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Lot 653
TECHNISCHE NOTHILFE (TeNo) - A NAVY BLUE SERVICE TUNIC of wool blend construction, with two pleated patch breast pockets and two pleated hip pockets all with scalloped button-down flaps, the vertical silver pebbled four-button front closure with open collar, and straight-cut sleeves, the interior of the tunic lined in black rayon with striped sleeves.
Lot 148
An 18th Century Chinese copper and cloisonné inkwell, circular tapered design, with opaque scale cells and blue, white, red and green banded design, 14cm diameterWould benefit from a clean, chip to one of the cells, light scuffs and scratches to the main body. Crackling to an area of the decoration, also creating a patch of discolouration. Multiple small chips around the edge of the base. Rubbing and small dents to base.
Lot 57
Beano (1950) 390-441. Complete year starring Jack Flash, Jimmy and his Magic Patch, Deep Sea Danny's Iron Fish, Biffo and Lord Snooty. First Sinbad the Sailor by Paddy Brennan and Sammy's Super Rubber by Allan Morley. No 390 has Desperate Dan front cover story in rare Dandy character cross-over. The highest graded 1950 year to be offered at auction. 390, 429 [vg+], 436 [fn-], balance [fn/vfn] (52)
Lot 535
An antique Chinese silk Wall Hanging, possibly a Tok Wi or a Bed Hanging, the red satin ground profusely hand embroidered in poly chromatic and metallic threads depicting a formal ceremony, perhaps a marriage, with a large central pagoda/temple with four character motto, dignitaries, attendants and musicians among trees and walk-ways, the whole interspersed with bats, butterflies, birds, lotus flowers, flags and banners. The hanging is formed of one main strip - 18in (46cm) deep, surmounted by a narrower strip - 6½in (17cm) deep, edged and backed by brown linen, with green fishnet fringing and multi-coloured bobbin tassels; overall size 197in x 36½in (500cm x 93cm) approx., colours strong, a few very insignificant spots and stains on front, a small patch of mouse damage to brown linen backing cloth.
Lot 696
A collection of vertu, including a Victorian mother of pearl card case with conventional diamond pattern to body, 8 by 10.5cm, a faux tortoiseshell patch box with stylised foliate detailing to lid, an unusual multi-compartmental brass tobacco or cigarette case, possibly Trench Art, curved for hip pocket, 7.5 by 4 by 2.2cm, and four white metal items, one a weight and the other three likely manicure tools. (7)
Lot 134
Taxidermy: Himalayan Serow (Capricornis thar), circa 1920, shoulder mount with head looking slightly to the left, mounted upon a period oak shield with ebonised border, 42cm from the wall, 61cm high, repaired horns, (af)poor condition conducive with age, both ears damaged, bald patch under chin area, visible stitching to neck area, faux horns one broken , hair loss around both eyes and nose area, Rob 29/12/17
Lot 98
Taxidermy: Siberian Ibex (Capra sibirica sibirica) circa 1930, by Van Ingen & Van Ingen Mysore India, shoulder mount looking straight ahead, mounted upon a shaped oak shield, right horn 98cm, left horn 95cm measured along outer curve, tip to tip 28cm, from the wall 50cm, 95cm high, number to back of headboard 585number to back of headboard - 585, both horns can be removed, left ear is damaged, left nostril has open crack, small bald patch on nose bridge, right ear tip repaired, open seem to back of neck , overall tired condition conducive with age, Rob 28/12/17
Lot 101
CINEMA: Selection of vintage signed postcard photographs and slightly larger (1), by various film actors and actresses, including Paul Cavanagh, Stanley Holloway, Jerry Desmonde, Dirk Bogarde,(with signs of former mounting to the image), Judy Campbell, Sylvia Cecil, Nita Croft (2), Sarah Churchill (signed to a darker area of the image), Doreen Duke, Walter Hudd, O.B. Clarence, Peggy Cummins, Nora Swinburne, Beryl Orde, Diana Manners, John Paul, Nigel Patrick, Patrick Ludlow, William Fox, Raymond Lovell, Mark Lester, Geoffrey Hibbert, Guy Middleton, Alec Clunes, Peter Coke, Ronald Squire, Wally Patch, Bobby Howes (signed to a darker area of the image), Stewart Rome, Marian Spencer, Austin Trevor, Zena Dare etc. Most are signed in fountain pen inks to clear areas of the images. A few are inscribed. Generally VG, 39
Lot 89A
Bilston Enamels Patch Boxes Circa 1820's Two Georgian enamel patch/snuff boxes, the first, a square box with motto 'Sacred To Friendship' to hinged lid, finished in powder blue and white enamel, original mirror to inner lid. Chips to enamel on bottom right corner. The second, an oval box finished in cobalt blue enamel with message 'The Gift Of A Friend' to lid. Lid depicts a veiled lady with bird. Slight damage to enamel at rim, hinged lid is loose but mechanism intact.
Lot 17
An 18th Century Enamel Patch Box:The top stating "The gift is small but love is all"; together with an enamel perfume bottle (2) CONDITION REPORT: Perfume box: A minor loss to the one of the sides with some cracks to the top, however the item is structurally sound. Detailing in good condition.Patch box: Crazing to lid with losses to base. Loss to interior base as seen.
Lot 29
Nathaniel Hone RHA (1831-1917) LANDSCAPE (NORTH COUNTY DUBLIN) oil on canvas 18 by 24in. (45.7 by 61cm) Sotheby's, 2 June 1995, lot 270; Private collection ''How sweet to be a cloud, floating in the blue''.[1] ''That Landscape painter who does not make his skies a very material part of his composition - neglects to avail himself of one of his greatest aids''[2]. Thus commented 19th Century landscapist John Constable, while one of the most well-loved poems of the Romantic era, Daffodils by William Wordsworth (1798), opens with the lines: ''I wandered lonely as a cloud''.[3] Having studied in Paris, painted for many years in the Forest of Fontainebleau, then visited Italy, Nathaniel Hone returned to Ireland in 1872, settling in north Co. Dublin. He painted much on the West coast of Ireland, and travelled abroad. But the coasts at Malahide and Portmarnock, with their beaches, sand dunes, choppy seas and massive skies, along with the pastures at Raheny, provided inspiration for many of his finest paintings. In many of his seascapes the strand or sea occupies only a third of the composition, the upper two thirds being filled by the sky, with its ever-changing clouds - sometimes signalling the onset of rain, at other times clearing to allow blue sky to appear. In the present painting, Landscape with Cloud, the cloud does not 'wander' but seems to float in the sky, perhaps breaking free from a larger formation; a Cumulus, suggestive of fair weather, it floats quite close to the beach and to the viewer. The picture is: ''an almost abstract composition, in which a single cloud hovers above a river, or perhaps an inlet of the sea, probably the strand at Malahide... The landscape is devoid of any detail... A patch of blue sky behind the cloud seems to highlight the pale silver, pink and brown tonalities of the painting…''[4] The left edge of the cloud is in shadow, but most of it is white and fluffy, or gold, lit up by sunlight. Hone conveys the wet, almost transparent, atmosphere of the scene and the reflection of the strand, centre left, may be the remains of an old wooden boat half covered by sand, (as features in several pictures by Hone). Above the beach is a strip of blue sea in the distance, and to the right the hazy form of an island, probably Ireland's Eye. Landscape with cloud is one of a series of coastal subjects in which oval-shaped clouds float in the centre of the composition. These include Kelp Gatherers on a Beach, On the Malahide Sands[5], A Sandy Coast (National Gallery of Ireland, cat. no. 1455) and A View of Malahide Strand (NGI cat. no. 1500). The latter, a smaller picture on board, may be a companion piece to the present canvas. As Hone's career progressed, his work became more simplified, and broader in style; Landscape with cloud, executed in bold, curving brushstrokes may thus date from the latter part of his career. He did not view Nature in isolation, but unified, and thus linked different parts of the picture surface together in curling shapes and in colour: the blue and violet tones of the sky being echoed in the sands and the white and gold of the cloud reflected in the water. The subjects of skies and clouds were ones that had fascinated philosophers, scientists, artists, poets and musicians through the centuries. Traditionally clouds were regarded as symbolic of fertility (bringers of rain) and spiritual (the revelation of God).(6) Meteorologists began to study clouds in a more systematic way, for instance Luke Howard's writings influencing the writer Goethe and painter Constable. The latter was also interested in Thomas Forster's Researched about Atmospheric Phenomena, (1815), and, while living in London, 1821-1822, painted numerous studies of the sky and clouds, often inscribing the time of the year, day, direction of the wind, and temperature, on the reverse of the picture. (7) It is not known if Landscape with cloud was exhibited: he tended to give general titles to exhibition catalogues in Ireland, and not identify any with 'cloud' titles. However, it seems likely that such a characteristic canvas was exhibited at the RHA or elsewhere in Ireland during the artist's lifetime. Dr Julian Campbell January 2018 1. The Incredible String Band, 1967. 2. John Constable's Correspondence, vol. VI 1968, ed. R.B. Beckett, quoted by L Herrmann, Nineteenth Century British Painting, 2000, p.129. 3. 'Daffodils', 1804, by W. Wordsworth. 4. P. Murray, cited in Important Irish Art, James Adam/ Bonham's 28 May 2003, p.90. 5. Important Irish Art, Adam's, 27 March, 2002, lot 35; and Important Irish Art, Adam's & Bonham's, 26 May, 1999, lot 88). Comparison can also be made with White Cloud, 1884, by James Esor (Antwerp). 6. J. Tressider, Complete Dictionary of Symbols, 2004, p. 112. 7. See John Thorne, 'Constable's Clouds', Burlington Magazine, 1979, p.697-704; K. Clarke, The Romantic Rebellion, 1973, 1976, p. 275 and L. Herrmann, 2000.
Lot 603
A GEORGIAN ENAMEL PATCH BOX, oval form, the hinged lid decorated in relief with a swan, with a white jewelled border on a dark blue enamelled ground, a mirror to the underside, and a Staffordshire enamel patch box decorated with a classical landscape, with polychrome painted striped borders (2)
Lot 1112
Largely Great Britain collection from 1840 to early 1990s, majority of value in one printed album from 1840 to 1993, earlier issues generally used including 1840 1d black (15), most identified by plate number including 11, last three close margins and small faults, others mostly 4 margins but some small faults, 1840 2d blue (3), 1841 2d blue vertical pair with English numeral cancel and single with Scottish mc, 1870 ½d rose mint (14 incl two pairs), 1847-54 6d, two cut square examples including one in unusual pale mauve shade, 1962-64 6d lilac, unused with small part o.g. (missing corner), 1891 £1 green used telegraphic box and cds, 1902-10 DLR £1 dull blue-green good cds used, 1929 PUC £1 m/m with small tone patch on gum, later issues incl 1955 Waterlow set to £1 m/m, also some decimal postage, remainder of collection includes 1980s and early 1990s presentation packs, Guernsey, Jersey and IOM presentation packs from same period, also some odds of Australia and Canada, condition of early GB mixed (Hundreds)
Lot 1870
An 18th century oak gateleg table with opposing frieze drawers and turned supports united by stretchers, length 161cm. CONDITION REPORT: The top is an entirely different colour to the base and is split along the entire length also with a full length patch repair, general surface wear. Width when open 137cm.
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24353 item(s)/page