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Lot 20d
Greece, Hellenistic, c. 3rd to 2nd century BCE. A stupendous - dare I say PERFECT - core-formed glass amphoriskos used by the ancients to hold perfumed oil. This vessel boasts an exceptionally elegant form with a piriform body, twin trail handles joining the shoulders to the long tubular neck which rises to an everted, disk rim, all upon a droplet shaped globule. The decoration of this piece is simply breathtaking. Note how the deep cobalt blue body is wound with golden tangerine orange-yellow thread-like trails applied in a close-knit zigzag or feathered pattern around the body. Threadlike horizontal golden trails also encircle the shoulder, neck, lower body, and rim (the disc form of which is actually aubergine in color). A divine work of glass art to be treasured for its impeccable form, beautiful hues, and sophisticated technique. Size: 5.9" H (15 cm); 6.125" H (15.6 cm) on included custom stand.Core-formed glass represents one of the earliest and most widely-used forms of glass manufacture in the ancient world. The production of glass objects seems to have originated in western Asia around 1500 BCE, followed by an explosion in the Egyptian industry in the fifteenth century BCE. At around the same time, glass begins to be mentioned in written sources from Mesopotamia, suggesting its growing popularity. However, it was the Greeks and Romans who perfected the technology of glass making and considered it an art form. In around the middle of the sixth century, a technological breakthrough led to the creation of the first glass vessels and allowed the industry to become established in its own right. This was the core-forming technique, which was to remain the dominant method for the creation of vessels in the ancient world until the advent of glass-blowing in the first century BCE.The technique involved shaping a core of clay and sand in the form of the vessel around a metallic rod. Then, molten glass was either trailed onto the core using a tool, or from dipping the core directly into a container of molten glass. To achieve a smooth surface, the vessel was continually reheated and rolled on a flat slab. Finally, the metallic rod was removed and, once the vessel had slowly cooled down, the core material was scraped out. The trailing of the vessel in molten glass led to aesthetically pleasing decorations in zigzag or feather patterns, in favoured colours of turquoise, white, cobalt blue, yellow and brown, like the present piece. This delicate and intricate technique limited the size of the vessel; as such, these objects were often miniature forms of well-known vase types, designed to hold perfumes, scented oils and cosmetics. The present example is unusual for its scale, and for its exquisite state of preservation, maintaining a vivid and shiny surface. The name of the vessel means 'little amphora', derived from the traditional vessel used to store wine or oil. Glass continued to remain a luxury material, although the production of small vessels for daily use extended its reach to a greater audience. The Hellenistic period, spanning the era from the conquests of Alexander the Great (356-323 BCE) to the inception of Roman imperial rule at the end of the first century BCE, was characterized by its love of luxury items created by master craftsmen for an increasingly affluent society. Glassmaking in its current form reached the pinnacle of its manufacture, with the exploration of different techniques and increasingly beautiful designs and forms.These core-formed miniature vessels of the period capture a rare glimpse of this extraordinary epoch and represent the last of their kind; the discovery of glassblowing in the Syro-Palestinian region in the first century BCE eclipsed the core-forming technique to become the preferred method of glass production for centuries to come.A core-formed amphoriskos of similar scale and design is in the collection of the Metropolitan Museum of Art, New York (inv. 17.194.597, second to mid-first century BCE).Cf: H. Tait, ed., Five Thousand Years of Glass, (London, 1991); On glass production in the Hellenistic Age, J. Henderson, Ancient Glass: An Interdisciplinary Exploration (Cambridge, 2013) pp. 203-226. Provenance: private Connecticut, USA collection; ex private UK collection (EMW), 1960s Condition: Intact and superb! Choice indeed! All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146726
Lot 119
Breitling Chronomat 'The Red Arrows' limited edition automatic chronograph stainless steel gentleman's wristwatch, ref. A13050.1, limited edition no. 1963/1965, circular red dial with baton markers, minute markers, date aperture, subsidiary constant seconds, hour and thirty minute recording dials, chronograph centre seconds and outer tachymeter scale, rotating bezel, screw-down crown, black leather strap with Breitling buckle, 39mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - light surface marks. Hands - surface mark. Case - surface marks and would benefit from a clean. Crown - adjusting correctly, push buttons start/stop and reset. Strap - worn condition, would benefit from a replacement. - 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 153
Girard Perregaux Ferrari 250 GT TdF limited edition automatic chronograph stainless steel gentleman's wristwatch, ref. 809, no. 1972, circular black dial with Arabic numerals, outer tachymeter scale, subsidiary constant seconds, hour and twenty-four hour dials, chronograph centre seconds and minute indicator, luminous hands, black lizard strap, 40mm - Condition Report: - Movement - currently functioning. Dial - good. Glass - good. Hands - good. Case - good. Crown - adjusting correctly, push buttons start/stop and reset. 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 165
Invicta 'Surfboard' chronograph stainless steel gentleman's wristwatch, no. 27182, circa 1970s, circular silvered dial with baton markers, outer telemeter scale, black centre 'surfboard' design with subsidiary constant seconds and forty-five minute recording dials and orange chronograph centre seconds, modern tan leather strap, 40mm - Condition Report: - Movement - currently functioning. Dial - marks. Glass - scratch marks. Hands - marks. Case - surface marks, a couple of indentations to the case sides. Crown - adjusting correctly, push buttons start/stop and reset. Strap - modern, some minor wear but generally ok. - 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 167
Edox Class 1 Chronoffshore Big Date chronograph stainless steel gentleman's bracelet watch, no. 371116/10014, circular black dial with baton markers, subsidiary constant seconds, minute recording and 1/10th second dials, chronograph centre seconds, outer tachymeter scale and date aperture at the twelve position, black rotating bezel, screw-down crown, quartz, 46mm - **Edox box - Condition Report: - Movement - currently functioning. Dial - good. Glass - light marks. Hands - good. Case - good. Crown - adjusting correctly, push buttons start/stop and reset correctly. Bracelet - surface scratches, wrist size 7.75'' approx. - 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 278
Nickel cased chronograph lever pocket watch, three-quarter plate movement with compensated balance and regulator, the dial signed Rueff Freres, La Chaux-De-Fonds, with Arabic numerals, outer tachymeter and telemeter scale, subsidiary constant seconds and thirty minute recording dials and chronograph centre seconds, exhibition case back, 52mm (requires attention) - Condition Report: - Movement - currently functioning but over wound Dial - small marks. Glass - surface marks. Hands - marks and surface corrosion. Case - marks. Crown - requires attention, over wound so not winding, hand adjustment requires attention, chronograph button not functioning. - 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 28
Omega Seamaster Chronostop large size stainless steel gentleman's wristwatch, ref. 145.007, circa 1967, no. 25869xxx, circular black dial with baton markers, silvered seconds track, outer tachymeter scale and orange 'flyback' centre seconds, crown at the four position, cal. 865 17 jewel movement, Omega strap, 41mm - Condition Report: - Movement - currently functioning. Dial - some marks, some 'residue' to the seconds track. Glass - surface marks. Hands - marks. Case - surface marks. Crown - adjusting correctly, push button functioning 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 287
Victorian 18ct fusee lever fob watch, London 1866, unsigned movement, no. 16111, with engraved balance cock, gilt three arm balance and silvered regulating scale, the gilt dial with Roman numeral chapter enclosing an engraved centre, within an intricately floral engraved case, case maker 'J.R', 58.8gm, 42mm, with clasp, key and pouch - Condition Report: - Movement - currently functioning. Dial - marks and some wear to the numerals. Glass - marks. Hands - some wear and surface corrosion. Case - 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 299
Heuer chrome cased chronograph pocket watch, the 17 jewel unadjusted movement signed Ed. Heuer & Co. S.A Switzerland, the silvered dial with Arabic numerals, five minute divisions, outer 10/100 scale, subsidiary constant seconds and minute recording dials, centre chronograph seconds and blued steel hands, signed plain case, no. 147614, 51mm - Condition Report: - Movement - currently functioning. Dial - small marks. Glass - marks and scratches. Hands - light marks and light surface corrosion. Case - surface scratches. Crown - adjusting correctly, push button starts/stops and resets 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 358
British WWII Far East RAF Double sided silk escape map, Sheet 44/J covers French Indo China (central) and Siam (Thailand) (east) and Sheet 44/K covers French Indo China (south) and Siam (Thailand) (part of). Scale 1 : 1,000,000 1mm = 1 kilometer, Overall size, including its small border is 94cm x 60cm
Lot 373
British WWII Far East RAF Double sided silk escape map, Sheet 44/J covers French Indo China (central) and Siam (Thailand) (east) and Sheet 44/K covers French Indo China (south) and Siam (Thailand) (part of). Scale 1 : 1,000,000 1mm = 1 kilometre, Overall size, including its small border is 94cm x 60cm
Lot 374
British WWII Far East RAF Double sided silk escape map, Sheet 44/J covers French Indo China (central) and Siam (Thailand) (east) and Sheet 44/K covers French Indo China (south) and Siam (Thailand) (part of). Scale 1 : 1,000,000 1mm = 1 kilometre, Overall size, including its small border is 94cm x 60cm
Lot 66
Good collection of miniature dolls house pieces, including a rectangular wooden table with inlay and baluster support, 4 ½” (11cm) tall, a mahogany swing mirror with barley twist supports, another mirror on stand and shaped base, a wooden grand piano music box, a revolving book case, wooden filigree chair, impressive brass fireplace with mirrored superstructure and green slip tiles, brass captain’s chair and another smaller chair, large scale hanging light with milk glass shade, wooden hat box, embroidered pouffe, cast iron Spaniel, picture and four rugs, (18 items).
Lot 69
Good collection of miniature dolls house pieces, including a English mahogany round table with bun feet, 4 ½” (11.4cm) tall, brown glazed earthenware tradesman fireplace with wooden surround, wooden country style arm chair, two smaller size Staffordshire Spaniels, one with black markings the other with red, a large scale gilt metal rococo mantel clock, a pair of gilt metal candelabra hung with chains, small bronze model of a cow, painted metal wall mounted stag head, alabaster reclining grey hound under dome, hanging light with frosted shade and painted flowers, basket, pouffe and two rugs, (16 items).
Lot 81
Noah’s Arks, various animals and a Cockerel in Coop Squeak toy, 1900-1920s, bow bottom ark with thatched effect lift of roof, 17” (43cm) long, grey painted flat bottom ark with hinged roof and opening side, together with a selection of various wooden painted animals, three larger scale painted composition animals, four composition painted nodding farm birds (one with damaged beak), together with a wood and paper printed coop, with felt covered cockerel and composition chicken, when front is opened cockerel squeaks and springs out, (lot).
Lot 56
Gerald Rickards (British 20th Century 1931-2006), "Preston Guild Window", gouache, 31.5cm x 34cm, unsigned, titled verso, glazed and framed 41.5cm x 46.5cm.Gerald Rickards was one of Wigan€™s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970’s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme – National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen’s Hall window in central Wigan, a window at Ince St Mary’s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.
Lot 57
Gerald Rickards (British 20th Century 1931-2006), "Revelation Series Second Creature Like An Ox", oil on canvas, 41cm x 51cm, signed, titled and dated 1969 verso, unframed.Gerald Rickards was one of Wigan’s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970’s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme – National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen’s Hall window in central Wigan, a window at Ince St Mary’s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.
Lot 58
Gerald Rickards (British 20th Century 1931-2006), untitled, oil on canvas, 51cm x 86cm, signed, titled and dated 1967 verso, unframed.Gerald Rickards was one of Wigan’s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970’s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme – National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen’s Hall window in central Wigan, a window at Ince St Mary’s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.
Lot 59
Gerald Rickards (British 20th Century 1931-2006), "Grey Bird Target One", oil on canvas, 66cm x 51cm, signed, titled and dated 1968 verso, unframed.Gerald Rickards was one of Wigan’s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970’s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme – National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen’s Hall window in central Wigan, a window at Ince St Mary’s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.
Lot 60
Gerald Rickards (British 20th Century 1931-2006), "Red Line", oil on canvas, 71cm x 51cm, signed, titled and dated 1968 verso, unframed.Gerald Rickards was one of Wigan’s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970’s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme – National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen’s Hall window in central Wigan, a window at Ince St Mary’s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.
Lot 61
Gerald Rickards (British 20th Century 1931-2006), "4 & 20 Elders", oil on canvas, 61cm x 71cm, signed, titled and dated 1968 verso, unframed.Gerald Rickards was one of Wigan’s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970’s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme – National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen’s Hall window in central Wigan, a window at Ince St Mary’s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.
Lot 62
Gerald Rickards (British 20th Century 1931-2006), untitled, oil on canvas, 71cm x 107cm, unsigned, unframed.Gerald Rickards was one of Wigan’s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970’s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme – National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen’s Hall window in central Wigan, a window at Ince St Mary’s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.
Lot 63
Gerald Rickards (British 20th Century 1931-2006), a group of four large mural designs, gouache, 216cm x 148cm, 178cm x 143cm, 187cm x 148cm & 273cm x 142cm, unsigned, unframed. Gerald Rickards was one of Wigan’s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970’s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme – National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen’s Hall window in central Wigan, a window at Ince St Mary’s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.
Lot 751
RARE AND IMPORTANT: GENTLEMAN'S DOXA "ORANGE" SUB 300T PROFESSIONAL STAINLESS STEEL AUTOMATIC DIVERS WRIST WATCH, the round orange dial with black and lume three sectioned hour markers, date aperture at 3, outer seconds track in black, black and tritium index hands, dwarf hour hand, centre seconds hand, outer rotating uni-directional stainless steel bezel with Arabic numeral depth scale, inner fixed bezel with count up or minute scale with Arabic numerals in black, 43mm tonneau case, with DOXA and sailing boat to the caseback, on a stainless steel 'grains of rice' bracelet strap with signed Doxa clasp, lacking box and papers. Note: see feature on this lot in printed catalogue and as blog at mctears.co.uk
Lot 765
GENTLEMAN'S BALL DC1026A AUTOMATIC STAINLESS STEEL HYDRO CARBON ENGINEER CHRONOGRAPH WRIST WATCH, the round black dial with baton hour markers in white, inner count up scale in yellow Arabic numerals, day and date apertures at 3, sunken subsidiary dials at 12, 6 and 9, lume sword hands, yellow centre seconds hand, 42mm case with 7717196, DC1016A to the caseback, on a Ball black tropic strap with Ball clasp, in box, with outer box, with guarantee card not completed by retailer
Lot 784
GENTLEMAN'S SEIKO PEPSI CHRONOGRAPH AUTOMATIC STAINLESS STEEL WRIST WATCH, the round orange dial with applied baton hour markers, subsidiary seconds at 6, day and date apertures at 3, outer seconds track in black, red and blue enamel bezel with tachymeter scale, 42mm tonneau case, on a generic black fabric strap, lacking box and papers; along with a lady's Seiko automatic stainless steel wrist watch, the round white dial with applied gold coloured baton hour markers, day and date apertures at 3, outer seconds track in black, 24mm case, on an expanding bracelet strap, lacking box and papers (2)
Lot 800A
GENTLEMAN'S FRANCK MULLER GENEVE VANGUARD MASTER OF COMPLICATIONS PVD COATED AUTOMATIC WRIST WATCH, originally purchased 2015 from papers, the black dial with applied rose coloured Arabic skeleton numerals, subsidiary dials at 3 and 9, date aperture at 6, outer seconds track in red and white, raised outer tachymeter scale to bevelled case edge, blunt dauphine style lume hands, 44mm case with No 076, V 45 CC DT to the caseback, on a signed black Franck Muller strap with signed clasp, in box, with outer box, with guarantee certificate
Lot 807
GENTLEMAN'S OMEGA SEAMASTER PROFESSIONAL CHRONOMETER 300M STAINLESS STEEL AUTOMATIC WRIST WATCH, originally purchased 2009, serial no. 84605854 both from warranty card, the round black dial with lume plot hour markers, sunken subsidiary dials at 12, 6 and 9, date aperture at 3, raised outer count up scale to the bevelled dial edge, skeleton sword hands, centre seconds hand, black enamel bezel to the 42mm case, with SEAMASTER, hippocampus and Omega logo to the caseback, on a stainless steel bracelet strap with signed Omega clasp, in box, with outer box, with papers
Lot 814
GENTLEMAN'S CHOPARD 1000 MIGLIA GMT RATTRAPANTE CHRONOMETER STAINLESS STEEL AUTOMATIC WRIST WATCH, the round grey dial with lume tipped baton hour markers, three subsidiary dials at 12, 6 and 9, for 30 minutes register, small seconds and 12 hours register, date aperture at 3, outer count up scale, raised outer tachymeter scale to bevelled dial edge, lume tapered index hands, red arrow tipped centre seconds hand and white tipped arrow rattrapante hand, transparent caseback with 8992, 1486924 to edge, movement numbered 57383, on a black tropic signed Chopard strap numbered 21/75, with a stainless steel signed Chopard clasp, in box, with outer box, lacking papers
Lot 830
GENTLEMAN'S BELL & ROSS PVD COATED AUTOMATIC WRIST WATCH, the round black dial with Arabic 12 and 6 and baton hour markers all in white, subsidiary dials at 3 and 9, tapered hands, centre seconds hand, raised outer count up scale to the bevelled dial edge, 44mm tonneau case with BR02-94-S-00528 to the caseback, on a black tropic strap, with signed Bell & Ross clasp, lacking box and papers
Lot 848
GENTLEMAN'S BREITLING CHRONOMETRE OFFICIELLEMENT CERTIFIE STAINLESS STEEL AUTOMATIC WRIST WATCH, the round black dial with applied stainless steel Arabic numerals and baton hour markers in white, date aperture at 3, outer seconds track in white, raised outer count up scale to the bevelled dial edge in white Arabic numerals, lume index hands, red-tipped centre seconds hand, 44mm case with A17331, 1631028 to the caseback, on a stainless steel bracelet strap with 169A to the end link and W 02 14 to the first link, with signed Breitling foldover clasp, lacking box and papers
Lot 856
GENTLEMAN'S BAUME & MERCIER GENEVE AUTOMATIC STAINLESS STEEL WRIST WATCH, watch ref. M0A08791 and no. 5673231 from papers, the round white dial with central engraved section, stainless steel Roman numerals and baton hour markers, date aperture at 3, outer count up scale in black, blued steel leaf hands, centre seconds hand, 38mm case with No.5673231, 65615, to the partially transparent caseback, personalised inscription dated 2005, on a brown signed Baume and Mercier strap with signed deployant clasp, in box, with outer box, with guarantee card partially completed by retailer
Lot 858
GENTLEMAN'S TISSOT PRS 516 STAINLESS STEEL CHRONOGRAPH QUARTZ WRIST WATCH, the round silver coloured dial with applied stainless steel edged white baton hour markers, subsidiary dials at 2, 6 and 10, date aperture between 4 and 5, outer seconds track in black, rectangular stainless steel edged hands, centre seconds hand in red, black bezel with tachymeter scale in white to the 42mm case, with 1044417, 089-F11 to the caseback, on a stainless steel bracelet strap with signed Tissot deployant clasp, in box, with booklets, lacking papers
Lot 860
GENTLEMAN'S BREITLING CHRONOGRAPHE CERTIFIE CHRONOMETRE AUTOMATIC STAINLESS STEEL WRIST WATCH, the round mother of pearl dial with double diamond dot hour markers, sunken subsidiary dials at 12, 6 and 9, date aperture at 3, outer seconds track in black, raised outer tachymeter scale, lume hands, 43mm case with A13556 to the caseback, on a stainless steel bracelet strap with Breitling foldover clasp, link marked S1107, in box, with outer box, with booklets, lacking registration card
Lot 894
GENTLEMAN'S ROTARY SUPERSPORTS NINE CARAT GOLD MANUAL WIND WRIST WATCH, the round white dial with luminous Arabic numerals, subsidiary seconds at 6, railroad outer seconds track in black, inner 24 hour scale in red Arabic numerals, 28mm cushion case, on a generic strap, lacking box and papers
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