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Lot 394
A quantity of cut glass and crystal drinking glasses, wine glasses, Champagne bowls, a Venetian blue glass and silver-heightened decanter, a set of matching glasses, a quantity of c1930s cobalt blue ground floral-decorated teaware, vintage glasses and a quantity of French Quimper hand-decorated bowls etc (2).
Lot 33
A Henriot Quimper plate decorated with figure in a garden, together with a footed bowl, marked "Henriot Quimper France 97" to base and decorated with a figure in a garden, a further plate in the Lunneville faience taste decorated with floral sprays and four further tin glazed plates CONDITION REPORTS The small Henrietta Quimper plate marked "France 116" verso has numeroius surface scratches, losses to the glaze, some of these appear top be during the firing process, some small chips. The larger Henrietta Quimper plate marked "Frances 97" verso, has large areas of loss, two large chips on the rim, there is also a substantial crack running from three quarters of the diameter of the plate and also a further smaller crack that runs approx a quarter of the way to the centre. Numerous chips, scuffs, surface scratches, accretions. General wear and tear commensurate with age. The remainder of the plates all have numerosu chips, mainly to the edges and some in the middle. Scuffs, surface scratches, dirt, accretions and smal cracks - see images for further details
Lot 251
POSTCARDS - FOREIGN TOPOGRAPHICAL Approximately eighty-six cards, including views of Le Pont, Trouville-Deauville; La Cannebiere, Marseille; La Place Victor-Hugo, Saint-Omer; La Rue Kereon et la Cathedrale, Quimper; La Grande Rue, Saint-Malo; La Bourse, Lyon; Le Pont Richelieu, Calais; La Rue du Don, Amiens; La Gare, Amiens; others by 'L.L.'; La Porte Guillaume, Chartres; Rue des Esarts, Dakar; Vielles Maisons, Dinan; and others, (loose).
Lot 37
A set of twelve late 19th century French plates with humorous printed decoration, the revenge of the rabbit, etc, 20cm diameter approx, together with a Doulton Burslem jug and basin set with painted iris detail, a Copeland Parian bust of a classical female character, two Delft tiles with blue and white painted decoration, further tiles, a Quimper type quaiche, etc
Lot 355
Three amber glass tankards engraved with fern leaves, four amber glass Webb dimple bowls on low stems, a Coalport figure of 'Savannah', Coalport model of a bird, a Hornsea 1950s cruet bottle, 19th/20th century teawares etc and a collection of miniatures to include two satsuma bowls, a Quimper bowl, a Berlin bowl, Parian miniatures, a quantity of religious rural and trades people figures, a silver napkin ring, etc. (Three trays)
Lot 124
A collection of ceramics including Fielding's Crown Devon two handled vase and other Fielding's wares including hot water jug, preserve pot and cover, etc, various Quimper wares including a triple vase, Wedgwood Jasper wares, continental ceramic candlesticks with applied figures, small collection of Masonic related items, etc
Lot 63
William John Leech RHA ROI (1881 - 1968)London Bridge and Soutwark CathedralOil on canvas, 44 x 36cm (17¼ x 14¼)SignedExhibited: 'William J. Leech Exhibition’ The Dawson Gallery, March 1947; 'William John Leech: An Irish Painter Abroad', National Gallery of Ireland, October-December 1996, Catalogue No.100.Born in Dublin, William John Leech studied at the Metropolitan School of Art and later at the RHA School under Walter Osborne and at the Academie Julian in Paris. From 1903 until 1917 Leech lived mainly in Concarneau in Brittany, but visited Dublin regularly and continued to exhibit annually at the RHA, who elected him a full member in 1910. His reputation was gaining similar status in Paris, where he won a bronze medal at the 1914 Salon. In 1918 Leech served for a time in France, but this experience of World War I left him suffering from depression. He continued painting however, and exhibited throughout the 1920s and 1930s at the RHA, RA and New English Club in London, and represented Ireland at a number of significant international locations including Venice in 1926 and Brussels in 1930. From 1944 on Leech was represented by the Dawson Gallery in Dublin, where solo shows were held in 1945. A major retrospective of his work was held at the National Gallery of Ireland in 1997 and toured to the Ulster Museum and the Musee des Beaux Arts, Quimper, accompanied by an extensive catalogue by Denise Ferran.Although he received a huge amount of recognition for his art throughout his life, Leech struggled financially, often making his own frames to save money. His paintings can be found in major Irish collections such as the National Gallery of Ireland, The Hugh Lane, The Office of Public Works, Ulster Museum and Crawford GalleryIn her 1997 catalogue Denise Ferran wrote of this piece that it was one of a series of works painted by Leech in oils and watercolour of the Thames around the Billingsgate area painted from 1939 onwards. She notes of this work “the curve of the dock forms a lead-in to the expanse of cold water beyond which small wooden boats are moored at the harbour. The piers wooden uprights offset the dominant horizontal of the bridge beyond. The swell of the icy water is captured in strong brushstrokes in tones of blue. These works are evocative of Monet’s views of Westminster, seen in muted tones and captured in atmospheric light”.Our thanks to Dr Denise Ferran whose scholarly writing on William J. Leech formed the basis of this catalogue entry.
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