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Lot 368
Fourteen circa 1955 Lithograph Prints, published by the New York Graphic Society for the U.N.E.S.C.O Popularization of Art Series, as selected by the International Jury of The Biennale of the Museum of Modern Art Sao Paulo, Jury of La Biennale di Venezia and Jury of the Third Hispano American Biennale Barcelona. Artists featured include Milton Dacosta (Brazilian 1915-1988) entitled 'Against a Blue Background', Rafael Zabaleta (Spanish 1907-1960) entitled 'Interior Y. Paisaje', Miodrag Protic (Yugoslavia 1922-2014) entitled 'Still Life with Pitcher', Luiz Martinez Pedro (Cuban 1910-2010) entitled 'Espacio Azul'; Mordecai Ardon (Israeli 1896-1992), entitled 'The Story of the Candle'; Tadeusz Kulisewicz (Polish 1899-1988) entitled 'Portrait', Alfredo Volpi (Brazilian 1896-1988) entitled 'Casas', Ivan Ferreira Serpa (Brazilian 1923-1973) 'Construction Nr 75', Karel Appel (Dutch 1921- 2006) 'Bete du Soleil'; Wolfgang Hutter (Austrian 1928-2014) entitled 'The Lovers', Antoni Clavé (Catalan 1913- 2005) entitled 'Still Life' and Roberto Matta (Chilean 1911-2002) entitled 'Who's Who'. All Lithograph prints currently unframed. Provenance: Madeline worked in Paris for the Foreign Office in the British Embassy before WWII broke out. During the war she worked in the Special Operations Executive in London and facilitated another woman to be returned to France by SOE to work with the resistance. After the war she returned to Paris where she worked with UNESCO. It was in Paris where she met William (Bill) Currall and married in April 1954. He was an artist in his own right and mixed in artistic circles perhaps this gave rise to the inscription on the Ehrenberg print "To Bill and Madeline".
Lot 773
A Chinese yellow ground bowl, Daoguang mark, the exterior with three oval panels of goats in landscapes with trees, between still life enamels with vase and pomegranate, within a foliate scroll ground, the blue and white interior with three goats in landscape, within a border of lucky charms suspended from flowering tree branches, 15cm diametercondition: good overall
Lot 774
A Chinese red ground bowl, Daoguang mark, the exterior with four still life oval panels of pomegranates, peaches and chrysanthemums, between symmetrical foliate and floral emblems, within a foliate scroll ground, the blue and white interior with floral still life, within a border of flowering tree branches, 15cm diametercondition: no damage or restoration detected
Lot 775
A Chinese pale blue ground bowl, Daoguang mark, the exterior with four still life oval panels of chrysanthemums, between symmetrical foliate and floral emblems, within a foliate scroll ground, the blue and white interior with floral still life, within a border of chrysanthemum shrubs, 15cm diametercondition: no damage or restoration detected
Lot 262
A Chinese bronze circular mirror, Western Han dynasty, 2nd century B.C. cast in low relief with scrolls, silvery patina with heavy malachite encrustation, 14cm diameter, repair to edgeProvenance: the estate of the late Jean-Claude Jean-Claude (1926-2016).Jean-Claude Lepileur was a man of great learning. Born in Lisieux in France, he became a buyer and seller of antiques and formed a partnership with Mrs Senta Christian in a joint antiques venture, travelling to and from England from their early base in Deauville in Normandy. Mr Lepileur was a self-taught historian, chemist and restorer, with a particular love of all things Asian, especially pieces of art from China. And more specifically ancient Chinese bronze artefacts, which he collected avidly all his life.Mr Lepileur and Mrs Christian moved their business to Finchley in London in the 1950s and they continued to operate as a partnership until 1996, when Mrs Christian passed away. Jean-Claude had a very discerning eye for art and at one point even managed to identify two original Rembrandt sketches for sale on a stall on Portobello Market and was able to purchase them for a few pounds. They were later fully authenticated by the Victoria and Albert Museum. Mr Lepileur was also a frequent visitor to the British Museum in those days as he was always keen to compare his latest Chinese bronze acquisitions with those in the collection of the museum. During his life he amassed a collection of some eighty bronzes and a number of ceramics, pictures and scrolls. He also collected over 60 reference books, many of them very detailed, which he used to assist him with his research. Mr Lepileur was still buying and selling up until his death in December last year, aged 90. The collection is presented complete, with no omissions and is a great tribute to his skill in identifying, researching and collecting some wonderful pieces of Chinese art.
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