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Click here to subscribe*Miniature. An early 19th century miniature portrait of a young officer of the Grenadier Guards, watercolour and gouache on paper, the officer in red scarlet coatee with gold collar and epaulettes, cream sash with brass cross belt plate, sword and black trousers, 10 x 7.5cm (4 x 3ins), oval gilt mount aperture in a later Henneman & Co ambrotype morocco case, approximately 15.5 x 13cm (6 x 5.25ins) (1)
A collection of Channel Islands Masonic garments, for the Guernsey and Alderney Lodges, comprising two armbands, a neckband and apron, in royal blue with gold borders, within original leather case, the initials E.C. embossed in gilt to top; together with Royal Arch apron and sash, small circular white patch with gilt triangle for the same Lodge; various jewels to include Stewards medals for the province of Essex Institution for Boys, Royal Masonic Benevolent Institution 1949, Royal Masonic Institution for Girls 1950, gilt silver star of David medal on crimson ribbon; together with four Masonic publications. (qty)
20th century AD. A scrolled painting on a linen backing of a standing robed lady amid vegetation, holding her sash; two columns of text and a red chop seal. 319 grams, 1.91m x 41cm overall, painting 1.49m x 31cm (58 3/4 x 12 1/4). London private collection, acquired 1985-1995. [No Reserve]. Fine condition.
18th-19th century AD. A bronze statuette of the goddess Juno in 1st-3rd century AD style, wearing lose robes belted at the waist, diadem to top of head with hair arranged to the sides and gathered at the back in a bun; right hand hanging down side of body, left hand on hip with decorated sash over shoulder. 255 grams, 12cm (4 3/4). Property of a Middlesex gentleman; acquired in the 1980s. Juno was regarded by the Romans as the protector and special counselor of the state. She was the daughter of Saturn, sister and wife of Jupiter, and mother to Mars and Vulcan. Her Greek counterpart was Hera, from whom she took on many attributes, and in the Etruscan pantheon she was closely associated with Uni. her most common title was 'Regina' meaning queen, as she was regarded as the patron goddess of the Roman Empire, and together with Jupiter and Minerva was worshipped on the Capitoline Hill in Rome. The goddess had a number of titles and roles including Sospita, the saviour, Lucina, goddess of childbirth, and as Juno Curitis she was invoked for success during war; her sacred geese were kept at her temple on the Capitol. The majority of her festivals fall on the kalends, or beginning of each lunar month. One of the most popular festivals was the Matronalia which took place on the first of March where the goddess was worshipped predominantly by women in her role as Lucina, 'she who brings children into light'. She was also the patron goddess of marriage and invoked during the ceremonies. [No Reserve]. Fine condition.
IMPORTANT EDWARDIAN PAINTED WOODEN, THREE STOREY, 'TOWN HOUSE' DOLL'S HOUSE, the centrally divided, hinged front with two glazed patio doors beneath five cord activated glazed sash windows, divided by raised architectural mouldings and rustictated 'stonework', opening to reveal original fireplaces, bathroom and other fittings, beneath a 'slate' roof with three hinged dormer windows, opening to reveal an attic space with fireplace in situ, capped with a metal galleried balcony, with twin chimney stacks, metal guttering and downpipe, complete with original 'gravelled', walled forecourt with metal arched entrance, with a fixed, originally working fountain and a small shed with attached flag pole, 67" (170cm) high, 39" (99cm) wide, 22 1/2" (57cm) deep; with PHOTOGRAPH AND LETTER REGARDING THE EXHIBITION AT OLYMPIA IN 1912 FOR THE 'CHILDRENS WELFARE EXHIBITION'
A Victorian wax headed doll in highland dress with blonde hair, blue ceramic eyes, black velvet trimmed tartan Balmoral bonnet, mother of pearl buttoned dress over petticoat and lace trimmed long drawers, high boots and wearing a taffeta sash. With maroon leather jointed arms and detailed hands, one finger torn, two on other hand missing. Ht. 59cm. crack to centre of face.
William Conor OBE RHA RUA ROI (1881-1968) THREE SINGERS oil on canvas Collection of George and Maura McClelland 'Children of Ulster', McClelland Galleries, Belfast, 1969 Born in north Belfast in 1881, William Conor was one of seven children. He attended the Belfast Government School of Art. During the years 1904-1910 he served an apprenticeship as a lithographer and poster designer with David Allen & Sons. During both World Wars, Conor was engaged as a war artist. John Hewitt has succinctly observed; '…For the middle decades of the century William Conor was the representative artist…few can have realised how representative he has been, how broadly typical of our best moods and impulses…' (Art in Ulster I, 1977, p86). As an artist he became an antidote to what was often a bleak outlook for the people of that time. His work was inclusive of all people in the city of Belfast and it was not marred by the mark of condescension that his notice might be a privilege for those depicted. He has, singlehandedly, created a comprehensive social catalogue for the first half of the twentieth century featuring working class existence, street games, family life and pursuits. He was a prolific artist and constantly carried his sketchbook with him. In the Museums and Galleries of Northern Ireland (MAGNI) there are seventy-five of his works, Armagh County Museum have five, and the largest collection of his work - almost 1,200 pieces - is in the Ulster Folk and Transport Museum. Kenneth Jamison admired the absence of a moralising tone in Conor's work; in essence its' positive purity, 'He is, perhaps, a kind of Irish Daumier, but without the bitter satirical edge; certainly an impressionist of sorts whose affection for his subjects saved him from becoming doctrinaire'. ('Painting and Sculpture' in Causeway: The Arts in Ulster, 1971, p44). 'Three Singers' is a beautifully intimate group portrait of three unidentified figures. Their faces are full of characterisation; Conor has invested each with such a degree of personality that the viewer has a sense of acquaintance with them as a collective - there is an overall atmosphere of familiarity. This is perhaps due to their assertive presence on the canvas. Conor's handling of oils lends the figures a sculpted feel; they appear three-dimensional, almost modelled, as opposed to painted, on the canvas. The colour range, though not extensive, has a rich endearing vivacity that is a pleasure to behold. These figures are timeless, universal and characterised by a wholesome presence. All three sing expressively; mouths open, song books in hand. They are connected to one another through the direction of their gaze. The central protagonist sings with head tilted slightly to the right and eyes looking firmly in that direction. The figure to the right, head uplifted and turned to the left, engages the final figure whose head is uplifted in full singing expression. 'Three Singers' sees its precedent to some extent in 'Three Choir Girls'. In evidence again are the three singing figures, the books are apparent in two of the figures' hands and there are differing facial expressions but all are in full song. However, here the continuity of expression ends. 'Three Choir Girls' is more detailed and realist: it is clearly an earlier painting. The artist has included the background and one can see the detail of the sash window. Also the clothes of the girls have undergone increased differentiation and detail. Conor's approach loosened as he progressed yet this evolution added to the immediacy and exuberance of the surface. He was evidently immersed in depicting those people he encountered every day. As Máirín Allen documented in the Father Mathew Record, Conor was confident that the artist should record 'his own epoch and give expression to what was happening around him'. He was, therefore, one of the earliest socially-engaged practitioners in Northern Ireland, before the coining of such a term. Marianne O'Kane BoalMay 2017 30 by 25in. (76.2 by 63.5cm)
An early 20th century Chinese famille vert figure of a scholar. Wearing a long flowing robe painted with fish, reading from a text and raised on a naturalistic base, 28cm. Condition Report. To be used as a guide only. Chip to the tip of the sash around his robe. No other damage, free from repair.
Vintage Slavic Embroidered Three Piece Ladies Outfit. Comprising jacket, skirt and apron. Jacket in navy blue cotton with red cotton and cream crochet trim and intricate hand embroidery in traditional cross stitch design. Jacket is a short bolero style with long full sleeves trimmed with cream crochet lace. Crochet trim collar and metal zip fastening marked 'Lightning' - possibly a later addition. Full length circular skirt in dark blue slub cotton blend with heavy glazed cotton underskirt and single button back fastening. Full length apron comprises extra long blue sash fastening with heavily embroidered hem. Central panel trimmed in cream crochet lace, bands of heavily embroidered cotton and cream lace crochet inserts. Hook and eye fastening to apron sash and concealed pocket to reverse. Approx measurements, skirt, 28 inches to waist, 41 inches in length. Apron,29 inches in width, 42.5 inches in length. Jacket 17 inches in length, shoulder seam 18 inches, sleeve length 23 inches. In very good vintage condition, embroidery all intact, some discolouration to lace crochet.
A CHILD'S HIGHLAND COSTUME, 20TH CENTURY the midnight blue velvet jacket and silk tartan sash over a white smock of cutwork and embroidered bands, mounted on a velvet ground in an elongated octagonal glazed gilt frame, frame 86cm high; together with a ram's horn snuff mull, Scottish market, late 19th century, electroplate-mounted, 26cm wide; and a framed coat of arms, 19th century, body colour and gilding on paper, according to label for 'The Rev. James Mylne, Bapt. 1732 in Banff, Chaplain of Keith's Highlanders, Matriculated Arms 1814', verre eglomisé mount and glazed gilt frame, frame 40.5cm high (3) Provenance: Provenance: Robin Ian Evelyn Stuart de la Lanne-Mirrlees (Grinnell-Milne), Comte de la Lanne-Mirrlees, titular Prince of Incoronata, Scottish Feudal Baron of Inchdrewer and Laird of Bernera (1925-2012)
A Victorian child's Towcaster Yeomanry Cavalry Dress, scarlet cloth jacket with black velvet sloping collar and pointed cuffs, double breasted with gilt metal Towcaster Yeomanry Cavalry buttons, the cuffs edged with silver chain-gimp and a chain-gimp loop on shoulders, forming a double eye at outer end, and fastened with a gilt metal button, gilt metal and red woven sash belt to waist, together with a United States Navel cadet dress, black cotton with gilt coloured braiding to collar, double breasted with gilt metal button, and applied anchor emblem to collar, lawn and Honiton lace flounce, with applied butterfly to each ends
19th-16th century BC.A haematite cylinder seal engraved with a standing naked female facing frontally, a male worshipper wearing long robes and cap, hands raised in prayer, facing a male figure wearing sash and kilt, round cap on head and dagger tied to waist; rectangular panel with three columns of cuneiform text. 8 grams, 19mm (3/4"). Very fine condition.From a North London collection; formerly in the Rihani family collection, formed 1970-1980s.
2nd-3rd century AD.A schist figure of the bodhisattva Maitreya seated in the European style on a throne with legs crossed at the ankles; large halo to the back of the head, turban with beaded decoration and fan-shaped element to the top; long curly hair falling to the shoulders, large pendant earrings to both ears; strings of necklaces falling across the chest, hands held in the teaching mudra; sash across left shoulder falling across the waist, close fitting loin cloth falling to the ankles; base decorated with three rosettes; mounted on a custom-made stand. 40.1 kg total, 85cm including stand (33 1/2"). Fine condition.UK art market, acquired prior to 2000.Maitreya is regarded as a future Buddha of this world in Buddhist eschatology. In some Buddhist literature, such as the Amitabha Sutra and the Lotus Sutra, he is referred to as Ajita. According to Buddhist tradition, Maitreya is a bodhisattva who will appear on Earth in the future, achieve complete enlightenment, and teach the pure dharma. According to scriptures, Maitreya will be a successor to the present Buddha, Gautama Buddha. The prophecy of the arrival of Maitreya refers to a time in the future when the dharma will have been forgotten by most on the terrestrial world. The name Maitreya is derived from the Sanskrit word maitri loving-kindness, which is in turn derived from the noun mitra friend. In the Greco-Buddhist art of Gandhara, in the first centuries in northern India, Maitreya was the most popular figure to be represented along with Gautama Buddha.
3rd-4th century AD.A schist figure of the bodhisattva Maitreya seated cross-legged, hair pulled up into a top knot and falling in curls to the shoulders; hair held in place by a beaded diadem, elongated ears with drum-shaped earrings; large halo to the back of the head, urna to the centre of the forehead, eyes half closed in meditation, moustache extending to cheeks; strings of necklaces falling to the chest, hands held in the teaching mudra; sash over left shoulder, armlet to the right arm, bracelets to both wrists; throne decorated with lattice pattern, two monks to the centre praying, worshipper to each corner making an offering; mounted on a custom-made stand. 131.5 kg, 95cm (37 1/2"). Fine condition.Property of a London gentleman; acquired before 1995.
3rd-4th century AD. A schist figure of the bodhisattva Maitreya standing, large halo behind head with plant motif to the right, praying worshipper to the left; turban to head held in place by diadem with central jewel, elaborate sash to the top; strings of necklaces to the chest, large moustache curling over mouth and urna to the centre of forehead; sash falling over left shoulder, gathered at the waist and wrapped over right wrist, right hand held up in blessing; elaborate loin cloth falling to feet; standing on a square base with two flower motifs; mounted on a custom-made stand. 18.3 kg total, 60cm including stand (23 1/2"). Fine condition.From an important London collection, acquired in the 1990s.
2nd century AD.A schist figure of the Buddha meditating, seated cross-legged in long robes, hands resting in lap; hair pulled up into a top knot, elongated ears, urna to the centre of the forehead, eyes half closed in meditation; low rectangular throne with cloth swag gathered at the sides and with central sash; mounted on a custom-made stand. 20.1 kg, 48.5cm (19"). Fine condition.UK art market, acquired prior to 2000.This sculpture exemplifies the image of the Buddha that evolved in Gandhara, a region that covered parts of present-day Afghanistan, Pakistan, and northwest India. Gandharan sculptors drew on provincial Roman sources, as well as the Hellenistic influence that resulted from Alexander the Great’s conquests in the region. Such influence can be seen in this Buddha’s monastic robe, which is rendered like a Roman toga, covering both shoulders, while the auspicious mark of superior intelligence, a cranial protuberance, is depicted naturalistically as a topknot. The yogic posture seen here, one of meditation with hands folded on the lap, is one of the great contributions of the Indian subcontinent to world art.
1st-3rd century AD. A schist head of a prince with beard, elongated ears, turban to head with knotted sash to the brow; mounted on a custom-made stand. 8.10 kg total, 46cm including stand (18"). Fine condition. Property of an Essex gentleman; acquired from a Mayfair gallery; formerly in a 1980s collection.
Shunga Period, 2nd century BC.A pink sandstone rail section from a Buddhist monument, with central medallion in the form of a large open lotus flower with bust of a male with large elaborate hairstyle held in place by a sash with ends falling over the shoulders; to the back central medallion in the form of a large open lotus flower; mounted on a custom-made stand. For similar see 'Ashoka's Rail' surrounding the Bodhi tree at Bodh Gaya, northern India. 5.37 kg total, 39.5 x 24cm (15 1/2 x 9 1/2"). Very fine condition.UK art market, acquired prior to 2000.The Mahabodhi Temple complex in Bodhgaya is one of the holiest sites related to the life of the Buddha as it is the place where he attained enlightenment. The present temple dates from the 7th Century AD with later additions, and was built on the site of a previous temple erected by Emperor Ashoka in the 3rd century BC. The temple consists of a central sanctuary with a tall pyramidal tower and houses a large gilded image of the Buddha. The temple is built in front of the Bodhi Tree, the tree under which the Buddha obtained enlightenment, which is surrounded by a quadrangular stone railing that dates to the 2nd century BC. The railing was extended in later periods and the posts are either made of sandstone or coarse granite and are decorated with carved medallions with naturalistic and mythical animals, lotus designs and scenes from the life of Buddha. This enclosed area marked the sacred space for pilgrims to undertake circumambulation of the tree.
18th century AD.A bronze statue of the goddess Parvati holding a bird in left hand; hair parted in the centre and curled into a large bun to the back of the head, large hoop earrings to the elongated ears; strings of necklaces to the neck and curving around the breasts, both arms with armlets and bracelets; thick sash to the waist with strings of beads hanging down the legs, sash falling down the middle and across the thighs, anklets to the feet; standing on a lotus flower base. 1.80 kg, 33cm (13"). Fine condition.Property of North West London gentleman; acquired from a London collector in the late 1990s; previously in a private collection formed in the late 1980s-early 1990s.
A large quantity of paraphernalia relating to Guernsey Oddfellows to include Queen Victoria jubilee medals x 2 ( Island of Guernsey district ), large amount of medal ribbons, four sash badges, aprons,three rolls of uninscribed certificates (18) " independent Order of Odd Fellows, Manchester Unity, Friendly Society", banquet settng hand painted poster dating to 1938 all contained in vintage brown leather suit case. * Please Note: A further 500 lots from this sale (which are not available for live bidding) can be viewed on our website: www.martelmaidesauctions.com
Large English dolls house, circa 1930, the wooden framed house with grey stone effect exterior, wooden panelled front door with brass door knob and letter box, four working glazed sash windows, red tile pitch roof with two chimneys, opens at back in three sections, and also to side, having four rooms with hallway and landing, mostly original wall and floor coverings, (small piece missing from roof), 39” (99cm) tall, 37” (94cm) wide, 21” (53cm) deep.
Simon & Halbig 550 bisque head girl doll, German circa 1910, with weighted brown glass eyes, lashes, painted eyebrows and open mouth with upper teeth, light brown wig and on a fully jointed wood and composition body, wearing modern brown dress with lace skirt, collar and velvet sash, 22” (56cm) tall.
A fine Brazilian sash commemorating the country's two successive victories in the 1958 and 1962 World Cups,in orange & brown silk with rosette and with green stitched inscription reading BI-CAMPEO do MUNDO - 58 - 62, the reverse with a hand written presentation inscription to the Football Association in London dated 10-11-62, 158cm.
TWO VINTAGE COUTURE 'BRUCE OLDFIELD' EVENING DRESSES Worn at the 1985 Barnado's Gala Fashion Show attended by HRH Princess Diana. Luxurious sea green silk velvet dress with boat neck long fitted sleeves. Tight Pleats from the front waist band, deep side pockets creating slight bustle on the hips falling in folds at the front. A long back zip, lined with inner belt. Tightened at the waist with a large buckled belt. Labelled 'Bruce Oldfield' UK12 USA10. Bust 34" x 28" waist. Front hem has come down. A pretty green pure tissue silk cocktail dress with ruffles running diagonally from the hip, and a wide magenta sash tied around the waist. Size 10 UK. (2)
THREE 1970'S GOOD SIZE FLORAL MAXI DRESSES A blue and red sheer dress, fastened down the front with buttons, Labelled 'Montego Bay' Size 16. Empire lined orange and cream floral dress with floating sleeves. Empire waist 32". A further 'David Butler' Pucci style floral print sheer dress with elasticated neckline and sash. Large. (3)
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