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Lot 55
John Luke RUA (1906 -1975)Nude MaleOil on board, 69 x 23cm (27 x 9'')Provenance: Estate of the artist; Private Collection.Exhibited: John Luke (1906-1975), Ulster Museum, Belfast and Douglas Hyde Gallery, Dublin, 27 January-4 March 1978 (no. 4); John Luke: Work from The Studio, The Bell Gallery, Belfast, February-March 1980 (no. 23).Born into a working-class part of north Belfast John Luke initially left school to work in the city’s shipyards and then its linen mills. His extraordinary talent at drawing brought him to Belfast School of Art when he was still a teenager. After enrolling in evening classes his teachers encouraged him to become a full-time student. In 1927, after wining prizes at the Sorella Art Exhibition and the Royal Dublin Society’s Taylor Art Competition, Luke won the prestigious Dunville Art Scholarship, which would enable him to study at the Slade School of Fine Art in London for the next three years. This ‘Male Nude’ was painted at the Slade under the tutelage of Henry Tonks, one of the most influential teachers of drawing in the early twentieth century. It was completed in the ‘life painting’ class and its combination of incredibly fine drawing and tiny feathery cross-hatched brushstrokes, to build up light and shade, demonstrates Luke’s outstanding abilities as a draughtsman. Luke later recalled that Tonks had initially been critical of his drawings, stating ‘these are rather good, as far as they go, but there’s no form in any of them’, and subsequently Luke concentrated all his efforts to perfect his drawing skills. The striking facial features of this male nude would later be re-used for the central figure in Luke’s painting ‘The Rehearsal’, which was commissioned by the Belfast Museum and Art Gallery (now Ulster Museum) in 1948 as a demonstration of the tempera technique. Its anatomical fidelity also recalls Tonk’s drawings especially the male nudes he made as part of his work recording wounded veterans during the First World War. Tonks had initially trained as a surgeon and according to his biographer ‘used his anatomical knowledge to teach life drawing as a swift and intelligent activity’. Luke drew and painted many male nudes at the Slade employing a variety of different materials. A further example is his ‘Seated Figure’ (lot 54 above) which is quickly, and brilliantly, sketched with chalks. Tonks encouraged his students to work with pastels and chalks when drawing from life (like the old masters). Whether in chalk or oil paint Luke fully realized Tonk’s desire to see the model as a ‘corporeous unity’, to render the ‘flesh’ so it was almost tactile. Dr. Joseph McBrinnBelfast School of ArtUlster UniversityBorn into a working-class part of north Belfast John Luke initially left school to work in the city’s shipyards and then its linen mills. His extraordinary talent at drawing brought him to Belfast School of Art when he was still a teenager. After enrolling in evening classes his teachers encouraged him to become a full-time student. In 1927, after winning prizes at the Sorella Art Exhibition and the Royal Dublin Society’s Taylor Art Competition, Luke won the prestigious Dunville Art Scholarship, which would enable him to study at the Slade School of Fine Art in London for the next three years. This Male Nude was painted at the Slade under the tutelage of Henry Tonks, one of the most influential teachers of drawing in the early twentieth century. It was completed in the ‘life painting’ class and its combination of incredibly fine drawing and tiny feathery cross-hatched brushstrokes, to build up light and shade, demonstrates Luke’s outstanding abilities as a draughtsman. Luke later recalled that Tonks had initially been critical of his drawings, stating ‘these are rather good, as far as they go, but there’s no form in any of them’, and subsequently Luke concentrated all his efforts to perfect his drawing skills. The striking facial features of this male nude would later be re-used for the central figure in Luke’s painting The Rehearsal, which was commissioned by the Belfast Museum and Art Gallery (now Ulster Museum) in 1948 as a demonstration of the tempera technique. Its anatomical fidelity also recalls Tonk’s drawings, especially the male nudes he made as part of his work recording wounded veterans during the First World War. Tonks had initially trained as a surgeon and according to his biographer ‘used his anatomical knowledge to teach life drawing as a swift and intelligent activity’. Luke drew and painted many male nudes at the Slade employing a variety of different materials. A further example is his Seated Figure which is quickly, and brilliantly, sketched with chalks. Tonks encouraged his students to work with pastels and chalks when drawing from life (like the old masters). Whether in chalk or oil paint Luke fully realized Tonk’s desire to see the model as a ‘corporeous unity’, to render the ‘flesh’ so it was almost tactile. Dr. Joseph McBrinnBelfast School of ArtUlster University
Lot 128
A pair of carved and painted wood torchere stands, probably first half 19th century, each circular top with gadrooned edge, above a pierced and tapering tri-form stem, on a tripod base with acanthus and bell flower carved scrolling legs, each 112.5cm high, the tops 34cm diameter For related designs of ‘Candle Stand’ see Thomas Chippendale, ‘The Gentleman and Cabinet-Maker’s Director’, 1754, Plates CXX and CXXI, ( illustrated by Elizabeth White, Pictorial Dictionary of British 18th century Furniture Design, Antique Collectors Club, 1990, page 303-305).
Lot 182
A pair of George III painted demi-lune commodes, late 18th or early 19th century, each arbascato marble top above a central cupboard door decorated with a putti, classical medallions and foliate swags, flanked by similarly decorated bowed doors, each door divided by a trailing bell flower motif surmounted by a patera terminal, on turned and reeded tapering legs, each 88cm high, 118cm wide, 50cm deep Provenance: Private Collection, London The Collection of John Lionel Trafford of Hill Court Estate; Christie's House sale, Hill Court, Ross on Wye, 1982. Provenance: The Collection of John Lionel Trafford of Hill Court Estate.Christie's House sale, Hill Court, Ross on Wye, 1982. Hill Court, then called The Hill, was built for Richard Clarke (d 1702), then of Old Hill Court, from 1698 onwards. The design of the house, and of the garden, has been attributed (Daniels and Watkins 1994, 18) to John Kyrle. In the mid eighteenth century the house was heightened and extended by the addition of symmetrical wings. Following the death of Jane Clarke in 1806, the estate passed to Kingsmill Evans, grandson of Thomas Evans and Alice Clarke, Jane's aunt. He left the house to his nephew, Kingsmill Manley Power (d 1888). In 1890 the property was sold to Major Lionel Trafford whose family lived there until 1982. For a related pair of polychrome decorated commodes, see Christie’s , The Collection of the late Peter Ascroft, 17th August 2016, Lot 301.For a related design of single cabinet attributed to Mayhew & Ince and incorporating green painting, see Christie’s London, Lyons Demesne Works of Art from The Collection of The Late Dr. Tony Ryan, 14th July 2011, Lot 50 (£103,250). See also Christie’s, New York, Exceptional Sale, 13th April 2016, Lot 25 ($245,000) for a pair of George III side table demonstrating related design elements and use of green and polychrome painted decoration.
Lot 187
A substantial Louis XVI gilt and patinated bronze and white marble figural mantel clock, the movement by Laurent Ridel of Paris, the case possibly by Pierre-Philippe Thomire (French, 1751-1843), last quarter 18th century, with eight-day twin barrel movement and countwheel strike on bell; the circular enamelled Arabic dial in a drum case mounted with an amorino playing cymbals, above a classically inspired figural panel, the rounded rectangular section base mounted with two infant satyrs playing horns, and inset with engine milled panels and an openwork frieze cast with sphinges and masks, on six toupie feet; signed for clockmaker Ridel à Paris and enameller Coteau to the dial, circa 57cm high, 68cm wide Pierre-Philippe Thomire was one of the most important bronze casters of 18th century France, and was granted the title Ciseleur de l’Empereur (chaser to the Emperor) by Napoleon Bonaparte. His prolific firm not only produced bronze ornaments, but also created mounts for furniture and porcelain, collaborating for example with the renowned manufactory of Sèvres A near identical Louis XVI gilt bronze and marble clock modelled after Thomire with a movement by Molliens of Paris is illustrated in Pierre Kjelberg's Encyclopédie de la Pendule Francaise, du Moyen Age au XXe siècle, Les editions l'amateur, p. 259, fig c., and here it is also noted that a similar clock, only with a rouge griotte marble base, is in the permanent collection of the Musée du Louvre The classically inspired design with substantial figural mounts is typical of Thomire’s workshop, and the flaming altar to the figural panel below the dial might refer to the clock’s likely placement atop a chimneypiece As for Joseph Coteau (1740-1801), he was the most renowned enameller of his time, working with most of the best contemporary Parisian clockmakers. He was born in Geneva, where he was named master painter-enameler of the Académie de Saint Luc in 1766. Several years later he settled in Paris, and from 1772 to the end of his life, he was recorded in the rue Poupée. Coteau is known for a technique of relief enamel painting, which he perfected along with Parpette and which was used for certain Sèvres porcelain pieces, as well as for the dials of very fine clocks
Lot 121
Very rare Worcester scratch cross bell shaped mug circa 1754 with an applied face at lower terminal of handle, the mug painted in blue with a house and a tree and sampan to reverse, the handle with comma motifs on either side, 9cm high (riveted repair), Note: C.F Sandon dictionary of Worcester porcelain vol 1, page 151
Lot 555
Late 19th century French giltwood and painted mantel clock, the drum shaped case surmounted by an urn shaped finial and flanked by large birds on a circular base supported by winged figures on hook supports to a spreading circular base to a cast brass bezel enclosing a 12cm Arabic enamel dial with pink highlighted detail and pierced brass hands to a circular brass movement with anchor escapement and strike on a bell, height 53cm
Lot 557
Early 19th century French flame mahogany and gilt brass mounted portico clock, the plinth shaped case supported on four gilt metal capped columns to a plinth base to a cast foliate and beaded bezel enclosing a 10cms gilt and printed Roman dial with outside minute track, engine turned centre and blued steel moon hands to a large circular brass movement with back mounted count wheel and anchor escapement with strike on a bell and with brass and steel rodded pendulum with large embossed bob, height of case 44cms, the whole contained beneath a rectangular clear glass dome on black finished socle, overall height 57cms
Lot 559
Late 19th century English 8-day skeleton clock, the movement raised on an oval plinth base on shaped button feet and the whole contained beneath a further clear glass dome, also on an oval plinth with button feet to a movement with pierced and scrolling plates united by six waisted and finned pillars to a pierced and silvered Roman chapter ring with outside minute track and black finished hands to a twin fusee movement with six spoke wheels and anchor escapement with strike on a top mounted bell, overall height 47cm
Lot 560
Mid-19th century French contra-boule mounted bracket clock, LeRoy-Paris, the waisted case surmounted by a shaped gilt finial (removable) with further applied c-scroll and foliate detail with red and coloured inlay, with pierced and engraved sound frets on scrolling feet to a cast brass bezel with convex glass enclosing a cast 15cm dial with applied blue and white Roman enamel lozenges and black finished pierced hands to a signed circular brass movement with back mounted count wheel and anchor escapement strike on a bell, together with its original wall mounting bracket, height of clock 50cm, height of bracket 23cm
Lot 561
Late 19th century French ebonised brass, mother of pearl and nacre shell inlaid bracket clock, the shaped and waisted case with front panel profusely decorated with engraved brass and shell detail with floral fruiting vine and mask detail to a matching shaped and stepped wall mounting bracket to a cast and beaded bezel enclosing an 11cm Roman chapter ring with outside minute track and sunk centre with pierced and scrolling detail and gilt fleur de lys hands, to a circular brass movement with anchor escapement and strike on a bell, height of clock 44cm, height of bracket 26cm
Lot 562
Early 20th century French lacquered brass and champlev enamel four glass mantel clock, Maple & Co Ltd - Paris, the plinth shaped case with four bevelled glazed panels and blue, white and red enamelled pillars and similarly decorated bezel enclosing a signed 8cm Roman enamel dial with outside minute track and pierced gilt hands to a circular brass movement with anchor escapement and strike on a bell, height 25cm
Lot 563
Late 19th century French gilt brass and alabaster mantel clock, the arched case surmounted by a floral urn and flanked by classical masks over foliate and fruit applications to a break front oval base and raised on bladed feet with beaded bezel enclosing an 8 1/2 cm circular dial with applied gilt Roman numerals and further gilt spade hands to a circular brass movement with anchor escapement and strike on a bell, height 34cm
Lot 576
Early 19th century oak and mahogany cross-banded 8-day longcase clock, Pattison - Halifax, the hood with overhanging cornice and break arch with brass finials and plain frieze over fluted free standing columns to a moulded throat and further quarter columns flanking a shaped long trunk door on a panelled plinth base to a 33cms first period painted dial with moon phases to the arch and further painted spandrels depicting the four seasons and enclosing a Roman and Arabic chapter ring with subsidiary seconds and date sector with blued steel finished hands to a movement with plates united by four knopped pillars and with anchor escapement and strike on a bell, height 236cms
Lot 577
Early 19th century mahogany and boxwood line inlaid 8-day longcase clock, unsigned, the case with pagoda pediment surmounted by three globe and spike finials over Corinthian columns to an ogee moulded throat and long arched trunk door to a panelled plinth base on bun feet to a 31cm (12ins) arched dial with rocking ship painted to the arch and depicting British Naval vessel over gilt highlighted spandrels enclosing a repainted Arabic chapter ring with outside minute track and further Arabic quarters and enclosing subsidiaries for seconds and date with pierced and stamped brass hands to a movement with plates united by four knopped pillars and with anchor escapement and strike on a bell (associated), height 240cm
Lot 579
Mid-19th century mahogany cased 8-day longcase clock, maker name rubbed, the swan neck pediment with plain frieze to an overhanging cornice and fluted free-standing columns to a concave moulded throat with panelled trunk and short door flanked by quarter fluted columns to a panelled and plinth base to a 33cms (13ins) third period painted dial with gilt highlighted cartouche to the arch with further rosette spandrels to a convex third period Roman chapter ring with outside minute track and subsidiaries for seconds and date with pierced and stamped brass hands to a signed false plate and movement with plates united by four knopped pillars and with anchor escapement and strike on a bell (associated), height 228cms
Lot 580
Late 18th century walnut cased 8-day longcase clock, John Burputt - London, the case with arched door and overhanging moulded cornice to three-quarter columns to an ogee throat and long arched trunk door and panel plinth base to a 30cm (11 3/4 ins) arched brass dial with dolphin spandrels enclosing a silvered ring engraved Tempus Fugit and backed with a gilt painted sun for a rocking Old Father Time over cast mask and foliate spandrels to a Roman and Arabic chapter ring with outside minute and inside quarter track with half-hour diamond markers to a matted centre with subsidiary seconds and date sector in screwed name plate with pierced steel hands to a movement with plates united by four knopped pillars and with anchor escapement (bell lacking), (losses and damage throughout), height 225cm
Lot 136
English 18th century repeating verge gold pocket watch, the movement signed Charles Coulon, London, no, 2854, with plunge repeat with bell to the inner case, flat steel balance, pierced engraved balance cock and diamond endstone, enamel dial, multicoloured consular case embossed with strapwork and foliage enclosing a sleeping cherub, 87.2gm, 43mm (at fault) - Condition Report: Movement - requires service and repair.. Dial - loose dial with visible chip to the 12 position. Glass - surface marks. Hands - only a single hand present. Case - tarnished but generally good - see images. - Condition reports are provided for guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots.
Lot 216
Bell & Ross BR01-92 Aviation Type/Military Spec automatic black stainless steel gentleman's wristwatch, ref. BR01-92-5-03236, square black dial with quarter Arabic numerals, baton and minute markers and centre seconds, black rubber strap, 46mm (at fault) - Condition Report: - Movement - not functioning. Dial - heavy scratches and marks. Glass - lacking glass. Hands - chips to the minute hands, centre seconds bent. Case - some marks. Crown - adjusts. Strap - generally good. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 91
A 19th Century Continental mantel clock Of architectural form, the porcelain face decorated with classical scenes and Roman numerals, the polished metal case with figural mounts, raised on four swept feet to a brass movement striking on a bell, the clock is fitted to a later serpentine giltwood stand, height 32cm in total.ADDITIONAL INFORMATION/CONDITION REPORTback plate replaced, light wear/scratches
Lot 141
John Pritchard, London, a George III ebonised bracket clock, the sarcophagus top with gilt metal mounts and corner pineapple finials above an arched glazed door with pierced gilt metal spindles and caryatid mounts, glazed side panels and rear door raised on gilt metal bracket feet, the arched brass dial with engraved silvered chapter ring, strike/silent dial and calendar aperture surrounded by pierced chased foliate work, the twinned fusee movement with crown wheel escapement and foliate engraved rear plate no 518 repeating on a bell 51 cm high. Clock comes from a local deceased estate and has been neglected for many years, a damp environment has caused sections of mouldings to detach, some are lacking. The going train operates, the striking train gut is disconnected but works when tension.
Lot 142
An 18th Century French large Boulle bracket clock of overall balloon shape, the case embellished with gilt metal dial with blue enamel Roman numerals and outer engraved seconds, the twin train spring driven movement with outside numbered count wheel striking on a bell and signed "J Mornand, Paris" 82 cm high, the rear door with paper label "From the late Lord Lonsdale's Collection of Lowther Castle". (The clock case appears to have undergone overall amateur restorations, pendulum & key lacking).
Lot 33
Botany, Flora - Australasia and Americas - Adams - Common Seaweeds of New Zealand; Ed. Barbour, Bilings - North American Terrestrial Vegetation; Bishop - Field Guide to the Orchids of New South Wales and Victoria; Britton, Addison Brown - An Illustrated Flora of the Northern United States and Canada (Vols I, II & III) published by Dover; Ed. Christianson, Clayton, Allender - Seaweeds of Australia; Clements - Rocky Mountain Flowers; Cockayne - New Zealand Plants and Their Story; Corrick, Fuhrer, George - Wildflowers of Western Australia; Elouera Bushland Natural Park Trust - A Guide to Elouera Bushland Natural Park; Given - Rare and Endangered Plants of New Zealand; Groves - Australian Vegetation; Hardy - Wild Flowers in the Rockies; Ed. Hill - History of the Australian Vegetation Cretaceous to Recent; Hoffman, Brown - Orchids of South-West Australia; Ireland - A Taxonomic Revision of the Genus Plagiothecium for North America, North of Mexico; Kirkpatrick - Alpine Tasmania An Illustrated Guide to the Flora and Vegetation; Laing, Blackwell revised Godley - Plants of New Zealand; Launceston Field Naturalist Club - A Guide to Flowers and Plants of Tasmania; McMahon - Eucalypts for Enthusiasts; Nobel - Remarkable Agaves and Cacti; Ritchie - Postglacial Vegetation of Canada; Robinson - Field Guide to the Native Plants of Sydney; Slack, Bell - AMC Field Guide to the New England Alpine Summits, Adirondack Alpine Summits An Ecological Field Guide; Stricker, Stroinovsky - Wingecarribee Swamp a Natural and Cultural History; Vyverman, Hodgson, Tyler - Bibliotheca Diatomologica - Diatoms from Tasmanian Mountain Lakes; Wardle - Vegetation of New Zealand; Willis - A Handbook to Plants in Victoria (Vols I and II); Woolcock - A Fieldguide to Native Peaflowers of Victoria and Southeastern Australia
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