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Lot 48
A rare pair of Chinese large coral ground 'boys' bowls, Jiaqing seal mark and of the period, each finely painted in famille verte with four groups of two boys, 21cm diameter. (2)The Property of a Gentleman, probably acquired in the inter-war years and thence by descent. Condition Report: Gilding on both appears good with very little wear. Both with minor 'pepper' mark to interior.1) Hairline from rim to centre - approx 10cm long, also minor associated loss to out rim - see additional images. Very minor firing flaw to footrim.2) No damage. Very very slightly ovalled in shape. Minor scratches to interior.
Lot 1
A Rare Circa 1890 Automaton of a Standing Marquis Smoking Monkey, believed to be by the House of Phalibois in Paris. The monkey-person, with papier-mâché head, leather-lidded glass eyes, painted complexion with dark shadows around the nose and mouth, grey mohair periwig, dressed in an elaborate satin Marquis costume decorated with lace jabot and cuffs, bow tie, silk buttons and topped by a Marquis hat with pom-poms. He holds a meerschaum cigarette holder in his right hand and a gilt-framed lorgnette with round-shaped frames in his left hand, and stands upon a yellow velvet base. When in motion, in a realistic manner, he turns his head from side to side, lifts the cigarette holder, inhales three times, lowers and turns his head to the centre and exhales, lifts his left hand with lorgnette while tilting his back head and opening and closing his mouth (an internal system of rubber tubing allows the smoking action), approx 63 cms high (to top of hat) with base 17 x 17 x 3 cms.
Lot 347
A very Rare Great War Burberry 'Tielocken' Gabardine Flying Jacket bearing a silk 'Burberrys Paris' maker's label dated '18' (1918) A2 in style, the jacket with two flapped patch pockets and elasticated waist and cuffs, with later front closure zip and repairs. NB. Burberrys Paris Store, 8 Boulevard Malesherbes, opened its doors in 1909
Lot 637
Motoring - Forde - Dover - A Rare Pre-War Enamel Car Badge, c1930's by Thomas Fattorini of Birmingham the badge bearing Naval Ensign device in lifebouy border surround, with applied enamelled flags of European Nations including Hitler's Third Reich, each separately applied with screw mounts, 9cm high
Lot 638
Motoring - A Collection of Ten Original Photographic Glass Negatives, c1920 of Advertising & Bristol Interest rare views including 'Georges Bristol Beers' steam lorries at the brewery premises in Ashton Bedminster, Bristol, 'J.S. Fry's & Sons Breakfast Cocoa' Albion delivery vans and steam lorries, Keynsham, etc., each approximately 6 x 5
Lot 3145
Bronze Age Scabbard Chape and Lead Model.A late bronze age bag-shaped scabbard chape associated with the 'carp's tongue complex' of South-East England, dating to the Ewart Park metalworking phase c. 1000 BC - 800 BC. 34mm x 27mm, 15.9g.Together with a contemporary lead model of a bag-shaped chape, probably used for the manufacture of a clay mould, or for testing a mould prior to casting bronze chapes. Lead models of Bronze age metalwork in Britain are rare, see PAS DENO-A24823 for an example of a palstave axe cast in lead.50mm x 49mm x 14mm, 164g. (2).
Lot 118
Child's gramophone, Stollwerck: a rare hand-turned Stollwerck printed tinplate gramophone with canister turntable to hold chocolate records, friction drive and detachable crank with button hand-grip, hill and dale reproducer and pivoted 8 1/2-inch conical horn, finished in red and gold -- 8 1/2 high in. overall, with twelve card-based records and a cut-down Pathé disc, in a carton from Whiteley's department store, circa 1903, with a typed letter, undated, suggesting that the gramophone was bought from Whiteley's circa 1905, and the price was a shilling and a halfpenny, or two shillings and threepence for the green spring-driven model
Lot 150
Marilyn Monroe, A rare offset lithographed tin plate proof sheet with registration marks, for the design of two drinks tray inserts, finished to the reverse in a facsimile leather design, circa 1953 believed to coincide with the appearance of Marilyn Monroe first nude "Playboy Magazine" centrefold, in good condition with some scratches, purchased by vendor from Christies Lot 337, 2nd December 1989Plate dimensions: 77cm by 51cm
Lot 204
David Bowie, two UK release albums: Hunky Dory LP - First UK Press in rare Laminated sleeve released 1971 on RCA - SF 8244 - No Gem Logo and no mainman refererences - Sleeve VG (some wear in places around the edge) - Vinyl VG and Ziggy Stardust (Original with Inner) - Sleeve VG (seam split bottom edge), Vinyl EX-
Lot 28
Louis Le Brocquy HRHA (1916-2012)Study towards an Image of W.B. YeatsWatercolour, 22 x 17.5cm (8¾ x 7'')Signed with initials and dated (19)'75Exhibited: The Dawson Gallery (Label verso); 'Louis le Brocquy’, Arts Council of Northern Ireland, Belfast, January - February 1976, where purchased by the current owners; ‘Louis le Brocquy: A Recherche de Yeats’, Musée d’Art Moderne de la Ville de Paris, October - November 1976, Etude 73; ‘Louis le Brocquy: Edinburgh Festival Exhibition’, 1977, Richard Demarco Gallery.Yeats, the most varied mind of the Irish race, the last - and perhaps the only - Romantic poet in English to manage a full career. Le Brocquy, the most dedicated Irish painter since Yeats’ brother died, with an intuitive sympathy for literature and mythology, an increasingly rare reverence before the human. Their meeting has an aspect of inevitability. In the last decade le Brocquy has reinvented for himself the idea of portraiture, moving through family and friends to contemplate master spirits of his country, like Joyce and Beckett. As he says ''simply because by their works I know them, and am drawn to peer through their familiar, ambiguous faces which mask and at the same time embody - the great worlds of their vision''. And now Yeats, whom le Brocquy knew as a boy. Fascinatingly, the ideals and techniques of the two artists have much in common. One of the foolishnesses of modern psychology is to believe that we have only a few, usually warring, selves. But a Prospero, like Yeats, may live many lives, inhabit many faces, while achieving a unity in variety. At an early stage, he began to play with his doctrine of the Mask, the anti-self, as a discipline for spiritual or physical plenitude. ''I call to my own opposite'', he says, ''all / That I have least looked upon''. Let us examine his selves, as they pass before us, in slow procession. There is the dreamy young man who pressed himself to the earth of Sligo and Howth, like a lover. He wanted to go and live on an island, or in a cave, like Shelley's Alastor, a young man burdened with dreams. But dreams can be harnessed and that young romantic, a cowslick of hair carefully plastered over his brow, is a more wily customer that he seems. George Moore might wickedly compare his cawing voice to a crow's, his solemn poet's robes to an umbrella left behind at a picnic, but he also testified to his intellectual strength. It took a masterful man to found and manage the Abbey Theatre, to propagandise for an Irish Literary Renaissance. So the tuneless crow becomes a sacerdotal heron, a high priest of the arts. And the gaunt celibate becomes a great lover, who kneels before Maud Gonne, the English army captain's daughter who was his personification of Ireland, as Petrarch did before Laura, Homer before Helen. Love has as many allotropes as carbon - from soot to diamond - and Yeats weathered all the stages, crying out in frustration for the bosom of his ''faery bride'', swearing friendship with Olivia Shakespeare, collaborating with Lady Gregory, achieving a profoundly psychic exchange in his marriage with his medium wife. For Yeats was a trained mystic, a member of the Order of the Golden Dawn, who did not play with, but actually practised magic. Technically, le Brocquy's method is akin to that of certain noble poems of Yeats where he names and numbers his friends, living and dead, or sets different aspects of himself to dialogue, even to dance. So the painter invokes faces of the poet, public and private, to challenge and exchange. Compare earlier and later visages. The short-sighted sighing inventor of the Celtic Twighlight is now a ''smiling public man'' (No. 5). The right eye sharp, the left hooded, he exudes a satisfied power, like a replete bird of prey, ''the lidless eye that loves the sun''. The cowslick becomes a crest, a ruffled plumage, and the wide black riband, falling from the tortoise-shell- rimmed glasses, is set like a bar across his face. Significantly le Brocquy moves towards whiteness, the full majesty of paint, as the poet moves towards wholeness, definition. But with friends, Yeats could still display the full battery of his moods, changing from rage to affection, from solemnity to boyishness, in a single instant, like sun chasing shadow across a West of Ireland field. For behind the silver-haired Senator, the majestic black hatted Nobel Prize winner, with his carefully rehearsed gestures, is still the young poet, the spiritual fanatic in search of truth. Crow, heron, eagle, scarecrow, le Brocquy dwells with wonder on the changing roles of Yeats; but my supreme favourite among these psychic portraits, these attempts to show how the spirit speaks and shines through the casket of the brain, the exposed or retreated eye, the chosen regalia, is one which combines the earlier and later selves (No. 3). The eyes are lifted triumphantly above the glasses, the lips are widening to smile, the hair is in disarray; this man has lived a strenuous life of achievement, has glimpsed truth and is not afraid of death: his ''ancient glittering eyes are gay''. We acknowledge our thanks to the late John Montague who had granted us permission to reproduce his preface to catalogue ‘Louis le Brocquy. A Ia Recherche de Yeats’ which had included this piece.
Lot 36
Basil Blackshaw HRHA RUA (1932-2016)Night Rider (2001)Acrylic on canvas, 152.5 x 213.5cm (60 x 84”)SignedProvenance: The Eamonn Mallie Collection, purchased directly from the artist.Exhibited: ‘Basil Blackshaw - Paintings 2000-2002’, The Ulster Museum, December 2002 - May 2003, Cat. No. 5; ‘Basil Blackshaw at 80’ Retrospective, The FE McWilliam Gallery, Banbridge, May - October 2012, The RHA Gallery Dublin January - February 2013, The Gordon Gallery, march 2013, as part of the City of Culture.Literature: ‘Basil Blackshaw - Paintings 2000 - 2002’, Ulster Museum, illustrated p.22; Irish Arts Review Front Cover illustration, Winter 2002, inside article by Brian McAvera, picture illustrated again p.59; 'Basil Blackshaw’ by Eamonn Mallie, 2003, illustrated Plate 16, p.365; ‘Basil Blackshaw at 80’, FE Mc William Gallery,2012, Fig 25; 'Basil at 80', The Gordon Gallery, 2013, illustrated p.25.It was not uncommon for Basil Blackshaw to carry an image about in his head for over half a century.He was a consummate romantic, passionate about everything about which he was passionate - women, horses, dogs, markets people, edge of the town people, travellers, horse racing, boxing, cockfighting, 'rare characters,' the craic, politics, poetry, the countryside, giving to the poor and so on.Among his favourite 'Pictures' in the cinema were Westerns and he loved cowboy novels when he was young. Enter 'Night Rider' from Blackshaw's fantasy world. More often than not his images were of himself playing out his fantasy. He worked and owned horses all his life. Such is the control of the rider in 'Night Rider' here that we know Basil is in charge. 'Night Rider' fits into what would be his 'late period' - always returning to earlier themes and subjects but much more psychological in interpretation. The rider's eyes speak volumes about his character ... he emits danger signals. He is 'a down looking thief' who would not take prisoners. One senses a gun is but one hand movement away.What is remarkable about this work is Blackshaw's choice of colours. They convey a sense of menace. My recollection of Westerns way in the distant past is one of the sound of distant drums, the pounding of horses' hooves on sun drenched plains above deep river sunlit valleys. We are however dealing with Blackshaw here - the art delinquent - the re-maker of images seeking out the otherness of an event or happening. One can image the muscularity which the artist brought to this large painting. I can still see him stabbing the canvas with a lick of paint - retreating only to attack another area with the same brío. This was war on a canvas. Blackshaw often compared his picture making to boxing - throwing punches, stepping back, all the time ducking, diving and contorting his wiry frame in pursuit of his dream in paint. My own experience of sitting for my portrait bore testimony to this extraordinary ritual of picture making by Blackshaw. As to the presence of the large yellow cross-like mark to the left of the canvas - Blackshaw regularly explained to me the composition needed that mark to give the work balance. The painting wouldn't be right without that mark he protested. Blackshaw's Spanish contemporary - Tapiès regularly uses a cross-mark too, in his oeuvre. I can't help thinking that that 'cross' notation invokes the notion of death. Blackshaw unashamedly claimed I steal ideas from good artists and bad artists but what you do with the theft is what matters. He asked me to establish if it would be possible to get a look at a large collection of Lucian Freuds on this island. I managed to arrange this. Observing Blackshaw scrutinising the Freuds was instructive. I thought he was going to lick the canvasses. He appeared to be in a trance, his eyes fixed on every square inch of the paintings. A year or two after the execution of 'Night Rider' Blackshaw told me do you see that grey triangle of paint on the side of the horse's neck - I stole that idea from one of Freud's paintings that morning you took me to see the works. It was what he did with the theft that mattered. It helped him resolve a problem. Eamonn Mallie
Lot 63
Estella Frances Solomons HRHA (1882-1968)On Parole, 1920Oil on canvas, 52 x 44cmSigned with initials and inscribed with title Exhibited: 'Estella Solomons Retrospective' Exhibition, The Crawford Gallery, Cork May/June 1986, Cat. No. 87 - illustrated in the catalogue; 'Estella Solomons Exhibition', The Frederick Gallery, November 1999, Cat. No. 48, where purchased by PJ and Breda Mara - illustrated in the catalogue. Breda Mara was a regular and welcome visitor to The Frederick Gallery on route to her special dress maker Richard Lewis whose salon was next door. This is a rare survivor of many portraits that Estella Solomons painted of the insurgents on the run who used her studio on Great Brunswick Street as a 'Safe House'. Most of the others had to be destroyed as they would identify and betray the whereabouts of the sitters. Estella was a member of Cumann na mBan where she was well versed in signalling and prepared for administering first aid during the rising and hiding arms in her parents’ garden. She was at the centre of a Dublin swaying on a political precipice. Her husband, Seamus O'Sullivan later writing in 'The Rose and bottle and other essays' described her studio as a place of refuge for many whose political and national activities had brought them a very undesirable amount of notice in 'the bad times'. Our thanks to Hilary Pyle whose writings on the artist formed the basis for this catalogue entry.
Lot 46
A rare antique Victorian Sterling Silver gentleman's razor strop by George John Richards, London 1841. The ivory handled leather / suede body for sharpening razor blades, in a rectangular silver sheath / scabbard, engraved with Gordon clan / family crest and motto 'Higher'. Length 29cm / 11.5".
Lot 78
A rare antique William III Sterling Silver tazza / footed salver by George Bowers, London 1695. Of circular form, with a raised, gadrooned border, raised on a spreading foot with similar border. The surface engraved with contemporary engraved armorial. Diameter 25.5cm / 10". Silver weight 490g / 15.8 troy oz.
Lot 73
Three bottles of a rare Château Gruaud Larose, 1961. Along with others: A magnum of Domaine Jean Grivot Clos Vougeot, 1982. A bottle of Domaine Marc Morey & Fils Chassagne-Montrachet, 2002. A bottle of Beaujolias Propriete, 1978. A bottle of Mouton-Cadet Bordeaux-Blanc, 1986. For condition report please see the catalogue at www.peterwilson.co.uk
![Children's Book - Anon [Duval (Marie), pseud. of Tessier (Isabelle Émilie de)], A Rare and Choice Collection of Queens & King](https://cdn.globalauctionplatform.com/1ab2a156-cd91-447f-a052-a81c00e448ca/26dc37a1-b56f-4094-ed6c-b3857d635636/468x382.jpg)
Lot 4083
Children's Book - Anon [Duval (Marie), pseud. of Tessier (Isabelle Émilie de)], A Rare and Choice Collection of Queens & Kings and Other Things, The Pictures, Poetry and strange, But veritable, Histories designed and written by S.A. The Princess Hesse Schwartzbourg, The Whole imprinted in Gold and many Colours By The Brothers Dalziel at their Camden Press, and published by Chatto & Windus, London [presumably 1874], later boards, red buckram spine and endpapers, small folio
Lot 3806
Medals, WW1/WW2, Colonial, Unique and Very Rare All-Name Group of Seven to W.O. Class 1, Australian Imperial Forces, Including the Extremely Rare Commonwealth of Australia Meritorious Service Medal, British War Medal - 346 T/WO 2 J. Hulme, Sge. A. Bde., A.I.F.; Victory Medal - 364 (sic) T-WO-2 J. Hulme, S.A.B., A.I.F.; 1939-1945 War Medal - NP646 J. Hulme; Australia Service Medal 1939-1945 - NP646 J. Hulme; Permanent Forces of the Empire Beyond the Seas LSGC Medal (GVR) - No. 646 B.S.M. (W.O. II), J. Hulme, A.I.C.; Army LSGC Medal, GVIR/Australia bar suspension - 2/804 WO1 J. Hulme, A.M.F.; Commonwealth of Australia Meritorious Service Medal, GVR 2nd Coronation Robes type - No. 646 W.O. (II), J. Hulme, A.I.F.Provenance: Spink of London, Lot 28, July 24th, 2014
Lot 177
Mount Everest Expeditions: 1933 Expedition, cover to Lahore franked two India KGV 1a 3p tied by fine cachet "HOUSTON-Mt EVEREST/FLIGHT/1933" (Waterfall type X), reverse bears same cachet, also PURNEA cds for 14 APR 33 and Lahore arrival cds for 16 APR 33, some creasing and somewhat roughly opened at top, rare as only 25 covers are believed to have been carried on this flight
Lot 178
Mount Everest Expeditions: 1936 Expedition cover from Shekar Dzong to London, initially unfranked but bearing on face boxed 'EVEREST, 1936' handstamp with 'Shekar Dzong, Tibet' in manuscript, reverse bears large 'POLITICAL OFFICE/SIKKIM' h/s, over which has been affixed a type-written label inscribed "Suffered detention in Gangtok post/office owing to the Postmaster's/failure to affix postage stamps and/to forward them in time. The post-/master has been sent jail for his offence.", this is one of a small batch of expedition mail that was stolen and later found buried in a tin in the Sikkim forest, when it eventually arrived in England a KEVIII 1½d adhesive has been applied and cancelled Dorking 26 JAN 37, a fascinating and rare item, accompanied by three other covers to same address posted from various Indian post offices including Simla S.W. (10 JLY 36), Kalimpong (22 JLY 36) and Joshimath (19 SEP 37), the first with contemporary? pencil annotation on reverse 'From Frank Chapman, Mount Everest Expedition
Lot 249
Officials: 1915-28 £1 chocolate and dull blue, punctured type O2 (SG 052), corner perf crease at upper left and missing perf at foot, otherwise sound used by parts parcel cancel which leave much of design visible, a good collectable example of this very rare stamp, clear RPS cert (2000) cat £5,500
Lot 263
A useful mint and used collection of KGV heads in a stockbook, substantially complete though not guaranteed, includes rare mint (stated by vendor to be) ½d Cyprus green shade, many blocks throughout including imprints of Ash, Mullett and Harrison, plus used, rusted and substitued cliches, with many varieties, 7 JCB and CA monograms. Many items ex Ian Perry and stc in excess of £20,000 for basic stamps, plus imprints, blocks and flaws, condition generally good to fine large part o.g. or fine used and well worth careful examination, (Hundreds)
Lot 57
1897 (March) 8c on 6ca chocolate, large figure surcharge, spaced 2½mm on Dowager Empress first printing (SG 53a), left marginal reconstructed block of 4 (block has been split into two horizontal pairs and carefully re-joined with hinges), somewhat off centre but fresh and generally lightly hinged, large part o.g., a rare multiple, cat £15,000
Lot 721
Stamps of German New Guinea surcharged: 1914 (16 Dec) -15, 1d on 5pf green (not precisely plateable), surcharge spaced 5mm, variety G.R.I. without stops but normal spacing (SG 17ga), used on small piece by part oval ds (Gibbs type 8) in violet, odd trivial tone but very rare with only two examples known to Gibbs, BPA cert (2006) (Insert)
Lot 724
Stamps of German New Guinea surcharged: 1914 (16 Dec) -15 setting 4 with surcharge spaced 5mm, 2½d on 10pf carmine horizontal pair (pos. 1-2) tied to small piece by STEPHANSORT cds, a little toned but attractive and rare also 3d on 25pf black and red/yellow (vertical crease), large part o.g., 3d on 30pf black and orange/buff used by two part STEPHANSORT/13 cancels in blue (trivial corner crease), 4d on 40pf black and carmine, setting 2, pos.9, fine used by part RABAUL oval ds (Gibbs type 8) in violet (SG 20, 22/24), also 1915 (Jan) surcharge on registration labels, 3d on 'Friedrich-Wilhelmshafen (Deutsch Neuguinea)' (SG 35), surface rubbing and tied to small piece by forged part squared circle, an interesting group, cat £1,300+
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