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396323 Los(e)/Seite
Los 567
A Negretti & Zambra gilt cased pocket compass, circa 1880, with white enamel dial in Morrocco leather case, diameter 4.3cm, together with a double sided pocket compass in leather case (2).Condition report: Lot 567The Negretti & Zambra compass appears to have condensation? behind the glass, it works fine and is in good order.The second compass works fine, the case is a little distressed.
Los 263
AN EDWARDIAN MAHOGANY MANTLE CLOCK with Art Nouveau style marquetry inlay, the enamel dial with Arabic numerals, 21cm high; and another Edwardian mantle clock in balloon shaped case, 23cm high (2) Condition Report : both with keys. balloon cased clock has some damage to dial at 6 o'clock and 2 o'clock, but is currently working; other clock with broken spring Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 267
A GEORGE III 8-DAY LONGCASE CLOCK the (unsigned) enamel dial with subsidiary date and seconds dial, moon phase to the break arch, the spandrels painted with figures, in a mahogany case with satinwood inlay and crossbanding, marquetry inlaid Brittannia motif to the trunk, 54cm wide 235cm high, The clock has a pendulum with intact suspension spring and cast iron bob, and pair of cast iron weights. Condition Report : generally good, missing feet through ,movement not tested Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 138
A 20TH CENTURY DESIGN SILVER TOASTING FORK by Montague Maxwell Carr Grome, hallmarked London 1961, the three pronged fork with hammered finish together with a set of 5 silver and enamel salt spoons of assorted colours Hallmarked Birmingham 1954 by Turner& Simpson (4) Condition Report : Good, minor wear to enamels Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 1
Perfection USA keyless open faced pocket watch. Silverode case, screw off bezel and case back No 505808. White enamel dial, roman numerals and subsidiary seconds, engine turned 3/4 plate movement No A0229591. Ingersoll LTD, London Triumph keyless pocket watch, brass case, snap on bezel and back. Full plate pin pallet movement No.585EM, B. Jobin lady's hand wound wristwatch, gold plated on expanding bracelet (3)
Los 4
Late 19th C American Waltham Watch Co, Riverside 14K full gold hunter keyless pocket watch, hinged case and back with engraved edge case stamped Waltham, 14k and numbered 370770. White enamel dial with Arabic numerals. rail track minutes, outer red five minute markers and subsidiary seconds, dial signed. 15 jewel 3/4 plated nikel finish serif engraved movement signed and numbered 6029249 (lacking glass)
Los 38
CLOISONNÉ ENAMEL TRIPOD CENSER QIANLONG MARK AND OF THE PERIOD the compressed bulbous body with a pair of vertical looped handles raised on three straight cylindrical legs, the body decorated with lotus scrolls, all against a turquoise ground, the underside with four-character Qianlong mark(12cm high)
Los 28
Assorted Costume Jewellery, including imitation pearls, earrings, vintage three strand bead necklace, brooches, Nurses League Royal Infirmary Sheffield enamel badge, etc, contained in a Mappin & Webb green and tan suede jewellery box, complete with key; a Stuart crystal posy bowl and a Rider & Smart decorated egg ornament.
Los 61
Masonic Aprons, sash suspending "Presented to W. Bro. J. H. Lloyd in Appreciation of His Valuable Services as W.M. 1992", pair of gloves; an R.M.I.B 1976 enamel medallion on ribbon and bar badge "Steward"; an enamel badge "NISI DOMINUS"; "English Indoor B.A. Diamond Jubilee 1933-93" enamel badge, tie pin and matching cufflinks, etc.
Los 11
Camille Souter HRHA (b.1929) Cycling to Chioggia Oil , plaka and printer's ink on paper, 68.5 x 48.1cm (27 x 19'') Signed and dated April (19)'61 Provenance: With Taylor Galleries, label verso; ex Basil Goulding Collection; Literature: 'The Mirror in the Sea: Camille Souter' by Garrett Cormican, catalogue no.130. Camille Souter, who first went to Italy in her mid-twenties, said that 'the first time I went to Italy I felt I was going home.' It was, also, where she began to sell her paintings: 'it was in Trieste, Melegnano and Milan that I really started to sell'. A second trip to Italy in 1958 came about when she was awarded an Italian Government Scholarship and she, then twenty-nine, headed off with three very small children, Natasha, Shelley, Gino, aged three, two and one. And 'contrary to several reports, I did not cycle across Europe on a bicycle!' But this work Cycling to Chioggia would suggest that in Italy she did cycle to Chioggia, a little fishing town fifteen miles south of Venice. Painted in April 1961, it's a memory painting. As is Il Papa E' Morto, also dated 'April 61', a work that remembers the newspaper headlines announcing the death of Pius XII that Souter saw when she was there in October 1958. A third work, Buon Divertimento [meaning Good Time], a work dated 1958, is similar in terms of palette and technique. Of these three Italian-themed works Cycling to Chioggia is the one that sings with life and movement. Bold strokes, marvellously brushworked in plum and blue verticals and that zinging light- orange against a very light puce, create a work that is filled with energy and a delightful sense of humour. A vertical stroke at the base grounds the work and as the eye moves upwards it meets nine wheels outlined with childlike delight to achieve a lovely airiness. Pollock and Klein could certainly be seen as influences and asked if her work, in the 1950s, had been influenced by Jackson Pollock, Souter replied: 'all painting is action painting' and 'I thought of all that Jackson Pollock period as a good, exciting way to use paint. It gave me the feeling that you can do anything with paint' adding that 'seeing the Pollocks and Kleins in Paris I knew I could use anything - aluminium paint, black enamel bicycle paint, a wonderful salmon pink, and a few precious tubes of cadmiums. It opened the door, so when I had no money I realised I can use anything, any kind of paint.' Souter's use of oil, plaka paint and printer's ink for Cycling to Chioggia proves that. Born Northampton 1929 and originally called Betty Pamela Holmes, she moved to Ireland 'when I was about three-and-a-half'. After school, Souter, who 'wanted to be a nurse from the age of seven or eight', went to London at nineteen to train at Guy's. Having had TB when she was twenty-one, and being 'wan and thin' was named Camille after the tubercular heroine in the Alexandre Dumas novel La Dame aux Camélias. Her husband Gordon Souter meant the new surname. Elusive, private, and no self-promoter of her own work, Camille Souter believes that 'as a painter you spend your time looking out on the world. You almost feel as if you're invisible because your job is looking.' Her output, though small, is highly-prized. Souter has had a studio home in Achill since 1956 and her Achill studio is 'a black metal shed. Two skylights. Very private. Concrete floor. Six girders had to be sunk deep into cement because of the weather.' Souter only paints in natural light and prefers that her works be viewed in daylight. Robert O'Byrne sees her as 'a painter of outstanding skill and sensitivity'. Brian Fallon praises her 'perfectionist working methods'. For Fallon, she has held 'a central position in Irish painting' and he describes her vision as 'a very human and affectionate one'. Camille Souter was elected Saoi of Aosdana in 2008, the first woman painter and the second woman ever to be so honoured and when Trinity College conferred an honorary Litt.D on Camille Souter in June 2015 she was described as 'an exceptional painter' and 'one of the most revered living artists in Ireland'. Her work is held in important collections including The Hugh Lane, IMMA, Ulster Museum, Crawford Art Gallery, The Arts Council, OPW, UCD, TCD, UCC. Asked if a painting should say something she replied: 'It has to have a subject matter, otherwise it's just design. There has to be some passion behind it, a rapport between the painter and the world. A painting is pulling in so many things from light, time, subject matter'. For Souter, 'a painter is trying to grasp a vital element in almost a second of time'. And just as time is always a vital element in a novel, so too in painting. In Souter's Cycling to Chioggia, time is present . . . . In this instance, an exhilarating and happy time. Niall MacMonagle, May 2021
Los 26
Email auf Kupfer. Nach einem Gemälde von Sir William Beechey. Brustbild in Dreiviertelansicht nach Links vor grauem Grund. In doppelreihigem schwarzem Rock mit Goldknöpfen und mit weißer Halsbinde. Im originalen feuervergoldeten Bronzerahmen, rechts unten graviert bez. "Enamel H. Bone R.A.", auf Samt montiert, eingelassen in geschnitzten Holzrahmen. Auf rückseitigem grün-weiß gesprenkeltem Contre-émail voll signiert, datiert und bezeichnet. Ca. 12 x 10 cm. Außenmaße Holzrahmen 29 x 22,5 cm.Henry Bone, London 1816.Rückseitig bezeichnet "Tho. Roberts jun. Esq. London May 1816 painted by Henry Bone R.A. enamel painter in order to his Majesty & enamel painter to H.R.H. the Prince Regent after the original by Sir W. Beechey R.A.".Der englische Künstler Henry Bone (Truro 1755 - London 1834) gehört zu den bedeutendesten Miniaturisten seiner Zeit. Er arbeitete als Emailmaler unter der königlichen Schirmherrschaft von George III., dem Prinzregenten und späteren Georg IV. sowie William IV. und führte vor allem Kopien nach Porträts berühmter Persönlichkeiten aus. Er war Mitglied der Royal Academy of Arts in der er von 1781 - 1832 ausstellte. Seine mit höchster Akkuratesse gemalten Bildnisse sind in vielen Museen vertreten, darunter in der National Portrait Gallery und im Victoria & Albert Museum in London.ProvenienzSammlung H. und I. Bischoff.LiteraturZum Künstler vgl. Coffin/Hofstetter, The Gilbert Collection, Portrait Miniatures in Enamel, London 2000, S. 53. ff.
Los 156
A Chinese Qing dynasty, probably Qianlong period, bleeding / barber's bowl, of oval form with central vase and floral composition, the borders with applied enamel foliage, with gilt highlights and detail, 32 cm wideCondition report: large repaired crack throughout the piece, with repaired broken edges (pieces stuck back together), loss of gilding and enamel, some pitting to the glaze
Los 159
A late 20th century British silver shooting butt marker case by Joan MacKarell, London 1993, the kidney shaped case with textured design and painted enamel landscape to the lid, the side buttons with purple glass cabochons, opening to reveal a gilt interior with eight silver pegs individually hallmarked, each designed with grouse head, the numbers with purple guilloche enamel, case 7.5 cm high, total weight 287 grams
Los 176
A collection of 19th century and early 20th century Japanese Imari dishes, to include a large 20th century Imari charger with border reserves of naturalistic renderings, a pair of smaller 19th century chargers with enamel decorations of phoenix birds and flowers, with gilt embellishment, another 19th century charger of similar proportion, a small 20th century Imari plate, and an 18th century Chinese export porcelain plate, large charger 46 cm diameter
Los 787
A hallmarked silver pocket watch, the dial stamped Henry Levy, 41 Corporation Street Manchester, set with Roman numerals and secondary dial, Birmingham 1876, a Continental silver fob watch and base metal fob watch, the painted and enamelled dial set with Roman numerals (af) (3). CONDITION REPORT Henry Levy - lacking glass, ticking but hour hand is broken off, dents scratches and marks, ring missing from top, Continental - scratches, dents and marks, no keyFob - scratched and marked, no glass, enamel is cracked, hour hand snapped off, no hands on secondary dial
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396323 Los(e)/Seite