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534310 Los(e)/Seite
Los 164
A Royal Doulton Harlow pattern dinner service, 13 dinner plates, 12 side plates, 8 large soup bowls, 10 dessert bowls, 12 fruit bowls, 13 two handled soup bowls and 12 saucers, 2 sauce boats with stands, lidded sucrier, 2 coffee pots, 3 lidded tureens, 3 open tureens, 2 pairs of ashettes and gateau platter. CONDITION REPORT: This dinner service is in extremely good condition. There are no chips, no hairline cracks, no repairs and no restoration. The gilding is generally very good and strong with only very minor losses. The only items that show any sign of use are the dinner plates which have some very minor surface knife scratches as one would probably expect. These are only visible when the plates are held up to strong natural light.
Los 723
A Victorian brass oil lamp base, raised on a wooden plinth. Height excluding light fitting 47 cm. CONDITION REPORT: The lamp base itself is in generally good condition. The electrical section is in poor condition will need taking off. The piece will need fully re wiring. The wooden base is in reasonable condition.
Los 608
A pair of Adam style gilt metal light brackets. Height 39 cm. CONDITION REPORT: Both brackets are in good condition with no pieces missing and no significant damage. The circular “drip” trays are all scratched and there are other minor blemishes to the bodies of the brackets. The original gilding is less than 50% intact. One branch is slightly bent but not significantly.
Los 827
Dutch School, oil on canvas, still life of flowers, relined, in giltwood frame, circa 1880. CONDITION REPORT: Dimensions 42.5 cm x 32.5 cm. The painting has been relined and is therefore in extremely good condition. We have looked at the painting under a UV light and cannot see any areas that have been overpainted or any tears to the canvas. There are some very minor marks to the paintwork but the picture could be hung in its current state without the need for any work. We have removed the picture from the frame. The piece has definitely been relined and the colour and state of the original canvas and bearers would suggest late Victorian. It would not be usual for a more modern painting to have been relined. The back of the painting has a piece of canvas over the relined canvas which is simply decorative. We have cut into this to ensure that the picture has in fact been fully relined. Hopefully our images will show both the original canvas, the relining and the backing canvas. Having removed the picture from the frame it is now loose in the frame and will need some re fixing as we have removed the picture tape.
Los 118
Sarah Radstone, a large ceramic vase, circa 1988. Height 35 cm, width 31 cm. CONDITION REPORT: There has been a small break to the top left hand corner at the narrow end of the aperture to the vase. This has been glued. It is approximately 2 cm in length and 1 cm tall. Opposite this there is a small loss at the same point of approximately 1 cm square. When the pot is held up to the light there are holes in the body. This is part of the firing process rather than damage. Other than the damage referred to we can see no further issues.
Los 115
Barrie Cooke HRHA (1931-2014)Tekapo Lake Painting I (1989)Oil on canvas, 173 x 173cm (68 x 68'')Signed and inscribed versoProvenance: From the collection of the late Gillian Bowler.Exhibited: 'Barrie Cooke: A Retrospective', Royal Hibernian Academy, September/October 2003, and travelling to The Model Arts and Niland Gallery, Sligo, November 2003.Born in Cheshire, England, Barrie Cooke came to Ireland in 1954 and immediately fell in love with the landscape. He was interested in the immediate and compelling accurate accounts of the natural world, depicting how close in nature life is to death. Death, change and decay are built into the natural world, and it is for this reason that we see a great deal of death in his oil paintings: crumpled bodies of game animals, diseased sheep and their remains and carcasses. It seems as if Cooke is always immersed in nature, at his best in a wet, measy rural place, removed from the experience of our world.Cooke started visiting New Zealand from the mid/late 1980s, making regular fishing trips and he loved the vast open spaces of the East Coast with its unspoilt environment, which contrasted to that of the polluted waters of the inland lakes and rivers of Ireland which occupied his mind and his brush during this period. Aidan Dunne wrote in Cooke’s retrospective catalogue about this painting: “If the death of a lake in Ireland is a death of possibility,”Tekapo Lake Painting I” is a startling evocation of the pristine lake as a space of pure possibility. We can refer directly back to “Trench Lake”, which works in a similar way, and contrast the sheer brilliance of the light and the feeling of spaciousness.”
Los 139
Terence P. Flanagan PPRUA RHA (1929-2011)Portora for Tony Flanagan (1987)Oil on canvas, 112 x 106cm (44 x 41¾'')SignedProvenance: From the collection of the late Gillian Bowler.Exhibited: T.P. Flanaghan RHA PPRUA 25 Years with the Hendriks Gallery Exhibition, Hendriks Gallery Dublin, June 1987, where purchased; “T. P. Flanagan, Retrospective Exhibition”, Ulster Museum, Belfast; Hugh Lane Municipal Gallery of Modern Art, Dublin; Fermanagh County Museum, Enniskillen, Catalogue No.84 in each case.Literature: “T. P. Flanagan, Retrospective Exhibition, Belfast, Dublin and Enniskillen” by Dr SB Kennedy, picture illustrated on front cover of the catalogue; “T. P. Flanagan: Painter of Light and Landscape”, London, Lund Humphries, 2013, reproduced in colour pp. 130, 131. The composition is important in Flanagan’s work for it confirms the movement towards a calligraphic technique that came to dominate his painting. This was a development Aidan Dunne noted in the Sunday Tribune (14 June 1987): ‘Flanagan is a superb technician’, he said, ‘a shadow boxer of a painter whose ghostly images find their way on to the surface in a fusillade of jabs and darts. The calligraphic maze of brushstrokes continually threatens to collapse into abstraction, but it is invariably rescued by the painter’s strong, instinctive grasp of his subject, a kind of privileged link with the landscape described’. His ‘problem,’ said Ciaran Carty in the same issue of the paper ‘is that [he] can never paint a thing at the time. [He’s] got to let it lie in the imagination and marinate’. Recalling Flanagan’s childhood memories of travelling by train from Enniskillen to Sligo, Carty said that he had ‘loved the sensation of momentarily seeing something from the window only for it to pass out of vision never to be seen again’. Brian Fallon also praised the exhibition in the Irish Times (6 June1987), although he had reservations about the artist’s developing style. ‘Flanagan’s early style’, he said, ‘was refined, understated and spare, almost Oriental’, but he had moved away from it in the last decade to become ‘lusher, prettier and also more conventional’. Nevertheless, he said, many works ‘stand well above that level’. To Dorothy Walker, in the Independent (12 June 1987), the artist’s ‘light fluid style’ was ‘immediately recognizable, and she thought there was ‘more substance than usual in the oil paintings, almost a sense of urgency in the familiar rapid brush strokes’. The subject of the picture is Lower Lough Erne near Portora Royal School.Dr SB Kennedy May 2017
Los 14
Sir John Lavery RA RHA RSA (1856-1941)Moonlight, Tetuan, MorrocoOil on canvas, 36 x 63.5cm (14¼ x 25'')Signed, inscribed with title and dated 1911 versoProvenance: C.W. Kraushaar, by whom donated to the Toledo Museum of Art; their sale Sothebys, 16th May 2008, where purchased by current owner.Literature: 'The Toledo Museum of Art: European Paintings', 1976, plate 341, illustrated page 92.From the 1830s North Africa and the Middle East became places of artistic pilgrimage, but while painters such as Lewis, Lear and Holman Hunt preferred the eastern Mediterranean, in Lavery's era an instant Orient was to be found by simply crossing the Straits of Gibraltar. Where Orientalist painters concentrated upon narrating the Eastern way of life, the rituals of the Mosque and the Harem, Lavery's generation looked to this environment for its colour.Lavery's first visit to Morocco took place in 1891, at the instigation of his friends, the Glasgow artists Arthur Melville and Joseph Crawhall. After almost annual visits, in 1903 he bought Dar-el-Midfah ('the House of the Cannon', for a half buried cannon in the garden), a small house in the hills outside Tangier which he continued to visit with his family over the next 20 years. It has been claimed that for Lavery the strong light, cloudless sky, white walls and bright colour of Arab dress helped to cleanse his eye after sustained periods of studio portraiture. Within a few years of visiting Morocco for the first time, the light sable sketching of his Glasgow period gave way to a richer and more sensuous application.Lavery exhibited Tetuan, Moonrise in The Leicester Galleries exhibition Cabinet Pictures by Sir John Lavery in 1904, Cat. No. 38, so is likely to have travelled there in 1903/1904. Again, in the spring of 1906, Lavery took an overland expedition to Fez together with Walter Harris and Cunninghame Graham and travelled along the coast to Tetuan before travelling inland to Fez. Lavery undertook several studies of the market place at Tetuan, the camp outside the city walls and this nocturne painted on the outskirts of the town. Although dated 1911, Kenneth McConkey suggests he is unlikely to have visited Tetuan in that year due to the rising tensions in Morocco (even on their 1906 visit they were accompanied by 13 armed guards) and so it is likely that Lavery painted this based on the sketch exhibited in 1904, or another sketch from his trip in 1906, and just finished this work in 1911. Lavery executed quite a number of nocturne views during his time in Tangiers.Kenneth McConkey has described this work On one of these occasions the Port clothed in Moonlight, took on an air of mystery which appealed to Lavery's acute sensitivity to colour and toneWe are grateful to Prof. Kenneth McConkey whose many writings on Sir John Lavery formed the basis of the catalogue entry.
Los 23
Erskine Nicol RSA ARA (1825-1904)Preparing for Market DayOil on canvas, 103 x 83cm (40½ x 32¾'')Signed and dated 1867Although born and living the majority of his life in Scotland, Nicol had an enduring interest in Ireland and Irish society. He first visited in 1846 and stayed for four years and returned regularly over the course of his artistic career. Nicol established a studio for his work at Cloncave in County Westmeath. As a mid-19th century artist, Nicol inhabits an interesting period in which there was a gradual shift away from Romantic painting to what would become in a more concrete sense towards the latter end of the century, a ‘Realist’ style. However, an issue, which pervaded Irish art well into the twentieth century, was the lack of any homogenous school of Irish painting. There had always been a tension between the way Irish people viewed themselves and the way in which they were viewed by others from the outside. A difficulty made more apparent alongside the emerging realist style as there was a tendency for British painters to present Irish rural life through a biased and sentimental lens. While Nicols is best known for his depictions of the poor and marginalised members of Irish society - particularly pertinent since his arrival coincided with the Great Famine (1845-52) which devastated the country- there was a fine line between bearing witness to the plight and struggles of those individuals and pandering to a stereotype of the ‘stage Irishmen’ through a Victorian moralising lens. Fairs and markets were a crucial element of social and commercial life of Irish towns for centuries. The occasion is apparent in the fashion of the gentleman as he steps out the door wearing his top hat and inverness outer coat. Nicol draws our attention to certain accents of details, the red neckerchief, the striped train of the mother’s dress, blue child’s bonnet or the pile of turnips on the ground. These vegetables belies a more rural character to the image balanced by the two small children leading the pigs to their pen or the woman in background of the image shielding her face from the sun while carrying a large basket in one hand, presumably on her way to work in the fields. In poor farming families the luxury of shoes was reserved for the men who needed them while working with the livestock. However, in this image none of the family members is barefoot; this scene is more of a light-hearted and cheerful depiction of Irish social rituals. Although the location is not indicated, Donnybrook’s annual fair was infamous for attracting artists to record its lively and at times raucous spirit. Nicols often focused on these less salubrious aspects in his paintings but in this instance the present example reflects a more subtle and considered reflection capturing a tender moment of domestic life. Niamh Corcoran
Los 35
Jack Butler Yeats RHA (1871-1957)Early Morning, Cliffony (1941)Oil on panel, 23 x 36cm (9 x 14¼'')SignedExhibited: RHA Annual Exhibition 1942, Catalogue No.187; Jack B. Yeats Exhibition, York City Art Gallery, 1960, presented as part of 'The York Festival', Catalogue No. 22; Images in Yeats Exhibition, Cente de Congrés, Monaco June 1990; The National Gallery of Ireland July 1990, Catalogue No. 26.Provenance: Sold to Mr & Mrs Michael Burn in 1942; and later in the collection of Miss Harnett; sold in Christie’s Irish Sale, Dublin, May 1989, where purchased; from the collection of the late Gillian Bowler.Literature: Jack B. Yeats: An appreciation and Interpretation by Thomas MacGreevy, Dublin 1945, p.31/2; Images in Yeats (1990) by Hilary Pyle, illustrated p.53, plate 26.Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, by Hilary Pyle, Andre Deutsch 1992, Catalogue No.518, p.477Yeats painted this small vibrant work in 1941 at the beginning of one of the most productive decades of his career. It depicts the countryside near the coastal Sligo town of Cliffony. According to Hilary Pyle, the view is looking eastwards away from the town at the dramatic Dartry mountain range which includes such famous peaks as Ben Bulben and Truskmore. The Bunduff river, which marks the border between Connaught and Ulster, is surging through the foreground. On the extreme rights its banks are lined with saplings. The paint is applied with great variety of technique, from the sketchy dark leaves of the trees to the sculptured cliff faces of the mountains. The palette contrasts pale blues and mauves with bright reds and yellows. This and the dynamic way in which the forms are depicted creates an animated surface, suggestive of the energy of nature. The elements of rocky mountain, open sky and fast-flowing river are subtly demarcated by the lush colours of the grass, trees and vegetation of the land. The countryside of north Sligo appears as a fluid, constantly changing vista. Pyle has suggested that Yeats made pure landscapes like Early Morning, Cliffony, as an alternative and perhaps as a respite from his creation of large-scale fantasy works such as Tinkers Encampment, Blood of Abel, (1940, Private Collection) and Two Travellers, (1943, Tate). The production of both kinds of painting flourished in his oeuvre of the 1940s. Both refer to the West of Ireland and particularly to Sligo. The latter was closely connected to Yeats’s childhood, the memories of which formed a crucial source for his painting at this later stage in his life. Sligo also forms the backdrop to the myths and legends of ancient Ireland such as those associated with Queen Medbh and Diarmuid and Grainne whose stories are connected to specific locations in the Dartry mountains. Landscapes such as Early Morning, Cliffony were painted in the studio from memory, sometimes aided by earlier sketches made on the spot. They can be understood as settings for human events and affairs both real and imaginary. But as Thomas MacGreevy put it, ‘With Yeats, the landscape is as real as the figures. It has its own character as they have theirs’.Early Morning, Cliffony, with its yellow flecks of morning light and the vibrancy and movement of the foliage, sky and water is an important example of this type of painting. It expresses the energy and drama of this terrain as the artist remembers it and recreates it. On seeing the work at the RHA in 1942, MacGreevy described it as a small gem of pure landscape. It featured in the 1990 exhibition, Images in Yeats, shown at Monaco and the National Gallery of Ireland, as a quintessential example of Yeats’s pure landscape paintings.
Los 38
Jack Butler Yeats RHA (1871-1957)The Fern (1943)Oil on panel, 23 x 35.5cm (9 x 14)SignedProvenance: Sold through Leo Smith, The Dawson Gallery to Senator Joseph Brennan and thence by descent.Literature: Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, by Hilary Pyle, Andre Deutsch 1992, Volume I, Catalogue No.565This still-life painting centres on the vivid form of a fern, its leaves conveyed through thick impasto paint. The plant sits in a large lustre jug whose shiny handle is constructed out of strong reds and yellows. The shadowy outline of a window frame on the left reflects blue light onto the plant. Touches of bright blue and yellow convey the impact of light and shade on the delicate fronds. Beyond the edge of the brown wooden board on which the fern is sitting, an area of greys and greens indicate moving water. Yeats returned to the same motif in a later painting, The Fern in the Area, (1950, Private Collection). The work is a complicated exercise in paint and illusion. It brings together two distinct types of painting - the visceral surface of the jug and plant, and the flat surface of their surroundings. The latter by contrast appear obscure as if in motion. Their subtle gradations of colour and shape are reminiscent of the work of the French post-impressionist painter, Pierre Bonnard. Yeats’s work was compared to that of Bonnard by several contemporary commentators, including his close friend, Thomas MacGreevy. The Dublin based artist May Guinness owned an important example of Bonnard’s work, A Boy Eating Cherries, which is now in the collection of the National Gallery of Ireland. A work by Bonnard was included in a group exhibition at the Contemporary Picture Galleries in Dublin in 1939, directly before Yeats held a solo show at this venue. Bonnard, like Yeats, enjoyed the physical quality of paint and used it to create perplexing and highly decorative compositions that provoke the viewer’s curiosity, encouraging them to make sense of the intriguing perspective and arrangement of form within the work. Yeats uses a similar strategy in his painting, although in The Fern, the three-dimensional quality of the central motif disrupts the otherwise tranquil nature of the work. The Fern was bought from the artist by the dealer Leo Smith, a prominent admirer and supporter of his work during the Second World War when this work was painted. The collector Senator Joseph Brennan acquired the painting from Smith and it has since remained in the family’s possession. Dr Roisin Kennedy
Los 46
Patrick Collins HRHA (1911-1994)The BathOil on panel, 60 x 120cm (23½ x 47¼'')Signed lower left; inscribed with title versoProvenance: From the collection of The Dubliners' singer, the late Luke Kelly, and acquired by Gillian Bowler from the singer's partner, Madeleine Seiler, who was then a neighbour on Dartmouth Square. It is thought that Luke Kelly acquired the work from his friend, Paddy Collins, directly, so this is the first public viewing of this important work.Patrick Collins once described Paul Henry, whom he greatly admired, as a ‘modest man who painted Ireland like an Irishman’. Collins himself came to be prominently identified as someone who painted Ireland, its land and less frequently, its people, like an Irishman. He had a keen sense of mission to identify some kind of essential qualities of ‘Irishness’ or ‘Celticness’ and to express that in a visual language that was distinctive and recognisable. The writer Brian Fallon thought of him as having been ‘wholly original from the start’ (1), a view that Fallon held despite him and others regularly asserting that Collins was the Sligo inheritor of Jack B. Yeats’s legacy.What Fallon and others, especially Collins’ biographer, Frances Ruane, particularly admired was the artist’s ability to combine a sense of that Irishness with modernism at a time when those two qualities appeared almost contradictory. Collins is best known for his dreamy, nearly monochrome landscapes, which are usually bathed in soft grey light. The figurative elements in these landscapes, traveller families, animals, birds, the occasional church spire or ancient stones, hover out of mists of paint as if time has blended them with the overall atmosphere of the country. Yet Collins also painted the female nude, and was one of the first Irish artists to popularize the genre in his own country. Not only that, his early gestures in this field reveal an element of defiance in the face of Ireland’s Catholic prudishness in the 1960s. Thus 'Nude 1', from the Basil Goulding collection in the Butler Gallery, Kilkenny, shows the figure peeling off the last of her clothes for the artist, as if to say, it is the duty of art to reveal all. The figure is outlined more boldly than is typical in Collins’ work but is set into his trademark blue-grey, halo like ground.'The Bath', is relatively unusual however, not in the use of the nude, but in its open homage to the work of Pierre Bonnard, and in particular Bonnard’s 'Nude in the Bath', 1937 in the Petit Palais, Paris, which Collins would have seen when he lived in France in the 1970s. In making his own of Bonnard’s composition however, Collins typically reduced the palette, so that the nude is scarcely distinguished from the surrounding bath, the shape of which enables his penchant for a soft ‘frame within a frame’. The pose of the figure is given more energy in Collins' version, more upright, than Bonnard’s supine image. 'The Bath', was one of the first paintings Collins executed after his arrival in France, from where he continued to send pictures for exhibition to the Richie Hendriks Gallery, Dublin. It was purchased by the singer Luke Kelly of the Dubliners, and acquired from his partner Madeleine Seiler after the singer’s death in 1984.Collins was one of the first artists to be given a solo exhibition at Dublin’s Hendriks Gallery. It was he who introduced fellow painter Barrie Cooke to the gallery where both men regularly exhibited throughout the 1960s and ‘70s. Despite an irregular output, perhaps related to his bohemian lifestyle, Collins continued to be highly regarded. He was selected to represent Ireland at the Guggenheim Awards in 1958. He was elected honorary RHA in 1982 and became Saoi of Aosdana in 1987.'Patrick Collins, Through Sligo Eyes', formed part of the RTE Art Lives series, screened March 10, 2009.Catherine Marshall, April 2017(1) Fallon, Brian Fallon, 'Patrick Collins; A Modern Celt', Irish Arts Review, Spring, 2009.
Los 66
Daniel O'Neill (1920-1974)Fishermen's WivesOil on board, 51 x 67cm (20 x 26¼'')SignedProvenance: The collection of the late Sheila Tinney.Exhibited: RHA Annual Exhbition, 1950, Catalogue No.172; Daniel O’Neill Paintings 1945-51, Victor Waddington Galleries, Dublin, Cat No.10Born in Belfast, O’Neill’s painting career coincided with the outbreak of the second world war. His romantic depictions of human emotion, birth, love, death and suffering had instant appeal at his first solo show at Victor Waddington Galleries in October, 1946. Under contract with the dealer until the late 1960’s, Victor Waddington chose O’Neill’s pictures for touring exhibitions in New York, Amsterdam and London while at home, he selected his paintings for annual shows and chose this work to represent the painter at the Royal Hibernian Academy in 1950. In 1948, O’Neill spent several months in Paris. Titles in exhibition catalogues, ‘Village in Normandy’, ‘Breton Girl,’ and ‘Condé’ in September, 1949 and May 1951 tell us the artist went on sketching holidays in coastal towns in the north west. On his return to Conlig, Co. Down, O’Neill translated sketches into oil paintings for these exhibitions and was known to model his wife, Eileen who had dark eyes and black hair for a number of these paintings. Works from this period are characterized by O’Neill’s fascination with painting techniques and show the influence of artists Utrillo, Van Gogh, Rouault and Vlaminck.As dusk falls, two fishermen’s wives stand together waiting for the return of their husband’s boats in a coastal fishing village. The appearance of a registration number with the letter ‘F’ on the side of a boat probably represents the chief fishing port of Fécamp in Normandy, in the northeast of Le Harve located a few hours from Paris. O’Neill accomplishes surface quality as well as a pervading sense of foreboding in the composition. In the foreground, impasto has been applied to the headdress with a palette knife and the robe has been embellished with decoration by using the end of a brush. Dabbing a sponge on the beach area and squeezing liquid paint from a pinhole in the artist’s tube has resulted in a lace like effect on the neckline of the taller figure. The row of boats and absence of activity indicate fisher folk have returned home after a day out at sea. The calmness of the scene is disrupted by the darkening sky and uneasy expressions of the women. As light fades, sea birds leave but the fishermen’s wives remain standing one behind the other in a supportive role as they stare blankly out into the dark empty sea. O’Neill’s exhibition at Waddington’s in 1951 received several favorable reviews. One art critic commented, ‘his men and women have an innocent, far-away gaze, and they wear their scant garments with elegance…’ and further praised the technique of this work ‘…modelling with the brush the deep pools of brown which give the eyes of his ‘Fishermen Wives’ such daring candor…most of all he excels at making lonely skies of deep blue which create the atmosphere he requires to bewitch us into believing in the absurdly mystical world of fancy. The fact remains that he makes us believe.’ (Irish Press, 21 May, 1951, pg.3)Karen ReihillApril, 2017
Los 98
Cathy Carman (b.1952)Shine Silently and leapKilkenny Limestone, Height 90 cms (35.5”)Provenance: From the collection of the late Gillian Bowler.Exhibited: “Cathy Carman Second Solo Exhibition: Images of an Island”, The Grafton Gallery, Dublin, February/March 1987, Catalogue No.1, where purchased by Gillian Bowler. My work explores an interior landscape of myth and spirit, seeking poetic light in the female form. My figures shoulder burdens of loss, or are lifted in joy, by love and belonging.Shine Silently and Leap I carved this sculpture from a single block of limestone in Mc Keon’s Stone yard during the winter of 1986. In this carving I was influenced by the many stories of the poet Nuala Ni Dhonaill on the folklore of ‘Sheila na Gigs ‘. I was looking to express optimism and a defiant sense of self.Cathy Carman April 2017Our thanks to the artist for her help in cataloguing this piece.
Los 228
BOREL, 'Cocktail', a gilt metal kaleidoscope dial pendant watch, the black dial with red markers for minutes and hands, skeleton back revealing signed 17 jewel movement, the triangular mount pierced with a heart and a spade and a club, 45mm long, together with an 18 carat gold chain, the chain with Swiss poincon, 13.5gms CONDITION: movement functioning, light scratches to crystal
Los 233
Longines, a 1950s mid size stainless steel manual wind wristwatch, no. 6244/1/112, the silvered dial with gold markers, feuille hands, and outer seconds track, the signed 17 jewel movement no. 8025768, the case 30mm diameter, no strap CONDITION: movement functioning, good overall condition, light scratches to case back
Los 301
A group of silver plate comprising:- a 4-piece tea 7 coffee set with floral rims; a pair of 3-light candelabra with bead borders; a set of 6 table knives and 6 cheese knives by Mappin & webb (in original box); a small gallery tray; a 3-piece condiment set with lion mask feet; a tea-strainer and stand; a set of 8 lobster picks and 3 tongs. Candelabra 33.5 cm. highIn overall good condition except the branches of 1 candelabrum has come away from column and needs re-affixing, the candelabra have copper showing through on borders.
Los 342
A pair of late Victorian silver four-light candelabra by Hawksworth, Eyre & Co. Ltd, Sheffield, 1894, in the Adam style, fluted tapering columns on square filled bases with drapery swags and tassels, acanthus leaf corners, the capitals with stiff leaf and laurel swag decoration, bead borders, ribbed branches, 48 cm. high, 31.6 cm. span, weighable silver 2610 gm.In good condition, no holes or splits, one nozzle is unmarked and probably plated.
Los 85
A 18 carat gold, sapphire and diamond cluster ring, the central oval cut stone 9.9 x 8 x 4.4mm, in a surround of brilliants totalling approx. 1.20 carat, the shank fully hallmarked, finger size O, 5.4gms CONDITION: sapphire light in tone, with some zoning to the edge, abrasion to facet edges, diamonds bright and uniform (SI1/VS), shank solid
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534310 Los(e)/Seite