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Lot 661
A group of Studio Pottery and glassware, comprising a Denmark beaker on a blue ground with geese, stamped CAR, 11cm high, a Danish blue glass bowl, with gilt linings, marked Kustem, 7cm high, a Ditley ribbed coffee cup, and a triangular bowl decorated with peacocks, incised entwined fish mark, 16cm diameter. (4)
Lot 143
SMALL SILVER - 7 items to include two silver topped glass trinket boxes and a small oval lidded pill box, various Birmingham hallmarks, sterling silver topped scent bottle, Burmese type relief decorated bowl, 8cms diameter and two sterling silver figures of a man with rickshaw and another carrying baskets, Birmingham dates are 1901/2/3, 4.6ozt weighable
Lot 318
A selection of Waterford crystal and other glassware including: a pair of Waterford crystal circular plates, 20cms diameter; a Waterford crystal cylindrical bowl; a Waterford crystal mantel clock; pair of Waterford crystal candlesticks; a pair of cut glass brandy glasses; and an Art glass figure of a dolphin.
Lot 386
A selection of decorative crystal and glassware, including: a John Rocha for Waterford Crystal black cut circular lead crystal bowl, 20.5cms diameter; an ARS coloured glass figure of a cat; a Royal Albert miniature mantel clock; and a selection of crystal decorative animal figures, by makers including Galway and Swarovski.
Lot 185
A group of five Scandinavian decorative glass items by various artists and factories to include an Orrefors oval glass vase with etched image of young girl in nightdress and etched moon and stars verso, 11 x 17cm, a single Johansfors of Sweden candlestick to circular base, height 23cm, a Kostaboda squat baluster vase, pale pink ground with white dot decoration with Kostaboda Sweden label, height 11.5cm, a Kosta V. Lindsterno decorative glass form with etched figure in period costume, and a footed bowl, circular clear glass to an opaque mask head stand, to spreading circular base, initialled to the base MMA (5).
Lot 224
Various collectibles to include a vintage Norah Wellings cloth sailor doll, height 22cm, 'The Arthur Rackham Fairy Book' printed by Chancellor Press, 'Barton's Sunday Pleasure Book', two plastic cat glass sweet jars with spider web pattern to the front and reverse, height 17cm, a Wisbech Pottery conical vase with a brown and black checked inner pattern and terracotta colour to the exterior, diameter 21cm, a clear art pressed glass vase in the form of a flower head, with the petals cascading over the rim, clear and unmarked, diameter 23cm, a seven-piece green glass lemonade set, a large pressed glass fruit bowl with diamonds, crosshatch and floral design, etc.
Lot 310
Various ceramics and glassware to include a Carltonware blue 'Pagoda' pattern rose bowl with metal inset, a Crown Ducal tube-lined vase of green and brown ground, impressed number '235', studio glass, a pair of small cut glass decanters with ring necks, a pair of Mexican vases, three Coronation mugs, etc.
Lot 347
A Victorian green overlaid glass vase of flared form, the emerald green body overlaid with opaque white glass hand painted with floral sprigs and gilt highlighting, height 25cm, together with a studio bubble glass bowl, a studio purple glass pinch spout jug, a tall gourd-form blue glass bottle, a silver plated basket on stand with cranberry glass liner, a 19th century cut glass scent bottle of tapering form and a blue glass decanter with scroll handle and silver plated collar (7).
Lot 349
Various items of modern, vintage and antique art and coloured glassware, to include an amber and blue art glass centre dish, diameter approx 27cm, vases, goblets, large blue glass fruit bowl, diameter approx 39cm, paperweights, blue glass dishes, tall slender lidded jar, large heavy pressed ruby glass straight-sided vase, height 25cm and two clear cut glass fruit bowls (12).
Lot 143
Various mixed collectibles to include trinket boxes, papier-mâché snuffbox, fashion watches, cufflinks, compacts, a quantity of mostly British pre-decimal coins, The Official Millennium Medal Collection, in blister pack, a set of five Bakelite napkin rings, each with applied hallmarked silver shield inscribed with initial 'H', a pair of glass salad servers, carnival glass bowl, a cut glass sugar sifter with hallmarked silver lid, a small pressed glass bud vase with hallmarked silver rim and a cut glass cylindrical tube with electroplated top.
Lot 198
Faberge Kaviarschale aus Messing. Messingfuß, die kugelige Glasschale wird von drei Messingfischen gehalten, Scharnierdeckel zum Aufklappen, innen ein Glaseinsatz, Hoehe 44 cm. | Faberge Caviar bowl made of brass, antique, brass base, the spherical glass bowl is held by three brass fish, a hinged lid that can be opened, inside a glass insert, height 44 cm.
Lot 41
A collection of boxes and other items. Including a Victorian blue opalescent glass bowl filled with gemstone eggs (rutilated quartz, blue lace chalcedony and tigers eye), a Halcyon days eater egg box, a hand painted porcelain trinket box and a pair of gilded bird design lacquered boxes. H.5 W.11 D.11CM (largest)
Lot 21
Nicholas Condy (1793-1857)Interior of an Irish Inn at BallyboylebooOil on canvas 47 x 63.5cm (18½ x 25”)SignedExhibited: London, Royal Academy, 1843, No. 415Exhibited at the Royal Academy in 1843, Condy’s recently rediscovered depiction of an Antrim interior populated by twenty very different individuals and with a rich variety of objects on display is an invaluable portrayal of Ulster country life in the middle of the nineteenth century. Although he described the picture as Interior of an Irish Cottage at Ballyboyleboo, what is shown is an inn, tavern or shebeen, making it a rare early depiction of an Irish public house. In contrast, however, to the small body of work showing Irish pubs by artists such as Charles Henry Cook, Erskine Nicol and Nathaniel Grogan, which invariably feature the Catholic Irish peasantry in stereotyped attitudes often verging on the caricature – here the clientele seems distinctly more mixed in terms of class and confession with a noticeably military flavour. The primary interaction in the painting is between the doubly amputated figure standing on the right in smart but sober attire and the seated black man at left who has suffered the loss of just one foot and who leans back in his chair as he raises a toast. This is an extraordinarily rare image of racial equality in an Irish genre scene of this date. Where black figures appear at all in Irish painting of the period it is invariably as marginal, often servile, subsidiary figures as, for example, in Erskine Nicol’s The 16th, 17th (St Patrick’s Day), and 18th March (National Gallery of Ireland). It seems likely that equality – or at least the superficial appearance of equality – has been gained through shared endeavour on the battlefield, and that the seated black man is a veteran toasting his former commanding officer. Certainly the deportment and dress of the man standing, very comfortably it must be said, on his double prosthetic limbs, suggests his elevated social position. The gathering includes both army and naval elements. An advertising bill on the right seeks able seamen, while the format of Condy’s signature, ‘Lt. Condy bf 43rd regt’ reminds us that he had begun his career as an army officer, serving in the Peninsular War, and retiring on half-pay at Christmas 1818. Continuing the military theme, a bust of the Duke of Wellington looks down from a shelf at upper left in the somewhat indecorous company of candlestick and brass kettle (and with a canoodling couple directly beneath his gaze). Prints of naval victories adorn the walls while to the side of the chimney hangs a toleware candle box and pair of bellows. A drunken sailor has passed out under the table his clay pipe and glass lying smashed in front of him while a serving woman brings more refreshments to those at table – a punch bowl, small glasses for toasting and pipes. Music is provided by a fiddler in the background.Claudia Kinmonth notes that Condy’s Ulster subjects ‘convey a real sense of how poor people’s homes in Antrim may well have been in the 1840s’ (Claudia Kinmonth, Irish Rural Interiors in Art (2006) p. 94). However, he also mixes Irish and English elements within his work, sometimes reusing still-life motifs or even whole figurative groups with which he was pleased. On the shelf to the left, the silver-plated vessel with a pouring spout and a handle on the side was used for serving hot chocolate, a delicacy unlikely to be widely available in Irish pubs of the 1840s, and indeed it, and other elements of the composition, appear again in Estate Workers in a Kitchen Interior (Mount Edgcumbe House). Similarly, a small work in the Royal Albert Memorial Museum and Art Gallery, Exeter, repeats almost verbatim the seated man shown here smoking a pipe. This is clearly a reduction from the present work, rather than the other way round, as the man’s motivation for turning round and looking upwards is lost when the figure is shown in isolation and removed from its context.Condy’s composition is artfully created and rather than the mere ‘slice-of-life’ recording of an interior and the objects within it, he offers knowing and witty allusions to the art of the past and also perhaps to that of his contemporaries. He relishes the chance to paint textures as different as scaly fish, metal, glass and ceramics and to record the differing way that light falls on each. The beautifully painted still-life in the lower right corner consisting of earthenware jug, crutch and broom resting on a barrel offers a deliberate reference to the art of David Teniers who time and again places a similar grouping of objects with a prominent diagonal formed by a brush or similar object to lead the eye into the composition. Similarly the still-life of fish may reference Teniers’s ‘well-kept kitchen compositions’ (‘de welvoorziene keuken’). The quotation of Teniers would have been recognised widely, as the seventeenth-century Flemish artist was synonymous with ‘low-life’ genre scenes such as this and his work was avidly collected and frequently engraved.Even more fundamental as a source of inspiration, however, was the phenomenally successful career of David Wilkie who applied the compositional dynamics of Teniers to modern-life subjects. Like Wilkie, Condy here deliberately echoes Teniers earthy ‘old master tonalities’ and shows a similar ‘delight in details and in rough irregular surfaces’ (David Solkin, Painting out of the Ordinary, Yale University Press, 2008, p. 12). Wilkie had also introduced a black soldier into his famous Chelsea Pensioners (Apsley House). Unlike Cushendall, the subject of another Ulster work by the artist, there is no townland in Antrim called Ballyboyleboo. It seems to be an Anglicization – exaggerating the Irishness of the name – of Ballyboley. In the rich account of life in Ulster of a couple of decades earlier written by John Gamble (published as Society and Manners in Early Nineteenth-Century Ireland, edited by Brendán Mac Suibhne, Dublin, 2011, p. 280, n. 4), Gamble records how he stopped ‘at a lone public house between Larne and Ballymena’ and enjoyed a session in which tall stories were narrated. Mac Suibhne suggests that this may be ‘the premises now call the Ballyboley Inn’. An earlier building on this site may also be the setting for Condy’s work, though an older inn only a few miles distant at The Battery is also a possible candidate.
Lot 1778
A pair of white overlay and clear glass lustres, late 19th century, each lobed bowl with gilt foliate decoration, hung with prismatic drops, height 26.2cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1749
A pair of German wine glasses, mid to late 18th century, the ogee bowls with bubbles to the solid bases, above baluster stems and domed feet, heights 18cm and 18.3cm, together with a group of mostly Continental glass wines, including a wrythen moulded example with folded foot and 'Eales Collection' label to base, and a sweetmeat with shell bowl, height 12.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1744
Four pieces of art glass, 20th century, including a Wedgwood cloudy green vase of tapered shape, height 14cm, a footed pale blue bowl and a mottled green vase with bubble detail, possibly Nazeing, height 19.5cm, together with a small group of other glassware, including a frosted jug with ice reservoir and a jug engraved with St George and the dragon, height 23cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1746
A small amethyst tint glass flask or bottle, mid to late 18th century, of pear shape with vertical rib moulded detail, height 9cm, together with three pieces of 'Bristol' blue glass, a clear glass jug with blue rim (faults), a footed bowl with notched rim and a vertically moulded jug, height 23cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1763
A double series opaque twist stem wine glass, circa 1770, with basal fluted ogee bowl, the stem with twelve-ply spiral band outside a pair of spiral tapes, on a conical foot, height 14.2cm (two small chips to foot), together with two other opaque twist stem wine glasses (feet reduced).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1742
A Whitefriars shadow green white enamel edged glass vase, circa 1964, designed by Geoffrey Baxter, with everted rim, shape No. 9639, height 18cm, together with a small group of mostly Whitefriars glassware, including a willow cased bowl of hemispherical shape (minor faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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87309 item(s)/page