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Lot 141
Pair 19th C French Louis XV Style Gilt Bronze Six Light Candelabra. The bases with putti playing musical instruments. Electrified. Unsigned. Measure 29-1/2" H to top of candelabra x 16-1/4" W. Condition: Wear to gilt, light green oxidation. Estimate: $200.00 - $400.00 Domestic Shipping: Third party
Lot 187
1912 History Of St. Petersburg Russia Book And Map in Presentation Case. Leather bound book and folding map. In fitted box. Case measures 2-3/4" H x 19-1/2" L x 14" D. Condition: Light wear and toning to book and map., Light scuffs on case. Overall very good condition. Estimate: $1500.00 - $2500.00 Domestic Shipping: $145.00
Lot 191
19th Century English Ivory 30 Piece Checker Set In Case. 15 each natural and red stained checker. Wood box included. Each disk measures 1-1/4" dia. Box measures 1-3/4" H x 6-7/8" L x 3". We Will Not Ship This Item Out of State of Florida. Anyone Having This Item Shipped Must Have a Florida Address or the Item will not be Shipped. We will Not Knowingly Sell Endangered Species outside of Legal Channels. Condition: Overall good condition with light wear to stained pieces from age and use. Estimate: $500.00 - $700.00 Domestic Shipping: $46.00
Lot 192
Louis Vuitton Brown Coated Canvas Damier Ebene Naviglio Bag. Golden brown hardware, brown cloth interior, canvas straps. Labeled appropriately. Serial #SR1172. Measures 10-1/2" x 9-1/2" x 3". Condition: Gently used, pre-owned with light wear to edges. Estimate: $350.00 - $450.00 Domestic Shipping: $58.00
Lot 200
Late 19th or Early 20th Century Japanese Bronze and Champlevé Enamel Two Light Floor Lamp. Interlocking scrolled accents with floral and birds enameled motif. Unsigned. Measures 71" H x 13-1/2" Dia. Condition: Minor rubbing otherwise good condition. Estimate: $400.00 - $600.00 Domestic Shipping: Third party
Lot 253
Vintage Hanging Beaded Bird Light. Comprised of Czech Glass and perched beaded bird with sconce. Unsigned. Measures 24" H x 17" W, excluding sconce. Condition: Losses to glass leaves, needs to rewired. The bird is in good vintage condition. Estimate: $150.00 - $250.00 Domestic Shipping: Third party
Lot 266
Early to Mid 20th Century English Black Lacquered Gilt Painted Marquetry Inlaid Cabinet on Stand. Two fitted door with interior compartments, inlaid flower bouquet motif, gilt metal fittings. Measures 61-1/2" H x 38-1/2" W x 18-1/4" D. Condition: Crazing to lacquer, rubbing to gilt, light scratches to legs Estimate: $300.00 - $500.00 Domestic Shipping: Third party
Lot 277
Large 19/20th Century Chinese Mixed Media Triptych On Paper with Gold Leaf, Village Scene with Figures and Distinguished Cottage, Artist signed lower right, seal stamp lower left. Sheet measures 27-1/2" H x 23-3/4" W, frame measures 46-3/8" H x 79" W Condition: Light fraying to edges otherwise good condition Estimate: $200.00 - $400.00 Domestic Shipping: Third party
Lot 142
ERSKINE NICOL RSA ARA (1825-1904)Prayers at the High CrossOil on canvas, 98 x 73cmSigned and dated 1851 lower right The location of Nicol’s painting bares some similarities with the monastery at Clonmacnoise in county Offaly which after many centuries of attacks was finally destroyed by the English garrison in Athlone in 1552 as part of the dissolution of the monasteries. The round tower in the background strongly resembles O’Rourke’s tower, whose cap is missing after the structure was struck by lightning during a storm in 1135. Nicol, a Scotsman by birth, spent many years in Ireland, first visiting in 1846. He established a longstanding relationship with the country and this work may reflect his sympathy towards the Irish people whose religion and de facto culture had been systematically destroyed by English colonisation. The focal point of the painted composition and in turn the attention of its subjects is the high cross. It is most likely a depiction of the Cross of the Scriptures, which is one of the most skilfully executed carving of the surviving high crosses in Ireland. Nicol has positioned it at an angle to give us full view of the detailed carving on the side panels, casting the centre of the cross in shadow. Instead the light falls on the individuals kneeling in devotion around the base. While no dialogue is being spoken, there is an intense expression of the inner communion between the faithful as they offer their prayers up to the cross. One cannot ignore the visual reference to crucifixion paintings in the present example. The figure of young woman to the left of the composition is visually reminiscent of depictions of Mary Magdalene clinging to the foot of the cross. Overcome with emotion, her hat discarded on the ground, she fallen forward, her forehead resting on the stone plinth. The carving on the cross itself depicts scenes from the scriptures, including Christ’s death. The episodic nature of the decoration culminates in the central motif of Christ, with his arms outstretched shielding two figures. Only one figure is standing, set apart in many ways from her genuflecting companions. While they close their eyes and bow their heads in quiet reflection, she stands staring defiantly at the cross. While we are denied the visual drama of the crucified body of Christ, the cross acts a symbolic reminder of that sacrifice. The woman who is standing, similar to the Virgin Mary’s role in crucifixion paintings, bears witness to this suffering, interceding on our behalf and that of the faithful gathered around her. Nicol enlivens the scene with his characteristic eye for detail. The elderly gentleman leaning on his cane for support, his coat worn thin with age, and the faintest glimpse of red handkerchief peeking out from one of the pockets. Or the young woman seated behind him, rosary beads clasped between her hands, still wearing her apron, whose edges are fraying. These are ordinary, working peasants, whose life and customs were the focus of much of Nicol’s artistic output while in Ireland. He exhibited this painting at the Royal Scottish Academy in 1857, showing a version of Irish identity that was not inclined towards caricature of the ‘stage Irishman’ but moving towards the Realist tradition of his European counterparts. The development of the Celtic revival in the 1840s saw a call for more specifically Irish art, as expressed by Thomas Davis, one of the founders of the Young Ireland who claimed that painting ought to be “a pictorial history of our houses, arts, costume and manners”. (Murray, Peter (ed), “Realism versus Romanticism in Framing National Identity”, Whipping the Herring, Survival and Celebration in Nineteenth-Century Irish Art, Murray, Cork: Crawford Art Gallery and Gandon Editions, 2006, p. 11
Lot 150
A FINE PAIR OF WILLIAM IV CELESTIAL AND TERRESTRIAL GLOBES, by Newton, Son and Berry, Chancery Lane, published 1838, on mahogany stands, with turned baluster centre pillar, with spiral reeded carving on scroll form tripod with circular compass undertier. 38cmFor years, Dutch cartographers had been at the forefront of geographical representation, but the 18th century saw a strong increase in British map production, coinciding with a resurgence of global exploration. With increasing knowledge, the mythological figures and representations of the zodiac that once adorned depictions of the earth gave way to a much more scientific imitation. Thomas Cook’s adventures through the Pacific brought to light the location of several islands, whilst his accompanying astronomers were able to accurately map previously unknown lines of longitude. This ever increasing awareness meant that map makers were forced to continuously update their products, creating a prolific industry.A desire to learn about the world, or at least the desire to appear learned, quickly spread through the wealthier households of Britain, with well-to-do gentlemen purchasing globes to adorn the empty corners of their homes. Behind the supply of these globes was John Newton (1759-1844), who, after being apprenticed to Thomas Bateman, set up his own company c.1780. Newton specialised in globes ranging from small pocket-sized examples to larger standing ones, as seen here, and his legacy allowed the company to flourish well into the 19th century. Despite several name changes, the company maintained its excellence in globe creation, securing a prize at the 1851 Great Exhibition in London’s Crystal Palace.
Lot 57
A GEORGE III 1796 PATTERN LIGHT CAVALRY SABRE, in a brass scabbard, throat engraved 8th Armagh, the stirrup hilt with wire wrapped bone grip, the blade etched with regimental motifs. 85.5cm wideThe sword belongs to the 8th Armagh Militia.The 8th Armagh Regiment was set up in 1793 but was not fully engaged in active service until the French Invasion of 1796-98.Following their own revolution, the newly established French Republic carried a sympathy for other nations similarly repressed under Crown Rule and therefore agreed to assist the United Irishmen in their push for independence. However, behind this lay the more calculating desire for an invasion of Britain itself. The French perceived that if they could arrest rule in Ireland, they could use the country to gain access to the British mainland. Protective of Ireland and aware of the greater threat, the 8th Regiment was mobilised to halt the French advance.On 8th September 1798, the sporadic fighting came to a head in Ballinamuck, Co. Longford. With a successful win over the British at Castlebar, General Humbert led the French army through Mayo and towards Dublin. Nearby, in Westmeath and Roscommon, French allies were being defeated and Humbert thus chose to make a stand at Ballinamuck. Humbert and a small force of Irishmen were met in the early morning by the Armagh militia. A cursory attack was made by the French before, seeing that they were greatly outnumbered, Humbert gave the order to surrender. Unfortunately, the Irish did not share this sentiment and the resulting battle gave way to an unconditional slaughter of Irish forces.The Armagh Regiment’s victory at Ballinamuck effectively signalled the end of the 1798 Rebellion, but the militia was kept in service for a further twenty years.
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534325 item(s)/page