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Preisdatenbank abonnierenA Mahogany lockable cased Pressure testing and recording Device of very fine quality having a rotating drum graph recorder and stamped ''Crosby steam gauge & Sep. Z-1879, April 11 & Sept 5 -1882, Apr. 30-1895'' - ''14839'' and with substitute springs, fitting tools, isolating valve, lubricating oil, spare drum papers and wooden scales at 24, 40 and 80 to the inch, driving cords and a blue printed chart ''Springs for Crosby Indicators''
A Bertha Hummel nativity set, comprising; wooden stable, Mary BH 26/A, Joseph BH 26/B, Jesus /C, Angel /D, Angel /E, Melchior /F, Gaspar /G, Balthazar /H, Shepherd /I, Shepherd /K, Camel /L, Donkey /M, Ox /N, Boy with Calf /O, Peasant Girl with Basket /P, Sleeping Shepherd, Q, Girl with Lute, R, Girl with Recorder. All boxed (19 in total) Please see illustration
Miscellaneous Cameras including a Minolta XG/1, XG2, XG/M, X/300 together with a collection of miscellaneous lenses including Soligor, Tele Auto, 1:2.8, UN Skylight 52 mm Macro x 2, Minolta 55 mm 1:2, Kenko PL49 mm, RMC Tokina Doubler four / MD together with Tokina 500 mm and a Panasonic VHS Video recorder and a Samsonite Camera bag and various filters.
Erskine Nicol RSA ARA (1825-1904) A Shebeen at Donnybrook Oil on canvas, 61 x 87 cm (24 x 34½") Signed and dated 1851, old label verso Exhibited: Edinburgh, Royal Scottish Academy, 1852, no. 74; Cork, Crawford Gallery, Whipping The Herring, May-August 2006 The Ava Gallery, Clandeboye, "Ireland, Her People and Landscape", June-September 2013, Cat. No. 37 Literature: "Whipping the Herring" 2006, p116, illustrated p117 "Ireland, Her People and Landscape", illustrated p. 44 Erskine Nicol first visited Ireland from his native Scotland in 1846, the beginning of a longstanding relationship with the country. Travelling through Ireland and especially Connemara, Nicol witnessed the outbreak of the great potato famine which devastated the over-populated West of Ireland causing the death of more than a million people within ten years, with another million forced to emigrate. The artist stayed in Ireland until 1851 when he returned to Scotland, the same year that he painted the present work. Between 1850 and 1869 Nicol exhibited over ninety Irish subjects at the Royal Scottish Academy and over twenty at the Academy in London. After his fourth visit the artist returned for some months every year until ill health prevented him from travelling.. He is better remembered as a genre painter, but as a recorder of an Irish way of life he becomes historically important because there were few artists working in Ireland at that time, a country devastated initially by famine and later by mass evictions forcing mass emigration. Donnybrook Fair attracted numerous artists, including Edward Glew, George Du Noyer, William Brocas and Samuel Watson, who together with Nicol left a legacy of detailed panoramas. The fair was held near Dublin ( now subsumed with in the city), and attracted farmers from all over Ireland to buy and sell livestock. The huge, centuries-old annual gathering incorporated drinking booths, carousels and popular entertainments, and lasted up to two weeks. In the 1860's the authorities finally succeeded in closing the event because of 'revolting scenes of drunkenness and degrading immorality which were enacted every August at Donnybrook. The festival was the site of such predictable drunken violence that the word ' donnybrook' subsequently became synonymous with a 'riotous assembly'. A Shebeen at Donnybrook (shebeen meaning an illegal drinking house) shows more than twenty people in a triangular composition surmounted by a piper. Allusions to fighting are absent; instead there is the type of easy intimacy which authorities equally disliked. The emphasis is on drunkenness, and stereotypically stage Irishmen with red noses loll in the corners. The one on the left adjusts a fiddle, another slouches on the table in the centre, while behind someone shirls a shillelagh to dance, and an old woman smokes a pipe. The image is full of details of farmhouse paraphernalia, the press in the background with its door ajar displaying its contents, as shown previously by Grogan. The raggedness of people's clothes and the way the boy is dressed in tucked- -up skirts reflects Nicols's attention to detail and his familiarity with his subject. The artist was made an Associate of the Royal Scottish Academy in 1855 and an Academician in 1859. Nicol exhibited at the Royal Hibernian Academy and the Royal Academy and was made an Associate there in 1866. Claudia Kinmonth
Four recorders: grenadilla tenor recorder by Arnold Dolmetsch Ltd, Haslemere, 1959, no. 8483; rosewood descant (soprano) recorder by Arnold Dolmetsch Ltd, Haslemere, 1957, no. 7231, ivory mounts, both in multiple case; tenor recorder by Schott`s Concert model, made in Germany; boxwood bass recorder by Ernst Stieber, Tubingen, 1960, brass keywork and crook, cased, with original receipt
Large collection of assorted Subbuteo items to include; 16 boxed teams, 3 Continental Floodlighting, throw in figures, training kit `B`, F.A. Cup, half time score board, football express goalkeepers, football express goals, footballer statuette, flags, corner kickers, fence surround, match score recorder, world cup goals, world cup and plastic tee and dribbling posts. All have this original boxes. Together with Subbuteo table rugby and boxed Subbuteo Cricket items; TC-A Fielding Side West Indies.
A gents 18ct gold Cartier wristwatch, the silvered dial with hourly applied black Roman numerals, date dial set to twelve o`clock, subsidiary recorder dials to four and eight o`clock, inner minute track, numbered MG246457 Fitted to original Cartier black leather strap, with marked 18ct double folding clasp. Case width 28mm.
A pair of Meissen porcelain candlestick figures, late 19th century, as the musical shepherd and shepherdess, he standing in puce coat playing the bagpipes, his dog at his feet, she playing a recorder, a sheep at her feet, both standing before a tree trunk surmounted by a foliate sheathed sconce, on scroll moulded bases, crossed swords mark in underglaze blue, height 35cm Both figures with end of pipes lacking. Sheep with one ear and one foreleg lacking. Minor chips to foliage and some wear. 190213
•THOMAS BARCLAY HENNELL, R.W.S. (1903-1945) Hay - Making, Ash inscribed and dated verso` June 30th 1940, Hay-making, Ash` watercolour 12 ½ x 17in (31.8 x 43.2cm) Hennell was a meticulous recorder , in words and pictures of Britain`s vanishing rural crafts. Hennell had researched his first book `Change in the Farm` by travelling throughout Britain and Ireland, very often by bicycle. Many of Hennell`s watercolours centred on field landscapes and rural activities such as hedging, baling, and clearing orchards.
Omega Speedmaster Professional stainless steel gentleman`s wristwatch, the black dial having hourly batons, surrounded by a minute track, subsidiary recorder dials set at three, six and nine o`clock, the back case with speedmaster logo, attached to steel link bracelet with folding clasp, 40mm wide, with box and manual
Breitling Geneve Navitimer stainless steel gentleman`s wristwatch, reference 806, the black dial with three silvered recorder dials positioned at three, six and nine o`clock, with rotating bezel, round case, the back case engraved `Breitling` and numbered 806 and 1162303? (number rubbed), 41mm wide, with instruction manual
A George III circular inkwell by John Wakelin & William Taylor (maker’s mark only, struck four times), circa 1790, with a plain hinged cover to the central tapered well, a moulded ring handle to the plain gallery with moulded rims, engraved with a crest beneath a coronet, 10cm (4in) diameter, 211g (6.8 oz). This maker’s mark was used from 1787 until Wakelin went into partnership with Robert Garrard I on 20th October 1792. The crest and coronet of George William, 6th Earl of Coventry (1750-1809), Recorder of Coventry, Lord Lieutenant and Custos Rotulorum of co. Worcester. See Butler, Robin ‘The Albert Collection: Five Hundred Years of British and European Silver’, p. 293 for a similar example by Robert Garrard I, London 1809 with three quill holders and recorded in the Garrard & Co. ledgers. It was made for HRH the Duke of Cumberland and Teviotdale, later Ernst Augustus I, King of Hanover, and notes ‘A round gilt inkstand from a Wedg’d with sponge 13 oz 4d £11/12’. The form borrowed from a ceramic example by Josiah Wedgwood.
Jadwiga Lesiecka, Polish b.1921- Girl playing the recorder to birds; oil on board, signed, inscribed `Paris` and dated `58, 25x16.7cm: together with another oil on board by the same artist, depicting a man playing the cello, signed and dated `58, 28.5x9.2cm, (2), (may be subject to Droit de Suite)
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