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Lot 559
A small quantity of commemorative medals, comprising: Coronation of George II, 1727, silver, Obv. Bust, laureate, armoured and draped. GEORGIVS. II. D.G. MAG. BR. FR. ET. HIB. REX. Rev. The King enthroned, is crowned by Brittania VOLENTES. PER. POPULOS. (E 510) fine; Diamond Jubilee of Queen Victoria, 1897, silver, Obv. Bust, crowned, veiled and draped. VICTORIA ANNVM REGNI SEXAGESIMVM FELICITER CLAVDIT XX IVN. MDCCCXCVII. Rev. Young head of the Queen, dividing inscription, LONGITVDO DIERVM IN DEXTERAEIVS ET IN SINISTRA GLORIA, (E 1817a), extremely fine; South African War, Memorial, 1900, bronze, (E 1850a), near very fine; Coronation of Edward VII, 1902, silver, 56mm, Obv. crowned and draped. EDWARD VII CROWNED 9. AUGUST 1902 Rev. Bust, crowned, veiled and draped. ALEXANDRA QUEEN CONSORT, (E 1871a), extremely fine; Coronation of Edward VII, 1902, bronze, 56mm, Obv. crowned and draped. EDWARD VII CROWNED 9. AUGUST 1902 Rev. Bust, crowned, veiled and draped. ALEXANDRA QUEEN CONSORT, (E 1871a), extremely fine; Diamond Jubilee of Queen Victoria, 1897, Bronze, Obv. Bust, crowned, veiled and draped, VICTORIA QUEEN OF ENGLAND EMPRESS OF INDIA, DIAMOND JUBILEE 1837 - 1897 Rev. further commemorative text superimposed over relief representation of British imperial territories, extremely fine; and other copper, bronze and white metal items. [12]
Lot 560
A quantity of commemorative medals, including: Coronation of Edward VII, 1902, silver (2), Obv. Bust, crowned and draped. EDWARD VII CROWNED 9. AUGUST 1902 Rev. crowned, veiled and draped. ALEXANDRA QUEEN CONSORT, (E 1871b) very fine; Liverpool and Manchester Railway Opened, 1830, white metal, (E 1223), about very fine; Coronation, 1838, White Metal, BUST VICTORIA QUEEN OF GREAT BRITAIN BORN MAY 24. 1819 Rev. The Queen enthroned, crowned by Britannia, Hibernia, Scotia and Religion; above, LONG LIVE THE QUEEN. (a variant of E. 1312), near very fine; Ten Hours Bill, 1848, white metal, (E 1423), near very fine; Death of Sir Robert Peel, 1850, white metal, (E 1450), near very fine; Great Exhibition, 1851, white metal, (E 1463), very fine; Cork Fine Art Exhibition, 1852, white metal, (E 1467), near very fine; Death of the Duke of Wellington, 1852, white metal, (a variant of E 1468), good fine; Inauguration of Aston Hall, 1858, white metal, (E 1520), good very fine; International Exhibition, 1862, white metal, (a variant of E 1555), fine; Coronation of Edward VII, 1902, white metal, (a variant of E 1869B-C), extremely fine; and other white metal items. [qty]
Lot 617
A collection of 19th Century British token coinage, including; Birmingham, one penny, 1811, BIRMINGHAM AND NEATH Crown, fine to near very fine [2]; Birmingham, one penny, 1812, BIRMINGHAM AND WARWICKSHIRE Crown, near very fine [2]; Birmingham, one penny, 1812, BIRMINGHAM view of the workhouse building rev. ONE POUND PAYABLE AT THE WORKHOUSE FOR 240 TOKENS, fine [2]; Worcester, one penny, 1813, JOHN KNAPP JUNIOR rev. PAYABLE IN CASH NOTES, near very fine; Bristol, halfpenny, 1811, VIRTUTE ET INDUSTRIA shield of arms rev. PAYABLE AT BRISTOL, SWANSEA AND LONDON, very fine; Glanclywedog, one penny, 1813, view of Glanclywedog Factory, near fine; Bilston, twopence, 1811, bare-headed, ermine-robed bust of George III rev. PAYABLE BY RUSHBURY & WOOLLEY view of the Royal Exchange building, near fine; Norwich, halfpenny, 1811, hope with shield rev. REGENCY Arms of Norwich shield, near very fine to very fine [2]; London, halfpenny, 1811, Thomas Wood, Broker, auctioneer, general agent rev. PAYABLE AT THE OLD STOCK EXCHANGE, near very fine; and others, various grades ranging from poor to very fine. [qty]
Lot 618
A collection of 18th Century British token coinage, including; Coventry, halfpenny, 1793, 1794, Lady Godiva on horseback, rev. Elephant and castle, near very fine to very fine [3]; Shropshire, halfpenny, 1788, John Wilkinson Iron Master his bust rev. Barge, very fine; Leek, halfpenny, 1793, Caduceus in front of bales rev. ARTE FAVENTE NIL DESPERANDUM, near very fine to very fine [2]; Dimchurch, halfpenny, 1794, ROMNEY MARSH HALFPENNY Lamb above WP cypher, very fine; Pidcock, halfpenny, Rhinoceros rev. Two headed cow, very fine; Stafford, penny, 1801, Castle and four lions rev. cypher above knot, very fine; Norfolk, halfpenny, 1793, Mounted dragoon rev. view of barracks, very fine; Anglesey, one penny, 1787, druids head in wreath rev. cypher, poor to near very fine [4]; Bath, halfpenny, 1794, HE SPAKE OF TREES FROM THE CEDAR TREE THAT IS IN LEBANON frames Botanic Garden entrance rev. tree and ruined wall, very fine; and others, various grades ranging from poor to very fine. [qty]
Lot 669
A scarce 17th Century English dagger of the so-called 'Buckingham' type, slender three-stage blade 8.75 in., the flattened diamond-section tip giving way to a edged section with saw back and etched decoration including the date 1630 and the motto 'Beatus qui timet Dominum' (blessed is [the man] who fears The Lord), ricasso etched with a female bust and the words 'Fear God' and 'Honour the King'; steel cross piece with quillons of flattened baluster form, encrusted in silver with foliate scrolls and masks; reeded wooden grip with small brass flowerhead cap. .Popular in England for much of the 17th Century, a dagger of this type is said to have been used to assassinate George Villiers, 1st Duke of Buckingham on 23 August 1628.
Lot 725
Admiral Lord Nelson: an engraving after J. F. Abbot depicting the Battle of the Nile, bust of Nelson above surrounded by cannon and chain and bar shot, descriptive panel below, marked 'Proof', in a black 'memorial' mount and gilt frame, originally sold for the benefit of widows and orphans of the battle.
Lot 776
A collection of sweetheart jewellery and other badges, in silver, white metal and base metal, including: 1st Royal Dragoons, silver brooch, 105th Imperial Eagle within a horseshoe, impressed 'SOUTH AFRICA. 1900.1.2.', Birmingham 1903; an 1887 Jubilee silver brooch, bust of Queen Victoria within a horseshoe, Birmingham 1887; sweetheart brooches for the Royal West Surrey Regiment, Cambridgeshire Regiment, Somerset Light Infantry, Essex Regiment and Royal Army Medical Corps, variously enamelled or plain and marked as silver in words; a Volunteer Munitions Brigade lapel badge, bronze and enamel, reverse numbered 1180; and other items. [qty]
Lot 330
A NORTHERN EUROPEAN IVORY BUST OF A LADY, LATE 19TH C, possibly intended to represent Mary Queen of Scots, on rosewood pedestal, 17cm h Provenance: Sir Alfred Seale Haslam (1844-1927) of Breadsall Priory near Derby; thence by descent to the present vendor.++Good condition, undamaged with some natural age related yellowing of the ivory
Lot 1151
English School (18th century), a portrait miniature, of a military officer, bust length in three-quarter profile, watercolour on ivory, oval, 3.5cm x 3cm, gold coloured metal brooch mount, 5cm long overall Condition Report: Good overall condition, no vvisible cracks, No significant fading, surface scratches to glass commensurate with age, pin missing. Please see attached images
Lot 1564
Professor Gregory Maloba (Ugandan Contemporary Sculptor, 1922 - 2004), a sculpted terracotta bust, of an emaciated African elder, sunken cheeks and exposed collar bones, lightly glazed in matt tones of red, brown and ochre, 35cm highProfessor Maloba - 'one of Uganda's first professional sculptors', according to Sunrise - was born in Mumias, Kenya, in 1922, the son of a carpenter with aspirations for his talented son. Following boarding school, Maloba studied at St Mary's School, Yala, where the principal displayed the gifted student's work during the visit of Sir Henry Moore in 1940. Lady Moore, herself a graduate of the Slade School of Art, spotted the young artist's skill and offered Maloba a scholarship to St Mary's Kisubi in Uganda so that he could train under Margaret Trowell at Makerere. Later he graduated from Manchester University and the Royal College of Art, London. During the Kenyan struggles Maloba worked in Uganda, championing the growth of Contemporary independent African art, and was commissioned by the then government to make the country's official gift for the wedding of Princess Margaret and Lord Snowden in 1960. Throughout the rest of Maloba's career - academic and artistic - he sculpted a generation of future African artists and thinkers. Many tributes were awarded to Maloba in his life, however, posthumously Uganda from May 2010 has featured his work on their banknotes. Provenance: Purchased by the vendor's late father from a friend of the artist while living and working in Uganda in the 1950s/1960s. Condition Report: The bust is not signed. We ourselves could not send this to you. However, we will happily cooperate with any courier of your choice.
Lot 154
British Red Cross Society, Honorary Life Member's badge, gilt and enamel, cased; Order of St John, neck badge and lady's breast badge, in non conforming case; France, Orléans, Joan of Arc, presentation medal, silvered bronze, bust of Joan of Arc left, rev. city arms, in Monnaie de Paris box, as issued CATALOGUE NOTES: The present medals of the Order of the Hospital of St. John of Jerusalem were probably awarded to Annie Allen Cunard, wife of Arthur Lawley, 6th Baron Wenlock, who was not only appointed Dame Grand Cross of the British Empire (GBE), but also Dame of Grace of the Order of St John. This chivalric Order was chartered by Queen Victoria in 1888, but traces its origins back to the Knights Hospitaller, whose activity is noted as early as the 11th century. Its mission to prevent and relieve sickness and injury, and to act to enhance the health and well-being of people anywhere in the world is known worldwide.The Red Cross Society badge may have belonged to Annie Lawley's daughter, the Hon Ursula Lawley, wife of George Gibbs, 1st Baron Wraxall, who served as a VAD in the First World War and remained involved with the Red Cross long after. Please see lot 158 for more information about Ursula Lawley
Lot 229
λSir Jacob Epstein (British 1881-1959) Bust of Pola Givenchy Bronze with green patina Inscribed with signature Height excluding wooden base: 56cm (22in.) Provenance: Goldmark Gallery, London Acquired from the above by The Lord Wraxall in 2009 Literature: Richard Buckle, Jacob Epstein Sculptor, London, 1963, no. 364, p.238, illustration of another cast Evelyn Silber, The Sculpture of Epstein, with a complete catalogue, Oxford, 1986, no. 283, illustration of another cast Goldmark, Jacob Epstein, Goldmark Gallery, Rutland, September 2009, no. 2, illustrated Pola Givenchy was a Polish model who appears in a number of similar works including Study for Resurrection, 1941 which was exhibited at the Leicester Galleries in 1942 and 1960. The intention had been to create a Resurrection group modelled on Pola Givenchy, unfortunately the group was never completed. This bust depicts Pola’s beauty and proud sophistication. Epstein chose his models for their physiognomic or psychological interest and included women from all nationalities and backgrounds including a girl from Baku. Epstein didn’t respond to the demand from his dealers for small nudes and continued to sculpt portrait busts of females of distinctive beauty. Epstein constructed his busts by focusing on acute observation and by selecting certain characteristics he was able to show the personality and layer beneath the beauty. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 27
Albert Ernest Carrier-Belleuse (French, 1824 - 1887), a sculpted terracotta bust of a maiden in Belle Epoque taste, her serene visage turned to sinister, her hair, loosely plaited and adorned with flowers, falling to her breasts, signed to the reverse; atop a glazed terracotta block, with ebonised wood socle, 73cm high overall, 35cm wide Provenance: previously with Hazlitt, Gooden & Fox Ltd of Bury Street, St James's, purchased there by the Gibbs family in 1987 CATALOGUE NOTES: A versatile and prolific sculptor, Carrier-Belleuse's career began as a goldsmith's apprentice. Over the course of his life he not only contributed monumental sculptures to landmark buildings such as the Paris Opera House, but also worked as a designer for porcelain manufactories in England and France, including Wedgwood, Minton and Sèvres. He was made an officer of the Legion d'Honneur in recognition of his efforts. Auguste Rodin famously worked in his successful studio as an assistant in the late 1860s and early 1870s.In addition to his architectural commissions and academic works for the Salon, Carrier-Belleuse created smaller terracottas and bronzes for the emerging middle class market, such as the present example. This bust may portray the French actress and comedian Sophie-Alexandrine Croizette (1847-1910), who is known to have inspired several of Carrier-Belleuse's 'bustes de fantaisie'. The floral adornments and youthful ease of the model's hair could indicate that she is represented in the guise of Spring, or Flora
Lot 25
Stephen McKenna PRHA (1939-2017)The LegacyOil on canvas, 150 x 213cm (59 x 83¾'')Signed with initials and dated 1982Provenance: Raab Galerie Collection, Berlin. Exhibited at the Museum of Modern Art Oxford, 1983 and at the Stedelijk Van Abbemuseum Eindhoven, 1984. One of the most significant representational painters to emerge in Europe in the latter part of the 20th century, Stephen McKenna was the son of a Scottish mother and a British Army officer from Co Tyrone. As a young child he witnessed devastated areas of post-war Europe - including London and Vienna - according to his father’s postings. He studied art at the Slade, but was increasingly ill at ease with the abstract idiom then in the ascendant. As the 1960s progressed, his work moved more towards representation. An offer of a studio led him to Berlin in the early 1970s. Not only was his artistic approach more acceptable there, he felt in touch with the entire tradition of European painting, visiting many museums to study the paintings at first hand.In the late 1970s, the international art world, including the art market, rediscovered figurative art, and McKenna found his work suddenly in great demand. He was also at a crossroads. He had become increasingly interested in the Germania-Italia divide in European culture, and he lived for a time in Brussels before moving to Italy. During this in-between period he made a number of works that seem to weigh up the arguments for the different, north-south approaches to life and culture, going through a veritable archive of the classical tradition.The Legacy is an inherited, living tradition. Around this time, McKenna made several works relating to Homer’s Odyssey, and the legacy includes an Homeric bust, a painted Etruscan vase, and the classical tradition in painting and sculpture. Natural abundance, including the glass of wine, suggests the southern reputation for luxuriant indulgence. Iconographically, apes symbolise vices, unfettered appetites, but also the arts of painting and sculpture, as in the phrase, “Ars simia Naturae” - “art is the ape of nature”, a motif that gained currency especially in Flemish painting.The artist’s years in Italy, as he consolidated his work, were among his most productive and happiest, but Ireland was always important to him as well. His father retired to Co Donegal and McKenna often stayed there and painted. Eventually, he settled in Bagenalstown, on the Barrow, and that local landscape became integral to his work. He curated a major exhibition ‘The Pursuit of Painting’ at IMMA in 1997. He himself showed regularly with the Kerlin Gallery and was the subject of many survey and retrospective exhibitions including, most recently, A Painter’s Life at VISUAL Carlow.Aidan Dunne, 2019
Lot 164
THE FIGUREHEAD OF THE YACHT GELERT , R.Y.S., CARVED BY JAMES HELLYER OF HELLYER & SON TO THE ORDER OF R. & M. RATSEY'S YARD, WEST COWES, 1867 realistically carved in lime wood as a full-length crouching deer hound waiting for a command, his head alert with inset brown glass eyes looking up, mounted on a scrollwork bow section with thole pin and securing holes and finished in contemporary silver-grey polychrome -- 17 x 54 x 9in. (43 x 137 x 23cm.) Provenance: Aboard Gelert , 1867-1891; Ratsey's Yard, Isle of Wight, 1891-c.1960s; Digby Coventry (1919-2014), acquired from Ratsey's dispersal sale on closure, c.1960s, and thence by descent. ~~*~~ The Hellyer family of carvers became famous for their carvings used by H.M.S. Warrior and the Cutty Sark, but had been active as mainly Naval Dockyard carvers for about 400 years before these commissions. Listed in contemporary directories as 'designers' as well as carvers, their name is a byword for quality, a fact that is readily confirmed by the exquisite handling of the example offered here. It is comparatively rare to know the name of the vessel a head was intended for and very rare to know the name of its designer and carver, confirmed in this case by an inscription added to the reverse of a contemporary photograph of this head used in the book British Figurehead & Ship Carvers by P.N. Thomas where it is stated to be inscribed By James Hellyer, carver to the Royal Navy . The reportedly “fine schooner yacht” Gelert was built for Colonel Edward Loyd, a prominent member of the Royal Yacht Squadron, by Messrs. R. & M. Ratsey at West Cowes and launched from their yard by Mrs. Sandford, Colonel Loyd’s cousin, on 18th April 1867. Named for the legendary dog “Gelert” from Welsh folklore, the yacht was registered at 168 tons gross (94 net) and measured 98 feet in length with a 20 foot beam. Sporting the particularly distinctive figurehead being offered here, she attracted attention wherever she went but Loyd soon tired of her and she was laid up in 1870 and replaced with a 92-ton yawl called Day Dream . After ten years of idleness, Gelert was finally sold to Charles Howard, 5th Earl of Wicklow (in 1880) who unfortunately died the following year and was succeeded by his brother Cecil. Cecil Howard, the 6th Earl, like his deceased brother, was also a member of the R.Y.S. and he raced Gelert until 1889 when she was again laid up pending sale. Late the following year (1890), the Gelert was lying in the Medina River awaiting a buyer when she was spotted by Prince Henry of Battenberg, an enthusiastic yachtsman who was looking to replace his 62-ton yawl Sheila with something larger. Instantly attracted to Gelert’s fine lines, Prince Henry bought her and, on 29th January, 1891, the Isle of Wight newspapers reported that: “Prince Henry of Battenberg’s recently-purchased schooner, the Gelert , has been re-named the Sheila , after his old yacht, and she has undergone a complete refit at Cowes, which has been finished by placing a new figure-head on the vessel, which takes the form of a bust of Princess Beatrice.” As stated so clearly in this newsprint, the beautiful figurehead of the dog Gelert had been removed and put into storage where it remained until purchased by the present owner’s grandfather in the 1960s. Replaced by a bust of Princess Beatrice, herein lay the simple reason for the survival of this splendid figurehead in such exceptional condition. Prince Henry of Battenberg, born in 1858, was a morganatic descendant of the (German) Grand Ducal House of Hesse and was a familiar visitor to England and Queen Victoria’s extended family, so much so that in 1884 he became engaged to Princess Beatrice, the Queen’s fifth daughter and youngest child. The Queen however, would only approve the marriage provided the young Battenbergs made their home with her and the couple had no option but to agree. Married in 1885, Prince Henry was made Governor of the Isle of Wight in 1889, an event which probably sparked his desire for a larger racing yacht. Sadly, Prince Henry, having finally persuaded the Queen to allow him to go to West Africa to take part in the so-called Ashanti War, died of malaria during the campaign in January 1896. When the news reached the Queen, she is said to have cried out “The sunbeam in our home is GONE!”, and whether this is true or not, the Prince’s beloved yacht Sheila , formerly the handsome Gelert , quietly disappeared from record thereafter.
Lot 22
A PARIANWARE BUST OF LORD NELSON BY JOSEPH PITTS, LONDON 1853 after the model by John Flaxman, the reverse impressed with maker's marks and inscription – 9½in. (24cm.) high; together with a drawing of a Napoleonic two-decker (possibly Ajax ) running out studding sails signed 'R.H. Dean' (lower right) – 9 x 7in. (23 x 18cm.) (2)
Lot 119
A John Rose & Co Parian bust, c.1847, of an unknown gentleman, draped in a Classical robe, his head turned slightly to the left, inscribed to the reverse 'John Rose & Co, Publish'd January 1847 by permission by Thos. Smith', the surface stained and degraded, 33cm. Cf. Richard Dennis, The Parian Phenomenon, p.244, fig.817.
Lot 121
A black basalt figure of Lord Rodney, c.1785-90, modelled by Pierre Stephan, standing before a cannon and flags, and a copy of the Garrick Club's 'Davenant' terracotta bust of Shakespeare, the figure of Rodney extensively damaged and mounted on a wooden base, 35cm max. (2) Provenance: the collection of Rodney Bewes.
Lot 269
A rare Chelsea bust of a maiden, c.1755, modelled in the Classical manner with head slightly turned, raised on a shaped square socle, red anchor mark, and two Chelsea figures of putti, one wearing a quiver of arrows and standing beside a basket resting on a tree stump, gold anchor mark, the other with one foot elevated on a marble slab, red anchor mark, some damages and repairs, 14.2cm max. (3)
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