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Lot 133
Three 19th century rectangular hand-painted tiles in the neoclassical style, one with a young lady consoling an elderly man with a harp, one with two female musicians by the sea and the third a lady in a white dress holding a basket with flowers in, all signed 'E.M.B.' and dated 1885, 1887 and 1887 respectively, all framed, largest 18 x 22cm (3)
Lot 290
A mixed lot of costume jewellery including a white metal (tests as 18ct gold) ring, set with 7 small diamonds, gross weight approximately 1.7g, gold plated cufflinks, silver charms, 9ct gold dress stud, Monet diamanté bracelet, marcasite bow necklace, earrings, necklaces, bracelets and rings etc.
Lot 446
18th Century English Schoolÿ "Portrait of Elegant Lady in gold coloured embroidered dress, with floral head dress, holding piece of fruit in hand, with romantic landscape in distance," O.O.C., approx. 40 1/2" x 30" (103cms x 76cms) in gilt decorated wooden frame. (1) Note:ÿ Label for J.B. Monck, Colley Park, on reverse.
Lot 455
An attractive 19th Century oval Needlework, on silk, depicting "Young Man Resting by a Tree with Scythe in Hand," together with its companion "Attractive young Lady in Bonnet and floral Dress," in original gilt frames, each approx. 23cms x 16cms (9" x 6 1/2"); together with a pair of Needlework floral bouquet Tapestries, each approx. 28cms x 20cms (11" x 8") framed. (4)
Lot 544
Early 17th Century Netherlandish School George Montgomery Bishop of Meath oils on panelÿ 1611, 45" x 34" (114cms x 87cms) Inscribed t.r.ÿ ?Anno Dniÿ 1611ÿ Aetatis fuaÿ 45? In this three quarter-length portrait from the Howth collection, George Montgomery [also Montgomerie] (c.1566-1621) is depicted standing, left hand resting on a red cushion, while in his right hand he holds a Bible. His clerical garb is fine but austere, with minimal decorative lacework on collar and cuffs. On his right thumb is a signet ring. At the top left of the canvas are the Montgomery family coat of arms, a blue shield surmounted by a casque and hand holding a fleur-de-lys. On the shield, a lance and sword crossed, three fleur-de-lys, with three golden rings at the bottom. The shield flanked by scarlet and grey foliate forms, surrounding a casque helmet and terminating in two golden tassels. At the top right of the canvas, an inscription ?Anno. Dniÿ 1611 / Aetatis Fua 45,? indicates that the portrait was painted in 1611, when the sitter was forty-five years of age. This would suggest a birth date of 1566 for George Montgomery, who was born at Braidstane in Ayrshire, Scotland, and who, along with his older brother Hugh, was deeply involved in the settlement of Ulster. The Montgomery family had close connections with King James VI, and soon after James?s accession to the English throne, George was appointed Dean of Norwich, and then Bishop of the diocese of Raphoe in Ireland. To the dismay of his wife, other Irish appointments followed, including Clogher, Derry and, in 1609, Meath. Montgomery was an able administrator, and while his efforts to secure the conversion of Roman Catholics in Ireland to the Protestant faith met with limited success, he is remembered for founding grammar schools and glebes, and for ensuring that ownership of escheated lands of churches and monasteries in Ulster were transferred to the Church of Ireland. Although for the most part an absentee prelate, after his death in London in 1620, in accordance with his wishes, Montgomery?s body was brought back to Ireland and he was interred in the graveyard at Ardbraccan, Co. Meath, where a large monument was erected in his memory. Whatever about the Howth portrait, Samuel Lewis in his 1837 Topographical Dictionary was clearly not impressed: ?The tomb ofÿGeorge Montgomery, bishop of Meath and Clogher, stands on the north side of the slab; and strongly fixes attention by its minglement of pretension, barbarousness, and absurdity.ÿFigures which it exhibits of the bishop, his wife, and his daughter, are the rudest productions of the chisel that can well be conceived.ÿ Beneath the figures are the words, "Surges morieris, judicaberis"ÿ[roughly translated, the dead will rise and be judged]. The three figures on the tomb are said to be George, his wife Susan Steynings, and their only child, Jane, who was born about 1598 and in 1615 married in Nicholas St. Lawrence, 11th Baron Howth, with whom she had seven children. Montgomery described the St. Lawrences as ?a noble house, the best of the Pale of Ireland.? They had reason to be grateful, as a considerable fortune passed to them through the marriage, Montgomery describing it as ?a great burden for settling the estate of the house of Howth.? Susan Steynings died around 1614, and George married secondly Elizabeth Brabazon. He died on 5th January 1620. In the portrait at Howth, the stern expression of Montgomery echoes closely one of the few known portraits of Richard Boyle, 1st Earl of Cork. In these works, both dating from around 1610, the sitters are bearded and wear plain lace collars; their expressions are hard-head and sceptical, as befitted men who devoted their lives to the plantation of Ireland. Another portrait of George Montgomery hangs in Clogher Cathedral in Co. Tyrone; Together with its Companion: Portrait of Susan Steyning (1573-1614), wife of George Montgomery,ÿ Inscribed ?Anno Dniÿ 1611ÿ AEtatisÿ Fecitÿ 43? ÿ Like the companion painting of her husband, George Montgomery, the identity of the artist who painted this portrait of Susan Steyning is not known, but it is broadly in the style of Daniel Mytens the Elder, Adam de Colone or Paul Van Somer, just three of the Netherlandish artists who flocked to London in the late sixteenth and early seventeenth centuries, taking advantage of a rising demand for portraits. Adam de Colone worked also in Edinburgh, and as George Montgomery was from Ayrshire, the artist who painted this portrait may have been a follower of de Colone. In this three quarter-length image, Susan is depicted standing. In her right hand, she holds a Bible, while in her left she has an ornamental silver fan handle, designed to hold ostrich feathers. Such a luxury in early seventeenth-century Ireland would have would have attracted comment, but the portrait seems intended to downplay her fortune, and the fan holder is devoid of feathers. Susan?s dress is black and without ornament, the only hint of wealth conveyed by a few pearls securing her hair. Apart from three rings on her fingers, she wears no jewellery, and with ruff collar and plain lace cuffs, she presents the appearance of a devout wife of a Bishop. As in the portrait of her husband, she wears a signet ring on the thumb of the hand in which she holds a small Bible. The inscription on the painting is difficult to decipher, butÿ appears to date the portrait to 1611, and so it was painted just three years before her death. The eldest daughter of Alice Fry and Phillip Steyning, of Holnicote in Somerset, in 1598 Susan married George Montgomery in Norwich. Montgomery was then appointed to bishoprics in Ireland and their daughter Jane was born in Co. Armagh, around 1598. Susan?s younger sister Margaret Steyning married John Willoughby of Payhembury in Devon, with whom the Montgomerys corresponded, and in the family archive, the ?Trevelyan Papers?, there is a letter from Susan in which she mentions her husband?s going to Ireland, and her daughter?s concerns. After her death, George lost no time in arranging a marriage between Jane, now one of the wealthiest heiresses in early seventeenth-century Ireland, and the eighteen year-old ÿNicholas St. Lawrence, 11th Baron Howth. The marriage brought Jane an aristocratic title, Baroness Howth, while she in turn brought much-needed cash into the old Anglo-Norman Howth family. Nicholas and Jane had seven children, of which one son and four daughters reached adulthood. Their son William became 12th Baron Howth. A Royalist rather than a Parliamentarian, Nicholas died in 1643, while Jane outlived him by many years, and died in 1678. George, Susan and Jane are all buried in the family tomb at Ardbraccan in Co. Meath, which was restored in the mid eighteenth century, around the same time as the rebuilding of Howth Castle.ÿ (2) Dr.ÿPeterÿMurrayÿ2021
Lot 571
Circle of Nicolaes Elias, called Pickernoyÿ "Portrait of a Lady," three-quarter length, in a black dress with an attractive and delicate embroidered stomacher and a ruff and ornate head dress holding a silver mounted book on a table, and a floral glove in the other, indistinctly signed or inscribed "Act. 27" lower right, with coat of arms to the top right, O.O.P., approx. 41 3/4" x 30 1/4" (106cms x 78.1cms), in moulded black frame. (1)
Lot 821
A very good pair of late 18th Century / 19th Century carved polychrome wooden Figures, The Madonna and Infant Jesus, the mother with gilt crown and star halo wearing a gilt cape and red star pattern dress, the infant on her left holding an orb, on octagonal base, another of St. Joseph with gilt halo wearing a gilt shawl and a blue star pattern full length mantel, 20" (51cms). (2)
Lot 847
An extremely fine 18th Century oval Miniature of Maria Stuart, otherwise known as Mary, Queen of Scots, in full length black dress with gold embroidered decoration and with sculptured collar, holding a gold cross inscribed ?Maria Stuart?, and ?Anno 30?, and with crowned royal arms to the right, approx. 7cms (2??) high, in an oval brass mount, and recent frame.ÿÿ (1)
Lot 848
An 18th Century oval Miniature Portrait, of a Gentleman wearing a grey powdered wig and blue gilt edged jacket, another similar a Lady in blue and lace trimmed dress, another larger ditto Gentleman with grey powdered wig in braded cream jacket, each in similar paste set gold frame, the largest 1 1/2" (4cms). (3)
Lot 899
Queen Victoria's Mourning Dressÿ A very good late 19th Century Mourning Dress & Outfit, of black satin and silk, consisting of large dress, with humped trail, and matching short shoulder jacket, the entire profusely decorated with elaborate black lace work, also, a white embroidered undergarment or night dress.ÿBy family tradition, worn by England's second longest serving Monarch, Queen Victoria. (2) Prince Albert, the Queen's consort, died in 1861, from typhoid, aged just forty-two. They were married for only 21 years, and had nine children together, she was also only forty-two. December 14, 1861 was the Queens darkest day, she dressed in black and remained in mourning for the rest of her life. She died in 1901, 40 years after her husband. Provenance:ÿÿ Lady Yarrow (nee Eleanor Barnes) wife of Alfred Yarrow, of Yarrow Shipping. She was presented at Court, c. 1890, and by descent to the present owner.
Lot 904
A good late 19th Century Scottish Regimental Dress Dirk, by R. & H.B. Kirkwood, Edinburgh,ÿthe boule fuller blade with a serrated edge 12" (30cms), the baluster basket weave ebonised grip with metal studs surmounted with a large crystal cairngorm with leaf cast band, the brass and leather bound scabbard with three thistle moulded brass lockets and set with a matching knife and fork with colourful cairngorms, 18" (46cms) overall. (1)
Lot 928
The Great Sword of Howthÿ An early antique steel two hand Sword, with round pommel on a 21" (53cms), upward tapering tang the two cross quillions, measuring 19" (48cms), and one oval ring guard on a tapering double edge blade lacking its tip 44" (112cms), 66" (168cms) overall, as is. (1) This mighty weapon has been in the St Lawrence family for many generations.ÿ According to tradition, it was used by Sir Armoricus Tristram, who arrived at Howth with Sir John de Courcy in the year 1177 and commanded the Norman army which defeated the local inhabitants in battle at Evora outside the gate of the present castle, at a little river since known as the Bloody Stream.ÿ He was rewarded for his services by being granted the lordship of Howth and changed his name to St Lawrence in honour of the saint on whose feast-day the battle had been fought. A more sober assessment dates the sword to the late 15th century, so it may well have been borne by Sir Armoricus?s descendant Sir Nicholas St Lawrence, 16th Lord & 3rd Baron Howth, [Lordship by Tenure, and Barony by Royal Appointment] who commanded the ?billmen? (wielders of a fearsome chopping blade mounted on a strong staff) at the battle of Knockdoe in 1504, in which the army of the Lord Deputy, the Earl of Kildare, defeated that of Ulick Burke, Lord of Clanricarde. The Sword is first recorded in an inventory of 1748, and is described and illustrated in Joseph C. Walker?s An Historical Essay on the Dress of the Ancient and Modern Irish ? to which is subjoined, a Memoir on the Armour and Weapons of the Irish (1788), while Lodge?s Peerage of Ireland (1789) states, after mentioning the victory of Sir Armoricus, that ?The sword, wherewith he fought, is still hanging in the hall of Howth?. Important Note: In view of the cultural and historic importance of this lot , the vendors have granted an option to the Irish State to acquire same at a price equal to the hammer price realised at the auction date, should a private or trade buyer successfully bid for same.ÿThis option shall be valid for a period ofÿthree monthsÿfrom the auction date, and the Irish Stateÿ( as represented by theÿDepartment of Culture, Heritage and the Gaeltacht,ÿin conjunction with the National Museum, National Gallery and National Library of Ireland and Office of Public Works) shall have the option to acquire and purchase this lot within this time frame, at the final hammer price achieved at the auction date, plus buyer's premiums.ÿ This lot shall be retained within this jurisdiction, and collection and shipment of same shall only be permitted on the expiryand non-exercise of this option by the Irish State bodies.ÿA binding purchase contract shall still exist in relation to any private or trade buyer who successfully bids for this lot on the sale date and the full purchase price plus buyer's premiums due, shall become payable immediately following the expiry of the above option period.
Lot 945
A collection of Royal Navy Officer's Tropical Dress and Mess Uniforms and part Uniforms, all white comprising six pairs of trousers, three waistcoats, one with Royal Navy brass buttons (4), 11 cotton cap covers, 4 dress jackets, each with two breast patch pockets, 6 mess jackets, 2 waist belts with straps, a quantity of Royal Navy brass buttons, a pair of epaulettes, and two pairs of white kid gloves. (a lot) * The majority inscribed S.F. Gaisford-St. Lawrence.
![A Royal Scots Greys red dress Tunic,ÿ[Cyril Hugh Gaisford St. Lawrence]ÿadorned with gold bullion Epaulettes, cuffs and brass](https://cdn.globalauctionplatform.com/eec4338a-7903-4e70-9fc9-ad8600e7b2fe/f2b726f3-6124-4a64-9e58-ad8800cba88c/468x382.png)
Lot 956
A 79th of Foot Officer's Levee Dress Sporran,ÿQueen's Own Cameron Highlanders, the shaped gilt cantle centred with 79 above Peninsula, Egypt & Waterloo, on a flowering ribbon banner surrounded by thistle sprays and wreath in relief above six tassels with gilt bullion supported by green and gilt cords against grey and black horse hair, the red leather bag lined in white doe skin with leather waist strap, together with a fine pair of matching Epaulettes by Buckmaster, and a waist Belt. (4)
Lot 199
Heideloff (Nikolaus Wilhelm Von). Gallery of Fashion, Volumes 1-6 (of 9) bound into 3 volumes, London: Heideloff, 1794-1800, 6 hand-coloured titles and 144 hand-coloured engraved plates, tissue guards (occassionally missing), some spotting and toning to plates, some plates heightened with gold or silver, offsetting, bookplate to front pastedowns, contemporary diced calf rebacked, corners bumped, boards rubbed, 4toQty: (3)NOTESAbbey 218, Tooley 258. "The most splendid of English costume books, and the first real venture in this country of a periodical devoted to the changing taste of in dress." (Abbey) "Heideloff's Gallery of Fashion is one of the most beautiful books on costume ever published, certainly the finest example of coloured aquatint as applied to fashion plates". (Tooley)
Lot 112
A 1940s Hamilton 10K gold filled dress watch, the signed dial having Arabic numerals and hands in gold tone with seconds subsidiary dial at 6 o'clock, 17 jewel 980 manual wind movement, fitted with vintage brown leather strap, case measures 35mm x 22mm. Condition: running intermittently, not sold with any guarantees to be working, initials and date inscribed to rear of case, dial with natural ageing and discolouration, age related surface wear to case throughout.
Lot 117
A Raymond Weil Chorus 5568 gold plated dress watch, circa 2000, having signed white dial with applied Roman numerals and date aperture at 3 o'clock, 32mm case, powered by an ETA quartz movement, fitted with original gold plated bracelet strap with signed clasp. Condition: currently in working order, however, not sold with any guarantees, dial clean, minor wear to case, glass and bracelet but no signs of any significant damage, clasp functional, no box or papers.
Lot 45
A MINTON EARTHENWARE ARTS AND CRAFTS PLAQUE, 1876, of plain shallow dished circular form painted in polychrome enamels by C.L. Florris-Broughton with the head and shoulders portrait of a maiden wearing pearls in her braised hair, high collar and turquoise dress, holding a lute beside a blossoming bough, signed and dated 1881, impressed marks, 19 1/4" diameter (Illustrated) (Est. plus 21% premium inc. VAT)no restoration, back has six "test" colour panels, chip to inner footrim, four glazed hanging holes, 4cm hairline crack to rim
Lot 764
A FRENCH GILT METAL AND SILVERED MANTEL CLOCK, the twin barrel movement striking on a bell and signed by Narco Paris 63080, 3 1/4" blue floral porcelain dial with Roman numerals, the oblong waisted case surmounted by a female figure in Turkish dress with a goat, on scrolled bracket feet, 12" wide, 5 3/4" high (Est. plus 21% premium inc. VAT)Generally good, no damage to dial, with key and pendulum
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228098 item(s)/page