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Lot 474
SAMUEL WEST (1810-1867) Cardinal Wolsey leaving London after his Disgrace Signed 'S.West' Oil on canvas, 102 x 140cmExhibited: Royal Academy 1841; British Institution 1842; Cork Art Union Exhibition, 1843.Literature: A Dictionary of Irish Artists, W.G. Strickland, Pg. 518Samuel West was born in Cork in 1810, to a bookseller father who had moved to Cork from London. West most likely commenced his artistic training in Cork, however, he also travelled to Rome to study during his formative years. Between 1840 and 1867, West exhibited works at The Royal Academy of Arts London and The British Institution. This work was exhibited at the RA in 1841, the B.I in 1842 and the Cork Art Union Exhibition in 1843. In his later years, West turned to copying works of old masters in watercolour such as Titan’s ‘L’homme au Gant’. (A Dictionary of Irish Artists, W.G. Strickland, Pg. 517-518) Born in 1473, Thomas Wolsey was and English statesman and a Catholic cardinal. His rise in status coincided with accession of Henry VIII. As King of England, he appointed Wolsey as his almoner and gave him a seat of his privy council. By 1514, he became the controlling figure in virtually all matters of the state, reaching the position of the Lord Chancellor. Which he held from 1515 until 1529. He was appointed Cardinal Archbishop of York in 1514 by Pope Leo X.Wolsey fell out of favour after failing to negotiate an annulment of Henry’s marriage to Catherine of Aragon and was thus stripped of his government titles. He retreated to York to fulfil his ecclesiastical duties as an archbishop but was called to London to answer the charges of treason, charges commonly used by Henry VIII against those who fell out of his favour. Wolsey died of natural causes following an accident boarding a royal barge at Cawood, before he could reach London. This impressive painting presents the moment Cardinal Wolsey was expelled from his London residence, The Palace of Whitehall, to board a royal barge to York after the loss of his government position. Whitehall was subsequently taken over by Henry VIII as his principal residence in the capital after the apartments of Westminster were destroyed by fire. Whitehall served as the seat for English Monarchs from 1530 until its destruction also by fire in 1698. It was an incredibly impressive complex of buildings and at one time the largest palace in Europe. In this work, West depicts the east side of the palace which faces onto the banks of the river Thames.A large crowd has gathered to witness the Cardinal departing, most of the faces seem forlorn, mourning his expulsion from the city. He is escorted by four armed guards, their halberds raised in the air above crowd. Despite his loss of title, he is still treated with great respect by his attendants and household. Courtiers lift the train on his robe, a tapestry carpet has been laid along the steps, and he is helped into the boat by a gentleman dressed in furs, holding in his hand the letter which sealed the Cardinal’s fate.To the right of the composition is figural group of a woman and two children, set slightly apart from the larger crowds. She looks on in distress at the Cardinal. Wolsey was in a ‘non-canonical’ marriage for a decade with Joan Larke of Yarmouth. They had two children, Thomas (born c.1510) and Dorothy (born c.1512), both were born before he was ordained bishop. While the children in this painting would be too young to be either his son or daughter, West may have used this figural group to add further sympathetic appeal towards the Cardinal.The composition follows two diagonals, the first created by the architectural façade of Whitehall stretching along the banks of the Thames, and into the distance. The second is created by the crowd of people following the Cardinal as he descends steps. He stands at centre of the composition, clad in a bright red clerical vestments and hat. Visually he commands the attention of the crowd and us as the viewer. At this time Cardinals wore red to distinguish themselves from all other clerics, signifying the importance of their standing in the religious hierarchy. Presenting him in his vestments may have been an attempt by West to convey Wolsey’s continued sense of pride in his position even after being stripped of his government titles.
Lot 512
AN IMPORTANT GEORGE I IRISH BEER JUG,Dublin 1727, maker's mark of Matthew Walker, of plain baluster form with central girdle, the front engraved with elaborate armorial, with applied c-scroll handle and raised on circular spreading foot (c.33 troy ozs) 23.5cm tall, 22cm wide over handle and spout This elegant silver jug, introduced into Ireland by the Huguenots during the first half of the eighteenth century, exemplifies the period’s preference for plain silver, focusing on refined shape and proportions over elaborate decoration. From 1700 to 1735, pieces like this were often engraved with coat of arms within a cartouche. This particular jug is adorned with the armorial of the Wilson family, set within a foliate and scroll cartouche, showcasing the craftsmanship and heraldic tradition of the time.For comparative examples, refer to ‘Irish Silver: From the Seventeenth to the Nineteenth Century’ by the Smithsonian Institution (1982, p.19) and Douglas Bennett’s ‘Collecting Irish Silver’ (1984, p.25)
Lot 623
JEAN-JACQUES PRADIER (1790 - 1852) Sappho Silvered and gilt bronze, 47cm high Signed and dated 1848 Jean-Jacques Pradier was a sculptor born in Geneva and renowned for his work in the neoclassical style. He studied at the École des Beaux-Arts and studied sculpture with François-Frédéric Lemot. He won the prestigious Prix de Rome in 1813, allowing him to reside at the Villa Medici as a pensionnaire until late 1818. Pradier’s work gained international recognition, particularly through his distribution of small-scale sculptures, which included both reductions of his large-scale works and specially designed pieces for the market, primarily cast in bronze. Several versions of his sculptures were made in silver and gilt-bronze. The sculpture of the Greek poet Sappho is based on Pradier’s larger original bronze, first exhibited at the 1848 Paris Salon. The original was acquired by Queen Victoria for Osborne House, Isle of Wright and it now forms part of the Royal Collection Trust. A second bronze version is housed at the Dahesh Museum in New York. The sculpture depicts an allegorical figure of Sappho leaning against an Ionic column inscribed ‘J. Pradier 1848’, holding a lyre in her left hand.
Lot 422
ATTRIBUTED TO SIR GODFREY KNELLER (1646 - 1723) Portrait of Queen Mary, half length Oil on canvas, 127 x 103cm With label verso bearing inscription: '1st Portrait of Queen Mary, Consort of William 3rd, By Sir Godfrey Kneller / Large half length, carved gilt frame in high presentation, and a fine / specimen of the Master.' With additional label: Albert Amor, 31 St, James' Street, St James, S.W.Sir Godfrey Kneller was a German-born painter and a leading portrait artist in the late seventeenth and early eighteenth centuries. He moved to England around 1676, having studied first in Amsterdam under a pupil of Rembrandt, and then in Rome and Venice. He became the court and society painter following his introduction to the Duke of Monmouth, through whom he received sittings from the king. He continued to work as a court painter and in 1688 was appointed principal painter to William and Mary. In 1692 he was knighted, and became governor of the Royal Academy in 1711, the year of its establishment. Condition Report: Good overall condition Very old lining Craquelure to the surface throughout
Lot 651
A FRENCH ORMOLU-MOUNTED TULIPWOOD KINGWOOD AND PARQUETRY COMMODE AFTER THE MODEL DESIGNED BY THE SLODTZ BROTHERS AND EXECUTED BY ANTOINE-ROBERT GAUDREAUX 19TH CENTURY,the serpentine red marble top above twin cupboard doors, the doors and sides mounted with gilt metal cartouches depicting figures and animals, surrounded by elaborate swag and ribbon and medal decoration, raised on ram head capped scroll supports. 93cm high, 175cm wide, 77cm deepThis commode is based on the commode médallier by Antoine Gaudreaux (d. 1746), so named because it housed the series of medals known as the ‘Medallic History of Louis XIV and Louis XV’. This collection included portraits of prominent European monarchs and, later, medals representing the finest buildings from the reign of Louis XV. The commode is recorded in 1761 in the collection of Monsieur de Selle, controller general of the King’s Chamber. The commode was delivered on the 10th of January 1739 for the Cabinet aux tableaux in Louis XV’s newly completed apartments at Versailles. At the time, it was described as 'Par les Srs Gaudreaux ébéniste et Slodtz frères, sculpteurs, pour servir dans le cabinet aux tableaux avant la petite galerie à Versailles.' In 1755, a matching pair of encoignures was produced by Gilles Joubert (d. 1775), which, along with the commode médallier, were transferred by order of Louis XVI to the Medal Department of the Royal Library. The suite returned to Versailles in 1960, where it remains on display. The commode was a popular model amongst Parisian makers during the second half of the 19th century and many variants of it were made. A Similar model after Gaudreaux made by Francois Linke is held in the Wallace collection.Antoine-Robert Gaudreaux was appointed Ébéniste de Roi was a French cabinetmaker who from 1726 became the main supplier to the Garde Meuble de la Couronne. From 1726 until his death, first as Ede la Reine and then as Ebeniste du Roi, he exercised a near monopoly over commissions intended for royal residences.The bronze mounts on the original commode were modelled by the Slodtz brothers. René-Michel was considered the most prominent of the brothers. He was awarded the first prize for sculpture by the French Academy in 1726 and subsequently studied at the French Academy in Rome, a city in which he was to live and work for 20 years. During this period, he won several important commissions, including his marble sculpture of Saint Bruno in the Basilica of St Peter in the Vatican. René-Michel re-joined his brothers in France, after his time in Italy, in service of the king, designing and executing decorations and artworks for the Menus-Plaisirs du Roi.A similar model sold, Christie’s New York 27th February 2024, lot 667 (price realised $17,640). Condition Report: Overall very good condition The marble top with some chips to the back rim (closet to the wall) and a hair line crack See additional images Mounts very good Would benefit from a polish The interior is fitted with shelves, some losses to veneers, see images Key present
Lot 390
JOHN MICHAEL WRIGHT (1617 - 1694) Portrait of Sir Francis Wyndham, 1st Baronet of Trent Apparently signed, inscribed and dated verso 'Collonell [sic] Francis Wyndham/ of Trent in Somersett shire' 'Jo: Mich Wright Lord Pinxit. 1671' (please see restorer's photograph below, before canvas was lined, c. early 1980s) Oil on canvas, 126 x 105cm In a carved giltwood frameProvenance: Possibly by descent to Thomas Wyndham (1763-1814) Clearwell Court, Gloucestershire and Dunraven Castle, Glamorganshire; to his son-in-law Windham Wyndham-Quin, 2nd Earl of Dunraven (1782-1850), by descent to the 7th Earl of Dunraven and Mount-Earl, sold Christie's and Hamilton & Hamilton, Adare Manor, Co. Limerick, 9 and 10 June 1982, lot 87 (as Colonel Clark Wyndham of Orchard Wyndham); Private collection, IrelandLiterature: Guy Wilson, Greenwich Armour in the Portraits of John Michael Wright, The Connoisseur, February 1975, pp. 109-115, illus. (as portrait of an unidentified gentleman, Collection of the Earl of Dunraven) Robert O'Byrne ed., A Vanishing World, The Irish Country House Photographs of Father Brown, Dublin 2024, p. 20 (illustrated in the drawing room)Sir Francis Wyndham, 1st Baronet (1610-1676)Francis Wyndham was the son of Sir Thomas Wyndham (1570-1631) and his wife Elizabeth Coningsby. They descended from the Kentsford Wyndhams a cadet branch of the Orchard Wyndhams, who are based in Somerset. Wyndham began his early years spending time in Europe and graduating from the University of Padua in 1635. On his return to England, he was elected MP for Minehead in April 1640 for the Short Parliament. This Parliament was summoned by King Charles I for a short session of only three weeks. Wyndham became a Royalist colonel when the First English Civil War broke out. He was appointed governor of Dunster Castle, which was one of the last defences to hold out in southwest England. He had a reputation for being a good soldier and eventually surrendered on honourable terms. Shortly afterwards in 1646 he married an heiress Anne Gerard the daughter of Thomas Gerard of Trent (1593-1634). With the partition of the Gerard estates in 1651, Francis and Anne moved to Trent. The Gerard family had been recusants in a previous generation and their seat in Trent still maintained its priest-hole. It was this hiding place that enabled Wyndham to assist Charles II with his escape after the Battle of Worcester. The Wyndham family had a close connection with Charles II, therefore the future king could welcome the security for several days in Trent, Dorset. During the 1655 Penruddock uprising Wyndham was arrested in suspicion of involvement with intending to restore Charles II to the throne. He was subsequently released without charge. Wyndham was created a baronet on 18 November 1673, apparently by willing to forego a claim on the Exchequer for £10,800 granted to him by privy seal in 1670.John Michael Wright was an English painter, although born in London he apprenticed in 1636 to the Scottish painter George Jameson in Edinburgh. He remained in Scotland for five years before travelling to Rome in the early 1640’s. In Rome he established himself as a painter, copyist and collector. On his return to England in 1656 and following the restoration of 1660, he received several Royal commissions from King Charles II and subsequently King James II. It was during this time there became a fashion for portraits in which the sitter was dressed in what was then considered to be antique armour. Wright painted many works with the sitter wearing some form of Greenwich armour. There are noticeable similarities between each of the portraits. One could assume that the use of a single Greenwich armour or indeed a quantity could have been housed in his studio. It has been noted that the long tassels on the portrait of an unidentified gentleman (believed to be Sir Francis Wyndham) also appear in other portraits. Wright seems to have had an appreciation for antiquary, which could explain the accuracy seen in the details of this portrait and that of Murrough O’Brien, 1st Earl of Inchiquin. However, Murrough O’Brien who fought for many years in Ireland and further afield would probably have never worn such an armour. He had power and a reputation to uphold and therefore his appearance in this portrait expresses status. Wright’s portrait’s showcasing Greenwich armour imply they were painted in the 1660’s and display a detailed perspective on costume from a bygone era.Adare Manor, the magnificent architectural masterpiece that we see today within its natural setting overlooking the River Maigue became the seat of the Quin family in the 1600s. It was probably in the 1720’s when the first documented residence ‘Adare House’ was built by Valentine Quin (d.1744). Throughout the 18th century alterations and redesigning the parkland continued. It was in 1810 that Windham Henry Quin married Caroline Wyndham, the only surviving child of Thomas Wyndham MP of Clearwell Park, Gloucestershire and Dunraven Castle, Glamorganshire. It was following his death that Windam acquired by Royal license the double barrelled name of Wyndham-Quin. During this time, Windham’s father Valentine was living in England and was created Viscount Mount-Earl in 1816 and then created Viscount Adare and the 1st Earl of Dunraven in 1822. The title of Dunraven was chosen to honour his daughter-in- law, Caroline. Windham, who became the 2nd Earl and along with his wife Caroline decided to make monumental changes to Adare House. They had visited many grand houses in England and became influenced by the fashionable gothic style. Windham and Caroline developed a passion for cathedrals with their aspiring scale and magnificence. The architect brothers James and George Pain were commissioned to begin the process of redesigning the house into a manor. The Pain brothers lasting legacy at Adare is the spectacular gallery, which was considered to be the largest domestic room in Ireland. The gallery became the wonderful backdrop to display the Wyndham family portraits and exquisite old master paintings. The work on the new manor house continued for more than 30 years to complete. Adare Manor and the contents remained in the Wyndham-Quin family until the early 1980’s, when it was sold. Today, the manor and the grounds have been beautifully restored keeping intact the integral importance of an historic legacy in Ireland. Condition Report: In good condition overallOil on canvasAs stated in the cataloguing the painting was restored and lined probably in the early 1980s's after the purchase from Adare Manor sale in 1982On closer inspection there are a couple of small areas of retouching to the upper left backgroundThere is some minor rubbing and loss of definition to the hairThere is scattered craquelure e.g.. to the right cheek and to the armour of the upper right leg.Examination under UV light is difficult to read due to the murky varnish however reveals the aforementionedThe integrity of the impasto remains in particular in the tassels and beltThe frame is in good condition and has been re-gilt
Lot 403
A VERY LARGE SILVER PRESENTATION SALVER,London 1895, maker's mark of Thomas Bradbury & Sons, of circular form with raised piecrust rim, the central reserve engraved with the Pepper Family Crest and inscribed 'Royal Dublin Society Winter Shows 1903-1904 / 4 First Prizes Group Classes / 3 First Prizes Out fed Classes / Won by Colonel Charles Pepper' (c.155 troy ozs). 59cm diameter
Lot 324
ATTRIBUTED TO THOMAS HICKEY (1741-1824) Portrait of Mrs Moore of Barne, Lady Barne, half-length in lace collared dress, with elaborate feathered hat, before a landscape with trees Oil on canvas, 75 x 62cm Framed applied with plaque 'Mrs Moore Barne - Born 1741 - Died 1783A group portrait of Stephen, first Earl and Helen, Countess of Mountcashel with their four children is attributed to the renowned portrait and landscape painter, Thomas Hickey. The scene is referenced and reproduced in The Painters of Ireland c. 1660-1920, a seminal illustrated history of Irish painting. An individual portrait of Henrietta Moore of Barne, cousin to the Mountcashel family, has also been attributed to Hickey. A later portrait of Henrietta painted by John Astley can be found in the same book as Hickey’s portrait of the Mountcashels, cementing this extended family’s historical role as patrons of important Irish artists. Hickey’s rendition captures Henrietta in her youth, whilst Astley’s depicts her as a grown woman. Astley also separately painted her husband’s portrait, Richard Moore of Barne. The two portraits of Henrietta draw focus to the attire of the sitter, reflecting her knowledge and pursuit of contemporary styles and trends. The reference to Astley’s portrait of Henrietta and to Hickey’s portrait of the Mountcashels in this seminal account of prolific Irish painters, together with Hickey’s earlier rendition of Henrietta’s portrait, underscores the significance of the Irish aristocracy in participating in and sustaining a web of patronage that supported and shaped the trajectory of Irish art throughout this period. Condition Report: - Good overall condition, would benefit from restoration and cleaning - Reduced in size, some minor infill painting - Surface dirt and discoloured varnish
Lot 629
A GEORGE III MAHOGANY SERPENTINE DRESSING CHEST CIRCA 1770, the moulded top above four graduated drawers, the first with green baise writing slide enclosing a fitted interior, the rounded canted corners with triple cluster banded columns, on moulded base with rounded bracket feet. 94cm wide, 56cm deepComparative Literature: Ronald Phillips Ltd., Antique English Furniture, London, 2008, no.38, p.96, illustrated.
Lot 356
IRISH SCHOOL 18TH CENTURY, Two Views of the Barne Estate, Co. Tipperary A pair, oils on canvas, each 46 x 68.5cmProvenance: Probably commissioned by Richard Moore as a wedding gift to his eldest daughter Henrietta Moore (1747-1831) on her marriage to Thomas Pepper (1733-1790) of Ballygarth Castle, Co. Meath; The Pepper family, hence by descentThe Barne Estate, thought to have been established between 1710 and 1750 sits proudly in the abundant countryside setting of the Golden Vale in South County Tipperary. The stately home potentially incorporates an earlier 17th century abode and further evolved in the 19th century to reflect more continental sensibilities with a French château-style pitched roof. Today, it remains a commanding presence on the gentle rolling hills between the historic towns of Clonmel and Cahir, complete with 631 acres of fertile farmland and a feature lake.Large three storey house, early 18th century, with eleven bays, with the last two on each side projecting forwards. The centre features a front-piece of paired doric columns and entablature, surmounted by an aedicule of two engaged ionic columns and a pediment framing the central first-floor window. The roof was replaced in the 19th century with a high-pitched French chateau style roof with dormers. (Burkes’ Guide to Country Houses, p. 32)The Barne Estate is the former residence of the Moore family, under whom it has flourished for the past three hundred years. The Moore family was established in Clonmel from the early 17th century, with Richard Moore, a former glover arriving from Barnstaple, Devon in circa 1654. Moore made his wealth as a land agent and sheep farmer when wool was an asset and from there expanded through political appointments with financial favours from the Crown. This led to him becoming a prominent local figure as the High Sheriff in Waterford in circa 1666 and Tipperary in circa 1676. The Moore family became the local political force, replacing the Dukes of Ormond who had been the established rulers in that geographical area. Richard Moore’s lineage continued through his sons Stephen, who lived at Barne Estate and Thomas who resided at nearby Chancellorstown.The origin of Moore’s wealth as a landed sheep farmer and wool merchant can be traced to the roaring wool trade of Waterford, dating back to the Middle Ages of which Richard Moore profited. This is strongly acknowledged in this pair of 18th century landscape paintings. Both aspects of the house feature a flock of ewes peacefully residing on the lawns directly before the building. The idea of a ‘lawn’ as we understand it now with cropped grass was a relatively new concept dating to the 18th century, popularised by landscape designers such as William Kent (1685-1748) Lancelot ‘Capability’ Browne (1716-1783). Sheep were usually found past the ha-ha maintaining the sward but as the Barne estate never had such a division as a ha-ha it is likely that the flock would have been quite free to roam the immediate grounds to trim the herbage. We should note that it is likely that the artist is acknowledging the importance of the sheep as a major contributing factor to the Moore’s success by placing them prominently in the midground in both artworks. The oblique view of the house in particular, with the gentle peak of Slievenamon rising from the trees serves to further this image of the bucolic idyll.Landscape painting as we see it here was popularised in Ireland in the 18th century by leading figures such as Robert Crone (fl.1718-1779), John Butts (1728-1764), George Mullins (fl.1756-1765) and William Ashford (1746-1824). The ‘Grand Tour’ expeditions exposed Irish and British artists to the Grand Masters of the Continent, heavily influencing their approach to an Irish landscape. This swell of interest and application was further aided by the foundation of the Dublin Society in 1731 and its first school in 1746 and later the Royal Irish Academy (1755). Similarly, noted Irish philosopher Edmund Burke published his seminal treatise A Philosophical Enquiry into the Sublime and the Beautiful in 1757 which had a tremendous influence on landscape painters both in Ireland and abroad. It is quite evident that this pair of late 18th century paintings of the Barne Estate are absolutely typical of the type produced by the aforementioned leading artists of the period. They remain an important acknowledgment of Ireland’s vigorous merchant history and Tipperary’s legacy as a rich and profitable seat of note.Given that these paintings were most certainly painted in the late 18th century, reflecting the earlier roof style and the unmistakable influence of the Landscape Garden style popular at that time, we can safely assume that the artist was commissioned to produce the pair to mark an occasion. It is likely that these pieces were produced as a sentimental wedding gift to mark the occasion of Henrietta Moore’s (1747-1831) marriage to Thomas Pepper (1733-1790) of Ballygarth Castle, Co. Meath in 1772. Henrietta being the eldest daughter of Richard Moore (Stephen Moore’s son) of the Barne estate.Stephanie Brennan, September 2024 Condition Report: Very good condition Both paintings in similar state Canvases have been lined some considerable time ago Little apparent new painting when restored
Lot 555
A RARE CHINESE EXPORT 'FAMILLE-ROSE' BOAR'S HEAD TUREEN AND COVER, China, 18th centuryModelled as the head of a wild boar looking upwards with its mouth open, revealing its teeth and tongue. The figure features pointed ears and large eyes, with the cover forming the upper part of the head. It is naturalistically enamelled with brown fur, an iron-red snout, white and gilded teeth, and a pink tongue.27.8cm longNoteBoar-head tureens made in China were custom-ordered by affluent European families to captivate guests during banquets, showcasing both artistic beauty and the host's wealth and social standing. The tureen's nostrils allowed steam to escape from the hot food inside, enhancing the lifelike appearance.This practice is linked to the medieval European tradition of serving meat in animal heads during certain feasts and celebrations. William Sargent suggests that these ceramic boar-head tureens originated from this tradition, noting that animal head tureens were likely first produced in Strasbourg, Alsace Lorraine, by Paul Hannong between 1748 and 1754. Condition Report: Good condition With minor scratched, scuffs to glazing Minor imperfections created during firing process Apparent minuscule chips to the rims There is a hole in each ear Slight rubbing to the coloured glazing Otherwise ready to place The mounts are apparently later
Lot 499
A DUTCH BOOK OF HOURS FOR USE OF ROME LATE 15TH CENTURY,illuminated manuscript on vellum (tempera, ink and gold), Latin and Dutch; Gothic textura script, one column ruled for 19 lines; 455 pgs., 6.6cm x 11cm; Three fully illustrated pages, 6 title pages, 27 pages of illuminated borders etc.; tissue interleaves face the full page illustration; 18th century leather binding, inscribed with 'Roomsch Getijde Boek’ to spine (Roman Book of Hours). Incomplete, pages cut outProvenance: Private Dutch CollectionThe core text of a Book of Hours is a series of prayers, readings and psalms known as 'The Hours of the Virgin. These prayers were to be recited daily at eight set 'hours' to Mary, the Mother of God, who would act as an intercessor between man and God. Such devotions were a simplified imitation of the Divine Office, said by members of the clergy and monastic orders every day in the quest for salvation. The ‘Use of Rome’ refers to a book of hours intended for the "use" of Rome specifically, this will differ from a book of hours made for the use of Paris, or Utrecht, or Sarum (Salisbury). These differences might be reflected in the order and wording of certain prayers or the veneration of local saints or religious events. Entire cycles of prayer could also be added or excluded based on personal preference, as could a variety of additional texts. Other differences between books of hours arose from the need to accommodate the diversity of regional worship. Within the medieval church, certain aspects of the liturgy were determined, to at least some degree, by local custom, and individual books of hours were made to reflect these variations. The book opens with the twelve months of the year, divided into the specific saint days. The first illuminated leaf features the private scene of the annunciation, as Virgin Mary is kneeling to pray in her chamber when Archangel Gabriel appears to her. He announces that she will conceive a son by the power of the Holy Spirit. Above the angles head is a white dove, the physical manifestation of the Holy Spirit, with gold rays which are pointing directly at Virgin Mary. Archangel Gabriel also points to Mary using his herald’s wand, which is terminated in a fleur-de-lys, the ancient symbol of royalty. The frame of the scene features several flowers and insects. The blue flowers are possibly Gentian blue which are native primarily to northern temperate areas of the world, especially alpine regions. The red flower is most likely a potted Carnation. The symbolism of the carnation is identical with that of the rose, in the Netherland and Germany carnations were preferred over roses. The carnation was, therefore, seen as a flower of love and the goddess Venus, however, as adapted by Christians, the carnation was a symbol of the divine love of God. The strawberry as a symbol is not only widespread but relatively early in origin. It is seen as the perfect fruit as it has no thorns nor stone and it is sweet in taste. The white flowers are seen to represent innocence and the leaves which are of trefoil form, were seen as a symbol of perfect righteousness. The illumination also features two moths or butterflies as well as a snail. Butterflies and flies were symbols for the soul and eternal life. It was common in the Netherlands for the scene of the Annunciation to feature insects. It is interesting to note that this illumination does not feature a white lily. Almost all scenes of the Annunciation included them, often known as the Madonna lily, as it is a symbol of her purity and perfection, both carnal and spiritual. The second illuminated leaf is a depiction of the episode from the life of the Virgin Mary. She is presented seated figure, presumably holding the new testament in her lap, with the old testament lying at her feet. The scene is set within a gothic architectural courtyard. The Holy Spirit once again appears in the form of a white dove, with rays of gold radiating down on the twelve apostles and Mary.In the Acts, it is described that after Jesus ascended to heaven, the Apostles waited in the Holy City for the sending of the promised Consoler, united around the Virgin Mary. Following the betrayal by Judas Iscariot, the decision was made to have Matthias take his place. Once the twelve apostles were complete again, they continued praying while awaiting the coming of the Holy Spirit as Jesus had promised them. Finally, on the day of Pentecost, suddenly a sound came from heaven like the rush of a mighty wind, and it filled all the house where they were sitting. And there appeared to them tongues as of fire, distributed and resting on each one of them. And they were all filled with the Holy Spirit (Acts 2:2-4). Once again, the scene is framed by botanical illuminations, this time the flax flower, and a variety of irises. The iris flower is the only symbolic rival to the white lily of the Virgin, and its first appearance as a religious symbol is in the work of the early Flemish masters. The symbolism of the iris and the lily at first appears to be identical, and the substitution of the iris for the lily seems to be the result of some confusion between ‘lys’ and ‘fleur-de-lys,’ accentuated by the likeness between the iris and the lilies of the French royal standard with which the people of the Netherlands were familiar, since they were emblazoned on the shield of the Dukes of Burgundy. In the Netherlands, in the fifteenth century, symbolism was usually very precise, and there does seem to be a slight difference in the use of the two. The lily is used exclusively as the symbol of virginal purity, more particularly in relation to the fact that the Virgin Mary was a mother, but the iris, the royal lily, appears to be the emblem or attribute of God incarnate. Interestingly, the pea is also featured which was a symbol humility as it was considered a humble plant that grew toward heaven. As it produced many fruits it represented the virtue of holy works. In direct contrast, it could also be seen as a symbol of instability and the danger of sin, because it has heavy foliage and a frail stem which often needed further support. The illumination also features a prominent dragonfly and a peacock. Earthly life, which was full of sin, was often represented by crawling insects such as beetles, caterpillars, and locusts, whereas life in the heaven was represented by flying insects such as butterflies, moths, dragonflies, and damselflies. Dragonflies were therefore used as a religious symbol of the eternal life of the soul. Beginning in Early Christianity, peacocks symbolized the opportunity for an eternal life in heaven enabled by Christ’s sacrificial death. Illustrations of peacocks were so frequent and widespread in Christian art.The last full-page illumination features the uncommon scene known as the Metterza. The term is derived from the medieval vernacular me is third, referring to Saint Anna, mother of the Virgin Mary, who places herself third in the hierarchy of the divine family, next to Mary and Jesus. This scene was popular in Germany since the 14th century, and later the term and its iconography spread throughout Italy and Northern Europe in the 15th century. Hence the three figures in this illustration are St Anne, the mother of Mary, Virgin Mary and baby Jesus. The figure of St Anne is seated on a large wooden throne, at her feet sits Virgin Mary with baby Jesus lying in her arms. The background also features a peacock along with a characteristic pink sandstone wall and turret. The frame around the scene features flowers such as gentians, irises, flax and most importantly roses. The insects featured are moths and flies. As mentioned above, symbolically the rose was seen to represent the divine love of God.
Lot 358
ALFRED DUBUCAND (FRENCH 1828 - 1894) 'Hunting in the Sahara' Signed 'DUBUCAND' to base Tri-colour patinated bronze figural group, 45cm high, 42cm wide On naturalistic rockwork baseAlfred Dubucand (1828–1894), a student of the renowned Animalier sculptor Antoine-Louis Barye, was celebrated for his highly realistic animal sculptures throughout his career. He made his debut at the Salon in 1867 with a wax model of a pheasant and continued to exhibit regularly until 1883, often first presenting wax models and later re-submitting them as bronze casts. His Hunting in the Sahara (1874) was exhibited at the Salon in Paris that same year, reflecting his growing interest in depicting scenes of North Africa and the Middle East.A similar model sold, Christie’s New York 23rd October 2018, lot 67 (price realised $16,250). A larger version of this lot was sold at Christie's New York, 25 October 2006 (price realised $90,000).
Lot 24
Guaranteed to be authentic signatures autographs famous actresses and actors. Ivor Novello one of the most famous and popular entertainers of the first half of the 20th Century Marie Tempest. JH Thomas Gilbert Frankau Gorden Harker Layton and Johnstone American vocal and piano duo Nellie Wallace. Grace Fields.
Lot 4
Guaranteed Authentic Signatures. Two Rare Arsenal football player autographs. David Jack (1898-1958) The first footballer to be signed and transferred for over £10,000 First player to score at Wembley 1923 in the FA cup final Bolton v West Ham and nine times an England cap. Alex James (1901-1953) played for Arsenal 1929-1937 a significant team player his skill set highly regarded. Part of the team that won six trophies including a goal scored in the FA cup 29/30 season.
Lot 10
Guaranteed to be authentic signatures Clive Duffee one of the most popular men ever to to Race at Brooklands a member of the Bentley Boys Won several racing motor records. Died on the track at Brooklands 24/09/32 Sir Henry RS “Tim†Birkin millionaire motor racer. Captain J S Irving Motor car designer of the Golden Arrow land speed record car Sir Herbert Austin Baby Austin car manufacturer in Birmingham. K L Guinness another prominent Brooklands racing driver and designer. Captain George Easton Motor Car racer first man to exceed 100mph in a small car many other racing records (6)
Lot 18
Guaranteed to be authentic signatures autographs. Two famous Cricketer autographs signatures. Sir Jack B Hobbs (1882 -1963) one of the greatest cricketers of the early 20th Century played Surrey from 1905 onwards also a significant England player scored eleven centuries in test matches eclipsed WGGrace record in 1925 made 428 first wicket record. Made highest record for Lords in 1926 scoring 316 runs. Also PG Fender (1892-1985) Captain of Surrey played for England in the notable season of 1921. (2)
Lot 8
Guaranteed to be authentic signatures. Earl Jellicoe 1st Earl (1859-1935) Commander of the Grand fleet Battle of Jutland 1916 awarded Knight Grand Cross and Royal Victorian Order also First Sea Lord .Earl Beatty 1871-1936 Admiral of the fleet. GCB OM GCVO DCO PC. Sir Charles Madden (1862-1935) Royal Navey Admiral Commander in Chief of the Atlantic Fleet in World War I the signature dated 14.3.32. (3)
Lot 17
Guaranteed to be Authentic Autograph Signatures. Important British Politicians David Lloyd George (1863-1945) British Prime Minister signed on House of Commans Card, Nevil Chamberlain (1869-1940) British Prime Minister announced war against Nazi Germany 1939. Also his Brother Sir Austen Chamberlain 1863-1937 Twice Chancellor of the Exchequer. Also W T Cosgrave (1880-1965) considered to be Irish Free state first President 1922-32. (4)
Lot 27
Guaranteed to be authentic signatures autographs. Compton Mackenzie (1883-1972) Scottish writer Sir Joshiah Stamp (1880-1941) Director of the Bank of England GK Chesterman George Lansbury 1859-1940 Dr Adrian Boult Field Marshal Sir William Birdwood commander of the Australian and New Zealand Army during the Gallipoli Campaign 1915. Sir A Whitten Brown and other autographs and signatures of the first half of the 20th Century.
Lot 834
A George III mahogany breakfast or supper table, in Chippendale style, circa 1760; the top with twin drop leaves and carved foliate and floral edging; above a wire mesh compartment with concave front and twin doors; the straight legs with chamfered inner angles; 68cm high, 104cm wide leaves opened, 63cm deepThis table relates to a design for a 'Breakfaste Table' in Thomas Chippendale's first edition of the Gentleman and Cabinet Maker's Director, (1754), plate XXXIII, (also included again in the third edition of 1762, plate LIII). A comparable table was supplied to William, 5th Earl of Dumfries for Dumfries House, Ayrshire, Scotland. (See C. Gilbert, The Life & Work of Thomas Chippendale, London, 1978, vol.I, p.131, vol. II, fig. 401)
Lot 135
THE BEATLES AND RELATED - LP/ BOX SET PACK. A fine selection of 5 LP/ box sets by The Beatles and related solo. Artists/ titles include The Beatles inc Please Please Me (ZTOX 5550, early German stereo press on Odeon. Record VG, has some light surface marks. Sleeve VG, tear on back cover), Yellow Submarine Songtrack (521 4811, yellow vinyl. Ex+/ Ex) and The Beatles First (236.201, Ex/ VG+). George Harrison - All Things Must Pass (STCH 639, inc printed inner sleeves & poster. Factory sample sticker on some labels. Records Ex/ box VG, has seam split on box lid hinge) and Various - The Concert For Bangladesh (STCX 3385, 3 Lp set with booklet. Records VG+, all would benefit from a professional clean. Box VG, sticker tear to the cover).
Lot 168
A collectable Raymond Weil limited edition (3000 worldwide) 'Maestro' watch, c 2021. In original box and packaging, unused.The Sergeant Pepper maestro The Beatles Limited Edition features an RW4200 mechanical self-winding movement housed in a 39.5 mm polished yellow gold PVD plated stainless steel case offering 38 hours of power reserve. The black strap is the first from RAYMOND WEIL made from Vegan leather and the case back presents a smoked sapphire crystal that carries the official The Beatles logo and the limited edition number engraved.
Lot 52
THE BEATLES - PLEASE PLEASE ME/REVOLVER LPs (EARLY UK COPIES). Well presented pack of 2 x early UK pressing LPs. Both released on Parlophone with black/yellow label design. Titles are Please Please Me (PMC 1202, mono fifth pressing with 'Recording First Published' - lovely Ex condition record showing only a couple of very light and minor surface hairline marks/VG sleeve with some general ringwear to the reverse, the front nice and sharp/with Emitex) and Revolver (PMC 7009, second UK -2/-2 pressing - VG+ a few surface hairline marks/Ex very minor wear to the flipback tabs/later EMI company inner).
Lot 11
APPLE - OUR FIRST FOUR (ORIGINAL UK PROMOTIONAL PRESS KIT). Fantastic Apple and Beatles rarity with this extremely limited original press kit for the then newly formed Apple Records. The set consists of a black folder containing four brightly coloured individual folders containing Apple’s first four 7-inch records: The Beatles – ‘Hey Jude’, Black Dyke Mills Band – ‘Thingumybob’, Mary Hopkin – ‘Those Were The Days’ and Jackie Lomax – ‘Sour Milk Sea’. The folders are largely presented in Ex condition showing some minor ringwear. The plastic wallet holders are all in clean order without any splits. The records are generally in Ex condition housed with original company sleeves. Please note the fragile original folder is graded in G condition with heavy creasing and some tears; please see detailed photos.
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