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Click here to subscribeA Chippendale revival mahogany dining table, circa 1920, the extending oval top with a gadroon border upon leaf moulded cabriole legs extending to ball and claw feet inset with brass castors, 76cm H x 138cm W extending to 238cm x 122cm D, (at fault), along with a set of eight Victorian mahogany buckle back dining chairs, each with later upholstered stuff-over seats, upon turned tapering front legs and peg feet, plain back swept rear legs, 87cm high (9)
A Rococo revival giltwood and gesso marble top console table and mirror, mid 20th century, the arched mirrored plate within a 'C' scroll and foliate open work frame, 165cm x 110cm, along with a marble top serpentine console table, the moulded top upon four cabriole legs extending to scrolled toes, and united by a foliate openwork frieze and curvilinear 'C' scroll stretchers, 82cm H x 130cm W x 52cm D (2)
A George III silver caster, Thomas Wallis I, London 1775, of baluster form with beaded borders, pierced pull-off cover with flame finial, raised on circular foot, 14cm high, together with a late 18th/early 19th century silver milk jug, 10.5cm high (marks worn), a George V silver mounted dressing table jar, J & R Griffin, Chester 1916, 9.2cm high, and a silver plated christening mug, 8.2cm high, weight (excluding mug and jar) 6.21ozt (4)
A G-Plan tola wood and ebonised drop leaf dining table, mid 20th century, the rectangular top with rounded corners upon eight tapering ebonised legs, gilt metal caps and pad feet, 73cm H x 132cm W x 46cm D extending to 106cm, along with a set of six black faux leather dining chairs, probably G-Plan, each with a padded back rest and seat upon ebonised tapering legs, 88cm high (7)
A Victorian silver dressing table jar, Thomas Hayes, Birmingham 1898, of cylindrical form, embossed with floral scrolling detail, the cover with green man mask and birds in a foliate surround, cartouche inscribed 'Maye', 8cm high, together with an Edwardian silver cigarette case, William Henry Sparrow, Birmingham 1909, of curved rectangular form with scrolling foliate detail and monogrammed initials to shield cartouche, 8.6cm x 7.5cm, gross weight 6.46ozt (2)
A selection of silver and silver mounted tableware, to include a set of nine silver teaspoons, Emile Viner, Birmingham 1930, each 10.7cm long, a pair of Victorian silver sugar tongs, Robert Williams & Sons, Exeter 1851, 14.7cm long, a Victorian cut glass silver mounted dressing table jar decorated with Reynold's Angels, Levi & Salaman, Birmingham 1899, 4cm high, three assorted silver napkin rings, each 4.cm diameter, a silver salt, 7.3cm wide, a silver mounted scent bottle, 8.9cm high, a silver mounted cut glass caster 13.5cm high, and a silver mounted bottle coaster, 12.5cm diameter, gross weight (excluding glass and bottle coaster) 7.91ozt (18) (at fault)
Dated and signed '1890 A. Milesi' bottom right, oil on canvas30 x 43 5/8 in. (76.2 x 110.8cm)ProvenancePrivate Collection, New York, New York.The unlined canvas in overall fair to good condition. With a relatively minor circular puncture hole at upper center, on the chest of the standing woman. With a faint stretcher bar mark running along the top edge of the canvas. Examination under UV light reveals a layer of old greenish milky varnish throughout the composition, indicative of a need for a cleaning. We do notice scattered, very localized and minor, inpainting at center left (pitcher and commode). With broader inpainting on the seated man's cheek and neck, weist as well as on some parts of his trousers and the chair he is seated on. More localized inpainting below the table at center (one of its legs as well as the floor underneath it). Pinpoint inpainting on the crouching woman's upper lip, as well as on the standing woman's right cheek. Minor, localized and pinpoint inpainting in the bakcground at center right and upper right. Small repair on the trellis at upper left. See Specialist's pictures for more details.Frame: 36 1/2 x 50 1/8 x 2 1/2 in.To access images, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Spanish school of the last third of the 18th century."Portrait of Guardia de Corps de Carlos IV".Gouache on vellum.Bronze and wood frame, with faults.Measurements: 6,5 cm (vellum diameter); 10 cm (frame diameter).Portrait of an officer of the Guard of Corps of Charles IV, a type of troop of the royal house whose origin goes back to the French "Garde du Corps". It is a delicate miniature painting, a genre that developed in Europe from the 16th century onwards. They were mainly paintings that were embedded in objects such as medallions, table clocks or small boxes. They were executed in a wide variety of techniques, such as oil on copper, tin or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was gradually lost from the second half of the 19th century, in parallel with the development of photography.
JOSEP AMAT PAGÈS (Barcelona, 1901 - 1991)."Flors, gerro fosc".Oil on canvas.Signed in the lower right corner.With label on the back of the Sala Parés, Barcelona.Attached leaflet of the exhibition in which it was included: "Josep Amat: exposició de pintura", Sala Parés, 1981.Published in the newspaper La Vanguardia on 28 February 1981. Attached original sheet.Measurements: 65 x 50 cm; 68 x 53 cm (frame).In this floral still life, Josep Amat displays an attractive chromatic symphony using a luminous palette. The serpentine stems are topped with open corollas that endow the whole with multicoloured delicacy. The vase, placed on a gueridon-type table, is cut out in front of a window through whose panes of glass the spring greenery is prolonged.Josep Amat trained at the Llotja School in Barcelona and was a favourite pupil of Joaquim Mir. In 1922 he took part in a group exhibition for the first time and sold his first landscape. Six years later, in 1928, Amat made his solo debut with an exhibition of twenty-eight works at the Dalmau gallery. From then on he exhibited individually in the most important galleries in Barcelona. In 1933 he took part in the Spring Salon, winning prizes in that edition and also in those of the following two years. That same year he travelled to Paris for the first time, where he became known in 1936 in a group exhibition. In 1940 he exhibited for the first time at the Sala Parés, where he exhibited frequently until 1987. During these years he took part in the Barcelona Spring Salon, winning prizes in 1932, 1933 and 1935. He also took part in the National Exhibitions, being distinguished in Madrid with a third medal in 1941, and in Barcelona with a medal in 1934, a diploma in 1942 and the Diputación prize in 1944. In 1943 he exhibited for the first time in Madrid, in the Sala Vilches, and in 1949 he settled for a time in Paris, where he developed an intense pictorial work. Now fully consolidated, Amat held exhibitions in Spain, Paris, Brussels and Havana. At the outbreak of the Civil War he was forced to give up plein air painting and began a period centred on figures and interiors. In addition to his awards in national competitions, he won the José Ramón Ciervo prize at the Second Spanish-American Art Biennial in Havana in 1953. Other mentions he received were the Gran Premi Sant Jordi (1955), the Ynglada Guillot drawing prize (1963) and the Gold Medal of the Barcelona International Painting Fund (1981). Between 1942 and 1970 he taught landscape painting at the Barcelona School of Fine Arts. He joined the Sant Jordi Royal Catalan Academy of Fine Arts in 1981, with a speech entitled "History of Landscape". This painter is remembered as the leading exponent of 20th-century Catalan Impressionism, and has been honoured with various exhibitions, including one organised by Barcelona City Council at the Espai Pruna in 2001 to mark the centenary of his birth, as well as the Cross of Sant Jordi (1988). His work is represented in the Thyssen-Bornemisza Museum, the Museum of Montserrat and the National Art Museum of Catalonia.
A Victorian canted rectangular burr walnut fold over, baize lined work/card table with burr yew x-band side games boards, fitted frieze drawers slide out well on turned legs and casters width 66cm A little shaky but probably always was!.Stretcher below has been re-fixed at some time. Some veneer slightly cockled and a vase ring 15cm to top.
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