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Lot 125
A pair of 18ct gold oval engine-turned design cuff-links, Birmingham 1928, weight 8.3gms, a pair of 9ct rose gold oval engine-turned design cuff-links, Birmingham 1919, together with eight yellow metal collar/dress studs, stamped `9ct`, total weight 17.5gms and four yellow metal studs, one stamped `15ct`, contained within wallet (14) For details of the condition of this lot please contact the auctioneer.
Lot 301
Henry Bone ARA. 1755-1834, `Portrait of a young lady wearing a white dress with frilled collar, half length`, enamel, inscribed, `Henry Bone ARA enamel painter to HRH The Prince of Wales Pixt 1804`, oval, 9cm x 7cm Bone was born in Truro, Cornwall, the son of a cabinet maker: At the age of 16 he was employed as a porcelain painter in Plymouth under William Cookworthy and moved with his master to Bristol in 1778. He moved to London at this time and began work as a jewellery and fan enameller. Bone married Elizabeth Vandermeulen in 1780 and the couple had twelve children, several of whom were successful enamel portrait artists. In 1800 he was appointed enamel painter to the Prince of Wales; in 1801 he was made an associate of the Royal Academy and enamel painter to Geroge III continuing to hold the appointment during the reigns of George IV and William IV. On 15 April 1811 he was elected a Royal Academician. For details of the condition of this lot please contact the auctioneer.
Lot 52
FIRMIN SALABERT (1811-1895) Portrait of a Lady seated wearing a white dress signed and dated `F.Salabert 1850` watercolour 18 1/2 x 12in (46.9 x 30.5cm); an oil sketch depicting a Lady by a follower of William Powell Frith R.A.; and an early 20th Century Continental Miniature depicting a family group; three (3)
Lot 135
A pair of 18 carat gold cuff-links, having engine turned decoration; a pair of silver cuff-links decorated with Viking long boats and stamped "A.R. Iona"; a yellow metal dress ring; a yellow metal watch key, inset with a Cornelian; a yellow metal stick pin with devil`s head mask; various other items etc.
Lot 572
PAIR OF MID TWENTIETH CENTURY ORIENTAL LARGE CARVED POSSIBLY BUFFALO HORN FREE STANDING ORNAMENTS, design of scaly dragon and tiger with applied glass eyes, each on carved wood stand, 13 3/4" (35cm) high and an EGYPTIAN CIRCA 1920`s CARVED BROWN VARIEGATED SOAPSTONE FIGURE in the form of a standing bird of prey with head dress and simple scratch carved decoration, integral oblong plinth base, 14 1/4" (36.2cm) high, (crudely repaired) (3)
Lot 80
An Etain Garanti Art Nouveau pewter figural ewer, French, late 19th/early 20th century, of organic form, the handle modelled as a female in flowing dress, overall decorated with putti, on circular base, bearing maker`s mark under base, height 24 cm; an Etain Garanti Art Nouveau pewter twin handled vase, French, late 19th/ early 20th century, of organic form, the handles modelled as foliage, overall decorated with figures and trees, on circular molded base, bearing maker`s mark under base, height 30 cm; together with three further Continental Art Nouveau metal figural vases, (5).
Lot 254
A Derby style part tea service, early 19th century, consisting of a cream, a sugar, cups of various size, side plates and saucers, overall decorated with pink and gilt scrolling foliage on peach ground, with stylised gilt leaf on blue ground borders; a Royal Crown Derby Imari style 383 pattern part tea service, mid/ late 20th century, to include cups and saucers, espresso cups and saucers and side plates, overall decorated with Imari style flowers in blue and iron red with gilt embellishment; a pair of Spode `Chelsea` figures, 20th century, of a man and woman in early dress on Rococo style bases, (a lot).
Lot 693
A Portrait Miniature, British Colonial/Indian School, early 19th century, portrait of a lady standing three-quarter length in a blue dress turned to the right by a column, oval, mounted in a rectangular glazed ebonised frame, 11.5x9.5cm. Note: Inscription on the reverse reads, `Evelina Jane Laud, Born 19 November 1798, Married 22 July 1820, Died 18 January 1845 aged 47 years 2 mts Lived in India (Wife of other`s Uncle)`
Lot 694
George Race, British 1872-1957- The steam and sail drift trawler Homocea setting out to sea; oil on board, signed and dated 1930, 29x42.5cm., (unframed). Note: Launched in 1919 by A Hall & Co Ltd Aberdeen. Registered at Lowestoft in 1930 as `HOMOCEA` LT112 : British School, early 20th century- "On The Blue Atlantic"; oil on board, mounted in a glazed ebonised oak frame with titling in gilt, bears inscription on the reverse, label for W A Mansell & Co 405 Oxford Street London W1, 18x25.7cm: British Primitive School, 20th century- Looking out to sea; oil on board, signed with initials `LH` and dated indistinctly, bears inscription on the reverse `Andras Kalman Esq previous owner David Tomlinson Esq from his fabulous collection of Primitives 25.XII.62`, 32x24.5cm: British Provincial School- Little girl in a blue dress; watercolour, mounted in a 19th century maple veneered frame, 18x13.5cm: W Clerk Lith 202 High Holborn, British, 19th century- Child seated in a chair reading and smoking a clay pipe; hand-coloured lithograph, 22x18cm: P and P Gall, publ, British, 19th century- "Peace"; hand-coloured engraving, mounted in a glazed pressed brass frame, 15.5x20.5cm (6) (may be subject to Droit de Suite)
Lot 837
AMENDMENT- The miniatures of Susan Gerraway and Mary Weatherall are both signed `W. Hudson` and dated `1821`- A group of British portrait miniatures, depicting "Daisy Markham, nee Grant", wearing a black dress and shawl and red beads, oval, mounted in a purple velvet case, 9x7.4cm, "Susan Gerraway, died April 17th 1838", seated in a blue dress and white bonnet, 10x7.5cm, "Mary Weatherall, died Feb 23rd 1838, aged 82", seated in a blue dress on a red chair with lace collar, 10x7.5cm, "A Smith Descendent", portrait of a man in a brown jacket, 8.7x6.5cm, and an ambrotype of a man seat, mounted in a velvet lined case, 7x5.5cm, (5) Provenance: Property of the Markham family, William Markham married Daisy Grant, daughter of Sir Francis Grant RA, and thence by descent
Lot 838
AMENDMENT: Provenance: Property of the Markham family, William Markham married Daisy Grant, daughter of Sir Francis Grant RA, and thence by descent: A group of British portrait miniatures, depicting "Henrietta Levin" in a white dress with white veil, 5x3.7cm, Archbishop William Markham 1719-1809, a portrait of a man head and shoulders in black robes and a wig, inscribed `NI 176`, oval, 3.4x3cm, another picture of Archbishop Markham, seated three quarter length in robes, mounted in a gilt and velvet frame, 5.8x4.8cm, "John Levin" head and shoulders, turned to the right in a maroon jacket, oval 5.7x4.9cm, "Zadik Levin, dies Jan 19th 1848 aged 74", head and shoulders turned to the right in a jacket and waistcoat, mounted in a gilt frame, oval 6.5x5.5cm, "M A Levin, died Aug 1839 aged 52", wearing a blue dress, peach coloured hat and diamond necklace set, oval 6.5x5.3cm, and two other miniatures: Dora Webb RMS, British 1888-1975- Portrait of a cherub; miniature, oval, signed and dated 1904, mounted in a velvet backed, gilt pendant frame, 6.5x5cm, (8), (may be subject to Droit de Suite) Provenance: Property of the Markham family, William Markham married Daisy Grant, daughter of Sir Francis Grant RA, and thence by descent
Lot 839
AMENDMENT: Provenance: Property of the Markham family, William Markham married Daisy Grant, daughter of Sir Francis Grant RA, and thence by descent: A group of four British portrait miniatures, depicting "Mrs Carr", aunt of Sir Francis Grant RA, seated half length, turned to the right wearing a bonnet with a pink flower, mounted in an ebonised and gilt frame, 9.5x7.2cm, "Mary Ann Levin Smith, born Sept. 8th 1810, died May 5th 1886 at Salt Hill, aged 76", seated turned to the left, wearing a black dress with miniature painted pendant, 10.2x8cm, "Lucia Lecky, born Smith", seated wearing gold and ruby jewellery set, 10.7x8.2cm, and a portrait miniature of a woman in profile turned to the left, seated and wearing a white dress, in a gilt framed pendant, 7.3x6cm, (4) Provenance: Property of the Markham family, William Markham married Daisy Grant, daughter of Sir Francis Grant RA, and thence by descent
Lot 203
A collection of books comprising `The Diverting History of John Gilpin` with illustrations by R Caldecott, `The Golden Goose Book` with drawings by L Leslie Brooke, printed by Frederick Warne & Company Limited 1905, `Apple Pie` with illustrations by Kate Greenaway, printed by Frederick Warne & Co, London with original dust cover, `The Adventures of Dunno and his Friends` by Nikolai Nosov, with original dust jacket, `Pothooks and Perseverance` or the `ABC Serpent`, penned and pictured by Walter Crane, printed by Marcus Ward & Co, London 1886, `The English Struwwelpeter` by Dr Heinrich Hoffmann, printed in London, also `Old Irish and Highland Dress`, by H F McClintock, printed by Dundalk 1950, `The Art and Craft of Hairdressing`, edited by Gilbert A Foan, published by the New Era Publishing Company Limited, London c.1931, also `Under the Window` by Kate Greenway, `Tin Tans at Play`, a book for children by Gracia Kasson and E Tschantre, printed by Ernest Nister, London (10)
Lot 37
William Conor OBE RHA RUA ROI (1881-1968) PORTRAIT OF A RED HAIRED GIRL WEARING A GREEN BLOUSE oil on canvas 59.69 by 48.895cm., 23.5 by 19.25in. P "Collection of the artist, by whom bequeathed to the Linen Hall Library, Belfast; Sold on their behalf by the Bell Gallery, Belfast, to Mr. Courtenay Thompson, Belfast, prior to May 1978 (Certificate of Provenance from the Bell Gallery, dated 30 June 1989); Whyte`s, 21 September 2004, lot 56; Whence purchased by the present owner "Accompanied by a signed manuscript letter from the artist`s biographer, Judith C. Wilson, who researched the history of the painting on behalf of Mr. Courtenay Thompson, in January 1991. Also with numerous photocopied newspaper clippings and photographs. The sitter in this portrait has been variously identified as `Red-Haired Kitty`, `Lily`, ‘Miss Y’, and ‘Mrs T. Walker’. It seems likely that she is actually all of the above. A photograph exists in Conor’s papers (now in the Ulster Folk and Transport Museum), that would appear to be the basis of the present portrait. It is squared up in preparation for transfer to a larger composition, and on the reverse is written: “To Billy with best love from Lily”. The same woman appears in a crayon drawing, in exact mirror image to the present work (see Young Woman in Yellow Dress, catalogue no. 78 in the Conor exhibition, `Children of Ulster`, held at the McClelland Galleries, Belfast, in 1969, illustrated on p.9 of the catalogue). Judith Wilson traced two further portraits of the same sitter. The first known, simply titled Kitty, was exhibited at the Royal Society of Portrait Painters in London, 1930, and was illustrated on the front cover of Colour magazine (Vol. III, No. 2, December 1930). This work is now in the collection of the Ulster Folk and Transport Museum. A second portrait of the same woman, this time leaning against a table, was painted circa 1930, and reproduced in The Daily Express, 10 December 1930, where it titled as Mrs T. Walker. It was used to illustrate an article by R. Stephen Williams, for part of a series by him on “Beauty in Ulster”. Conor was asked to select the representative beauties and paint their portraits, after which Williams interviewed them. The portrait was later exhibited as Red-Haired Kitty at the Royal Academy in London, 1931, and was illustrated in the accompanying catalogue. The following year it appeared on the front of G.F.S. Magazine, along with a short ‘puff’ by journalist May Cunningham, eulogising the sitter’s “charming and racy” looks. Conor evidently liked the work too, for he showed it again, this time in Dublin at the 1936 RHA, where it was enigmatically titled “Miss Y” and illustrated in a review of the exhibition. The present work was presumably a favourite of the artist’s, as gallery owner Nelson Bell recollects that it formerly hung over the fireplace in Conor’s dining room in his home on Salisbury Avenue, Belfast.
Lot 43
Charles Edward Perugini (1839-1918) LOVERS IN A GARDEN oil on canvas laid on board signed in monogram lower right 116.205 by 140.97cm., 45.75 by 55.5in. L "Private collection, New York; Private collection, Westport , Co. Mayo" ""Elegance, purity, and correctness of draughtsmanship, perfect refinement and dignity, grace and charm, delicacy in colour, and the tenderness of harmonious line - these are the qualities of his academic art which are now, it must be recognised outside, the sweep of the modern movement, but which has delighted two generations of picture-lovers who look for sound scholarship severely disciplined and veiled by melodious sweetness and distinction."From Perugini`s obituary recorded in The Times on 23 December 1918.Although Charles Edward Perugini was a boy when the Pre-Raphaelite movement began in 1848, its effects had far-reaching consequences and were felt late into the 1890s with the beginning of the Arts and Crafts movement; a development which had its roots in England but which spread rapidly throughout Ireland and the British isles. The Pre-Raphaelite Brotherhood was a secret society formed by artist`s who had found themselves disenchanted by the Royal Academy and who, in their disillusionment, turned to the art of the early Renaissance and late medieval age, finding solace in its moral message, truthful depictions of nature and minute attention to detail all of which were in stark contrast to the mass industrialisation of their own era.Perugini, born "Carlo" in Naples relocated with his family to London at an early age but he returned to his native Italy and later Paris to begin his artistic training. While on the Continent he met Lord Frederick Leighton, an associate of the Brotherhood, to whom he would become protégé. Under Leighton`s tutorage from the 1850s Perugini submitted to the RA, garnered numerous commissions and gained financial success. In 1873 Perugini married Charles Dickens` daughter, Kate, an artist and muse to members of the Brotherhood including John Everett Milliais (1829-1896) and widow of Charles Allston Collins, also a Pre-Raphaelite. An accomplished portrait and genre painter, Perugini, was her second husband who she both posed for and collaborated with on artistic projects during their marriage. It is possible that the lovers depicted here are an idealised portrayal of husband and wife, the figure of the man with his distinctly Italianate colouring and aquiline nose point to a possible self-portrait while images of Kate are comparable to the present "child-bride".Lovers in a Garden may date to the late 1880s or early 1890s. The classical setting and abundance of delicate foliage complement the tender romantic scene between the man and his young love and are comparable with the setting for The Green Lizard 1902 which he exhibited in the RA that year. The subject and sitters` dress echo literary inspirations of the time and while not as overt in their affections as depicted by his Irish counterpart, Sir Frederic William Burton in The Meeting on the Turret Stairs, 1864 (National Gallery of Ireland) for example, theirs is a shared sentiment.
Lot 44
Erskine Nicol RSA ARA (1825-1904) COUPLE RESTING BY A GRASSEY KNOLL, 1852 oil on board signed and dated lower right; with framer`s details stamped on reverse 24.13 by 37.465cm., 9.5 by 14.75in. L This work was executed the same year as a comparable work in oil now in the collection of the Tate entitled Wayside Prayer, 1852, presented by Sir Henry Tate in 1894 (Tate reference, N01537). The female character wears the same dress and headscarf in both works and the setting, gravely path and rickety fence all bear a striking resemblance to the Tate`s example. It is possible that the woman in this work is also praying, having perhaps had some sustenance from the jug in the left foreground. However, the animated face of the man, his gaze directed towards her, suggests a more light-hearted flirtatious ambience. His left hand appears to be touching the ring finger of his right, indicating perhaps their relationship either present or anticipated.
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