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Preisdatenbank abonnieren1467-1468 AD. First reign, light coinage, type VIII. Obv: facing bust with quatrefoils each side of neck and on breast within tressure with trefoils on cusps and EDWARD DI GRA REX ANGL Z FRAN legend and 'coronet' mintmark. Rev: long cross and pellets with POSVI DEVM ADIVTORE MEVM and CIVITAS LONDON legend for London mint with 'sun' mintmark. S. 2001; N. 1571. 2.67 grams. . [No Reserve]. Very fine.
A sawn block of red-brown sandstone, polished on two sides, with areas of precious opal diffracting light in primarily purples, blues and greens, in white card tray. See Bonewitz, Dr. Ronald Louis, Rocks & Minerals, 2008, p.232-233. 85 grams, 71mm (2 3/4"). Found Australia; from the historic ‘Victorian Museum’ and later collection of Gregory, Bottley & Lloyd (Gregory's); formerly Gregory, Bottley & Co. (1932-1981) and previously J. R. Gregory & Co. (1898-1932); originally James Reynolds Gregory (1858-1898"). This item is part of a historic collection of fossils and minerals which has recently been reviewed by leading geological expert Dr. Ronald Bonewitz. The firm Gregory, Bottley and Lloyd (Gregory's), was acquired by TimeLine Auctions in 2016. London-born James Reynolds Gregory (1832-1899) founded the company, which is the second longest-running gem and fossil dealership in the world. James was educated at Archbishop Tennison's School, and afterward found employment in a jewellery company on Regent Street. In 1858 he established his own business in King William Street. A few years later he moved to ‘very extensive premises’ in Golden Square, Covent Garden. He was one of the best known dealers in London, exhibiting at major commercial shows throughout the world and winning awards for excellence in Paris in 1867, Sydney in 1879 and London in 1862, 1883 and 1884. James primarily bought his stock at auction, from collectors and other dealers, and supplied many major collectors and scientists of his day. He built superb personal collections, a selection going to the British Museum. He wrote many papers and was a member of several learned societies including the Society of Arts. The business became known as J.R. Gregory & Company in 1896, still under James' management with the assistance of his son Albert Gregory (b.1864"). When James died three years later, the business passed to Albert. At the end of the 19th century most London dealers had folded or retired, many selling out to J.R. Gregory & Co. Albert continued by acquiring Russell and Shaw (Est. 1848) in 1925 and Francis H. Butler (Est. 1884) in 1927. Percy Bottley (1904-1980) took over the company in 1931, renaming it Gregory, Bottley & Company with respect to his predecessors. Percy’s company survived the 2nd World War by buying out all of its competitors, including the supplier to Pitt-Rivers, Samuel Henson (Est. 1840) and G.H. Richards (Est. 1897) in 1936. Percy also added many important collections to his stock including those of Rev. F. Holmes in 1940, and the Graves collection in 1943. Following Percy's death in 1981, the business was sold to Brian Lloyd, whereupon it became Gregory, Bottley & Lloyd. Brian had been Sotheby’s main Natural History expert in the 1960s and 1970s, and subsequently traded from Pall Mall. The business continued to thrive, and Brian purchased the Joseph Neeld (1789-1856) collection in 1974 and the historic gold collection of H.S. Gordon, first exhibited at the Empire Exhibition, South Africa in 1936. Brian moved the business to 12-13 Rickett Street in 1982, and to 13 Seagrave Road in 1993. He carried on the company's specialization in historic collections, most recently acquiring that of Robert Ferguson (1767-1840) in 2000. The business moved to Walmer in Kent in 2008, and was acquired by TimeLine in April 2016. Trading History Est. 1858 (59 Frith Street, Soho) 1859 - 1861 (3 King William Street, Strand) 1862 - 1866 (25 Golden Square, Covent Garden) 1866 - 1874 (15 Russell Street, Covent Garden) 1874 - 1895 (88 Charlotte Street, Fitzroy Square) 1896 - 1906 (1 Kelso Place, Kensington) 1907 - 1926 (139 Fulham Road, Chelsea) 1926 - 1981 (30 (Old) Church Street, Chelsea) 1982 - 1993 (12-13 Rickett Street, Fulham) 1993 - 2007 (13 Seagrave Road, Fulham) 2008 - 2016 (59 Liverpool Road, Walmer, Kent) 2016 - (363 Main Road, Harwich, Essex) . Extremely fine condition.
A matrix specimen of the zeolite prehnite comprising numerous light green crystals in columnar aggregates on a basalt matrix. See Bonewitz, Dr. Ronald Louis, Rocks & Minerals, 2008, p.269. 585 grams, 11.9cm (4 1/2"). Found Maharashita, India; from the historic ‘Victorian Museum’ and later collection of Gregory, Bottley & Lloyd (Gregory's); formerly Gregory, Bottley & Co. (1932-1981) and previously J. R. Gregory & Co. (1898-1932); originally James Reynolds Gregory (1858-1898"). This item is part of a historic collection of fossils and minerals which has recently been reviewed by leading geological expert Dr. Ronald Bonewitz. The firm Gregory, Bottley and Lloyd (Gregory's), was acquired by TimeLine Auctions in 2016. London-born James Reynolds Gregory (1832-1899) founded the company, which is the second longest-running gem and fossil dealership in the world. James was educated at Archbishop Tennison's School, and afterward found employment in a jewellery company on Regent Street. In 1858 he established his own business in King William Street. A few years later he moved to ‘very extensive premises’ in Golden Square, Covent Garden. He was one of the best known dealers in London, exhibiting at major commercial shows throughout the world and winning awards for excellence in Paris in 1867, Sydney in 1879 and London in 1862, 1883 and 1884. James primarily bought his stock at auction, from collectors and other dealers, and supplied many major collectors and scientists of his day. He built superb personal collections, a selection going to the British Museum. He wrote many papers and was a member of several learned societies including the Society of Arts. The business became known as J.R. Gregory & Company in 1896, still under James' management with the assistance of his son Albert Gregory (b.1864"). When James died three years later, the business passed to Albert. At the end of the 19th century most London dealers had folded or retired, many selling out to J.R. Gregory & Co. Albert continued by acquiring Russell and Shaw (Est. 1848) in 1925 and Francis H. Butler (Est. 1884) in 1927. Percy Bottley (1904-1980) took over the company in 1931, renaming it Gregory, Bottley & Company with respect to his predecessors. Percy’s company survived the 2nd World War by buying out all of its competitors, including the supplier to Pitt-Rivers, Samuel Henson (Est. 1840) and G.H. Richards (Est. 1897) in 1936. Percy also added many important collections to his stock including those of Rev. F. Holmes in 1940, and the Graves collection in 1943. Following Percy's death in 1981, the business was sold to Brian Lloyd, whereupon it became Gregory, Bottley & Lloyd. Brian had been Sotheby’s main Natural History expert in the 1960s and 1970s, and subsequently traded from Pall Mall. The business continued to thrive, and Brian purchased the Joseph Neeld (1789-1856) collection in 1974 and the historic gold collection of H.S. Gordon, first exhibited at the Empire Exhibition, South Africa in 1936. Brian moved the business to 12-13 Rickett Street in 1982, and to 13 Seagrave Road in 1993. He carried on the company's specialization in historic collections, most recently acquiring that of Robert Ferguson (1767-1840) in 2000. The business moved to Walmer in Kent in 2008, and was acquired by TimeLine in April 2016. Trading History Est. 1858 (59 Frith Street, Soho) 1859 - 1861 (3 King William Street, Strand) 1862 - 1866 (25 Golden Square, Covent Garden) 1866 - 1874 (15 Russell Street, Covent Garden) 1874 - 1895 (88 Charlotte Street, Fitzroy Square) 1896 - 1906 (1 Kelso Place, Kensington) 1907 - 1926 (139 Fulham Road, Chelsea) 1926 - 1981 (30 (Old) Church Street, Chelsea) 1982 - 1993 (12-13 Rickett Street, Fulham) 1993 - 2007 (13 Seagrave Road, Fulham) 2008 - 2016 (59 Liverpool Road, Walmer, Kent) 2016 - (363 Main Road, Harwich, Essex) [No Reserve]. Extremely fine condition. Fine example.
A collection of jewellery, comprising; a plain silver sovereign case, hallmarked Birmingham 1913, by A.L. Dennisson; a pair of azurite and malachite hoop earrings, with silver clip and post fittings stamped 925; a synthetic blue spinel canted-rectangular single stone ring; a silver and very pale light green oval aquamarine single stone ring; a moonstone and cultured half-pearl abstract ring; an oval smoky quartz single stone ring; an oval shell cameo of a young girl; a Waterford crystal heart shaped pendant and chain; a costume locket depicting a lady in a pink dress; and a colourless paste oval brooch (11).
1466 - 1467 AD First reign, light coinage, type VII. Obv: facing bust with quatrefoils each side of neck within tressure with trefoils on cusps with EDWARD DI GRA REX ANGLI Z FRANC legend and 'sun' mintmark. Rev: long cross and pellets with POSVI DEVM ADIVTOREM MEVM and CIVITAS LONDON legends for London mint. 2.92 grams. [No Reserve]. Good fine.
Dated 1887 AD. Jubilee head. Obv: profile bust with VICTORIA DEI GRATIA legend. Rev: cruciform arms with sceptres in angles with BRITT REG FID DEF legend and date with Arabic 1. S. 3923; ESC 6th, 2697 (old 395); BSC 541. 22.57 grams. . [No Reserve]. Almost uncirculated; light hairlines, lustre.
A sawn block of red-brown sandstone, polished on two sides, with areas of precious opal diffracting light in primarily purples, blues and greens, in white card tray. See Bonewitz, Dr. Ronald Louis, Rocks & Minerals, 2008, p.232-233. 120 grams, 54mm (2"). Found Australia; from the historic ‘Victorian Museum’ and later collection of Gregory, Bottley & Lloyd (Gregory's); formerly Gregory, Bottley & Co. (1932-1981) and previously J. R. Gregory & Co. (1898-1932); originally James Reynolds Gregory (1858-1898"). This item is part of a historic collection of fossils and minerals which has recently been reviewed by leading geological expert Dr. Ronald Bonewitz. The firm Gregory, Bottley and Lloyd (Gregory's), was acquired by TimeLine Auctions in 2016. London-born James Reynolds Gregory (1832-1899) founded the company, which is the second longest-running gem and fossil dealership in the world. James was educated at Archbishop Tennison's School, and afterward found employment in a jewellery company on Regent Street. In 1858 he established his own business in King William Street. A few years later he moved to ‘very extensive premises’ in Golden Square, Covent Garden. He was one of the best known dealers in London, exhibiting at major commercial shows throughout the world and winning awards for excellence in Paris in 1867, Sydney in 1879 and London in 1862, 1883 and 1884. James primarily bought his stock at auction, from collectors and other dealers, and supplied many major collectors and scientists of his day. He built superb personal collections, a selection going to the British Museum. He wrote many papers and was a member of several learned societies including the Society of Arts. The business became known as J.R. Gregory & Company in 1896, still under James' management with the assistance of his son Albert Gregory (b.1864"). When James died three years later, the business passed to Albert. At the end of the 19th century most London dealers had folded or retired, many selling out to J.R. Gregory & Co. Albert continued by acquiring Russell and Shaw (Est. 1848) in 1925 and Francis H. Butler (Est. 1884) in 1927. Percy Bottley (1904-1980) took over the company in 1931, renaming it Gregory, Bottley & Company with respect to his predecessors. Percy’s company survived the 2nd World War by buying out all of its competitors, including the supplier to Pitt-Rivers, Samuel Henson (Est. 1840) and G.H. Richards (Est. 1897) in 1936. Percy also added many important collections to his stock including those of Rev. F. Holmes in 1940, and the Graves collection in 1943. Following Percy's death in 1981, the business was sold to Brian Lloyd, whereupon it became Gregory, Bottley & Lloyd. Brian had been Sotheby’s main Natural History expert in the 1960s and 1970s, and subsequently traded from Pall Mall. The business continued to thrive, and Brian purchased the Joseph Neeld (1789-1856) collection in 1974 and the historic gold collection of H.S. Gordon, first exhibited at the Empire Exhibition, South Africa in 1936. Brian moved the business to 12-13 Rickett Street in 1982, and to 13 Seagrave Road in 1993. He carried on the company's specialization in historic collections, most recently acquiring that of Robert Ferguson (1767-1840) in 2000. The business moved to Walmer in Kent in 2008, and was acquired by TimeLine in April 2016. Trading History Est. 1858 (59 Frith Street, Soho) 1859 - 1861 (3 King William Street, Strand) 1862 - 1866 (25 Golden Square, Covent Garden) 1866 - 1874 (15 Russell Street, Covent Garden) 1874 - 1895 (88 Charlotte Street, Fitzroy Square) 1896 - 1906 (1 Kelso Place, Kensington) 1907 - 1926 (139 Fulham Road, Chelsea) 1926 - 1981 (30 (Old) Church Street, Chelsea) 1982 - 1993 (12-13 Rickett Street, Fulham) 1993 - 2007 (13 Seagrave Road, Fulham) 2008 - 2016 (59 Liverpool Road, Walmer, Kent) 2016 - (363 Main Road, Harwich, Essex) . Extremely fine condition.
2nd-3rd century AD. A large bust of Hercules (Herakles) wearing a lion skin fastened over his shoulders with paws resting on his chest; right hand holding a club raised over his right shoulder; left hand holding three apples and face of a lion skin; very fine facial details with large curly beard and short curly hair with fillet. See similar pose on marble statue The Bust of Commodus as Hercules, Capitoline Museums, Rome. Accompanied by an Art Loss Register certificate. 2.52 kg, 25.2cm (10"). Extremely fine condition. Important.Property of a Surrey collector; acquired in the early 1970s. Accompanied by a copy of positive metallurgic analytical results, written by Metallurgist Dr. Peter Northover (ex Department of Materials, Materials Science-Based Archaeology Group & Department of Materials, University of Oxford").Hercules (Greek Herakles) was the son of Zeus and a mortal queen Alkmene. He displayed his great strength since early childhood, when he killed two snakes that were sent by the goddess Hera (Roman Juno) to kill him in his cradle. Heroic deeds such as sailing with the Argonauts, liberation of the Titan Prometheus, the twelve labours in the service of king Eurystheus and his voluntary death on a pyre on Mount Oite, mark his progress from hero to immortal where he ascended to Olympus and was given the goddess Hebe as a wife. In his aspect as kallinikos, meaning 'the radiant victor', in all forms of contest, he became the national hero of the Greeks. He was popular with the ordinary people as alexikalos, or protector against misfortune, and someone one could turn to in need. His club was an object of protection and was replicated in small versions to be worn as amulets. The Hercules knot, with which the god tied the skin of the Nemean lion about his shoulders, would also take on apotropaic powers, especially among women, where it was used in a variety of jewellery, but also to tie the belt around the wedding dress on the day of marriage. The apples that Hercules holds in this image relate to the eleventh labour. The Hesperides were nymphs of evening and golden light of sunset, who were the Daughters of the Evening or Nymphs of the West. They tend a blissful garden in a far western corner of the world, located near the Atlas mountains in North Africa at the edge of the encircling Oceanus, the world-ocean, and it is in this garden that the golden tree is located. As well as the garden, the golden tree and the nymphs, the Titan Atlas was also here holding up the heavens.Hercules tricked him into retrieving some of the golden apples for him, by offering to hold up the heavens for a little while. Upon his return, Atlas decided that he did not want to take the heavens back, and instead offered to deliver the apples himself to king Eurystheus, but Hercules tricked him again by agreeing to take his place on condition that Atlas relieve him temporarily, so that Hercules could make his cloak more comfortable. Atlas agreed, but Hercules reneged and walked away, carrying the apples. However, since those apples were not meant for mortals, they were given to Athena who took them back to the garden. Hercules was a popular god in Rome, as well, and had many temples dedicated to him. He was also a patron deity of some of the emperors who would depict themselves in the guise of the god, such as Commodus. In the city of Rome, Hercules had many epithets such as Custos, 'custodian', Invictus, 'unconquered', and Triumphalis 'the triumphant'. He was also especially worshipped in Gaul where he was amalgamated with native Celtic deities such as Ilunnus, Magusanus and Saegon, and had an important healing shrine at Deneuvre. The life of Hercules, which involved heroic struggles for the benefit of mankind, overcoming of evil forces and eventual apotheosis, led to a mystery cult developed around him. Though not as popular as that of Isis, Dionysus or Cybele, it found favour among the troops and a number of altars and dedications are known depicting the initiated in the guise of the god.
Late Period, 664-332 BC. A carved black jasper amuletic bead with bifacial decoration, to one side a finely carved wedjat, to the reverse three ankh symbols; pierced. 5.40 grams, 22mm (1"). From an early 20th century collection. The term 'Eye of Horus' is understood to refer to the moon, though this was later confused with the Eye of Ra and took on many solar connotations. The Eye of Horus fought the enemies of light and was itself seen as personifying fire. In chapter forty two of the Book of the Dead the text states that, 'I am one who is with the Sound Eye; even when closed I am in its protection'. The myth tells how the eye of Horus was lost in a battle against Seth and then recovered. It was this eye which was presented by Horus to his father Osiris, thereby helping him attain new life. . Very fine condition.
Dated 1789 AD. National series. Obv: profile bust with G left and III right with date 1788 below and GOD SAVE THE KING legend. Rev: with WHEN / WE FORGET / HIM / MAY GOD FORGET / US / Thurlow in six lines with RESTORED TO HEALTH / MARCH 1798 in two lines in exergue. D&H Middlesex 185; Atkins 11. 12.79 grams. . With old dealer ticket. . Uncirculated; lustre with light tone.
16th century AD. A Paduan cast bronze mount in the form of a naked satyr standing on a bar terminating in a recurved hoof; the left hand gripping the hair and right hand bearing an amphora of wine raised to the shoulder; to the rear, a bracket for attachment; supplied with custom-made display stand. Cf. Kaufmann, L. The Noble Savage: Satyrs and Satyr Families in Renaissance Art, Michigan, 1981, for discussion. 1.2 kg, 20.5cm including stand (8"). Ex Levett Collection, Musée d’Art Classique de Mougins, France; formerly with Peter Sternberg, early 1980s, and an XRF ancient metal test certificate from Oxford X-ray Fluorescence Ltd accompanies the piece. During the Renaissance the Satyr personified evil, or rather lust, one of the Seven Deadly Sins of the Bible. The well known antics of the satyrs from Greek and Roman art and literature, which included drunkenness and fornication, would have led to them being seen in a negative light in Christian Europe. However, around 1500 Satyrs started to be seen for a short while in a new light, reflecting interest in primitivism, at the start of the age of exploration. Thus satyrs began to be depicted together with their families, and it is possible that this piece formed part of a larger group, possibly an inkstand. Such inkstands were the characteristic product of the workshop of Severo Calzetta, known as Severo da Ravenna, who trained in Padua but spent most of his career working in the city of Ravenna, where he developed a successful business producing bronzes in large numbers. Utensils such as his inkstands were produced as separately cast components which were screwed together to create the finished product. Many examples of the satyr inkstand survive but very few which are absolutely intact. . Very fine condition.
A brown meteorite from an unidentified locality, probably an L-chondrite, based on its relatively light weight and ablation crust; their name comes from their relatively low iron abundance. See: Korochantseva et al. 'L-chondrite asteroid breakup tied to Ordovician meteorite shower by multiple isochron 40Ar-39Ar dating' Meteoritics & Planetary Science 42, 1, pp. 3-150, Jan. 2007. 17 grams, 27mm (1"). From the historic ‘Victorian Museum’ and later collection of Gregory, Bottley & Lloyd (Gregory's); formerly Gregory, Bottley & Co. (1932-1981) and previously J. R. Gregory & Co. (1898-1932); originally James Reynolds Gregory (1858-1898"). This item is part of a historic collection of fossils and minerals which has recently been reviewed by leading geological expert Dr. Ronald Bonewitz. The firm Gregory, Bottley and Lloyd (Gregory's), was acquired by TimeLine Auctions in 2016. London-born James Reynolds Gregory (1832-1899) founded the company, which is the second longest-running gem and fossil dealership in the world. James was educated at Archbishop Tennison's School, and afterward found employment in a jewellery company on Regent Street. In 1858 he established his own business in King William Street. A few years later he moved to ‘very extensive premises’ in Golden Square, Covent Garden. He was one of the best known dealers in London, exhibiting at major commercial shows throughout the world and winning awards for excellence in Paris in 1867, Sydney in 1879 and London in 1862, 1883 and 1884. James primarily bought his stock at auction, from collectors and other dealers, and supplied many major collectors and scientists of his day. He built superb personal collections, a selection going to the British Museum. He wrote many papers and was a member of several learned societies including the Society of Arts. The business became known as J.R. Gregory & Company in 1896, still under James' management with the assistance of his son Albert Gregory (b.1864"). When James died three years later, the business passed to Albert. At the end of the 19th century most London dealers had folded or retired, many selling out to J.R. Gregory & Co. Albert continued by acquiring Russell and Shaw (Est. 1848) in 1925 and Francis H. Butler (Est. 1884) in 1927. Percy Bottley (1904-1980) took over the company in 1931, renaming it Gregory, Bottley & Company with respect to his predecessors. Percy’s company survived the 2nd World War by buying out all of its competitors, including the supplier to Pitt-Rivers, Samuel Henson (Est. 1840) and G.H. Richards (Est. 1897) in 1936. Percy also added many important collections to his stock including those of Rev. F. Holmes in 1940, and the Graves collection in 1943. Following Percy's death in 1981, the business was sold to Brian Lloyd, whereupon it became Gregory, Bottley & Lloyd. Brian had been Sotheby’s main Natural History expert in the 1960s and 1970s, and subsequently traded from Pall Mall. The business continued to thrive, and Brian purchased the Joseph Neeld (1789-1856) collection in 1974 and the historic gold collection of H.S. Gordon, first exhibited at the Empire Exhibition, South Africa in 1936. Brian moved the business to 12-13 Rickett Street in 1982, and to 13 Seagrave Road in 1993. He carried on the company's specialization in historic collections, most recently acquiring that of Robert Ferguson (1767-1840) in 2000. The business moved to Walmer in Kent in 2008, and was acquired by TimeLine in April 2016. Trading History Est. 1858 (59 Frith Street, Soho) 1859 - 1861 (3 King William Street, Strand) 1862 - 1866 (25 Golden Square, Covent Garden) 1866 - 1874 (15 Russell Street, Covent Garden) 1874 - 1895 (88 Charlotte Street, Fitzroy Square) 1896 - 1906 (1 Kelso Place, Kensington) 1907 - 1926 (139 Fulham Road, Chelsea) 1926 - 1981 (30 (Old) Church Street, Chelsea) 1982 - 1993 (12-13 Rickett Street, Fulham) 1993 - 2007 (13 Seagrave Road, Fulham) 2008 - 2016 (59 Liverpool Road, Walmer, Kent) 2016 - (363 Main Road, Harwich, Essex) [No Reserve]. Extremely fine condition.
Dated '1797', issued 2000 AD. By Donald R. Golder, struck in copper, silvered-copper and yellow metal. Obvs: profile bust with incuse GEORGIUS III D G REX legend. Revs: seated Britannia with incuse BRITANNIA legend and date and with added FLORENT CONCORDIA REGNA inscription; in case of issue, with certificate numbered 47 of 500 issued. 250 grams total, case 16 x 8cm. . [3]. Proof FDC, some light toning. Scarce commemorative set.
5th-6th century AD. A flat-section silver pendant with integral suspension loop, facing mask with long moustache extending beyond the cheeks; punched detailing of dot and triangle-with-pellets; inset garnets to the eyes and mouth each with open reverse to transmit light. Cf. human mask on the Åker buckle in Franceschi, G., Jorn, A. & Magnus, B. Mennesker, Guder og Masker i Nordisk Jernalderkunst, vol.1, Borgen, 2005 items 70, 71. 19 grams, 55mm (2 1/4"). Property of a German gentleman; acquired on the European art market in the 1990s. [No Reserve]. Fine condition.
15th century AD. A carved wooden architectural figure of a saint(?) or dignitary in loose robes, with neat beard and styled hair, right hand clasped to the chest; later suspension loop to the reverse with old collector's paper inked label stating 'Mediaeval Figure / Ripon Cathedral / 15th century'. 1.1 kg, 35.5cm (14"). Property of a Kent collector; by inheritance 1970; formerly property of Jack Smith, antiquarian and collector of Hebden Bridge, Yorkshire, UK, acquired 1920s-1960s. There has been a church on the site of Ripon Cathedral since at least the 7th century AD; the present structure is mainly medieval and was largely completed by the late 15th century but the tower remained incomplete in 1547 when, under Edward VI, the college of canons was dissolved; the minster church was designated as a cathedral for the new diocese of Ripon in 1836, the first since the period of the Reformation. [No Reserve]. Good condition, left arm absent, some old worm holes, light wear to face and lower body.
18th-19th century AD. A group of six Spanish Catholic medallions including: one in the shape of Our Lady of Guadelupe holding infant Christ; one with seated figure of the Virgin Mary holding infant Christ and with seven roses around her head, to the reverse a kneeling saint (Anthony ?) with rays of light in front; one with a figure of the Virgin Mary holding the infant Christ and standing on a column, kneeling figure in front, to the reverse standing figure of the Virgin Mary with hands clasped in prayer and nimbus around body; one with the figure of Our Lady of Guadelupe, to the reverse the bust of a bearded and bald male saint; one with the standing figure of the Infant of Prague, to the reverse a lobed border with 'MENSAJERO MINO JESUS DE PRAGUE' within; one with the figure of the Virgin Mary standing on the crescent moon, holding the infant Christ and with nimbus around body, to the reverse the kneeling figure of a bearded and bald male saint. 14 grams total, 21-29mm (3/4 - 1 1/4"). Property of a Middlesex gentleman; acquired in the 1980s. [6, No Reserve]. Fine condition.
John Kingerlee (b.1936)Grid - Kilcatherine (2007) oil on board signed, titled & dated 2007 on reverse 25.40 x 61cm (10 x 24in) Provenance: Private Collection Picked for USA tour 'John Kingerlee' by former New York Times art critic William Zimmer which exhibited in sixteen cities across the US between 2007 and 2010. Grid Kilcatherine toured American museums for three years as part of a major John Kingerlee retrospective. The grid series represents the summation of this distinguished artist's career, appealing to major collectors and critics across the globe. The series began in 1996 following a trip to the ancient burial mound of Tara near the River Boyne in County Meath, Ireland. The experience gave Kingerlee a profound sense of ancient power and our ancestors' attempts to preserve an awareness of this within the landscape. Eventually the artist distilled these thoughts and feelings into an innovative group of landscape paintings that became known as the grids, in which he adapted the cellular web of the Cubists and applied it to timeless elemental settings. The grids have also been dubbed pneumas, from the ancient Greek word for breath or, when used in a religious context, spirit or soul. For the ancient Greek philosopher Anaximenes, pneuma was the primary substance from which all things are made. In the hands of the painter, oil pigment is the medium from which his subject must be brought to life, and Kingerlee's approach with his rows of dissolving 'plaques' stresses both repetition and coherence. His fundamental belief is that all things in the universe are linked, they are parts of an overriding unity, hence in a work such as the present one there is a strong sense of continuation into infinity: the breadth and depth of the composition are not limited by the confines of the picture frame. The multi-layered surfaces of the grids are themselves evocative of geological or archaeological strata, with the upper 'crust' hiding numerous earlier manifestations of the painting (some in bright primary colours), whilst at the same time respecting that evolution by allowing the textured build-up of pigment to push through the upper skin. The process of accumulation and reduction to which each grid is subjected is a metaphor for the processes of nature - birth, growth, germination, disintegration, and regeneration. The artist is acutely aware of these cycles, living as he has done on the exposed west coast of Ireland for over thirty-five years, observing the weathering effects of wind and the erosion of the coast by heavy seas. The light too changes constantly in this primordial setting, revealing and concealing, the very edge of the land intensifying one's awareness of it as the eye is drawn by the huge dome of the sky. In Kilcatherine Grid two rows of five plaques seem to hang suspended in pale blue space. Each one could be a landscape or seascape in its own right, some even evoke suggestions of faces through the smears of paint and the drier accretions of impasto. Dissolution and break-up are, however, held in check by a sense of order that is manifested in the artist's reliance on symmetry and balance. The spaces between the plaques form a row of four linked crosses, their edges blurred to a greater or lesser extent so as to suggest that this colour not only separates but also forms a background to the plaques, like stones projecting above the surface of the sea or clouds scattered across the sky - each element animated, of course, by pneuma. Jonathan Benington, October 2016
Paul Henry RHA (1876-1958)In the Western Mountains (c.1934-9)oil on board signed 'PAUL HENRY' lower right 25½ x 30½cm (10 x 12in)Provenance: Combridge Fine Art, Dublin (label verso); Private CollectionA late work by Paul Henry with thin paint applied, notably in the sky, but treated directly and with little or no overpainting, which adds to the appeal of the scene. Indeed this is true of the whole canvas. In the mountains the paint has been applied a little more heavily, but just enough to indicate the direction of light, although in the cottages and the immediate foreground the paint is heavier and has been applied briskly nonetheless. All this contributes to the sense of recession and shows Henry at the height of his powers. Throughout good use has been made of the grain of the canvas. The paint, as usual with Henry, has been applied methodically—in the thatch of the cottage roofs and in the foreground, for example—which also suggests a date of c. 1934-9. The work is a good example of Henry’s later work in which the landscape has been handled in an almost iconic manner. In the Western Mountains is numbered 1308 in S. B. Kennedy’s ongoing cataloguing of Henry’s oeuvre. Dr. S.B. Kennedy, November 2016
John Shinnors (b.1950)Figure by the Black Seaoil on canvas signed lower right, signed & titled on reverse 61 x 61cm (24 x 24in)Provenance: Private CollectionJohn Shinnors was born in Limerick in 1950 and studied at the Limerick School of Art and Design. He has exhibited nationally and internationally since the 1980's with the Taylor Gallery, Dublin as his principal gallery. He is a member of Aosdána and is involved in the promotion of the arts through the Shinnors Scholarship and the Shinnors Drawing Award. Shinnors is represented in many private and public collections and was the subject of the RTE 1 documentary "Split Image John Shinnors". He is involved in promoting the arts through the Shinnors Scholarship. He lives and works in Limerick. Shinnors paints reoccurring themes and this allows him to paint portraits with dramatic contrasts of light and dark, these dark and light tones are a major element in his work with shapes taking precedence over line. The shapes are nearly square in format with broad flat strokes. The blacks and whites are rich with yellow and gold hues. The work is textured with great atmosphere and energy compelling the viewer to be involved.
Donald Teskey RHA (b.1956)Amtrak Drawing No.1 (Bridge & Tunnel People) (2007)diptych charcoal on paper signed lower right & dated 2007 105 x 150cm (41 x 59in)Provenance: First Art Ltd, London (label verso) where purchased by the present ownerDonald Teskey was born in Co. Limerick in 1956. He graduated from Limerick College of Art and Design with a Diploma in Fine Art in 1978. He came to prominence as an artist during the 1980s, with several significant solo exhibitions as well as being the recipient of awards in EVA and the Claremorris Open Exhibition. In 2003 he was elected a member of the Royal Hibernian Academy. The images reflect his response to the formal elements of composition; shape, form and the fall of light. Works are made in his studio but based on extensive studies and detailed notes. The result is powerful images of instantly recognisable parts of the landscape and cityscapes with large abstract passages and surfaces which articulate the relentless energetic and elemental force of nature.
W.W 1 Medal Group awarded to 2nd Lieutenant John Morris Davies, British War & Victory Medals 1914/1918. Also his Death Plaque with framed typed letter of momorial from Buckingham Palace , A uniformed photo , An EPNS Durham Light Infantry Tankard South Africa 1900-1902 , A 1914 Christmas tin, 2 Proielling pencils , a glass inkwell & a letter from France dated 04/10/18
6-shot .31” American Blunt & Syms Patent Ring Trigger Self Cocking Percussion Pepperbox Revolver, fluted barrels, foliate engraved round frame stamped Blunt & Syms, New York, two-piece bag shaped walnut gips. Overall 21cms, barrels 12cms. Fair condition, age worn overall with some light pitting.
6-shot 54 Bore Bar Hammer Self-Cocking English Transitional Percussion Revolver 31cms, octagonal barrel 15cms engraved Improved Revolver, Birmingham proved, round foliate engraved frame, hammer and gripstrap with hinged cap box in buttcap, 2-piece chequered walnut grips, good working order and condition (light patination overall). Contained in its relined (?) velvet lined mahogany case with enigmatic illustrated trade label printed thus: ‘To WM Eaton from the late Edward London, Gun Maker, 98 London Wall, London’ containing mahogany loading rod and faded sepia photo. Good Condition.
^ Late 18th Century English Spadroon, straight single edge blade etched with crowned GR cipher, pre-1800 royal arms, martial trophies and foliage; back edge with J J Runkel Solingen, iron stirrup hilt, facetted pommel chiselled with a pair of stylised human masks, fluted ivory grip, blade 82.5cms. Good condition and age patina, light even pitting overall.
^ French or Belgian Hunting Knife, probably made for the Indian market, late 19th century, straight blade with wavy edges inlaid with silver flowering foliage and trophies; one piece ivory grip, engraved silver ‘crosspiece’ and pommel of coronet form. Blade 46cms. Good condition, light pitting, pommel slightly crushed.
CERAMIC SEASCAPE PENDANT BY EC CERAMIC DESIGNof pale blue and white design, on silver marked chain, with boxNote: Eleanor Caie produces and finishes her ceramics at WASPS Artists' Studio in Glasgow. The use of light is continually explored in Eleanor's work and she draws inspiration from the disharmony between nature and the built environment. Through using a variety of making and firing techniques completely unique ceramic designs are created.
CERAMIC LANDSCAPE VESSEL BY EC CERAMIC DESIGNdepicting the rolling Scottish topography, 7cm highNote: Eleanor Caie produces and finishes her ceramics at WASPS Artists' Studio in Glasgow. The use of light is continually explored in Eleanor's work and she draws inspiration from the disharmony between nature and the built environment. Through using a variety of making and firing techniques completely unique ceramic designs are created.
'TEA DANCE' BY STEVIE SPIERSsigned photographic print, in light oak frame, signed and titled to the mount, image size 30cm x 41cm, frame size 52.5cm x 52.5cmNote: Stevie Spiers creates fun and humorous scenes with the help of little model railway figures. The figures are hand painted by Stevie or his supplier then he adds his creative imagination. He if one a select few who have been given a licence agreement by Tunnock's allowing him to use their brand in his images.
LARGE CERAMIC LANDSCAPE DISH BY EC CERAMIC DESIGNof wavy-rim design, 35cm in diameterNote: Eleanor Caie produces and finishes her ceramics at WASPS Artists' Studio in Glasgow. The use of light is continually explored in Eleanor's work and she draws inspiration from the disharmony between nature and the built environment. Through using a variety of making and firing techniques completely unique ceramic designs are created.
SET OF FOUR HANDMADE CERAMIC CHRISTMAS ORNAMENTS BY EC CERAMIC DESIGNof Christmas tree and bell design, with boxNote: Eleanor Caie produces and finishes her ceramics at WASPS Artists' Studio in Glasgow. The use of light is continually explored in Eleanor's work and she draws inspiration from the disharmony between nature and the built environment. Through using a variety of making and firing techniques completely unique ceramic designs are created.
'GREEN BIRD' HAND-MADE FUSED GLASS SCULPTUREthe hand-made glass bird decorated in green and black on a wooden base, 28.5cm highNote: In Ayr, Leona Stewart produces glass art ranging from stained glass panels, mirrors; light shades; window panels and other decorative glass items as well as running regular classes in glass making in her workshop.
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