For our first spring auction we are pleased to offer a wide ranging selection of items from several interesting estates. From a long time collector in Kincardine Ontario, we have a number of antique coloured glass oil lamps, including a stunning Fenton “Daisy and Fern” patterned lamp in a Gone With the Wind style. This is a large lamp, in excellent condition. The pattern was originally produced by the LG Wright Glass Co. in 1903, and later manufactured by Fenton. Along with an early satin glass banquet lamp, brass peg lamps and more, this is a collection for the discerning connoisseur of antique lighting. Along with the Victorian decoratives, crocks, flow blue and antique furniture was a small selection of antique books. Notable were the early leatherbound edition of Alice in Wonderland, published by Collins Clear-Type Press. No publication date is printed, but it is inscribed to a little girl, in 1920, as a Christmas present from her aunt. It’s illustrated by C. Pears and T.H. Robinson, with colour plates and black and white drawings, and is in very good antique condition. Also on offer is a first edition volume of poetry by Paul Dunbar “Lyrics of Lowly Life”. Born in 1872 in Dayton Ohio to parents who had been enslaved before the Civil War, he died at age 33 from tuberculosis. He was one of the first African American writers to become known internationally, and in addition to publishing poems,short stories and novels, in 1903 he wrote the lyrics for the musical comedy “In Dahomey”, the first African American musical to be produced on Broadway in New York. His poetry was published in well known journals such as The Saturday Evening Post and the New York Times, and he was actually able to make a living and support himself as a poet- a rare feat for the time,and made even more so by the fact that he was a man of colour.
Another significant consignment was from the estate of Dr. Brink, a literary scholar who taught at McMaster and Trinity College at the University of Toronto. Widely published, in a range of subjects, he was also a passionate etching and engraving collector and donator, who in 2011 made a large donation of Claude Lorraine etchings to The Macdonald Stewart Art Centre at the University of Guelph. We are privileged to have a number of his antique etchings and engravings up for bidding, including several Claude Lorrain etchings and 3 William Blake etchings.
Along with his discerning eye for artwork, he amassed a truly stunning collection of antique Japanese Imari porcelain, and early Delftware. Ranging from large vases and chargers to ginger jars, bowls and covered jars, it is hard not to be captivated by the variety of colours and designs, all in extraordinarily good condition for their age. Produced initially in the 17thC and named for the port of Imari from which it was shipped, Imari porcelain was made possible by the discovery of a source of kaolin, by a Korean potter who had been brought to Japan after their country had been invaded.Known as the purest of clays found in nature, it was used to impart the pure white found in Imari porcelain, and its composition allowed it to be fired at very high temperatures, which was a significant technological advancement at the time. In the early 17th century, Japan had adopted a policy of isolation, from which only China and the Netherlands were exempt, and it was only through the Dutch East India Trading Co. that Imari porcelain found its way to Europe. In fact, the Dutch would often bring designs in wood and clay from the Netherlands that they thought would appeal to the Japanese, who would then incorporate them into their work. It only makes sense then, that a passionate collector of Imari would extend his interest to antique Delft as well. The craze for fine Imari porcelain had taken hold of Europe, and the Dutch were determined to find a substitute for the very expensive porcelain used in its production. Faience is a type of porous earthenware, with a smooth, opaque white tin glaze, which the Dutch used to produce everything from tableware to tiles. Because of its composition, it could be fired only up to temperatures of 1000 degrees celsius, which meant the glaze could not fully fuse to the clay. As a result, what is often perceived as chipping to very early Delftware, is actually the glaze flaking off, exposing the underlying earthenware. The iconic blue and white patterns were actually designed to mimic the designs coming out of Asia, creating an interesting synchronicity between the 2 styles. We have some fine examples of early Delft on offer, from some very large and dramatic chargers to a large selection of tiles – including some with the more unusual manganese, or purplish glaze.
Of course this is just a small example of the truly eclectic items we have available for your bidding pleasure. Please feel free to come and preview in person – we’d love to see you!
Please call John at 416-453-0920 to make an appointment if you would like to preview this auction.
