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Lot 365
A SELECTION OF NINE 18TH AND 19TH CENTURY PORTRAIT MINIATURES comprising of a lady putting on stockings, on metal panel. A gentleman in a blue coat. A lady in a blue dress. An oval of a lady in a gilt metal frame. A circular miniature of a gentleman with a blue back ground. An oval of a gentleman with grey hair. A gentleman with a ruff. A gentleman possibly Shakespeare. A Madonna and child - images from 5cm to 10cm
Lot 815
A MID 19th CENTURY FRENCH ORMOLU FIGURAL MANTEL CLOCK modelled as a lady in Eastern dress seated on cushioned ottoman enclosing a 3" silvered dial with Roman numerals surrounding an engine turned centre fronting an eight day spring driven movement striking the hours/half hours on a bell 40cm high
Lot 126
Hinton Gibbs (British, fl. late 1790s to 1822) Portrait of a lady, profile to the right, wearing a coral necklace and dress with a lace trim around bust, with hair in a Grecian hairstyle, circa 1804/1806, backed with ivory, 6.1 x 5.2cm (2.5 x 2in); Portrait of a young child, profile to the right, 7.1 x 5.7cm (3 x 2in); and Portrait of a gentleman, profile to the left, wearing a black coat with button and collar detailing, circa 1810, 6.6 x 5cm (2.5 x 2in) reverse painting on glass (3) Lady - some paint deterioration and chips to the head and neck. Child - Some cracks due to age, diagonal crack and a missing piece of wax support/backing approximately 3/4inch below sitter, a few blemishes above the sitter's head, some paint deterioration to the neck of sitter. Frame loose. Gentleman - visible cracks and discoloration around perimeter. Some paint deterioration to sitter's jacket.
Lot 305
After Sir Joshua Reynolds, PRA (British, 1723-1792), Portrait of Georgiana, Duchess of Devonshire, 20 x 15 cm (8 x 6in); After Jean Baptiste Greuze (French, 1725–1805), Portrait of a lady in a cream dress with blue ribbons, at a casement, holding a letter, 18 x 12 cm (7 x 5in), oil on panel (a pair) in pierced and gilded Florentine frames; together with an English School (19th Century) watercolour of a young man, 12 x 10cm (5 x 4in) (3) There is a vertical crack in Georgiana's panel. Both loose in their frames and with some scuffing to the edges.
Lot 309
Indian Company School, 19th Century, Four watercolours of Indian men, including a gentleman standing full-length, in a lilac coat, carrying a case, 11 x 7 cm (4.5 x 3in); A musician playing a small stringed instrument, 13.5 x 9.5 cm (5.5 x 4in); A nobleman in a white turban, carrying a sword, seated on a carpet, 14.5 x 9.5 cm (6 x 4in); A man with a stick, 13 x 8 cm (5 x 3in); together with a representation of the God Ganesh, seated and resting against a pillow, holding a white water lily, 13 x 9.5 x (5.5 x 4in) watercolour and Indian ink on paper (5); together with Three paintings on mica, two depicting Indian noblemen carried in palanquins, both 9 x 15 cm (3.5 x 6in); and another of a nobleman riding a camel, 9 x 13cm (3.5 x 5in), Indian ink on mica, framed (3); also two Mughal miniature paintings, Tiger and deer hunt with hunters riding in on a horse and on top of an elephant, with script above, 22 x 13 cm (8.5 x 5in); Portrait of a Prince, in a red dress and a turban, inscribed below the sitter, 15 x 10 cm (6 x 4in), gouache on paper (2); French School, 19th Century, A Fallen Napoleonic soldier with his horse beside him, a trumpet on the ground, watercolour, 7 x 10cm; and Charlton Nesbit (British, 1775–1838), A Pastoral scene with a peasant watching a flock of birds, etching, 6 x 8cm (12 watercolours in total)
Lot 56
Frederick E. McWilliam HRUA RA (1909-1992)Woman of Belfast No.7 (1972)Bronze, 32.5cm high x 30cm long x 20.5cm wide (12¾ x 11¾ x 8'')Signed with initials and numbered 5/5 This edition was included as part of the exhibition ‘Women of Belfast. New Bronzes by F.E. McWilliam’, the Dawson Gallery, Dublin 4 -20 October 1973 “The things you start a theme with are usually the very best at the beginning. After a while a sort of repetition seems to set it… and they make it more sophisticated, they make it perhaps more complicated.” - F.E McWiliam interview with Louisa Buck for the Irish Art Series, 1983, p.5 Tate Gallery Archive. Working in series is not unique to McWilliam, artists often fixed upon one theme for a number of years, producing a range of work based around the same subject matter. This method of creation often acted as a way of working through an idea, by making repeated works of a single form, in McWilliam’s case the female body. His Women of Belfast series (1972 - 1975) of which this present example is Woman No 7, changed over the course of the three years, his initial figures were unclothed, he later added the drapery for a more realistic effect. As a response to the sectarian violence of The Troubles, McWilliam’s figure of a woman thrown to the ground in the aftermath of an explosion represents the scores of civilian casualties in Northern Ireland. His inspiration for the work came from images in the media following the bombing of Abercorn restaurant in Belfast in March 1972. Of the two fatalities, both were women, which may indicate why McWilliam decided to depict the female casualties rather than male. Equally, the series was an expression of how often in times of conflict, it is women and children who become victims of these senseless atrocities. The female figures act as a representation of the private domestic world which has been forcefully intruded upon by these public acts of violence. As sensitive as the subject matter is it always difficult to reflect on the aesthetic qualities of the work. The sculptures are in many ways profoundly tragic, yet art at its most powerful should be emotive and it raises the difficult question of how, as an artist, to respond to this suffering. In the work McWilliam is bearing witness to these victims. In this present example, the figure is caught in mid-fall, her body thrown backwards, one leg extending out before her the other bent at the knee, bracing herself against the blast. The base for the figure is delineated in such a way as to create an almost a two dimensional impression of the body above, a sense of depth below her into which she will inevitably fall. The texture of the bronze captures the force of the explosion, her dress flattened against her body, hands raised instinctively to protect her face, which remains anonymous. The indecency and complete violation of her body is expressed by her dress lifted almost beyond her waist. McWilliam had never before used his sculpture to directly comment on political or social issues of his country of birth, but moved by the tragedy he felt compelled to create the series, which after nearly fifty years since its inception, holds an undeniable power.Niamh Corcoran, August 2018
Lot 91
Mary Swanzy HRHA (1882-1978)The Lute PlayerOil on canvas, 45 x 36cm (17¾ x 14¼'')Mary Swanzy began her career as a portrait artist, before adopting an increasingly abstract approach to her subject matter. In this present example, her handling of the paint reflects her later interest in cubist techniques, particularly evident in the figure’s dress, where she has broken up the contours of the surface, using colour instead line to suggest the folds of the drapery. However, at the same time she is following more traditional lines of composition and figural representation. The Lute Player incorporates many elements of style and pictorial arrangements similar to old master paintings. The female figure, is placed in the centre of the composition, as the focal point around which the scenes rotates. She is given a sense of importance, raised up on a rock, out of proportion to the landscape surrounding her. This amplification of her features, particularly her head and hands, and deliberate eschewing of perspective by Swanzy reflects the work of Renaissance painters. Women playing lutes reoccur time and again in these old master paintings, with the instrument serving as a symbol of harmony and grace, appropriate qualities for a woman in the 16th century. In Swanzy’s work, she is presented to us as a Venus figure, with a dress draped loosely over her body, slipping off her shoulders to expose the pearly white flesh of her skin underneath. She is a sensual figure, a symbol of beauty, the epitome of femininity, sitting in this arcadian landscape. Yet, Swanzy held strong views about the role of women in art and she rejected the notion that only certain types of subject matter were appropriate to her because of her gender, remarking “Ladies have to paint pussy-wussies and doggy-woggies...If I had been born a Henry instead of Mary, my life would have been very different”. (Brown, Karen. E, The Yeats Circle, Verbal and Visual Relations in Ireland, 1880- 1939, Routledge 2011). While she could never escape this prejudice in her own lifetime, by taking on the role traditionally adopted by male painters of representing a female subject for purely visual pleasure, she is manages to subvert this stereotype. Niamh Corcoran, August 2018
Lot 103
Raymond Weil Othello gold plated dress wristwatch, black stone set dial, black strap, 25mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - good. Hands - good. Case - good general condition. Crown - adjusting correctly. Strap - some light wear. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 536
British Medals, Charles II, marriage to Catherine of Braganza, 1662, copper medal, by George Bower, laureate bust of Charles r., hair long, in classical armour, CAROLVS II DG. MAG BR FRA ET HIB REX, rev. bust of Catherine r., hair tied back, lovelock on right shoulder, wearing low cut dress, pearl earring and single strand pearl necklace, CATHARINA DG MAG BR FRA ET HIB REG, 61mm. (MI.491/115), a contemporary cast of excellent quality taken from a struck silver medal, nearly extremely fine and very rare *bt. B. A. Seaby, 1981 MI states ‘This is perhaps the best executed of all the medals by George Bower’.
Lot 572
British Medals, William & Mary, Coronation 1689, silver medal, by Jan Smeltzing, busts vis-à-vis, he laureate, hair long and over lion shoulder-plate to armour, wearing Order, she hair high in front, lovelocks, crucifix brooch on dress, MAIUS PAR NOBILE SCEPTRIS, in ex. G HENR ET MAR PR AUR M BRIT R 1689, rev. rays above Britannia who greets Hollandia on shore with distant fleet, Phrygian cap on plinth to l., M BRIT EXP NAV BAT LIB RESTASSERTA, 58.5mm. (MI.672/44; Eimer 309b; Woolf 10:12; vL.III, 379), extremely fine and very rare *ex Collection Stucker, Émil Bourgey Auction, Paris, 21-23 November 1977, lot 105 bt. B. A. Seaby, 1978
Lot 645
British Medals, George III and Queen Charlotte, Coronation 1761, a pair of ‘souvenir’ medals, unsigned, silver (or possibly silvered bronze) and copper, the King enthroned, crowned by the Archbishop, GEORGE THE III …, rev. the Queen enthroned, wearing spreading dress, holding sceptre and orb, 40 & 41mm. (BHM.36), ‘silver’ very fine, copper better, unusual for a cheaply made souvenir medals (2)
Lot 37A
Post War Officer's Uniform lot consisting of No 2 Service Jacket with belt and general service buttons tailored by Moss Bros and Khaki Battle Dress Blouse 1949 Pattern Size 8 both with Captain's rank badges. Plus 2 Khaki shirts size 4 and one other, 3 Military stable belts, White Metal and Brass West Yorkshire Regiment Cap Badge, CCF Captain's epaulettes and CCF Flashes. Est.
Lot 342
Late Victorian School, Portrait miniature of a lady, half length in a blue dress, 6cm x 5cm, in a brass frame with leather case; also a Victorian silhouette of a lady signed 'Miers', mounted within an ebonised framed, 6.5cm x 5cm; and a portrait miniature of Lord Nelson, 8.5cm x 6.5cm, mounted within a boulle style frame (3)
Lot 1048
British Coins, Elizabeth I, a handsome Art Deco period napkin ring of rectangular form with angled corners, inset with a milled silver sixpence of Elizabeth I, 1562, mm. star, decorated dress, small rose (S.2596), Birmingham hallmark, 1934, maker ‘D. BROS’ (either Davies Brothers or Dingley Brothers), the coin in excellent condition - extremely fine
Lot 2062
British Coins, Elizabeth I, sixth issue, pound, mm. anchor (1597/8-1600), crowned bust of queen l. with long hair, wearing richly ornamented dress with ruff, double pellet stops, rev. crowned square-topped shield of arms, ER at sides, double pellet stops (S.2534; N.2008), certified and graded by NGC as Mint State 64, a beautiful and lustrous coin, unusually bold in details on both sides, on a broad flan having almost complete outer beaded rims, this is the finest known with the anchor mintmark - the rarest mintmark on Elizabeth I pounds - a trophy coin for the connoisseur This lovely coin is one of the more regal portraits of Elizabeth I in gold. Even as she advanced in age she retained her dignified bearing. It took half a century but under her guidance England regained the wealth that her father wasted, shown off on this coin in the queen’s jewelled, fancy dress. On the other side, the large crown atop the regal shield again stood for majesty and strength, after the anaemic reigns of Henry’s only son, Edward, and his eldest daughter, Mary. Indeed, on this coin we see symbols of the queen’s importance as a monarch who recaptured the devotion of her subjects and the admiration of her enemies.
Lot 2170
Foreign Medals, World War II, the completion of the Burma-Siam Railway, bronze medal, 1943, designed by Captain Ewart Esercitt; map of the Malay peninsular, the railway marked with a line, the Islands of Borneo and Java, to the fore the railway track recedes to the distance, to r., a palm tree, rev. legend in Japanese characters (IN COMMEMORATION OF THE BURMA-SIAM RAILWAY, SHOWA [OCTOBER] 18TH), 49mm. (Fearon, D., A Bronze Medal for the Burma-Siam Railway, 1943, Numismatic Circular, LXXXIV, January 1976, p.8), cast on a thick flan?, as made - very fine, an extremely rare and emotive medal It is not the place of an auction catalogue to record the horrors of the Burma-Siam Railway. The railway was actually completed seventy-five years ago on the 17th October 1943 and the ceremony for its opening was held a week later on the on the 25th, when a golden nail was hammered into the final section of track. Captain Charles Ewart Esercitt of the Royal Army Service Corps who commanded many of the British prisoners working on the railway and at the rail base camp at Nong Pladuk, was a talented amateur artist specialising in lino-cuts. It seems safe to attribute the medal design to him. The medal was kept as a souvenir by Pte. Frederick Arthur Knightly, RASC (T/205155), serving as a driver with 54 Infantry Brigade Group and captured at Shanghai. The medal is sold with his service medals, 1939-45 and Pacific stars and War medal, brooch mounted; dress miniatures and ribbon brooch (both these include Defence medal); duplicate Pacific star; RASC cap badge; Far East POW Social Club lapel badges (2); more recent FEPOW badges, pins, etc (8); with photocopied research. The 1976 article records three specimens and the example now in the Imperial War Museum (not on display) is believed to be one of these three. Since then the cataloguers know of only a single example being offered for sale (by private treaty some 20 years ago) and none has been offered for sale at auction. There are possibly between 5 and 10 pieces extant.
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228098 item(s)/page