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Lot 2408
A late 1950's grey Gabadie dress with large buttons in shades of grey, by Barraclough. The dress had large patch pockets and is longer at the back on the hem and is an extension on the front; a Berketex hounds tooth check shift dress 1970's with a white pointed collar and sleeves; a 1970's navy and white shift dress by Kitty Copeland with pointed collar; a ladies pride navy shift with a bow (4)
Lot 2416
A collection of ladies clothes to include; Edwardian evening dress embellished tulle in sequins in silver, with a wide red velvet sash and bow; a 1980s coffee coloured dress with padded shoulders embellished in silver beadwork; a Jasper Conran long knitted shift dress, fully lined 1990; a green beaded long dress by Monchera (French) with iridescent paste decorated, long with straps (4)
Lot 2438
A collection of lace to include; Victorian cotton, lace, cream and coffee coloured, 1870's inset collars, some damage, strips of lace (discoloured) large lace collars, Victorian and Edwardian and 1930's satin collar and cuffs, stitched pattern and a large crepe bow collar detail with press stud and a long pieces of black lace (Q)
Lot 2455
A 1950's vanity case containing a collection of gloves and two faux fur collars, including a faux Ocelot one, and a 1960 vanity case; a white early 1960 bag with two handles and a metal clip; a black suede bag; a navy leather 1960's bag with a clip and a collection of nylon stockings (5 pairs) and a white early 1960's pillbox hat with a net veil and a satin bow at front (Q)
Lot 2474
A collection of gloves to include two pair of white cloth, turquoise, deep pink, long gloves (all 1950's) a jade green pair of gloves, ruched and a pair of black leather gloves; a white leather 1960's mini skirt with a metal zip; a coffee coloured beige garment late 1970's midi dress by Karida; a organza apron 1930/40's; a cotton mauve 1950's apron; black silk stockings; a peach satin nightdress with embroidered fabric bow in cream by Maffucci; a nightdress with a pink underneath in black nylon with a pink underskirt decorated with satin ribbon; a Jaeger waistcoat with gold buttons, the pattern is in orange and beige (10)
Lot 142
ERSKINE NICOL RSA ARA (1825-1904)Prayers at the High CrossOil on canvas, 98 x 73cmSigned and dated 1851 lower right The location of Nicol’s painting bares some similarities with the monastery at Clonmacnoise in county Offaly which after many centuries of attacks was finally destroyed by the English garrison in Athlone in 1552 as part of the dissolution of the monasteries. The round tower in the background strongly resembles O’Rourke’s tower, whose cap is missing after the structure was struck by lightning during a storm in 1135. Nicol, a Scotsman by birth, spent many years in Ireland, first visiting in 1846. He established a longstanding relationship with the country and this work may reflect his sympathy towards the Irish people whose religion and de facto culture had been systematically destroyed by English colonisation. The focal point of the painted composition and in turn the attention of its subjects is the high cross. It is most likely a depiction of the Cross of the Scriptures, which is one of the most skilfully executed carving of the surviving high crosses in Ireland. Nicol has positioned it at an angle to give us full view of the detailed carving on the side panels, casting the centre of the cross in shadow. Instead the light falls on the individuals kneeling in devotion around the base. While no dialogue is being spoken, there is an intense expression of the inner communion between the faithful as they offer their prayers up to the cross. One cannot ignore the visual reference to crucifixion paintings in the present example. The figure of young woman to the left of the composition is visually reminiscent of depictions of Mary Magdalene clinging to the foot of the cross. Overcome with emotion, her hat discarded on the ground, she fallen forward, her forehead resting on the stone plinth. The carving on the cross itself depicts scenes from the scriptures, including Christ’s death. The episodic nature of the decoration culminates in the central motif of Christ, with his arms outstretched shielding two figures. Only one figure is standing, set apart in many ways from her genuflecting companions. While they close their eyes and bow their heads in quiet reflection, she stands staring defiantly at the cross. While we are denied the visual drama of the crucified body of Christ, the cross acts a symbolic reminder of that sacrifice. The woman who is standing, similar to the Virgin Mary’s role in crucifixion paintings, bears witness to this suffering, interceding on our behalf and that of the faithful gathered around her. Nicol enlivens the scene with his characteristic eye for detail. The elderly gentleman leaning on his cane for support, his coat worn thin with age, and the faintest glimpse of red handkerchief peeking out from one of the pockets. Or the young woman seated behind him, rosary beads clasped between her hands, still wearing her apron, whose edges are fraying. These are ordinary, working peasants, whose life and customs were the focus of much of Nicol’s artistic output while in Ireland. He exhibited this painting at the Royal Scottish Academy in 1857, showing a version of Irish identity that was not inclined towards caricature of the ‘stage Irishman’ but moving towards the Realist tradition of his European counterparts. The development of the Celtic revival in the 1840s saw a call for more specifically Irish art, as expressed by Thomas Davis, one of the founders of the Young Ireland who claimed that painting ought to be “a pictorial history of our houses, arts, costume and manners”. (Murray, Peter (ed), “Realism versus Romanticism in Framing National Identity”, Whipping the Herring, Survival and Celebration in Nineteenth-Century Irish Art, Murray, Cork: Crawford Art Gallery and Gandon Editions, 2006, p. 11
Lot 88
A PAIR OF VICTORIAN HOLLOW GOLD EARRINGS, A PASTE BROOCH, AN ART DECO PASTE BROOCH, A VICTORIAN SILVER AND GOLD BIRD BROOCH, BIRMINGHAM 1896, AN ENAMELLED LILIES BELT BUCKLE, A BANDED AGATE MIRROR COMPACT, A SHELL CAMEO WITH MICROMOSAIC BORDER IN SILVER, A PASTE BOW BROOCH, A VICTORIAN FOB MEDAL, A CHAIN MAILLE PURSE AND OTHER ITEMS++GENERAL WEAR AND DAMAGE CONSISTENT WITH AGE, EARRINGS MISSING LOOPS
Lot 525
An ormolu Louis Philippe Chinoiserie figural mantelclock, second quarter 19th century, with later quartz timepiece movement; the tapered rectangular section body mounted with a horseman in Far Eastern attire wielding a bow on a chased and textured mount surrounding the foliage-framed timepiece, above a band of cast stylised palm trees, the base on raised scrolling feet and with gilt foliate frieze, 49 cm high, 35 cm wide, 11.5 cm deep
Lot 302
An unusual 4/4 violin with single piece mahogany back, replacement maple bridge by 'Aubert', ebonised pegs, fingerboard and saddle, body has been finished in a dark varnish. Inside bares label reading 'Fato in Verona di Giacomo Zanoli 17', together with full size bow and housed in mahogany veneered case with fitted interior
Lot 43
A late 19th century violin bearing label 'Antonius Stradiuarius Cremonensis Faciebat Anno 1713', length of back 37cm, with bow stamped 'Bausch Copy' and hard case.Condition: slight split visible along centre join line up the back of body, minor crack to right side f-hole, bridge missing, some wear with minor chips to corners and along purfling, blackening of front of body, possible dirt build up.
Lot 42
A collection of early 20th century, and later jewellery, to include two unmarked yellow metal openwork pendant pieces, one which is set with purple stones and seed pearls, the other with pink paste opal and seed pearls, a blue stone safety pin brooch, a blue glass spider bar brooch, a bar brooch set with two flies (suffragette colours), a yellow metal necklace set with a seed pearl bow and two drop round blue sapphires, measuring approximately 4.9mm and two lockets
Lot 12
A pair of large scale Chinese relief carved and painted wood bow-front hanging street signs, with bands of raised gilded text and dragon decorated pediments, height excluding iron hangers 218cm (7'3"). Text translates as "Peach road in the shade of a 10-way street" and "Smoke from many families flower the air like fireworks".
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