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Lot 122
A Bishop and Stonier late 19thC pottery part dinner service, decorated in the Pheasant pattern against a green scale ground, comprising oval meat platter, pair of smaller platters, soup ladle, vegetable tureen and cover, sauce tureen, cover, stand and ladle, nine dinner, eleven soup, eight dessert and six side plates, (40).
Lot 277
SIR FRANCIS GRANT PRA (1803-1878)Portrait of a Lady, Full Length, Standing in a Landscape Wearing a Riding HabitOil on canvas, 223.5 x 133cm (88 x 52½'')Born the fourth son of Francis Grant, Laird of Kilgraston, Perthshire in Scotland, the young Francis was educated at Harrow. His father died when he was quite young and he inherited a large sum of money. Enjoying the sporting life, he had planned to enter the legal profession but diverted to become a painter. He was largely self-taught and spent a short time in the studio of Alexander Nasmyth.His interest in sporting pursuits extended to his work and he gained a reputation as a fine painter of this genre, exhibiting a picture called Melton Breakfast at the 1834 Royal Academy exhibition. In 1837 he exhibited The Meeting of His Majesty’s Staghounds on Ascot Heath, painted for the Earl of Chesterfield, and in 1839 The Melton Hunt, purchased by the Duke of Wellington (both of these have been engraved, the former by F. Bromley, the latter by W. Humphreys). In 1841, he painted A Shooting Party at Rawton Abbey for the Earl of Lichfield, and in 1848 The Cottesmore Hunt for Sir Richard Sutton. In 1840 Grant exhibited an equestrian group of Queen Victoria riding with Lord Melbourne and others in Windsor Park, and at once became the fashionable portrait-painter of the day. His portrait of Lady Glenlyon, exhibited in 1842, increased his reputation, and for nearly forty years the most graceful and refined portraits in the Royal Academy exhibitions came from his studio.Grant was elected an associate of the Royal Academy, and in 1851 an academician, later serving as its President. Between 1834 and 1879 he contributed no fewer than 253 works, many of which were full-length portraits, to the exhibitions of the Royal Academy. Among these works were equestrian portraits of Queen Victoria and the prince consort, painted for Christ’s Hospital; the Prince of Wales; an equestrian group of the Duke and Duchess of Beaufort; Sidney Herbert, afterwards Lord Herbert of Lea; Lord John Russell, afterwards Earl Russell; Benjamin Disraeli, afterwards Earl of Beaconsfield amongst many others.The present work, a portrait of an unidentified lady, wearing a riding habit is a signature work by the artist and displays his considerable skills in portraying his sitters on a very grand scale. Despite the high Victorian costume, the composition of the picture, the subject’s pose and the classically inspired landscape backdrop all acknowledge the great 17th and 18th century British portraiture tradition from which the artist has come from and was inspired by.
Lot 305
CAPTAIN RICHARD BRYDGES BEECHEY RHA (1808-1895)Irish River Landscape with waterfall, Possibly Co. Kerry Oil on canvas, 60 x 91cmSigned and dated 1888Born in 1808 in London, the son of Sir William Beechey RA, Richard entered the Navy in 1822, retired as a Captain in 1864 and became a Vice-Admiral in 1879. Throughout his naval career he painted many accomplished marine works and exhibited numerous paintings at the Royal Academy, the British Institution and at the Society of British Artists. Strickland notes that Beechey was employed on the survey work at the mouth of the Shannon and the west coast of Ireland, during which time he sent works to the Royal Hibernian Academy, becoming an honorary member in 1868. After his retirement from the Navy in 1864 he settled in Ireland, living for many years at Monkstown, and later in Pembroke Road, Dublin.The present work is of an, as yet, unidentified view, quite possibly in Kerry where the artist holidayed and painted, submitting a number of Kerry views such as Upper Lake, Killarney (1873), Magillicuddy’s Reeks (1876), The Great Skellig (1883) for exhibition at the Royal Hibernian Academy in Dublin. The artist’s depiction of such a beauty spot in Ireland is treated in a typical fashion for the mid-19th century, with the contrasting uses of the lake being observed - on the left is a group of women and children washing clothes, while to the right of the composition is a small group of gentlemen fishermen in a rowing boat, with another fisherman beyond on the lake’s shore. The lake is seen below a cascading falls from which emanates a hazy curtain of spray. The dramatic landscape is held together by the inclusion of a road bridge just above the top of the falls and a horse and cart add scale and interest. While Beechey is rightly famed for his marine pictures, it is fair to say that his handling of the landscape, the composition and atmosphere is well beyond the level usually ascribed to an ‘amateur’ artist.
Lot 92
WILLIAM SADLER II (C.1782-1839)The Mouth of the Liffey with the Poolbeg Lighthouse and Shipping Oil on panel, 34.5 x 54.5cmsKnown particularly for his competent, atmospheric and topographically interesting views of the countryside around Dublin, Sadler remains an enigma in the history of 19th century Irish art. This is partially because his father, William (fl.1768-1788) and his own son, also William (b.1808) painted somewhat similar scenes in a vaguely similar style and can be confused. William Sadler II, however, stands out as being a better painter than either his father or his son. He is also credited as having taught painting and counted James Arthur O’Connor as one of his pupils. He is recorded as exhibiting, between 1808 and 1821, many paintings on his trademark mahogany panels. The Royal Hibernian Academy records four paintings by Sadler exhibited at the 1828, 1833 and 1836 annual exhibitions, giving his address as Buckingham Street and later at Merrion Avenue. In his 1913 Dictionary of Irish Artists, Walter Strickland notes however that he finally settled in Manders’ Building in Ranelagh where he died in December 1839. Sadler was greatly influenced by and did many copies of the Old Masters, particularly Dutch painters and this influence is seen in his landscape compositions with small figural groups. He also incorporated their technique of painting bright highlights to accentuate the almost three dimensional effect of his figures. The present work is a wonderful atmospheric panorama ranging from the north of Dublin city on the right with it’s church spires over to south county Dublin on the extreme left, with views of Killiney and Dalkey and the Sugarloaf Mountain beyond. The main concentration however is on the myriad of ships that are heading into or exiting Dublin port. Sadler conveys the busyness of the channel leading into the city and the River Liffey, with an anchored coastal trader in the foreground and nearby a British naval frigate heading into port. Numerous other large sailing ships are evident further into the port area. The lively winds are expressed by the rough green seas with it’s highlighted surf and in the somewhat stormy skies. Typical of Sadler, these conditions convey a sense of drama in what is essentially a non-dramatic scenario. The architectural landmarks are accurate, as you’d expect with the artist, whose skill in describing the topography of the city is well regarded. The Poolbeg Lighthouse is prominent, not surprisingly, standing as it does at the end of the four kilometer long Great South Wall. Also visible is the Pigeon House Fort, built around the time of the 1798 Rebellion and which housed an armory, magazine, stores, a hospital and quarters for officers and men. A little further in several domes are visible, perhaps amongst them, the Custom’s House on the Liffey quays. While views of this scene are not uncommon in the artist’s oeuvre it is the scale and grandness of the view that sets the present apart from many others.
Lot 282
A FINE IRISH GEORGE III GILTWOOD PIER MIRROR, by John & Francis Booker, Essex Bridge, Dublin, the frame of typical architectural form with triangular pediment, centred by an urn with lion masks and trailing swags, the rectangular plate with applied chain link banding flanked by fluted Corinthian columns above a lower panel centred by a carved head of Venus with flanking leaf corbels, the reverse with a partial label for (John & Francis) Booker, Essex Bridge, Dublin. 197cm high, 124cm wideThe existence of a group of dignified architectural gilt-wood mirrors of the mid-18th century had been noted by furniture historians of the post-war period. However, nobody commented on the fact that they all seemed to be or had been in Irish houses. In 1971 The Knight of Glin published his seminal essay, A Family of Looking Glass Merchants and brought to light the productions of the Booker firm at Essex Bridge in Dublin. He quickly established and published a corpus of their known work but even he would have been surprised as to the extent. Through the survival of complete and partial trade labels, he unravelled the story of a merchant dynasty that created these mirrors and dealt in grinding , polishing and cutting mirror glass, the most expensive of the luxury items in an 18th century house. Whether the Bookers carved the frames themselves of contracted this work out is still a mystery. This classical design so suitable for an 18th century entrance hall or state room comes from the tombs of antiquity and was adapted in renaissance Italy especially by figures such as the architect and sculptor Giuliano da Sangallo. The Knight used the publication of William Jones, 'The Gentleman's or Builders Companion' which was for sale in Dublin in 1739, as the source of the Booker design, in which the renaissance monumental scale was tamed to suit pier glasses or tabernacle frames. Although the Bookers carried the details and indeed the later ones adopted Adam's neoclassic motifs, the general shape stayed with broken - either straight or swan neck -pediments raised on hollowed-out fluted Corinthian columns. In this example the urn that fills the pediment is carved with nemean lion masks of Hercules signifying prowess and swagged with Roman acanthus leaves denoting the order. This motif was used on the entablature of the St George -Smith mirror which also carried a Booker label. The Venus mask on the apron suggests either the presence of or desire for a female welcome to visitors. This can be compared with the Booker mirror now in the collection at Malahide Castle. Either displayed singly or in pairs, the presence of these mirrors indicated that the visitor had entered a civilised and ordered environment.
Lot 355
A CARVED GILTWOOD SHIELD OF THE IMPERIAL NAPOLEONIC ARMS, 19TH CENTURY, the back with iron attachments. 85cm high x 77cm wideThis elaborate depiction of the Imperial regalia proclaimed by Napoleon in 1804 is of a scale to be displayed on a state carriage or building. At centre is the Roman eagle of victory bordered by the collar and chain of the legion d'Honneur set against a mantle of imperial ermine and crossed by the ancient symbols of sovereignty, the sceptre and the hand of justice.Provenance: Rathescar House, Co. Louth
Lot 326
German made figures, smaller scales 20 to 60mm by various makers, three British Infantry of the Line on skis with bugler (G), ten Stags with another in larger scale (G, one damaged), Waterjump, four Bicycles, Infantry, Cavalry, flat Knight with Tent, Limbers, Wagon, Tents etc. with a few spare parts (G-P, some damage and parts missing) (117 approx., excluding spare parts)
Lot 190
Farm Buildings a wood and straw constructed range of buildings on a base, with additional two Cottages, three Cowsheds, Barn, Watermill, two Chicken houses, straw roofed Garden Shelter or Native Hut, Sundial on scenic stand, Rabbit Warren, wood constructed thirteen Fences, three Stiles, Well, Water Trough, two Doors, three Gates, two hedges and two Bridges Elmwood ten lawn and three path pieces, two Britains Floral Garden Lawns, Brighton Station, Garage and a small scale Fort (G) (61)
Lot 352
CBG Mignot A Drive in the Country an intriguing Magnetic Toy presenting, in 20mm scale flat figures, a charming French Roadside Restaurant, according to the road sign included 30 Km from Paris and 40 Km from Beauvais (from which it should be possible to find which Restaurant it is), with outdoor Tables, Customers, Floral Garden, Roadside Trees, Cottage, Haystack etc. roadside signs and petrol pumps, with a Car, magnet, key and guidewire with which the car can be manipulated to and from the Restaurant, in original two tier unlabelled box (M, but box somewhat damaged) (52)
Lot 386
British Hollowcast Toy Soldiers, depicting History and Ceremonial and a few early French and Japanese Cavalry made in France by XR, Reka, BMC etc., Naval Brigade, Hill RARE 70mm scale Highlander dated 2.9.12 with similar Foot Guard and H size Britains Infantryman, Kuzu Gurkha, ACW, Knights and Robin Hood by Hill, Timpo, Benbros, Crescent etc. (G, some F, damaged or parts missing) (112)
Lot 322
Heyde No.2 size Boer War etc. some by other makers, five 43mm scale British Infantry (F, rifles missing), South African Mounted Infantry on foot (or perhaps Boers), two running (rifles missing), one kneeling and one lying firing, Boers, two standing and two kneeling firing, and one larger scale mounted (G-F, four hats embellished) (14)
Lot 4
Ω A Victorian figured walnut mercury cistern tube stick barometer, with a silvered ivory Vernier scale and silvered mercury thermometer W. Heath, Optician, 4 George St., Plymouth, circa 1840 (lacking Vernier adjustment screw) Heath was working at above address from 1845 to 1865. Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be s ubject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Lot 199
made with Marley tile on wood each 5 to 4cm diameters respectively 4) PROVENANCE Field collected in Msinga by Mavis Duma in 2001 Note on terminology: amashaza is used specifically for earplugs made with Marley tile cut out designs while izighaza is used to describe anything round that can be placed in an ear lobe. While reflecting the patterns of beadwork and retaining a similar geometry: the designs have been adapted to the round form and the scale of the ornament. Both men and women wear earplugs, and cut their lobes which are gradually enlarged to fit. Various interpretations exist for why they were made, but they can be seen as an overt sign of identity both regionally and nationally. This style of earplug originally appeared by the early 1930s, but ?attained their most intricate and sophisticated designs, with the advent of vinyl asbestos (?Marley Tiles?) as a flooring material around 1950.?
Lot 1184
Lionel Arthur (Sir) Lindsay (1874-1961) Australian Classical Temple and ruins, signed in pencil, etching, together with a vignette scale signed William Walcot etching possibly of a London bridge, a further unframed etching by Mortimer Menpes depicting Stratford Guild Chapel and a small maritime watercolour initialled O.M and inscribed ''Rade de Bress'', 17cm by 25cm, 6cm by 13cm, 38cm by 25cm and 11cm dia. respectively (4)
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185385 item(s)/page