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Lot 302
Five pairs of binoculars including Deraisme Paris Conrop in leather case, stamped E J James and Co 1916 and named P C A Usher RG A, J Lizars, Glasgow and Edinburgh in case, Kershaw Moncracj 12 in leather case, WWI naval binoculars with anchor mark BP and o 1343 stamped to body, no case, and glider 10x50 field glasses in modern case
Lot 739
19th Century American Coin cased pocket watch, the unusual full hunter case with engraved band and `ears`, gold coloured metal hinges, winding crown and loop at 3 o`clock, white enamel dial with subsidiary seconds dial and Roman numerals with minute track, movement signed Longines No190730 (circa 1879), 52mm diameter
Lot 30
A PAIR OF ENGLISH DELFTWARE POLYCHROME PLATESfreely painted with a pointing Chinaman in a landscape with willow and other trees, a rudimentary pagoda in the distance, the border with three long trailing sprays, 23cm diam, c1750++Very well preserved examples with minimal flaking around the rims but note on one plate two tiny flat spots of flaking at 4 and 6 o`clock. Neither cracked nor restored
Lot 34
A SWANSEA PEARLWARE PLATEpainted in purple lustre with a large swan in green basket moulded border and pierced rim, 20cm diam, horseshoe shaped impressed mark DILLWIN & CO, SWANSEA, c1820-30A similar example is illustrated Nance (E Morton), The Pottery and Porcelain of Swansea and Nantgarw, 1942, plt LVII, F(right)++Minor hairline crack visible on the reverse at 3 o`clock, tiny stained nick on the angle of the cavetto at 9 o`clock, a few light scratches to the lustre but an attractive example, no restoration
Lot 88
A DERBY PLATEpainted in sepia monochrome by Zachariah Boreman with travellers in a wooded river valley, gilt by William Longdon to the cavetto and conforming fluted border, 22cm diam, painted mark, 116, numeral 8 and title In Dove Dale Derbyshire in blue script, c1790-94++Decorated with a few light scratches, stacking wear to the gilding and descending crack in the rim at 2 o`clock
Lot 113
A WORCESTER COFFEE CUP AND SAUCERtransfer printed onglaze in outline with the Red Bull pattern and painted in famille rose enamels, saucer 12cm diam, c1758-62++Coffee cup in fine condition, crisply printed in good strong black and well enamelled, feint star cracks in the base but sound, the saucer a more typical example painted in a pale grey/black and with a few scratches on the red bull, minute rim blemish at 10 o`clock
Lot 150
AN EARLY WORCESTER OCTAGONAL TEA BOWL AND SAUCERpainted in underglaze blue with the Prunus Root pattern, saucer 11.5cm w, workman`s mark in underglaze blue, c1752-60++Descending hairline crack in tea bowl, pinhead sized graze on rim of saucer at 9 o`clock, small discoloured blemish in field of saucer possibly caused during manufacture, no restoration
Lot 192
TWO BOW OCTAGONAL POWDER BLUE GROUND PLATESpainted in inky cobalt with round and fan shaped landscape panels and sprigs, the underside with three rudimentary trailing boughs, three stilt spurs on the rim, 18cm w, mock Oriental mark in underglaze blue, C1760++One plate with hairline crack at 8 o`clock the other with glaze depth crack in the centre landscape with cannot be seen from the reverse, no restoration
Lot 268
A WILLIAM DE MORGAN RUBY LUSTRE DISHpainted by Charles Passenger with a rabbit in spiral cavetto, the widely everted rim with five crested birds and scrolling foliage, the underside with concentric circles, 23.5cm diam, painted mark and artist`s initials, 1888-97++Three tiny flat surface chips on the rim at 5 o`clock and 10 o`clock, not otherwise damaged, cracked or restored
Lot 361
A CHINESE PORCELAIN BLUE AND WHITE CRESTED MEAT DISHpainted with three figures in an extensive hilly landscape with pine and other trees, temples and other buildings, the brocaded border with crest and motto ALL MY HOPE IS IN GOD, indented brown edged rim, 44.5cm w, c1770The crest and motto are those of Udney of that Ilk and Udney of Auchterallan.++Tiny old blackened hairline crack of only a few mm length at 4 o`clock, glazed with a few localised blackened scratches, no restoration
Lot 808
AN IVORY DRESSING MIRROR, PROBABLY FRENCHthe oval frame crested by one of the two cherubs from Raphael`s Sistine Madonna, on leafy scrolling brackets and rectangular plinth set with the figure of Putto standing on a cushion, 20cm h, late 19th c++A delightful object in fine condition. Insignificant natural hairline shrinkage crack in the oval frame at 3 o`clock but stable
Lot 35
Aloysius O' Kelly (1851-1926) Boats and Wooded Harbour Scene, Pont-Aven Oil on canvas, 68 x 48cm (26.75 x 18.75") Signed Julian Campbell has identified this location as being the view of the harbour, Le Port en Amont and the town of Pont-Aven from downstream - Irish Arts Review 1996 P83. Exhibited: 1984 The National Gallery of Ireland "The Irish Impressionists" Cat No. 26 and toured to Ulster Museum (label verso) 1985; 1999/2000 The Hugh Lane Gallery, Dublin "Aloysius O' Kelly : Re- orientations'" Exhibition Cat. No. 21 (label verso) Literature: "The Irish Impressionists" by Julian Campbell NGI 1984 P165 (illustrated) Aloysius O'Kelly in Brittany, by Julian Campbell, Irish Arts Review, 1996 P83 (Illustrated) "Aloysius O'Kelly: Re-Orientations" By Dr Niamh O'Sullivan 1999 Full page illustration P 48 Aloysius O'Kelly - Art, Nation, Empire; Dr Niamh O'Sullivan, 2010, Catalogue Raisonné, cat. no. 72 (p293), full page illustration p170 Aloysius O'Kelly was one of the first Irish artists to go to Brittany, along with Augustus Burke, followed by many other Irish artists over the next half century. In the late nineteenth century, the remote port of Pont-Aven was about a day and a half's journey from Paris. The village comprised a small community of farmers, millers and fishermen. The Aven river was used to drive the mills of the village, and the port lies four miles up the estuary from the sea. Painted in the late 1870s, O'Kelly shows the village nestled in the surrounding woods, with the moored fishing boats reflected in the harbour, from downstream. He captured the distinctiveness of the fishing village, to the extent that at the turn of the century, the production of the first picture postcards of Pont-Aven feature a scene that bears a remarkable similarity to his painting. As the postcard producers took their cue from the artists, the locations became attractive to tourists, thereby encouraging the artists to paint the same locations, and even the same models, over and over. Notwithstanding the apparent naturalism of these images, they were thus, in many respects, contrived. The Monthly Illustrator (4, 2 (1895)) described Breton autumns as emitting 'a soft, pearly, luminous colour giving qualities of opalescent light to the landscape and enveloping everything in a tender tone of sentiment and poetry, a joy to look at and an inspiration to the painter.' In contrast to the dense darkness of some of his interiors, O'Kelly's winter landscapes emanate a chilly luminescence. Clearly painted sur le motif, the treatment of the natural elements is close to the work of his American friend, Hugh Bolton Jones. Dr Niamh O'Sullivan, May 2012
Lot 1
Lastra in marmo bianco scolpita ad altorilievo raffigurante cavaliere, scultore prossimo a Tino di Camaino, Italia meridionale (Napoli) prima metà del XIV secolo altezza cm 140 circa (rotture e mancanze) La figura sdraiata, vestita con lunga tunica ad ampie pieghe dritte, ha il petto protetto da un guardiacuore con i bordi finemente decorati da cui fuoriesce una cotta maglie che protegge il collo. Dai fianchi pendo- no due spade di diversa lunghezza, che testimoniano il rango nobiliare e di uomo d’arme del personaggio, rappresentato in abbigliamento da parata o da torneo. L’opera, anche se frammentaria, rappresenta un raro e importante esempio della presenza di Tino da Camaino alla cor te Angioina e testi- monia la sua fondamentale influenza artistica sui canoni architettonici e scultorei del Gotico italiano. Letteratura: - J.Pope Hennesy “Italian Gothic sculpture”, London and New York 1972 - F.Aceto “Per l’attività di Tino da Camaino a Napoli: le tombe di Gio- vanni da Capua e Orso Minutolo”, Prospettiva, luglio 1992, pp 53-65 - Giulietta Chielazzi Dini “Pacio e Giovanni Bertini da Firenze e la bot- tega napoletana di Tino da Camaino”, Firenze 1996 Roberto Bartalini“Scultura gotica senese (1270/1350)”,Allemandi and Co., Torino 2011
Lot 27
Doccione in pietra di nenfro o peperino, Italia centrale XVI-XVII secolo larghezza cm 38 Il manufatto è caratterizzato iconograficamente da una figura antropomorfa rappresentata grottescamente. Tali elementi, tipici della cultura tardo-rinascimentale, trovano massima espressione nel Parco dei Mostri di Bomarzo.
Lot 104
Altorilievo in cera monocroma marrone raffigurante cherubino entro cornice in legno ebanizzato, Italia centrale XVII secolo diametro cm 19 L’opera, presenta tracce di doratura nei capelli e poggia su un fondo in maiolica bianca, è probabilmente un raro modello per lavorazioni in terracotta o maiolica come da esempi esistenti nel museo di Doccia.
Lot 476
A hand written double sided Letter from Reg Kray to Laurie O`Leary, dated 21st December, relating to a visit by Charlie, stating `Sorry to learn you are in hospital, especially over Xmas, I used to go to Ban.... Hospital regular with teeth marks in my knuckles, I used to like the nurses, I will be seeing Ron in February, also mentions Steve Tully and says.... `One day Ron and I will get a mansion in Suffolk`
Lot 487
A hand written three sided Letter on Parkhurst Prison paper, stamped 16th June 1978 to Laurie O`Leary from Reg and Ron Kray, Ron asking him to get a Maris Callas record for someones birthday and giving it to his mother, Reg stated `Joe Cannon is in Holland looking after David Bowie the singer`
Lot 516
A National Westminster Bank Statement in the name of Lawrence Robert Henry O`Leary and Alexander Steene Esq, Trustees of Ronnie, Reggie Kray, Charlie Kray Senior, Charlie Kray Junior, dated 13th April 1988, an invitation to an Exclusive Party on board `The Regalia` to celebrate Ron and Reg Kray`s 60th Birthday, hosted by Helen Keating, and a Prison Location Service letter from Loretta Ochoa searching for Reg Kray in 1991
Lot 558
RON KRAY: Oil on board, thickly applied paint, showing cottage beside tree and pond, signed R. Kray, the reverse inscribed Loury O`Leary, 13 1/2 x 10 1/2in, accompanied by handwritten letter from Ron to O`Leary stating `Thank you for comeing to see us. It was a very nice viset, and how good it was not to talk about crime. Please give our best wishes to Alf and Marc (Bolan) and would you tell Marc that I will do him a painting. He will have it soon (thought to be this one) and would you give Joe Bailey our best wishes, Well Loury thank you very much for comeing all this way to see us. It was nice to see you after so long. Loury in October we have done 5 and a half years. God Bless from Ron. Also accompanied by a photograph of Marc Bolan and Laurie O`Leary
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175434 item(s)/page