Verdi four works, still life of flowers oil on board 44cm x 33cm, town scene oil on canvas 36cm x 49cm landscape oil on board 25cm x 34cm and street scene oil on board 30cm x 20cm all signed. Provenance; Gifted by Rosemary Tonks 1928-2014, to the vendor when she moved house in 2013. Rosemary Tonks was the author of two poetry collections and six novels who famously disappeared from public view in the 1970's following personal tragedies, including the accidental death of her mother. She lived under her married name as Mrs Lightbrand in Bournemouth from 1979 when she moved in to her aunt Dorothy's flat until her death. Of the 40 lots in the collection twelve or more relate to Charles and Alma Gogin some with inscriptions to Gladys. DorothyÉs husband was the painter Myles Tonks (1890-1960)
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JACK SHORE (1922-2008); three watercolours, one depicting an elderly couple sitting on a bench facing away from the sea, 39 x 30cm, one depicting a glass vase with flowers, 50 x 40cm and a still life scene with a vase of flowers, a magnifying glass, books and a glass of water, 24 x 20cm, all signed lower right, all framed and glazed (3).
A ROYAL WORCESTER CHINA VASE, 1913, of squat baluster form with stiff leaf and scroll moulded swept shoulders and neck, two leaf sheathed scroll handles with male mask terminals on a low pedestal and square foot, painted in polychrome enamels by W. Ricketts with a still life of apples, black grapes and other fruits on a mossy bank, signed, puce mark, shape 1572, 8 3/4" high (Illustrated)
A ROYAL WORCESTER CHINA VASE, 1925, of rounded cylindrical form with Celtic knot style pierced rim, painted in polychrome enamels by W. Ricketts with a still life of three peaches and cherries on a blossom strewn mossy bank, and raised upon four knurl feet with acanthus leaf terminals, signed, green mark, shape G42, 9" high (Illustrated)
A ROYAL WORCESTER CHINA VASE AND COVER, 1924, the two handled globular bowl painted in polychrome enamels by W. Ricketts with a still life of three apples, cherries and a plum with blossoms on a mossy bank, raised upon a gilded high swept stem and circular foot, the plain gilded lift-off cover with bud knop, signed, pink mark, shape 2736, 9" high (Illustrated)
A MATCHED PAIR OF ROYAL WORCESTER CHINA VASES, 1912 and 1913, of slender ovoid form with arcade and swag moulded neck, laurel wreath open handles with mask terminals raised upon a fluted socle and square base, painted in polychrome enamels by W. Ricketts with a still life of apples, white grapes and peaches on a mossy bank, signed, puce mark, shape 1410, 11" high (Illustrated)
A COALPORT CHINA VASE AND COVER, early 20th century, of ovoid form with high waisted neck and two acanthus leaf sheathed handles raised upon a waisted pedestal foot, painted in polychrome enamels by F.H. Chivers with a still life of a pear, two plums and blackberries, on a mossy bank on a raised and burnished gilt highlighted cobalt blue ground within pale yellow borders, signed, green mark, inscribed 7540/4th 186 in gilt, 12" high (Illustrated)
A PAIR OF COALPORT CHINA VASES AND COVERS, early 20th century, of ovoid form, the two angular reeded handles with lion mask terminals and raised upon low pedestal bases, painted in polychrome enamels by F.H. Chivers with a still life of fruits on a mossy bank, on a raised and burnished gilt highlighted cobalt blue ground within pale yellow borders, signed, green mark, inscribed 7540/Min.161 in gilt, 6 1/2" high (Illustrated)
A ROYAL WORCESTER CHINA MILK JUG AND SUGAR BASIN, 1924 and 1921, the baluster jug and circular basin painted in polychrome enamels by W. Ricketts with a continuous still life of apples and cherries, pears and plums on a mossy bank, with gilded interiors and handle, signed, puce mark, jug 3 3/4" high, bowl 2" high (Illustrated)
A ROYAL WORCESTER CHINA COFFEE POT AND COVER, 1919, of baluster form with high loop handle, painted in polychrome enamels by W. Ricketts with a continuous still life of peaches, black grapes, cherries and an apple on a mossy bank, gilded spout, handle, foot and finial, signed, puce mark, 5 1/2" high (Illustrated)
1000-1470 AD. A ceramic vessel with flat base and globular body, elliptical in plan, tubular neck; the upper body with four panels with reserved designs of figures in bird costume. 770 grams, 23cm (9"). From an old private collection; acquired before 1990. The Chimú built a capital at Chan Chan, just north of Trujillo. Chan Chan is the largest pre-Columbian city in Peru, covering about 20 sq km, and is estimated to have housed about 50,000 people. Gone, for the most part, is the technique of painting pots. Instead, they were fired by a simpler method than that used by the Moche, producing the typical blackware seen in many Chimú pottery collections. Despite its poorer quality, this pottery still shows us life in the Chimú kingdom. Although the quality of the ceramics declined, metallurgy developed and various alloys, including bronze, were worked. The Chimú were also exceptionally fine goldsmiths. It is as an urban society that the Chimú are best remembered. Their huge capital contained approximately 10,000 dwellings of varying quality and importance. Buildings were decorated with friezes, the designs moulded into the mud walls, and the more important areas were layered with precious metals. There were storage bins for food and other products from their empire, which stretched along the coast from the Gulf of Guayaquil to Chancay. There were huge walk-in wells, canals, workshops and temples. The royal dead were buried in mounds with a wealth of funerary offerings. The Chimú had a highly organised society - it must have been to have built and supported a city such as Chan Chan. Chimor was conquered by the Incas 50 years before the arrival of the Spanish, so there were plenty of survivors from pre-Inca times to dictate the particulars of daily life before the conquest by Inca Tupac Inca Yupanqui. Chimor grew out of the remnants of the Moche culture. Very fine condition.
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