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Lot 28
*A collection of fashion jewellery, to include two pairs of Vivienne Westwood earrings, a pair of Thomas Sabo earrings, a pair of huggie earrings, a pair of halo earrings, an open metalwork ring, a padlock design necklace, a Celtic design bangle and a Lorus pearl necklace.IMPORTANT: Online viewing and bidding only. No in person collections, an additional charge of £15 (inc. VAT) applies to this lot to cover postage to registered UK only address.
Lot 5
LEONORA CARRINGTON (1917-2011)Operation Wednesday signed and dated 'Leonora Carrington March 1969' (lower left) and extensively inscribed (to the foreground); signed, inscribed and dated 'Operation Wednesday, Dr. Fernando Ortiz Monasterio., Leonora Carrington, March 1969.' (on the reverse)oil and tempera on board61.1 x 45.1cm (24 1/16 x 17 3/4in).Painted in March 1969Footnotes:The authenticity of this work has kindly been confirmed by Dr. Salomon Grimberg. This work will be included in the forthcoming Leonora Carrington catalogue raisonné of paintings, currently being prepared by Dr. Grimberg.Please note that this work has been requested for an upcoming Leonora Carrington exhibition at the Arken Museum of Modern Art, Copenhagen, 17 September 2022 – 15 January 2023, later travelling to the Fundación MAPFRE, Madrid, 8 February – 14 May 2023.ProvenanceDr. Fernando Ortiz Monasterio Collection, Mexico City (acquired directly from the artist).Thence by descent from the above; their sale, Sotheby's, New York, 28 May 2013, lot 29.Private collection, US (acquired at the above sale).ExhibitedDublin, Irish Museum of Modern Art, Leonora Carrington, The Celtic Surrealist, 18 September 2013 – 26 January 2014 (later travelled to San Francisco).Liverpool, Tate, Leonora Carrington, Transgressing Discipline, 6 March – 31 May 2015.San Francisco, Gallery Wendi Norris, Threads of Memory, One Thousand Ways of Saying Goodbye, 21 October – 15 November 2017.Mexico City, Museo de Arte Moderno, Leonora Carrington Magical Tales, 21 April – 23 September 2018, no. 68 (later travelled to Monterrey).New York, Gallery Wendi Norris, Leonora Carrington, The Story of the Last Egg, 23 May - 29 June 2019.The painting Operation Wednesday (1969) by Surrealist artist and writer Leonora Carrington (1917-2011), is a work that presents a wonderful fusion of Christian, Mayan, and esoteric symbolism. It also marks a critical decade in Carrington's career when her art increasingly took on a socio-political message, demonstrating a firm allegiance to her adopted homeland, Mexico, where she had lived since 1943. The title is deceptively simple and its caption, written on the work in Spanish, reveals more: 'no olvides Tlatelolco.. les tres culturas,,, no tenernos tumba... campo military número 1' (Don't forget Tlatelolco... the three cultures...we don't fear the grave... military camp number 1).' These words make clear that Carrington's painting pays homage to the student movement or Movimiento Estudiantil, led by the students and staff of the Universidad Nacional Autonoma de Mexico (UNAM), which began on July 22, 1968. She commemorates those killed and injured in the massacre in Plaza de las Tres Culturas (Plaza of the Three Cultures) in Mexico City on Wednesday October 2, 1968, and those rounded up, detained and tortured in Military Camp One. On October 2, 1968, ten thousand students gathered in the Plaza in Tlatelolco to begin a peaceful protest march through the city only to find themselves surrounded by Federal troops, many in tanks, who opened fire as night fell. They were protesting against the nation's one party government under Gustavo Díaz Ordaz and the lack of political freedom; he in turn was determined to quash months of student protests, especially in the lead up to the opening of the Olympic Games, scheduled for 12 October. Some 200-400 protestors, innocent bystanders, children (the precise number has never been firmly established) were killed, an estimated two thousand students rounded up, imprisoned, beaten and tortured. In her book documenting this massacre, Elena Poniatowska writes of October 2, 1968: 'There are many. They come down Melchor Ocampo, the Reforma, Juárez, Cinco de Mayo, laughing, students walking arm in arm in the demonstration [...] carefree boys and girls who do not know that tomorrow and the day after, their dead bodies will be lying swollen in the rain.'1Carrington's own sons, Gabriel and Pablo, were involved in the student protests and had been printing anti-government propaganda leaflets and posters on the mimeograph belonging to their father, the Hungarian photographer Emerico 'Chiki' Weisz (1911-2007), in their family home. Carrington asked Gabriel to introduce her to his student circle in the aftermath of the massacre and together they planned a silent protest by marching through the city centre, all dressed in black. However, soon she and her family were in danger of arrest too: one morning they received a phone call warning them that the writer Elena Garro had denounced Carrington and Gabriel to the police; they quickly arranged to leave the country, flying to New Orleans, where they stayed until Chiki advised them it was safe to return.2In addition to commemorating the student protestors, Carrington's painting pays homage to those who supported and saved some of the wounded students, notably Dr Fernando Ortiz Monasterio (1923-2012), to whom the painting is dedicated. Monasterio's 'operation' was radically different to Díaz Ordaz's oppressive regime, of course. He is presented as a medical and humanitarian shaman. He dominates the composition in his tall slender form as the healer at a time of military terror, or an intermediary between a violent moment in history and a better future. Fernando Ortiz Monasterio was a surgeon and teacher who specialized in cranio-facial surgery, assisting many children born with facial abnormalities or suffering tumours. He worked for the Ministry of Health in Mexico and was affiliated with the Graduate Division of UNAM as well as the Hospital General Gea Gonzalez, in the Tlalpan district. Monasterio was known for his interest in music, literature, anthropology and sociology, and for his determination to understanding how and why so many Mexican children were born with cranial deformations.3Carrington's choice of medium for this work also pays homage to the humanism and skill of the doctor. She uses egg tempera, a technique which involves an emulsion of pigment and a water soluble binder – here the binder is egg yolk. Whilst a difficult process, prone to dry flaking, tempera had great symbolic significance in bringing art and science, the feminine (symbolised by the egg) and the masculine (the technical skill), together. Tempera and temperament share a common Latin root - temperare, to mix - and both involve the binding of things whether humors and tempers or pigments. In being associated with the feminine, her choice of tempera technique also serves as a striking counterpoint to the mechanical violence of the massacre. Tempera speaks to an old, life-giving process through the alchemical symbolism of the egg and by extension may be read as a means to challenge an emphatically modern, masculinist, political regime. Tempera was a popular medium in Surrealist circles, especially for women painters, and once Carrington moved to Mexico in 1943 it became a staple technique in her studio there. One friend described her studio as a 'narrow little room in old Mexico, the most dream-saturated place I know here'.4Carrington's recourse to diverse cultural symbols ensures the viewer is intrigued by her use of dramatic colour and detail alike and searches out the stories behind them. We find English and Spanish text in the foreground, some of it in mirror writing; a palette dominated by bands of white and black - the doctor and his assistant are in white which symbolises light, and the androgynous patient they assist is dressed in a black cloak, the colo... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 453
A GREEN AND WHITE CELTIC 1976-77 SCOTTISH CUP FINAL SHORT-SLEEVED SHIRT with v-neck style collar and embroidered badge, inscribed Scottish Cup Final, 1976/77 The above is an official match prepared shirt, however, we are unable to verify if it is a match worn example Provenance: The shirt was given to the current vendor by Celtic's assistant manager David McParland Condition Report: Available upon request
Lot 101
A pair of 9ct gold pierced clip earrings, London, 8.5mm long, together with a pair of 9ct gold openwork Celtic design drop earrings, with post fittings, butterflies deficient, London, 35mm long, 4.70g total (4)Condition report: Butterfly fittings to the drop earrings deficient. Post to one earring slightly bent.Surface marks/scratches to gold.Clip earrings have some polishing compound remaining on them, would benefit from being cleaned.
Lot 210
A large group of silver flatwarevarious dates and makers, the majority early and mid-19th century In Fiddle and Thread pattern: thirty-three table forks, twenty-six table spoons, twenty-four dessert forks, twenty-three dessert spoons, four sauce ladles, two basting spoons, a butter knife; in Old English pattern: four table forks, four table spoons, ten dessert forks, eleven dessert spoons, thirteen teaspoons, a basting spoon; two Celtic point sauce ladles; six King's pattern table spoons; twenty-seven further tea/coffee spoons, seven plated items, weight 339oz.For further information on this lot please visit Bonhams.com
Lot 307
Two Minolta SLR Cameras. a Minolta SRT 303, shutter working, meter responsive, self timer working, body G, with 28mm f/3.5 MC lens, elements G, a Minolta XG9, no electronic response, shutter not working, body G, with 50mm f/1.7 Rokkor-X MD lens, barrel G-VG, elements G, slight internal dust, a Rokkor PF 135mm f/2.8 MC lens, barrel G, elements G, a Celtic 135mm f/3.5 MC lens, barrel G, elements G and an extension tube set
Lot 323
A HIGHLAND POTTERY STONEWARE DISH decorated with Scottish scenery, with pottery mark to the reverse, 30cm diameter together with an art pottery vase decorated with Celtic knot design and glazed rim and interior, 13.5cm wide x 35.5cm high and a smaller similar vase Condition: all in good condition, the largest Celtic knot design vase with chip beneath, possibly a firing fault
Lot 49
Josef Herman, Standing Mother and Child, 42/150, 61 x 51.5cm Karólína Lárusdóttir, Onlookers, 70 x 95.5cm and Dinner for One, 56 x 75cm (printed on the reverse with Josef Herman, Promenade, unsigned, unnumbered) Paul Hogarth, Gsteig, 68 x 55cm and Garsington Mannor, 45/150, 73 x 53.5cm Helaine Blumenfeld, A Celtic Tale, AP, 56 x 75.5cm Sandro Chia, Sleeping Man, 55.5 x 67.5cm Katie Dicker, War Horse, 29/30, 56 x 54cm Chloe Cheese, Clockwork Bear and Wooden Birds, H/C, 65.5 x 51.5cm and Straw Hat, H/C 56.5 x 76cm (10)
Lot 2106
AN ELIZABETH II SILVER CRUET SET, by Adie Brothers Ltd, Birmingham 1954 and 1957, Celtic pattern, cased; together with A GEORGE V SILVER-MOUNTED GLASS PRESERVE JAR, by Walker & Hall, Birmingham 1918, cylindrical with three bifurcated feet, the spoon by Walker & Hall, Sheffield 1918. The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Marks clear and well struck, lightly rubbed on pepper, but legible - lids to both mustard and pepper further stamped with lion passant and conforming date letters. One salt spoon by Adie Brothers, Birmingham 1956, the second associated, by Cooper Brothers & Sons Ltd, Sheffield 1953. Salt with blue glass liner present. Preserve jar stands upright, does not wobble. Spoon with evidence of repair to handle terminal on back of spoon bowl. Inner support rim of stand with slight crease above one foot. Minor dings to cover. Light surface marks and scratches to all, commensurate with age and use
Lot 716
JAMES F MORGAN; a contemporary Welsh slate mantel clock of triangular form, with carved Celtic knots surrounding gilt metal dial set with Roman numerals, height 63.5cm, width 39cm.Additional InformationNumerous scratches, the dial is worn and pitted, lacking key but complete with pendulum, the piece is slightly unstable, but does stand. We do not guarantee the working order of this clock.
Lot 907
A late 19th century Arts & Crafts oak rectangular wall mirror elaborately carved with stylised Celtic knot and floral motifs surrounding bevelled edged plate, 129 x 100cm.Additional InformationMinor chips/losses to the edges and detail, wear as expected. At the top right, the mirror is slightly coming away from the wooden edge.
Lot 84
A Small Collection of Silver Items ( 7 ) In Total. Comprises 1/ Scottish Celtic Sterling Silver Stone Set Brooch ( Citrine ) Hallmark Glasgow 1888, Maker J.C, Of Circular Form. 1.75 Inches Diameter. 2/ Pair of Hallmarked Sterling Lidded Pill Boxes ( 2 ) 3/ Victorian Period Sterling Silver Caddy Spoon. Hallmark London 1898. 4/ Antique Sterling Silver Oval Shaped Hinged Locket. 5/ Large Gold on Sterling Silver ( Vermeil ) Open worked Heart Shaped Locket, Full Hallmark for Silver. 6/ Silver Cased Needle Holder. Hallmark Chester 1926.
Lot 141
Autographed Sean Fallon Limited Edition Print, Measuring 16 X 12 This Superbly Produced Edition Depicts Fallon And His Celtic Team Mates Willie Fernie And Charlie Tully Posing Shoulder To Shoulder Prior To A League Game In 1957, Signed To The Lower Border (By Fallon Only) Using A Fine Black Marker, Limited To Just 75. 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 20
A silver presentation quaich, Mappin & Webb, Sheffield 1997, with two Celtic design handles and border, raised on collet foot, the body engraved 'Scottish Life the Pension Company', 7.5cm high, 30cm wide (including handles), weight approx 26ozPlease note this lot is subject to VAT on the hammer
Lot 620
The important Victoria Faithful Service Medal awarded to Mr William Ross, late Pipe-Major, The Black Watch, personal Piper to Her Majesty Queen Victoria during thirty-seven years 1854-91; his death was “deplored by the Queen” who sent a wreath of yellow immortelles, bearing the inscription, “A mark of regard from Victoria RI.” Victoria Faithful Service Medal, with additional ‘10’ year bar, reverse officially engraved ‘To Mr. William Ross Piper, For Faithful Services to the Queen during 22 Years 1876’, edge embossed as usual ‘Presented by Queen Victoria 1872’, complete with original tartan ribbon; together with Germany, Hesse, Medal of Merit, Grand Duchess Alice, bronze, unnamed as issued, the first with contact wear, nearly very fine, the second good very fine (2) £4,000-£5,000 --- Provenance: Sotheby, July 1975. The Hessian Medal of Merit is representative of that awarded to Ross in 1890 and has been added for display purposes. Faithful Service Medal presented at Balmoral, 24 May 1876. William Ross was born in the Parish of Knockbain, Ross-shire, on 27 March 1821. He enlisted into the 42nd Royal Highlanders at Inverness on 1 March 1839, aged 17, was promoted to Corporal in March 1851, and to Sergeant (Pipe-Major) in January 1853. He was appointed to the rank of Pipe-Major on 1 April 1854. He served at Corfu, Malta and Bermuda until selected to be Queen Victoria’s personal Piper, when he was ‘Discharged free to fill situation of H.M. Piper,’ on 11 May 1854. The Queen was “so pleased with the Highlanders, that when she decided to have a Piper, she chose Pipe-Major Ross.” He was a “good all-round performer on the pipes and well versed in pipe music.” He won the Stirling and Bannockburn Medal for Best Pibroch in 1852; 1st Place in Marches and Strathspeys and Prize Pipe at the Northern Meeting in 1853 and 1st Place in Marches by the Glasgow Celtic Society in 1858. He established a bagpipe-making business in London and compiled a book of 40 pibrochs and 437 marches, strathspeys and reels. He was appointed Groom of the Great Chamber in 1869 and accompanied the Queen to Windsor, where he resided at Crathie Villas. He received the Faithful Service Medal of the Royal Household for twenty-two years service in May 1876, and received his clasp to mark thirty-two years in Royal service a decade later. He also received the Duchess of Alice Medal for the Queen’s visit to Darmstadt in 1890. Piper William Ross died at Windsor on 10 June 1891, following a short illness of asthma. His death was “deplored by the Queen” who sent a wreath of yellow immortelles, bearing the inscription, “A mark of regard from Victoria RI.”
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