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Lot 1494
An 18th Century German brass portable equinoctial compass sundial, Andreas Vogler, Augsburg, the recessed compass centre with simple star and radial lines, beneath glazed panel within octagonal surround engraved with foliate design , the hinged open hour circle engraved III-XII-IX, pivoting against folding curved scale engraved 0 to 80, the centre with pivoted blued metal pointer, the underside of the compass engraved 'Eleva Po'll / Augsburg / Pari 48 / Cracau Prag /50 Leipzig Coll / 51 London 52.' and signed 'And. Vogl'. , the instrument 6cms wide; in leather covered card box, 7.2cms wide overall
Lot 1626
A United States Model 1832 Artillery short sword. the 48cm double edged, fullered blade marked "NP Ames, Springfield" along with an eagle and "United States 1839 W.S.", fish scale grip with Federal Eagle, inspection marked "MS" to crossguard. The cross guard is stamped on the underside with ''M.P.L./ORD' overall length 64cm, leather and brass scabbard.
Lot 1492
An Ordnance Survey map of theEngland, by John Bartholomew, scale inch-mile, fitted with five interchangable rolls, in an ebonised rotary scroll, in original leather case inscribed 'Lady Armstrong, Cragside, Rothbury' retailed by Mawson Swan and Morgan, Newcastle upon Tyne, the scroll 43cms wide.
Lot 41
Brian King (b.1942)AnthropocentricBronze, 51 x 45 x 14cm (20 x 17¾ x 5½)Exhibited: Brussels, 'Innovation from Tradition', 1996, illustrated in catalogue; Solomon Gallery, 'Cast 25' celebration exhibition, Dublin 2011.Born in Dublin in 1942, Brian King studied at the National College of Art and Design and graduated in 1963. Following his studies King spent formative periods in London and New York, both of which were then epicentres of cutting edge-art and countercultural activity. In 1968 King returned to Ireland and presented his first solo exhibition at Dublin’s Dawson Gallery. The decade that followed was an incredibly fruitful and frenetic period for King. It was during this phase that he espoused and experimented with a variety of different approaches and methods, all of which demonstrated his awareness of developments taking place in the visual arts internationally.In 1969 King represented Ireland at the Paris Biennale and became the first Irish artist to win the major individual prize. The modular geometric work exhibited by King in Paris demonstrated his proclivity toward the vocabulary of Minimalism, which he would have undoubtedly encountered first hand during his time in New York. The propensity toward angular, lustrous and industrial surfaces is evidenced in Galway Yellow, the large-scale steel sculpture made by King in the seventies for the grounds of University College Galway. This is one of several monumental works King produced for public spaces. Other notable examples may be viewed at Farmleigh House, Trinity College and Merrion Square, DublinAside from Minimalism, King was also one of the few Irish artists to espouse Land Art. His fascination with the landscape of Ireland is evidenced in several projects, the most ambitious of which was conceived for Cloon, Co. Wicklow in the late seventies. Although land art is anchored in a desire to relocate artistic activity outside the confines of the museum or gallery, it is usually exhibited in these aforementioned environments via maps and photo documentation. The IMMA collection contains a piece comprising of a montage of diagrams and photographs documenting the project at Cloon. The portrait of James Joyce featured here demonstrates King’s prolonged interest in the work of the author. This was first manifest in an exhibition that took place in Dublin’s Project Arts Centre in 1981 entitled Riverrun, the title of which was taken from the first line of Joyce’s Finnegans Wake. The following year, King produced a wall-based work into which he incorporated soil taken from Joyce’s grave in Zürich.The later decades of King’s career saw him cultivate a striking sculptural language comprised of elemental forms which -although ostensibly abstract- stemmed from an engagement with ideas gleaned from physics and philosophy. Libration III exemplifies King’s ability to combine traditional materials with timeless, universal forms and symbolism. A libration is a term used in astronomy to refer to an oscillation of a celestial body (such as the moon) which allows it to be viewed from a variety of angles. King’s interest in the timeless rhythms and divine order of nature is also evident in the work Anthropocentric, the title of which refers to a world view that places human life at the centre of the cosmos.Aside from his significant contribution as an artist King contributed to contemporary art in Ireland in a variety of other ways. This is demonstrated in his position of President of the Irish Exhibition of Living Art from 1972 to1982 and also as head of the sculpture department at NCAD from 1984 and 2004. Notable works by the artist may be seen in collections throughout Ireland including Dublin City Gallery The Hugh Lane Municipal Gallery of Modern Art; the Crawford Municipal Gallery, Cork; RTÉ; the Bank of Ireland; Allied Irish Banks; the University of Ulster and University College Dublin.Pádraic E. Moore, August 2019.
Lot 60
Mary Swanzy HRHA (1882-1978)The White Tower (c.1926)Oil on canvas, 101 x 81cm (39¾ x 32)SignedExhibited: IMMA, 'Mary Swanzy - Voyages', Dublin Oct 2018 - Feb 2019; IMMA, 'Analysing Cubism', 2013, Dublin, Cork, Banbridge; Belltable Arts Centre, 'Towards the World's Edge', Limerick 1981; University of Limerick, 'Familiar Faces', 2008; Clifden Arts Week.Literature: S.B. Kennedy, 'Irish Art and Modernism', illustrated with colour plate; 'Analysing Cubism', IMMA, illustrated p.85; IMMA, 'Mary Swanzy - Voyages', illustrated p.121 and 211.White Tower combines architecture and environment in a powerful example of Swanzy’s interpretation of cubism, perhaps the only Irish cubist painter of landscape, Swanzy is not one of the students of Lhote or Gleizes that dominate the later modernist school in Dublin. She slowly develops her singular interpretation of the emerging trend on a study trip to Paris in 1906 where she witnessed Picasso’s unframed portrait of Gertrude Stein in her apartment. Swanzy first exhibited at The Salon des Indépendants in 1914 when Robert and Sonia Turk Delaunay were both strongly represented with their influential lyrical style of Salon Cubism known as Orphism.Her visit to New York in 1925 returning from Samoa and Hawaii produced many drawings of skyscrapers and she is also known to have visited the Italian town of San Gemignano with its skyline of medieval towers; this painting is perhaps a layering of those historical and modernist concerns. The portrait format heightens the scale of the towers while Swanzy anchors the viewpoint with natural forms and an earthy palette in the foreground. The airy brushwork of the blues framed by the white geometrics allows the subject to soar. Her use of perspective goes against the strict cubist concern of flattening of the picture plane however it illustrates Swanzy’s independence of vision and ability to see things from her own point of view. The circular motif she adopts has something of the dynamism of futurist concerns with movement while also containing an element of Celtic interlace in the swooping elliptical lines she employs. Her economy of colour and the use of pinks and violets to balance the palette is Swanzy at her most confident. The use of flowers is somewhat reminiscent of her contemporary Georgia O Keefe (1887-1986).Liz Cullinane, September 2019
Lot 56
Mainie Jellett (1897-1944)Abstract Composition with Three Elements (1925)Oil on canvas, 93 x 73cm (36¾ x 28¾)Signed and dated (19)'25Provenance: Stanley Mosse Collection; With The Dawson Gallery, Dublin.Exhibited: Dublin, IMMA, 'Mainie Jellett, December 1991 / March 1992, Catalogue No.77; Dublin, IMMA, 'Analysing Cubism', 2013, Crawford Art Gallery, Cork and F.E. McWilliam Gallery & Studion, Banbridge.Literature: Albert Gleize's book on Cubism, illustrated; 'Analysing Cubism', IMMA 2013, Dublin, Cork and Banbridge, illustrated p.55 & 116.Mainie Jellett is a towering figure in the history of Irish art. She is acknowledged as the first native artist to exhibit pure abstraction in Ireland and for two decades, from 1923 to her premature death in January 1944, she was as Bruce Arnold has written, ‘the acknowledged leader of the modern art movement in Ireland’ (1). Patrick Murphy’s interest in Jellett began in 1964 when he bought a small watercolour landscape from an auction at Adams. Although the work was signed and dated 1921, it had been catalogued simply as ‘Irish watercolour’ and so Murphy, who was the only bidder, got a bargain! (2)Born in Dublin into a prominent Protestant family of Huguenot descent, Jellett took art lessons with Sarah Cecilia Harrison and May Manning before enrolling at Dublin Metropolitan School of Art in 1914 where she was taught by William Orpen. She later studied under Walter Sickert at Westminster Art School in London and it was there that Jellett met fellow Dubliner, Evie Hone, who was to become her life-long friend and collaborator. In 1920 Jellett was awarded the Taylor Scholarship which enabled her to travel to Paris, then the centre of the art world. Hone was already in Paris and working in the studio of the Cubist André Lhote. Jellett joined her and together they learnt from Lhote how to abstract from nature while always maintaining an element of representation. After a period with Lhote, Hone and Jellett decided that they wanted to move further towards truly non-representational art. They approached the Cubist Albert Gleizes and asked if they could study with him. Gleizes did not take pupils but Jellett and Hone convinced him to make an exception. Thus began a long and fruitful collaboration between Gleizes, Jellett and Hone through which they explored both abstraction and the expression of spirituality through art. Despite the political and social turbulence that was engulfing Ireland during this period, Jellett decided to return to Dublin and introduce Irish audiences to abstraction. In pursing this goal, Jellett became both the greatest advocate of modernism in Ireland, and the prime target for those forces that rallied against it.In the autumn of 1923, Irish audiences were exposed to abstraction for the first time when Jellett exhibited a small abstract composition titled Decoration in the Society of Dublin Painters exhibition. The critical response to Decoration in 1923 reveals the hostility towards modernism in Ireland. While the Irish Times compared the painting to a malformed onion (3), utilising language reminiscent of continental attacks on modernism, the artist George Russell, described Jellett as ‘a late victim to Cubism in some sub-section of this artistic malaria’ (4).Despite Russell’s criticism, Jellett continued to paint and exhibit abstract works, including Composition with Three Elements. This accomplished work demonstrates, in both scale and ambition, the confidence that Jellett had in her ability to produce fully resolved abstract compositions. Bruce Arnold illustrates this work in his monograph on Jellett under the title Abstract Composition and notes that Albert Gleizes also illustrated it in his book Kubismus in 1928 ‘to demonstrate the third Stage of Cubism (Epic Cubism)’ (5). The palette of grey, green, blue, ochre, brown and pink is distinctly Art Deco, the design movement also known as Art Moderne, which was fashionable in France and throughout Western Europe during the 1920s and 1930s. Composition with Three Elements, represents the zenith of Jellett’s experiments with pure abstraction. By 1928, she had begun to reintroduce figuration into her cubist work and in paintings such as Homage to Fra Angelico (1928) explicit references to both art history and Christian iconography are present. This return to representation aided the reception of Jellett’s art by the Irish public but also signalled the end of her avant-garde pursuit of pure abstraction. Dr Riann Coulter (1) Bruce Arnold, Mainie Jellett and the Modern Movement in Ireland, New Haven & London, 1991, p. vii.(2) Patrick Murphy, A Passion for Collecting: A Memoir by Patrick J Murphy, Dublin, 2012, 32-33.(3) ‘Two Freak Pictures: Art and Nature’, Irish Times, 23 October 1923. (4) George Russell, Irish Statesman, 27 October 1923. (5) Arnold, p. 90.
Lot 248
Victorian silver fusee lever pocket watch, London 1866, unsigned movement, no. 2827 with engraved balance cock, diamond endstone, steel three arm balance and silvered regulating scale, dust cover, the dial numbered 2827 with Roman numerals, minute track, subsidiary seconds and blued steel hands, within an engine turned case with engraved cartouche, case numbered 2827, case maker 'S.F' (probably Samuel Freeman), 52mm (key) - Condition Report: - Movement - currently functioning. Dial - marks, faint hairline. Glass - surface marks. Hands - surface corrosion. Case - surface marks and some tarnishing. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 306
J. Rosskopf Patent centre second chronograph nickel cased lever pocket watch, signed three-quarter plate gilt frosted movement with gilt three arm balance and regulator, signed cuvette, signed dial with Roman numerals, inner red twenty-four hour numerals, outer 25/300 scale and centre chronograph seconds, start/stop lever at the one position, within a plain signed case, 53mm - Condition Report: - Movement - currently functioning. Dial - light marks and faint hairlines. Glass - light marks. Hands - light marks. Case - surface marks. Crown - adjusting correctly, start/stop lever operating correctly. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 286
George IV silver fusee lever pocket watch, Chester 1827, the movement signed Rowell, Oxford, no. 1418, with engraved balance cock, diamond endstone, steel three arm balance and silvered regulating scale, the dial with Roman numerals, outer minute track, subsidiary seconds and moon hands, within an engine turned case, case maker 'WW' (William Webb), 45mm (requires attention) - Condition Report: - Movement - not currently functioning and requires attention. Dial - light marks and hairlines. Glass - light surface marks. Hands - marks. Case - light surface marks, some light tarnishing and rubbing to the engine turning. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 109
Ebel 911 BTR Chronometer Chronograph automatic stainless steel gentleman's wristwatch, ref. E9137L73, circa 2009, no. A108xxx, circular black dial with baton markers, date aperture at the four/five position, subsidiary constant seconds, hour and thirty minute recording dials, red centre chronograph seconds and tachymeter scale, quick set date, E137 27 jewel movement, exhibition case back, original black leather strap with signed clasp, 46mm including the crown guards - **Ebel box with outer cardboard cover, International Warranty card stamped Goldsmiths, Gateshead and dated 4-7-09, instructions booklet, chronometer certificate, Ebel The Architects of Time Introducing 1911 BTR DVD, Goldsmiths sleeve - Condition Report: - Movement - currently functioning. Dial - good. Glass - light surface marks. Hands - good. Case - surface marks. Crown - adjusting correctly, push buttons start/stop and reset, crown not winding down onto stem. Strap - reverse beginning to split at both lugs. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 126
Seiko 'Helmet' chronograph automatic stainless steel gentleman's wristwatch, ref. 6139-7100, circular white dial with baton markers, minute markers, five minute divisions, day/date apertures, subsidiary thirty minute recording dial, centre chronograph seconds and inner bezel with tachymeter scale, signed cal. 6139B 17 jewel movement, modern black leather strap, 41mm - Condition Report: - Movement - currently functioning. Dial - light marks, marks to the subsidiary dial. Glass - light surface marks. Hands - light marks. Case - surface marks and some scratches. Crown - adjusting correctly although the crown depresses easily when adjusting the hands, push buttons start/stop and reset. Strap - modern, good. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 143
Protona microphone/recording spy wristwatch, circular silvered dial with Arabic twelve and six, hour markers, minute markers, subsidiary seconds and minute dials, red centre seconds and outer tachymeter scale, fixed crown and fixed buttons at the two and four positions, the case with perforated back, concealing a microphone device with microphone cable protruding at the nine position, brown leather strap, 39mm (lacking microphone pickup/recording device) - Condition Report: - Movement - not a functioning wristwatch - spy recording device. Dial - marks and oxidisation. Glass - light surface marks. Hands - marks and surface corrosion. Case - surface marks. Crown - fixed, push buttons fixed. Strap - requires a replacement, lacking one half of the strap. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 75
Breitling Navitimer chronograph stainless steel gentleman's bracelet watch, ref. 806, circa 1966, serial no. 1086xxx, circular black dial with subsidiary constant seconds, hour and thirty minute recording dials, chronograph centre seconds, rotating bezel with rotating internal scale, Venus 178 signed 17 jewel movement signed case inscribed 'D.R.A 19.12.72', associated bracelet, 41mm - **Original purchase receipt from Garnier Jewellers Ltd, 53 High Street, Hoddesdon, Herts dated 11-11-72 for £57.75. -360 VIEW-Condition Report: - Movement - currently functioning. Dial - marks and pitting, discolouration to the twelve and baton markers. Glass - scratches and some crazing. Hands - marks, some discolouration, hour hand lacking infill. Case - light surface marks, bezel intermittently spinning freely without adjusting the internal scale. Crown - adjusting correctly, push buttons start/stop and reset. Bracelet - associated bracelet, some marks and surface corrosion, would benefit from a replacement strap/bracelet. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 145
Wakmann Regatta chronograph automatic stainless steel gentleman's wristwatch, ref. 9804, circa 1970, movement, no. 3329906, circular blue dial with baton markers with five minute divisions, date aperture, silvered subsidiary constant seconds and hour dials, orange centre chronograph seconds, centre minute indicator with orange pointer, silvered date chapter, coloured day rotating chapter with crown at the ten position, outer tachymeter scale, quick set date, Lemania cal. 1341 17 jewel, signed case, black leather strap, 42mm - Condition Report: - Movement - currently functioning. Dial - some light marks. Glass - scratch at the seven position, and further minor light marks. Hands - good. Case - good, requires resealing Crown - adjusting correctly, push buttons start/stop and reset, day chapter crown adjusting correctly, . Strap - good. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 67
A Damascus underglaze-painted pottery dish Syria, 16th/ 17th Centuryof shallow rounded form on a short foot with everted rim, decorated underglaze in cobalt-blue and black on a white ground with a ewer surrounded by foliate motifs, the border with fish scale motifs interspersed by foliate motifs 25 cm. diam.
Lot 487
4 boxed Minichamps F1 Racing car models in 1:18 scale including Toro Rosso Cosworth STR1 V. Liuzzi 2006, B-A-R Honda 007 J. Button 2005, and two Scuderia Toro Rosso STR3 models - S. Vettel Italian GP 2008 and S. Bourdais 2008, the latter being a limited edition of 999 pieces. All appear VG/E boxed. (4)
Lot 630
14 boxed vintage plastic model car kits by Pyro, Monogram and others including Road and Race cars, together with a vintage ACE (USA) wooden Sportsman's Convertible kit (0.5 inch to 1 foot scale), also boxed. The Pyro Aston Martin would appear to have been started, the contents of all other opened packages are unchecked for completeness. (15)
Lot 377
A boxed KIng (Hong Kong) battery operated remote control Porsche Le Mans Racing Car, a Lunar Exploration set by Delamare and three carded Lucky Toys (HK) sets each of which include a Mercedes Car, Trailer with Canoes, Tent and figures together with an additional empty card. Some plastic 'Old Timer' cars, both boxed, bagged and unboxed by Cragstan and others together with six boxed plastic Norev cars in 1:43 scale are also included as part of this lot.. (36 approx)
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186097 item(s)/page