 1823, with pierced star and spray decoration, 25.5cm long, weight 4.4oz

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Halls Fine Art Auctioneers
Lot 20

A cased pair of Victorian decorative silver spoons, Roberts and Belk, Sheffield 1896, the bowls with pierced scrolls and engraved border, with cast decorative handles, presented within fitted velvet lined case, weight 4.4oz

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Halls Fine Art Auctioneers
Lot 22

A Victorian silver fish slice, Charles Lias, London 1843, with decorative scroll pierced blade, engraved 'JL from WHPL', 31cm long, weight 6oz

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Halls Fine Art Auctioneers
Lot 23

A small silver salver, C S Harris & Sons Ltd, London 1929, of circular form with pie crust rim and gadrooned border, engraved to the centre 'S.L.L. from J.H. and J.W.G. Feb 6th 1930', all raised on three reeded scroll feet, 21cm diameter, weight 12.3oz

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Halls Fine Art Auctioneers
Lot 24

A hammered silver Christening mug, Crichton Brothers, London 1930, of squat circular from, engraved to base 'C.D.S.L. 1931', 7.5cm high, weight 5.3oz

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Halls Fine Art Auctioneers
Lot 25

A silver cream jug with lid, William Hutton & Sons Ltd, Sheffield 1927, of squat circular form with pierced thumb piece to cover, and wicker handle, 11.5cm high, weight 9.6oz

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Halls Fine Art Auctioneers
Lot 26

A William IV six division silver toast rack, WE, London 1831, the central bar with cast reeded and scroll loop handle, the rectangular base with shell, foliate and gadrooned border, all raised on four paw bracket feet, 18.5cm long, 14cm high, weight 16oz

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Halls Fine Art Auctioneers
Lot 27

A German silver partridge table ornament, naturalistically modelled as a partridge, 11cm high, weight 5.7oz

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Halls Fine Art Auctioneers
Lot 28

An Edwardian silver salver, W & C Sissons, London 1905, of plain polished circular form with pie crust rim with scroll border, all raised on three scroll feet, 25cm diameter, weight 18oz

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Halls Fine Art Auctioneers
Lot 29

A Victorian silver owl pepperette, makers mark indistinct, London 1862, the pepperette naturalistically modelled as an owl with pierced cover and banded agate set eyes, 6.5cm high, weight 36gms (at fault)

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Halls Fine Art Auctioneers
Lot 31

A William IV silver card waiter, William Hewitt, London 1832, of circular form with shell and scroll cast pie crust rim, with floral engraved centre and crest, raised on three scroll feet, 18cm diameter, weight 9.4oz

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Halls Fine Art Auctioneers
Lot 32

A French silver love token box, import mark for Sheffield 1900, Samuel Boyce Landeck, the box of oval form with naturalistically modelled frog, the hinged cover with embossed cherub and scroll decoration, 5.3cm wide, weight 2.6oz

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Halls Fine Art Auctioneers
Lot 34

A silver mounted cigarette box, L Bennet & Co, Birmingham 1899, of rectangular form with engraved musical trophies motif to the centre of the cover, with scroll border and fruit wood lined interior, 14.5cm wide

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Halls Fine Art Auctioneers
Lot 39

A Victorian Scottish silver thistle cup, Wilson & Sharp, Edinburgh 1890, the circular cup naturalistically modelled as a thistle bud, 6cm high, together with a matched silver thistle cream jug, William Mammatt, Sheffield 1891, 9cm high, both retailed by Wilson & Sharp, total weight 7oz (2)

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Halls Fine Art Auctioneers
Lot 40

A Victorian silver hip flask, Goldsmiths & Silversmiths Co, London 1896, the rectangular flask with engraved crest 'Caveo' and initials 'C.S.P.', with hinged cover, 13cm high, weight 3.9oz

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Halls Fine Art Auctioneers
Lot 41

A Victorian silver mustard pot, George John Richards & Edward Charles Brown, London 1863, of pierced drum form with blue glass liner, 7cm high, together with a further silver drum mustard, Chester, 1910, with blue glass liner, 6cm high, total weight of silver 5.6oz (2)

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Halls Fine Art Auctioneers
Lot 42

A small Victorian silver taper chamberstick, Joseph Angell I & Joseph Angell II, London 1845, the drip tray of pierced circular form, supporting central tapering stem with removable nozzle, conical suffer and scroll thumbpiece, 8cm diameter, weight 3oz

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Halls Fine Art Auctioneers
Lot 43

An Edwardian silver tumbler cup, George Nathan & Ridley Hayes, Chester 1904, of typical form with engraved presentation to the body, 6cm high, weight 4oz

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Halls Fine Art Auctioneers
Lot 44

A Victorian silver beaker, Atkin Brothers, Sheffield 1880, of tapered circular form, engraved 'Meyricke Entwisle Lloyd 1880', 9.5cm high, weight 4oz

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Halls Fine Art Auctioneers
Lot 45

A George I style silver hot water jug, LAC, London 1937, of tapering circular form with turned wood handle and finial, 21cm high, weight 21oz

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Halls Fine Art Auctioneers
Lot 46

A George II silver sugar caster, Samuel Wood, London 1758, of baluster form with engraved coat of arms to the body, the pierced cover with wrythen moulded finial, all raised on circular pedestal base, 19cm high, weight 10oz

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Halls Fine Art Auctioneers
Lot 47

A Victorian silver bowl, William Ker Reid, London 1848, of circular form with scallop shell cast thumbpiece, 8.5cm high, weight 7.5oz

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Halls Fine Art Auctioneers
Lot 48

An Elkington & Co silver teapot, Birmingham 1929, of lobed circular form with floral cast finial, raised on lobed pedestal base, 14cm high, weight 14oz

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Halls Fine Art Auctioneers
Lot 49

An Edwardian silver cream jug, George Nathan & Ridley Hayes, Chester 1906, of oval lobed form, 9cm high, together with a silver sauce boat, Birmingham, total weight 10oz (2)

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Halls Fine Art Auctioneers
Lot 51

A Victorian silver wafer box, Blunt, Wray & Co, London 1896, of circular form with cross motif to the cover and engraved to the reverse; 'Reverend John Quinn June 19. 1898', the hinged cover opening to reveal silver gilt interior, 5.5cm diameter, together with a continental white metal box, with concave cover and bright cut engraved decoration, 3.5cm high, total weight 2.2oz (2)

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Halls Fine Art Auctioneers
Lot 52

A George III converted silver tankard, London 1747, the tankard of baluster form with later embossed floral scrolls and later applied spout hallmarked London 1838, 18cm high, weight 27.9oz

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Halls Fine Art Auctioneers
Lot 53

A George III style silver teapot, LAC, London 1938, of circular form with bright-cut engraved decoration and turned wood handle, 15cm high, weight 17oz

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Halls Fine Art Auctioneers
Lot 54

A George III silver snuff box, Thomas Phipps & Edward Robinson, London 1806, of rectangular form with radiating engine turned decoration, the hinged cover opening to reveal silver gilt interior, 6.5cm wide, weight 2.2oz

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Halls Fine Art Auctioneers
Lot 55

A George III silver teapot stand, Peter, Ann & William Bateman, London 1802, of oval form with bright cut engraved decoration and initials with crest, raised on four bracket feet, 16.5cm wide, weight 4.2oz

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