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Lot 350
Commemorative medals - Bronze Bell medal, 1909 Chamberlain Birthday medal, silver medal for the Oxford University Athletic Club, 11 Division Parachutist medal 1973, 1919 Grenfell, George Granville Duke of Sutherland, together with and assorted collection of bronze and base metal medals for various events (28)
Lot 216
A bronze baluster pot and cover, in Archaic style, the cover with three bird knops, the pot with chained handle with mask terminals, on three supports, 20cm high, two bronze horse bells, 8.5cm high, another bell, 3cm high, a belt hook, 11cm high, three crossbow bolts and a harness ornament, in the form of a dog`s head (10) Extensive wear and oxidisation throughout. Some damage. 130913
Lot 105
A late 19th century French carriage clock with push button repeat and alarm, the two train bell-striking movement with silvered platform escapement, the rectangular white enamel dial with Roman numerals and sweep second hand above a subsidiary alarm dial striking the hours and half hours, marked for Drocourt, no. 12290, in a cast gilt brass case decorated with mythical birds and stylized flora, h. 18 cm CONDITION REPORT: Clock, case and movement in good condition No guarantee as to working order EXTRA INFO: not currently ticking, strikes on the half hour but not on the hour when minute hand is manually moved, please see additional images, please note we use Mailboxes Etc for all our P&P enquiries
Lot 157
A late 17th century and later brass lantern clock, the chapter ring with Roman numerals supporting a twin train movement with anchor escapement and count wheel striking on an overhead bell, h. 26 cm including bell CONDITION REPORT: Some old restoration No guarantee as to working order No pendulum PLEASE SEE EXTRA IMAGES
Lot 409
A 19th Century French "Vineyard" clock, the circular enamelled dial with Roman numerals inscribed "Gaillard Pere à Monflanquin" within a gilt decorated chased surround depicting bunches of grapes and vine leaves with pierced basket of flowers surmount, the twin train movement with crown escapement striking a bell, with matching pendulum and weights, 27 cm wide x 42 cm
Lot 402
An Early 19th Century Mahogany North Country Longcase Clock, the arched hood with swan neck pediment flanked by turned pilasters above a shaped door flanked by turned pilasters, raised upon bracket feet, the painted dial inscribed `J Lowe` and with automaton movement and subsidiary seconds and date dial and with two train eight day movement striking on a bell
Lot 419
A 19th Century and Later Miniature Long Case Clock, the arched hood with shell inlays and Corinthian columns above a shaped door with central inlay raised upon ogee bracket feet, the painted dial inscribed J. Smith, Warwick and with moon phase movement and two train movement striking on a bell
Lot 420
An 18th Century Oak Long Case Clock, the square hood with turned columns above a rectangular door and conforming plinth base, the brass dial inscribed John Melling, Chester, the brass chapter ring with Roman and Arabic numerals and subsidiary seconds dial with date aperture and with two train movement striking on a bell
Lot 129
20th century South African Sterling Silver Goblet in a similar manner to Patrick Mavros (silver supplier to HRH the Duke of Cambridge), the bell shaped cup supported on a plain stem surrounded by cast half Lions and Spiral Horned Antelope, stamped South African duty marks and indistinctly signed, Height 17.5 cms, approx. 161.4g.
Lot 813
An 18th century Guernsey eight day longcase clock by Nicolas Blondel the twin train bell strike movement with four turned and ring engraved pillars, anchor escapement, the backplate inscribed `OCTOBRE: 16eme No 38 L`AN: 1749`, further hand scratched inscription below detailing maintenance work carried out, the brass Roman dial with outer arabic minutes, matted centre with subsidiary seconds dial and date aperture, black painted pierced steel hands, the chapter ring signed `N: Blondel Guernesey` at six, gilt metal four seasons spandrels, in a country made beech and elm case, the hood with flared ogee cornice over a square glazed door with turned pilasters and rectangular side glasses, on a plain trunk and plinth base, 79in. (201cm.) high.
Lot 112
John Luke RUA (1906-1975) Shaw's Bridge Belfast Oil and tempera on linen laid on board, 31.8 x 44.5cm (12½ x 17½") Signed and dated '39, signed again and inscribed "Shaw's Bridge, Belfast" verso Provenance. The Bell family by descent and sold by them at Christies May 1999 Lot 218 where purchased by current owner. Exhibited: "United Artists Exhibition", Royal Academy London, 1940, Cat. No. 352; "Ulster Artists Exhibition: The Work of John Luke", Belfast Museum and Art Gallery, 4-28 September 1946, Cat. No. 30; "Exhibition of Paintings by John Luke", CEMA Gallery, Belfast, November 1948, Cat. No. 19; "John Luke Exhibition", Queen's University Common Room, Belfast, 1960, Cat. No. 15; "John Luke (1906-1975"), Ulster Museum, Belfast, 27 January - 4 March 1978, Cat. No. 39; "Ulster Artists Exhibition The Ava Gallery" April 2010 Cat. No. 20; "Ireland her People and Landscape Exhibition" The Ava Gallery June - September 2012 Cat. No. 28; and "Northern Rhythm: The Art of John Luke (1906-1975)", Ulster Museum, Belfast, 2 November 2012 - 28 April 2013, Cat. No 23 Literature: "The Landscapes of John Luke" by John Hewitt, The Studio, August 1949 (Illustrated); "John Luke (1906 - 1978)" By John Hewitt Belfast 1978 p38. Front cover illustration; "Ulster Artists" 2010, Ava Gallery, illustrated p.21; "Ireland: Her People and Landscape" 2012.by Dr. Rosin Kennedy, p.4, illustrated p.5 and again p.35 "Northern Rhythm: The Art of John Luke" 2012 by Joseph Mc Brinn illustrated p.39 John Luke was born in north Belfast and his first job was working in Belfast's thriving shipbuilding industry. He was a student at the Belfast School of Art but left in 1927 to enrol at the Slade School in London, where he studied under Henry Tonks and shared a studio with his fellow countryman F.E. McWilliam. He returned to Belfast in 1931. "Shaw's Bridge" is probably Luke's last major work before the start of the Second World War and a significant point in the artist's development. This work recalls the earlier composition "The Bridge" from 1936 with its more simplified form and colours. Luke painted at least two versions of the bridge, the earliest in 1936, and he made at least one linocut print (c.1933), an example of which was sold in these rooms in 2008. "Shaw's Bridge" represents a synthesis in the artist's style, culminating in the more recognisable decorative and rhythmical compositions, and it is the work in which he settled on the technique of applying oil glazes over a tempera base. Luke continued to use this unusual technique for the remainder of his meticulously planned and executed easel paintings. "Shaw's Bridge" is probably the last painting that Luke completed with an identifiable topographical subject matter. After 1940 he turned increasingly to mural painting and public commissions.
Lot 162
John Henry Foley RHA RA (1818-1874) Youth at the Stream Bronze, rich red-brown patina, 54.5cm(21½") high Inscribed and dated "J.H. Foley Sculp. Executed for The Art Union of London, 1846" Literature: "Victorian Sculpture" by B. Read, 1982, p65; "The Bronze Statuettes of the Art Union of London: The Rise and Decline of Victorian Taste in Sculpture", Apollo, May 1985, p328-337; "A Dictionary of Irish Artists" by W.G. Strickland, p357-365 Born in Dublin, the son of a grocer, John Henry Foley entered the Royal Dublin Society Schools in 1833 and subsequently the Royal Academy Schools from 1835, studying under Richard Westmacott (1775-1856). He exhibited there from 1839 and first attracted attention at the R.A. in 1840 with his "Innocence" and "Bacchus", showing the influence of Etienne Maurice Falconet (1716-1791). He was to carry on producing works in this genre, culminating in "Youth at the Stream". These idealised sculptures are delicately executed and elegantly attenuated showing a Mannerist influence. The Art Union (later the Art Journal), Foley's most consistent critic and champion, considered "Youth at the Stream" to be the most beautiful work at the R.A. exhibition in 1844 and, in 1846, commissioned a statuette version of it in bronze of which this is one. Foley also sent "Youth at the Steam" to an exhibition in Westminster Hall in 1844, which resulted in his selection by the Commissioners, along with Calder Marshall and John Bell, to create works in sculpture for the new Houses of Parliament. His political portraits, in particular, that of John Hampden, led to his rapid ascension to the status of the pre-eminent sculptor of mid-Victorian Britain. He was made an Associate of the Royal Academy in 1849 and a full member in 1858.
Lot 12
AN INDIAN DECORATED ELEPHANT GOAD (ANCUS), 19TH CENTURY with characteristic hook-shaped terminal and central blade, openwork haft with a rattle bell in each section (one missing), and rounded basal cap, decorated throughout with gold koftgari scrolls, foliage and chevron patterns (some wear) 54 cm; 21 1/4 in overall
Lot 455
A FINE 20 BORE OVER-AND-UNDER FLINTLOCK TRAVELLING PISTOL BY J. EGG, NO. 1 PICCADILLY, LONDON, NO. 2227, CIRCA 1820-35, WITH PRESENTATION INSCRIPTION TO BARON OSTEN FROM LIEUTENANT COLONEL BROTHERTON with browned twist sighted barrels, signed in gold letters on the top flat of the upper barrel and engraved with the address in script on the lower, the upper breech decorated with a shaped gold band and the lower with a pair of lines (the breech scratched), platinum lined vents, engraved case-hardened tang incorporating the back-sight, decorated with flowers, foliage and scrollwork, signed locks engraved with scrolls, foliage and sunbursts, fitted with blued bolt safety-catches (incomplete), `French` cocks (top-jaws and screws replaced), semi-rainproof pans, external blued mainsprings with rollers acting on the steels, figured walnut butt cut with a panel of fine chequering, engraved blued steel mounts comprising trigger-guard decorated with trophies of arms, butt-cap enclosed by a garland and with `skull cracking` terminal, browned steel ramrod-pipe with retaining spring (detached), flower-shaped silver escutcheon engraved with presentation inscription, blued steel ramrod with chequered finial, and much early finish throughout: in contemporary fitted blackened oak case lined in green baize, the lid with rectangular flush-fitting brass carrying handle (one fastening stud missing), the inside with trade label of Collins, 12 Vigo Lane, Regent Street, and with some accessories including cleaning rod, turnscrew, bullet mould, and various spare parts in a leather pouch 18 cm; 7 1/8 in barrels The friendship symbolised by this pistol probably began during the Napoleonic war (1803-15). Its donor, Thomas William Brotherton (1785-1868), served in seven cavalry and five infantry regiments. First seeing action with the Coldstream Guards in Egypt in 1801, he served in the 3rd Foot Guards during the brief campaign in Hannover in 1805. As an officer in the 14th Light Dragoons, he fought during the Peninsular war from 1808 until 1813, being wounded at Salamanca in 1812 and at Nive in 1813, when he was captured. Remaining in the army after the end of the war, he occupied staff positions of increasing seniority and ended his career as a general, Knight Grand Cross of the Bath (GCB) and colonel of the 1st Dragoon Guards. His eventful life is summarised in the Oxford Dictionary of National Biography (2004). The recipient of this pistol, Wilhelm von der Osten, Baron Osten (1782-1852), was a Hannoverian nobleman. Joining the 13th Hannoverian infantry regiment in 1801, he was appointed lieutenant in the Hannoverian Life Guards in 1802. Upon the disbandment of the Hannoverian army following the French invasion in 1803, he travelled to Britain to become a lieutenant in the 1st Light Dragoons, King`s German Legion, and served in Hannover in 1805. In November 1808, Osten secured a cornetcy in the Scots Greys and then, after ten days, a lieutenancy in the 16th Light Dragoons - with which he went to Spain to be present at the battle of Talavera in 1809. In September 1810, he was appointed extra ADC to Lieutenant-General Sir Stapleton Cotton (later Viscount Combermere), commander of the British cavalry, and in November 1810 became major of brigade in Colonel The Hon. George de Grey`s brigade of heavy cavalry. In July 1811 he was transferred to the cavalry brigade commanded by his fellow-Hannoverian, Major General Victor von Alten, Baron Alten, and served in Alten`s brigade throughout the remainder of the Peninsular war. Returning to regimental duty with the 16th Light Dragoons in 1814, he was with his regiment at the battle of Waterloo in 1815, where he was slightly wounded. Purchasing his captaincy in the newly designated 16th Lancers in 1816, Osten became a Knight of the Hannoverian Guelphic Order (KH) in 1819 and accompanied the regiment to India in 1822, being present at the siege and capture of Bharatpur in 1825. In May 1827 Osten survived an attack by a lion while hunting and in October that year purchased his majority in 16th Lancers. He returned to Britain in 1832 and retired by sale of his commission in 1834. After leaving the British army, Osten rejoined the Hannoverian army on half pay; he was promoted lieutenant-colonel in 1836, colonel in 1839 and major general in 1849. He died at Rufford Abbey in Yorkshire, the seat of the Earl of Scarbrough. Brotherton and Osten both served in Hannover in 1805; perhaps they became friends then. Between July 1812 and late 1813 Brotherton`s 14th Light Dragoons was part of Alten`s brigade, in which Osten was major of brigade. Both men were present at the battles of Busaco, Salamanca, Vitoria, Nivelle and Nive, as well as at smaller actions - such as that of Castrillo in July 1812, a cavalry encounter that involved both men, in 1838, in some controversy published in the pages of the United Service Magazine. Brotherton became a lieutenant-colonel in May 1814 and between 1832 and 1841 he served in that rank in the 16th Lancers, Osten`s regiment: so between 1832 and 1834 Brotherton and Osten would have been fellow regimental officers stationed in Britain. Collins is recorded at 12 Vigo Lane Regent Street circa 1825-32. Bell`s Life in London, 22nd July 1838, made the following announcement: `J. Collins begs to inform the Nobility and Gentry that he still continues to keep a very extensive collection of London made guns…..and he can afford to sell them at half their original cost. Among his stock will be found a large assortment of Pistols of every description, both new and second hand`. See H. L Blackmore 1999, pp. 57-58.
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