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A group of paintings to include British School (19th century), architectural study with figures. Inscribed verso. oils. 29x35cm approx. Framed. W Fisk, portrait of a gentleman smoking a clay pipe. Watercolours. 26x21cm approx. Together with portrait of a fisherman smoking a pipe in watercolours. 42x32cm approx. Framed and glazed. And D Sore (?), British 19th/20th century, Lane to the Sea, signed. Oils on panel. 24x34cm approx. Framed and glazed. (4) (B.P. 21% + VAT)
A Portuguese silver snuff box pre-1938, 833 Porto boar's head mark, with the Portuguese inscription 'Casaminito', to a reversible portrait of a married couple,7.5cm widetogether with a Dutch silver snuff box or vesta case,lion key and 1853 date mark, with reeded decoration,8cm wideand another smaller example,with two compartments, engraved with two figures smoking a pipe,5.5cm wide6.4ozt (3)Condition ReportThe Dutch box is dented. Heavy wear to the decoration on the Portuguese example. The smallest example is unmarked but tests as silver.
An Edwardian mahogany, oak and parquetry single bed the headboard with an arched light, complete with a 'cracked ice' glass shade, the panel inlaid with a figural scene of an Ottoman smoking a pipe, complete with an iron frame,116cm wide200cm long146cm highCondition ReportKnocks, wear and scuffs to the frame commensurate with age and use. Glass shade in good order. Iron frame with some knocks and wear.Pat Test Passed
Royal Navy 1827 pattern sword with lion head pommel, folding inner guard and fouled anchor motif, manufacturer's name C Webb, 23 Bond Street, London to decorated 74cm pipe back blade and to tablet on scabbard. PLEASE NOTE ALL BLADED ITEMS ARE SUBJECT TO OVER 18 CHECK ON COLLECTION OR DELIVERY
A plasticine wall hanging featuring in raised relief a seated seafarer smoking a pipe and reading the paper. Why Worry carved on the lower right. Copyright 1912 and Made in England carved on the bottom of the piece. Ivorex Made in England printed on the reverse side. Issued: 1912Dimensions: 4.75"W x 7"H x 0.5"DManufacturer: IvorexCountry of Origin: EnglandCondition: Age related wear.
A Bakongo carved powder flask. Height 11.5cm together with a larger carved flask and a terracotta and bone pipe.(3) Maurice Jenkins (1933-2022). North Cornwall collector. Maurice was a lifetime collector and started in the 1950s. He opened a shop in Liskeard in the 1970s called Canon Hill Antiques. He visited a number of Middle Eastern countries in his lifetime including Egypt in the late 1970's when his interest in Islamic and Asian antiques began. He was a man with an eye for quality and a love of antiques, history and travel who purchased privately and at auction over the decades. Over a lifetime of purchasing privately and at auction, he created an eclectic ensemble of collections reflecting his interests. He died a few weeks before his 90th birthday and was still buying until that time.
A Lawson Ether Saturator, Magic Lantern Illuminant, English, c.1880, stamped to the side 'WILLIAM LAWSON, RECTORY VIEW NEWTON WILLOWS, NEWCASTLE, PATENT, 76' and to the other side 'W LAWSON & Co, MAKERS', brass body with ether reservoir, oxygen pipe and shut off valve to rear, mechanical rotation of lime light holder, with adjustable jet,
An Edwardian silver pepper, embossed with flowers and scrolling foliage, terminating in a dolphin, 9.5cm high, Henry Matthews, Birmingham 1909; a Chinese silver pipe bowl, engraved with a pagoda landscape, Tackhing, Hong Kong, c.1900; a silver miniature model, of a sedan chair, 14cm long (3)
Matchbox - 4 x boxed King Size / Super King models, Scammell tipper truck # K-19, Foden break down # K-12, Scammell pipe truck # K-10 and Scammell freight liner # K-14. They show light signs of play use and appear in Good overall condition in Good boxes. (This does not constitute a guarantee) [ba]
A GROUP OF CUT GLASS CLOCKS, CANDLE HOLDERS, INKSTAND AND BOXED INK SET, a Georgian novelty pipe, candle holder and bell ornaments, two Waterford Crystal clocks, a Royal Brierly 'Ribbons & Bows' pattern clock, a cut crystal inkwell with a hinged brass lid, a boxed pen and wax set, a Waterford Crystal candle holder, a green glass clock, etc. (Qty) (Condition Report: some pieces have nibbles in varying degrees, no other obvious damage)
A BOX OF ASSORTED ITEMS, to include an AF meerschaum pipe and case, a silver pommel walking stick, hallmarked Birmingham 1961, a cased silver 'Brownhills Urban District Council' medal, hallmarked 'John William Barrett' Birmingham 1965, a silver and tortoise shell lidded jar, hallmarked Birmingham 1921, an incomplete teaspoon set and sugar tongs, hallmarked 'James Deakin & Sons' Birmingham 1915, approximate gross weight of weighable silver 57.7 grams, 1.85 ozt, also including a large selection of cutlery, a photo frame, assorted table ware items etc
‡ HYWEL HARRIES (1921-1990) oil on board - entitled verso, 'Salem Revisited', signed and dated '73, 59 x 75cmsProvenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descentAuctioneer's Note (Prof. Robert Meyrick):Hywel Harries’ Salem Re-visited is an interpretation of Salem, a 1908 watercolour by Sydney Curnow Vosper. It is a reminder of the historic significance of chapel-going in Wales and the centrality of Nonconformist Christianity in Wales. An art teacher, painter and cartoonist, Harries understood the cultural reference in Vosper’s painting, which shows the interior of Capel Salem Cefncymerau near Harlech. Purchased by industrialist William Hesketh Lever, the image became familiar through mass-circulated reproductions advertising Sunlight Soap.In October 2019, Rogers Jones successfully brokered the purchase by the National Library of Wales of Vosper’s second version of the painting. Vosper painted Salem in the wake the 1904-05 Welsh Revival, which saw a resurgence of religion. Once a national icon, emblematic of religious piety among the rural poor in Wales, Salem’s ubiquity depended on that context. In the intervening years it was distributed through Urdd Gobaith Cymru, reproduced as covers for Cymru Fydd calendars, and used by nationalists and Welsh language activists. As art historian Peter Lord points out, framed prints of Salem are nowadays consigned to ‘folk memory,’ a curious relic of times past. Carmarthenshire born, Harries trained at Llanelli School of Art until 1941, when his studies were interrupted by RAF service. After resuming his studies at Cardiff Technical College in 1947, he held teaching posts at Ealing and Machynlleth before his 1954 appointment as Head of Art at Ardwyn Grammar School (later Penglais Comprehensive School) at Aberystwyth, a position he held until his retirement in 1981.Harries is best known for his paintings of Aberystwyth townscapes and the landscape of Ceredigion. He developed a distinctive handling of layered dry paint using a soft warm palette. His landscapes often explored spatial effects and the decorative flattening of interlocking planes of colour, pattern and form, while his townscapes deploy a narrower tonal range and muted colours. Harries’ Salem Re-visited paintings were a rare dalliance with abstraction. Fellow Welshman Ceri Richards had likewise sought contemporary responses to familiar subjects when he made paintings after Rubens’ The Rape of the Sabine Women in the National Gallery, London, in 1946. Harries would also have been aware of Pablo Picasso’s abstracted translations of paintings by Cranach, Velázquez, and Ingres.Salem portrays the 71-year-old widow Siân Owen Tŷ’n y Fawnog taking her pew before the start of a service. Even in 1908 the scene depicted by Vosper was something of an anachronism. Stove-pipe hats were rarely worn then; in fact, only one such hat could be sourced for the women to model. In 1938, Vosper recalled the names of his sixpence-an-hour models; among them were a local carpenter, farmer, shopkeeper and a tailor’s dummy he named Leusa Jones. In Salem Re-visited, Harries has lettered their names on or alongside each character. The popular belief is that the devil lies in the detail of the folds of Siân Owen’s richly patterned paisley shawl, even though Vosper refuted that the likeness was intentional. There is no ambiguity in Harries’ flat monochrome rendering of the shawl as the profile of a demonic face in contrast to its colourful surroundings. Uncharacteristically for Harries, the act of painting appears on this occasion to be more important than representation or narrative. The illusion of pictorial space being abandoned, the relative position of the congregation becomes unclear. The jigsaw arrangement of overlapping shapes allude to the fragmentary nature of appearances in momentary glances. Peter Lord described this approach as a ‘Cubist-cum-patchwork quilt oil painting.’For Harries, there was an additional resonance in Vosper’s Salem. He was himself a man of faith and a staunch chapel-goer. He was an elder at Capel Salem (later to become Capel Morfa) in Aberystwyth. Always smartly presented in jacket, collar and tie, there was nothing bohemian about him. Indeed, Harries looked every bit the chapel deacon. Founding Ceredigion Art Society in 1963, Harries placed his knowledge, experience and enthusiasm for art into the service of the community. He was Vice-President of the Royal Cambrian Academy and chaired the Art and Craft Committee of the Council of the National Eisteddfod. In retirement, he authored several books, among them Cymru’r Cynfas: Pymtheg Artist Cyfoes [Wales on Canvas: Fifteen Contemporary Artists] (1983).Prof. Robert Meyrick, art historian, curator and educator, until recently Professor, Head of Aberystwyth University’s School of Art and Keeper of the School of Art Museum and Galleries. Comments: framed, ready to hangDelivery: complimentary delivery can be arranged for all purchases over £4000 in this Welsh Sale auction (England and Wales only) please contact brj@rjauctions.co.uk for further details
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39832 item(s)/page