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Lot 151
An unusual Charles II oak coffer, Cumbria, dated 1681, having a triple-panelled lid, the front also with three panels, a pair carved with a Celtic knot-pattern centred by a rare panel carved with a ‘wild man’ standing beneath a dog-tooth punch-decorated and guilloche-carved arcade, the top rail carved with the initials ‘IP’ and date ‘1681’ and flanked by further knot-pattern carving, restorations, 119cm wide, 60cm deep, 72.5cm high
Lot 66
A George V silver five bar toast rack, axehead handle, pointed arched divisions, 9.5cm long, E Viner, Sheffield 1931; an Arts and Crafts design silver patisserie server, stamped in the Celtic taste, 17.5cm long, Cooper Brothers & Sons, Sheffield 1966; two silver napkin rings, various dates and makers (4), 7.5oz
Lot 30
Scottish Provincial Silver - an 18th century silver Hanoverian pattern teaspoon, Nathaniel Gilbert, Aberdeen c.1785; an Old English pattern teaspoon, conforming maker, c.1800; a pair of Old English pattern teaspoons, maker WB, possibly William Byres, Aberdeen c.1800; another, John Leslie, c.1790; a Celtic Point teaspoon, James Erskine, Aberdeen c.1795; another, maker A Murray, Perth c.1810; a mustard spoon, maker LT (8)
Lot 1272
A 19th century Irish Killarney marquetry and arbutus work table, hinged cover, adjustable on a ratchet, inlaid with an oval reserve of Muckross Abbey, County Kerry, Ireland, bordered by trailing sprays of seamróg shamrocks, outlined throughout with barber-pole stringing, the verso inlaid with a cláirseach or Celtic harp, serpentine cushion-moulded well, panelled 'garlic-mouth' column, circular base, inlaid throughout with clover, claw feet, 71cm high, 56.5cm wide, 41cm deep, c.1850
Lot 1213
Ecclesiastical Liturgical Vestments - a auriphrygiata mitre, centred by a blue silk cross bordered with Celtic motifs, sunburst brocade ground in merging tones of gold and champagne 36cm high, 39cm wide, second-half 20th century, (1); a Catholic priest's black galero, by The House of Vanheems, Berners Street, London W.1., mid-20th century, (1); a priest's biretta, by J. Wippell and Co Ltd., Exeter, 20th century, (1), [3]
Lot 1099
Lawrie Reilly 16x12 hand signed colourised, Black and white photo, Autographed Editions, Limited Edition. Photo Shows Hibernian's Reilly heads home his team's second goal in this Scottish League cup Division A clash with Celtic. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 247
An Edwardian silver loving cup in Celtic style, the inscribed bowl presented to George Anthony Ratcliff Fillingham from his loving Godmother Lady Blake, with presentation gift card, bearing the initials GARF, Chester 1909, with a later matched spoon, London 1909 bearing the same initials, in a fitted case, 8¼oz, 5cm high. (AF) Provenance: Fillingham Family crest formerly of Syerston Hall, Newark.
Lot 344
A pair of Victorian Silver Mappin & Webb highly decorative serving spoons. Hallmarked to reverse of stems, London 1898. Lily pad shaped bowls engraved with floral & scroll detail. Stems decorated to both sides with animal heads, scroll, Celtic and twisted designs. Each approx. 26cm long, total weight approx. 184g.
Lot 3091
Vera Hickmott (20th Century). Celtic Cross. Intaglio Etching (1985). Titled, signed and dated. 43 x 31cm. Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."
Lot 79
Football sticker & card albums, a collection of 50+ albums, complete, part complete and some unused, 1970's onwards inc. FKS World Cup Mexico 70 (complete), Soccer Stars 1968/69 (complete), Soccer Stars 1978/79, (unused), Soccer Stars 1977/78 (part-used), Topps Footballer Album, (unused), also Panini, AVA Americana, Merlin, unused card albums inc. issues for Manchester Utd, Leeds Celtic, Liverpool etc also a few Foreign issues & some magazines which inc. free sticker packets (mixed condition, fair/vg)
Lot 262
Football memorabilia, a selection of items incl. 13 1970's enamel badges incl. World Cup 1970, Bradford Park Avenue, Newport County, Southampton, Peterborough, Northampton etc, also a George Best tin badge and another Coventry City tin badge, 20+ 1970's & 80's match tickets incl. Nottingham Forest v Celtic UEFA Cup 1983/84, Derby v Telford FAC 83/84, Nottingham Forest v Vorwaerts UEFA Cup 1980's etc. Also 3 45rpm singles, Leeds Utd by the Leeds Utd football team, the Coventry City song & I'm Happy cos I'm Blue by Trevor Hockey (Birmingham City). The lot also includes an unused Leicester City autograph book (tickets with some creasing etc, the rest gd/vg)
Lot 251
A LATE VICTORIAN SCOTTISH PROVINCIAL, LARGE MOUNTED WOODEN QUAICH carved on the handles and around the sides with Celtic knots, the centre with a domed boss, crested, by Ferguson and MacBean of Inverness (F&M, dromedary, INVS), also with Edinburgh hallmarks for 1897; 13" (33 cms) long overall
Lot 855
'The art of the Stonemason' - A York stone totem, with vaulted top over square body carved with masks, two alphabets in gothic serif font, gothic arches and Celtic spiral design. This was probably made as an advertisement to show of the skill of a Stonemason, or as an apprentice piece for similar reasons.
Lot 655
An Ola Gorie Scottish white metal open-work brooch, in the form of a cross, its arms divided by C-scrolls and framed within an annulus, 2 cm, together with an Edinburgh silver plaque brooch depicting a heron, a Celtic pewter brooch and a Charles Rennie Mackintosh inspired trinket or ring box
Lot 82
CASQUE ÉTRUSQUE, BRONZE, CIRCA IV-IIIE S. AV. J.-C. AN ETRUSCAN MONTEFORTINO TYPE BRONZE HELMET, CIRCA 4TH-3RD CENTURY B.C., the domed helmet with riveted pointed attachment and flanged neck guard, with triple bossed decoration above the hinged cheek pieces, cheekpieces largely restored, 32cm high, 15cm wide, 25cm deepFootnotes:Provenance:Private collection, North America. Private collection, England. In the collection of the Catalan Private Foundation for Iberian Archeology.with J. Bagot, Barcelona.Acquired from the above in 2011.There is an example of a Montefortino helmet in the Metropolitan Museum of Art with triple boss decorated cheek-pieces, acc. no. L.2018.51. It is unusual for Montefortino helmets to survive with their cheek-pieces as they were often made of leather, an easily perishable material. This type of helmet is named after the region of Montefortino in Italy where an example was excavated in a Celtic burial. These helmets were popular amongst the Italic peoples who derived the design from Celtic helmets made of iron.For further information on this lot please visit Bonhams.com
Lot 87
ÉPÉE CELTE ET SON FOURREAU, FER, LA TÈNE MOYENNE, CIRCA IIIE-IIE S. AV. J.-C. A CELTIC IRON SWORD WITH PARTIAL SCABBARD, MIDDLE LA TÈNE PERIOD, CIRCA 3RD-2ND CENTURY B.C., the long blade with straight edges tapering to a point, with slender arched guard and elongated grip, together with the back section of a scabbard (in two parts), the point reinforced with a frame, with belt attachment riveted to the upper portion, sword: 95.5cm long, 5.5cm wide; scabbard: 83cm long, 5.5cm wide (2)Footnotes:Provenance:Axel Guttmann (1944-2001) collection, Berlin (AG 89/W 58), acquired in Munich in 1986. Antiquities from the Axel Guttmann Collection and Other Properties; Hermann Historica, Munich, 18 April 2008, lot 285.For further information on this lot please visit Bonhams.com
Lot 86
CASQUE DE TYPE 'LATE CELTIC', CIRCA FIN DU 1ER S. AV. J.-C. A LATE CELTIC BRONZE HELMET, CIRCA LATE 1ST CENTURY B.C., of flattened domed form with a short encircling brim, two raised parallel ribs at the back and moulded extended brows at the front, 14.5cm high, 21.5cm wide, 25cm deepFootnotes:Provenance:Axel Guttmann (1944-2001) collection, Berlin. Antiquities from the Axel Guttmann Collection and Other Properties; Hermann Historica, Munich, 13 October 2010, lot 2190.With its hemispherical form, the above helmet is a modification of the Montefortino type helmet and also shares some of the characteristic of the 1st Century A.D. Imperial Gallic helmets which have the same distinct embossed eye-brows and horizontal ribs above the neck area.For further information on this lot please visit Bonhams.com
Lot 88
TRÈS GRANDE POINTE DE LANCE, FER, CELTE, CIRCA IIIE-IIE S. AV. J.-C. A VERY LARGE CELTIC IRON SPEARHEAD, CIRCA 3RD-2ND CENTURY B.C., the leaf-shaped blade with raised medial rib, 82cm high, 9.5cm wide, 2cm deepFootnotes:Provenance:Axel Guttmann (1944-2001) collection, Berlin. Antiquities from the Axel Guttmann Collection and other Properties; Hermann Historica, Munich, 17 April 2010, lot 285.There is a similar shaped but smaller example of a Celtic Iron spear in the British Museum, acc. no. ML.1637. The British Museum example was found in a burial at Courtisols in the Champagne-Ardenne region and was excavated by Morel after 1873.Cf. I. Stead & V. Rigby The Morel Collection. Iron Age Antiquities from Champagne in the British Museum, London, 1999, p.121, pl.172.The spear was the most popular weapon of the Iron Age, from Hallstatt D to La Tène 1b. Spear heads were sometimes found in groups, such as at the cart burial in Epoye, but they were also found singularly at the foot or head of graves. By La Tène II spear heads were found with swords, daggers and occasionally shields.For further information on this lot please visit Bonhams.com
Lot 160
A CLARICE CLIFF NEWPORT POTTERY PAIR OF MUGS ON STAND decorated in the 'Celtic Leaf and Berry' pattern, the mugs stamped 42A; a sugar shaker with moulded floral decoration 15cm high, and a preserve pot in the form of an orange (2) Condition Report : generally good - there is a small scratch to the orange, looks to be beneath the glaze, and a couple of paint flecks missing on the shaker Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
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32565 item(s)/page