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Lot 56
An Early 20th Century Pink Mother-of-Pearl Fan, the double silk leaf of very dark cream depicting a couple in 18th century dress seated at a table, the lady pouring wine, a dog asleep at their feet. The reserves are simply painted with foliage and flowers. The verso is plain save for another simple scrolling and floral design. Guard length 9 inches or 23cm; and A First Half 19th Century Fan, the double vellum leaf mounted on pink mother of pearl, the monture carved and pierced and gilded, classical designs to both guards and gorge. The recto, again with a variety of classical designs, shows a regency gentleman seated with his lady in a clearing, the lady wearing a slim white gown with trailing skirt. To each side are simple garden features. The verso is plain. Guard length 9.5 inches or 24cm (2)Fan 1 - The monture is sound and clean. The leaf has suffered from humidity and some folds have split. Fan 2 - Quite possibly a marriage of an earlier leaf with a later frame. But well done. The bottom left edge of the leaf is torn over several folds. The lower guard has possibly been repaired at the shoulder.
Lot 41
A Regency Printed and Hand-Coloured Fan, the double paper leaf mounted on basic and plain dark wooden sticks. The recto depicts a lady wearing early 19th century dress reading a letter which has either been just delivered by, or indeed written by, a young man in breeches, boots and buttoned waistcoat of the period. The scene is bordered with a classical leaf design. The verso is plain. Guard length approx. 8.5 inches or 21.5cm; and A Late 18th/Early 19th Century Printed and Hand-Coloured Fan, the double paper leaf mounted on basic wooden sticks, plain and light to the gorge, plain and dyed dark brown and polished for the guards, with bone thumb guards. The main body of the recto depicts a rocky countryside clearing with tall trees and unusual bushes, mountains in the distance and possibly rural Italian buildings to the bottom left. Centrally, country people take refreshment, one petting a dog. Above and surrounding the scene are 2 borders, one in pale yellow featuring birds attempting to prey upon large insects and snails. The upper border, in cream, has a simple leaf design. To the lower border a very thin pink panel is printed with ''gravé par J B D????on''. Guard length approx. 9.75 inches or 25cm (2)Fan 1 - Very good. One very minor loss to the lower edge of the leaf and some slight marks on the verso, plus at top border level and seen from the right side of the verso, some very very slight staining. Fan 2 - Very good.
Lot 49
A Late 19th Century Silvered and Gilded Mother-of-Pearl Fan, mounted with a double leaf, the recto of paper, the verso of silk, and mounted à l'Anglaise. The recto is painted with a couple in 18th century dress buying flowers in a flower market, medieval wooden buildings in the background. Signed to the left, ''Baston''. The verso is plain. Guard length 9.5 inches or 24cm. Together with a tan coloured card fan box, lined in cream silkGood, clean, sound. The box exterior is moderately rubbed and scraped.
Lot 320
Diamond and sapphire 9ct yellow gold four tier hexagonal cluster ring, alternate rows of small round eight cut diamonds and small round mixed cut sapphires, bead and claw settings, dimeter of head approximately 13mm, a single small round eight cut diamond set to each shoulder, ring size J½ together with a paste set 9ct yellow gold and silver dress ring, ring size L (2)
Lot 201
Pair of early twentieth century enamelled silver cufflinks, each oval panel with purple enamelled centre depicting rose design, cream enamelled border surround, dimensions of panel approximately 19.5mm x 12.5mm, brass links, together with a cased set of mother-of-pearl Krementz cufflinks and dress studs (2)
Lot 202
Diamond three stone 18ct yellow gold and platinum ring, three graduated round brilliant cut diamonds, the centre stone weighing approximately 0.15 carat, total diamond weight approximately 0.30 carat, claw settings, tapered shoulders, ring size M together with a diamond 18ct gold and platinum set dress ring, five small eight cut diamonds, illusion settings, ring size R (2)
Lot 262
Diamond 9ct yellow gold dress ring, nine small round eight cut diamonds set to the top with eight small round eight cut diamonds set to each side, illusion settings, width of band approximately 4mm, tapered shank, ring size N together with a 9ct yellow gold ring, bead detailing to centre with rope twist borders, band width approximately 5mm, ring size O½ (2)
Lot 266
Shell cameo 9ct yellow gold dress ring, the oval cameo depicting the Three Graces, dimensions approximately 17.5mm x 12.5mm, rub over setting with rope twist style border surround, open shoulders, ring size N½, together with a gem set 9ct yellow gold ring (af) and a yellow metal paste set ring (af) (3)
Lot 295
A Scottish Silver Mounted Dress Dirk By WM Anderson, Edinburgh, the 28cm polished blade with scalloped backed edge, the scabbard mounts engraved with Celtic Knot designs, the top mount with Edinburgh hallmarks for 1948 complete with its side knife and forks and matching heavy silver plaid brooch both mounted with large claw set stones, the brooch weighing 4oz
Lot 724
CIGARETTE & TRADE CARDS - ASSORTED SETS, PART SETS & ODDS comprising Wills, 'Medals', 1906 (50/50); Benson, 'Old Bristol Series', 1946 (24/24); Anstie, 'The World's Wonders', 1924 (50/50); Murray, 'Bathing Belles', 1939 (40/40); Player, 'Drum Banners & Cap Badges', 1924 (50/50); Wills, 'Ships' Badges', 1925 (50/50); Player, 'Military Head-Dress', 1931 (50/50); Player, 'Victoria Cross', 1914 (25/25), and others; together with a quantity of reference works, (albums and loose).
Lot 725
CIGARETTE CARDS - MILITARY & NAVAL, TWELVE SETS comprising Player, 'Regimental Standards and Cap Badges', 1930 (50/50); Player, 'Drum Banners & Cap Badges', 1924 (50/50); Player, 'Military Head-Dress', 1931 (50/50); Player, 'War Decorations & Medals', 1927 (90/90); Player, 'Army, Corps & Divisional Signs 1914-1918, A Series', 1924 (50/50) and '2nd Series', 1925 (100/100); Player, 'R.A.F. Badges', 1937 (50/50); Player, 'History of Naval Dress', 1930 (50/50); Carreras, 'History of Naval Uniforms', 1937 (50/50); Carreras, 'History of Army Uniforms', 1937 (50/50); Gallaher, 'Army Badges', 1939 (48/48); Gallaher, 'The Navy' (Park Drive), 1937 (48/48).
Lot 876
A 1970s Bus Stop matching two-piece ensemble, comprising blouse and skirt, in a 1930s inspired print, incorporating blue forget-me-nots and peach bell flower clusters sprigged between curvilinear bands, the blouse having smocked shoulders, a pointed collar, button down front and bishop sleeves, above a panelled skirt, together with an early 1970s Jean Allen sheer copper and gold banded evening dress, having gigot sleeves, scooped neck and a darted bodice, above a maxi skirt, together with matching belt
Lot 47
SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., R.O.I., L.L.B. (IRISH 1856-1947)WAITING Signed and inscribed verso, oil on canvas24cm x 19cm (9.5in x 7.5in)Exhibited:Paisley Art Institute, 1881 Note: In 1880 John Lavery faced an uncertain future. He had attended early morning and evening classes at the Haldane Academy in Glasgow, and with one or two picture sales had sought his fortune in London. But this venture had not been successful and with no family to support his efforts had returned to Scotland. He now realised that knowing the taste of the public was essential if he was to make his way as an artist.Costume-pieces - small, inexpensive paintings on popular literary themes, often sentimental in nature, and featuring young women in Regency or Renaissance finery, in subjects taken from Goethe's Faust and the novels of Walter Scott - would support him while he developed his craft and acquired a reputation. It was a precarious existence. During these years Lavery lodged cheaply in Buccleuch Street, Paisley, while retaining a small studio in Glasgow. Even after his removal to Paris in November 1881, he would continue to show such works. In the present instance the girl's dress, and probably the model, are those in A Conquest, A Heart for a Rose, 1882 (Glasgow Museums) - the picture which typifies this period.This rediscovery of Waiting is of special significance in that it is likely to be one of Lavery's earliest exhibited works, shown at the Paisley Art Institute. We may even surmise that the young woman in the picture was modelled by 'Georgina', one of the assistants who caught his eye when he was working for MacNair, the Glasgow photographer, in the late 1870s. However in the absence of contemporary illustrations, the issue is complicated by the fact that formerly it was thought that the picture, also entitled Waiting and housed in Renfrew Museums andGalleries, was that exhibited in 1881. The Renfrew painting, of similar size to the present example, was originally owned by Lavery's early patron, John Eadie, of Eadie Brothers, makers of 'ring travellers' for the yarn industry, and one of the town's leading manufacturers. It was presented to the Art Institute around 1914. Although we cannot be conclusive, the appeal of this present work seems more universal and its glen-side setting more romantic.By the time the Institute's exhibition opened at the end of 1881, the painter was already in France and embarking on a new phase of his artistic training. While his work would develop rapidly during subsequent years, from Waiting and similar small beginnings, a great career would blossom. We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot.
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