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Lot 624
OSKAR KAUFMANN: A SET OF SIX TWIN-LIGHT BRONZE SCONCES, each with leaf and scale-cast scrolling candlearms and star cast candle cups. From wall, 0.36m. Note: these will probably have formed part of a chandelier, most likely the previous lot. . Provenance: Leo Lewin, Villa Lewin Breslau, thence by descent
Lot 230
A 3 1/4" gauge model steam locomotive in green and black GNR livery, the cab numbered 1142, with tender, model no. 1193, locomotive l. 70 cm x w. 19 cm x h. 27 cm, tender l. 45 x w. 19 cm x 21 cm * This model is of the Great Northern Railway Ivatt 'Large' Atlantic Locomotive. This design first saw service in 1902. It is built to a scale 3/4" to one foot and was completed in 1975 by M. Kingston of Stony Stratford CONDITION REPORT: Wear commensurate with age, for more info please refer to auctioneers NO BOILER CERTIFICATE
Lot 66
A collection of six Vanguards popular saloon car vehicles, boxed, a similar commercial vehicle, a Matchbox Masterclass Collection Jaguar XJ220 scale vehicle, eleven boxed Corgi die0-cast models, a Corgi Webster "The Home of Brewing Excellence" boxed set, a Corgi Hong Kong fire support vehicle, boxed, and thirteen further boxed die-cast scale model vehicles
Lot 34
Tanglewood Stratocaster style electric guitar, white finish, various surface marks and scratches to the finish, electrics appear to be in working order, logo rubbed from headstock, condition: okay; together with another Stratocaster style electric guitar, black finish, surface marks and scratches to the finish, electrics appear to be in working order, condition: good and two short scale electric guitars both in need of attention (4)
Lot 1359
A Victorian specimen wood centre table, the circular top intricately inlaid in a scale design with a variety of specimen woods. The table top diameter 45 ins. PROVENANCE-this table was exhibited at The North London Working Classes Industrial Exhibition 1864. Accompanying the table is one volume “Illustrated Memorial of the North London Working Classes Industrial Exhibition 1864”. This table is Exhibit No. 800. The table was awarded a First Class Prize Certificate to The Manufacturer J. Selley, Carpenter, 7 Heath Villas, Hampstead Heath and signed by Russell, Gladstone & Shaftesbury. The certificate is dated 1864 and the accompanying medal 1866. the medal date on the certificate is also dated 1866 and was probably presented just over a year after the exhibition. Provenance by descent through the family (see illustration).
Lot 249
Edgar Vinters (Latvian, b.1919) `On the Dordogne` oil on panel, signed lower right dated 20th August 1994, inscribed verso 26 x 34½in. (66 x 88cm.) * Edgar Vinters was born in 1919 in Riga, and studied at the Latvian Academy of Arts from 1940-44. He has exhibited widely in Latvia and the UK since 1949 and is known for his large scale landscape and floral still life work. His style is realist and he works plein air, striving for light and clarity in his work, which displays clear influences from the Impressionist movement.
Lot 576
A William III Britannia Standard silver mug Robert Cooper, London 1697, of tapered cylindrical form with reeded S-scroll strap handle, moulded rim and foot, rope twist upper girdle over a band of basal flute and reed decoration on a matted ground, all with punched foliate borders, a repoussé cartouche with scale ground to the front, 3in. (7.4cm.) high, weight 2.25 tr.oz.
Lot 717
A boxed Victory Industries Vickers Vigor Crawler Tractor 1950s, in 1/16th scale, the impressive battery operated model in dark blue plastic, with black rubber tracks, remote control unit with cable attached, in the original colourful lidded box with packing pieces, instruction leaflet and guarantee sheet, 11¾in. (30cm.) long, lacks smoke stack.
Lot 70
John Shinnors (b.1950) Rooks Go West, Scarecrows Oil on canvas, 167.5 x 172cm (66 x 68") Signed and inscribed with title verso Exhibited: "John Shinnors - Twenty-one Paintings" Exhibition, The Taylor Galleries, Dublin, 2000, where purchased by current owner Born in 1950, Shinnors studied at the Limerick School of Art for a short period under Jack Donovan, and taught for several years before taking up painting full time in the 1980s. He has exhibited all over Ireland and his paintings are found in many public collections including IMMA, The National Self Portrait Collection of Ireland and the University of Limerick. Throughout his painting career he has been interested in representing and re-interpreting a wide repertoire of motifs, including cows, birds, kites, clothes, lighthouses and scarecrows. A restrained palette is characteristic of his work at this time, and through this palette he explored many variations of light and dark, and depiction of forms in shadow and light. At first glance, like many of his works, this painting has an abstract look but gradually recognisable shapes and forms reveal themselves as those described in the title. Painted in his characteristic colour combinations, the monochromatic shades are illuminated by a warm golden light coming from the right, or east if we are to read the painting like a field and the light as the sun rise. The black areas of the painting can be seen as both opaque surfaces, an end in themselves, and as voids through which other areas and levels of the painting are almost within reach. The subtle variations within the black tones - Shinnors has said he uses five blacks - are difficult to see in reproduction but the artist also uses thin touches of strong green, hardly visible to the casual observer but providing an intriguing contrast within the black space. Surface textures vary, building up the painting layer by layer in a quasi-collage composition. Yet the motifs are coherently placed, with shape and form balanced in relation to each other and across the large scale of the painting as a whole. Aidan Dunne, who has written extensively on the artist, noted: "It is as though each painting is a site at which disparate things conspire to create a composition, a fleeting event that is caught, just about, in the twinkling of an eye, and pinned there by the artist"
Lot 72
Frederick E. McWilliam HRUA RA (1909-1992) Study for Homer II Bronze, 24cm (9½") Signed with initials and numbered 3/3 Provenance: Waddington Galleries London, 30th November 1961, where purchased and thence by descent to current owner Literature: "The Sculpture of F.E. McWilliam", 2012, by Denise Ferran and Balerie Holman, Cat. No. 168, p123 By this point in his career, McWilliam was teaching sculpture at the Slade, and exhibiting all over the world, including London, New York and South America. This is a study for a large scale public sculpture, the year after his commission for Princess Macha at Altnagelvin Hospital, and demonstrates the artist's progression into large, freestanding, surface textured bronze works. The angular elongated legs of the figure preempts his exploration of legs in bronze, which occupied him in the late 1970s. The full size version of this sculpture is at Belfast City Hospital where it is affectionately known as 'The man with the broken arm'. (See note on McWilliam sculpture, p.114)
Lot 155A
Seán O'Sullivan RHA (1906-1964) St. Audeon's Under Snow Oil on board, 46 x 55.5cm (18 x 22”) Signed, also signed and inscribed on reverse Exhibited: 'Thirty Years', Victor Waddington Galleries, Dublin, February 1956, Cat. No.19. A vivid evocation of a famous Dublin Church, heavily impastoed with much skilful use of the palette knife to gain purchase on the image. It does remind one of some interiors which he'd painted, with a good sense of scale as well as form to give the pictorial thrust which the work required to move it out of just a topographical image and imbues it with energy and emotion. He also decorates the surfaces with linear painterly intrusions to make the surface more vivid and animated. Ciarán MacGonigal
Lot 191
** A LIGHT HORSEMAN`S HELMET, PARTLY GERMAN, LATE 16TH CENTURY with rounded one-piece skull (originally that of a close helmet) rising to a high file-roped medial comb, fitted at the front with a broad acutely pointed pivoted peak (restored), at its rear with a narrow obtusely-pointed neck-guard of three lames (reworked from those of a tasset), and at each side with the uppermost scale of a pendant chin-strap (restored), the distal edges of the peak and neck-guard formed with file-roped inward turns (lightly patinated overall) 34.0 cm; 13¼ in
Lot 249
** A 28 BORE SAXON WHEEL-LOCK HOLSTER PISTOL, DATED 1587, PROBABLY DRESDEN with two-stage swamped barrel, dated and stamped with a mark (Neue Støckel 3841) over the breech, blued flat lock retained by two side nails, fitted with external wheel retained by a large circular brass bracket engraved with a scale pattern, sliding pan-cover with button release, dog, dog spring and safety-catch with filed details, full stock inlaid with engraved staghorn plaques and segmental lines over the fore-end, the rear portion profusely inlaid with scrolling ball flowers within segmental frames, a large pair of engraved staghorn side nails washers opposite the lock, scrollwork plaques about the tang, compressed spherical pommel decorated en suite and inlaid with a warrior profile rondel (small cracks, minor repairs and replacements), steel trigger-guard, engraved staghorn ramrod-pipe and fore-end cap, and wooden ramrod with engraved staghorn tip 39 cm; 15 3/8 in barrel Two pistols decorated in this manner and formerly in the collection of William Goodwin Renwick were sold Sotheby & Co., London 21st May 1973 lot 150.
Lot 428
A FINE AND RARE .600 CALIBRE FRENCH PRESENTATION FLINTLOCK RIFLED CARBINE BY BOUTET, DIRECTEUR ARTISTE, MANUFACTURE À VERSAILLES, NO. 277, CIRCA 1800-05 with blued swamped octagonal polygroove rifled barrel, fitted with windage adjustable fore-sight on a punched and gilt bed, signed in italics on the left of the breech `Boutet Directeur Artiste No. 277`, inscribed on the right `Manufre à Versailles` and stamped beneath with the control mark of Daniel Boussavy, and the abbreviated italic inscription `Manu` and `V lles.` in italic, gold lined oval vent, the top of the breech chiselled with a garland of flowers beneath a triangular panel filled with a flower head, all on a punched and gilt contrasting ground, stamped with a series of marks including `Boutet` in miniscules, and `NB` (Neue Støckel 95), fitted with blued back-sight of two folding leaves, engraved tang decorated with neo-classical ornament including a pair of entwined serpents enclosing a smoking urn, stepped lock with moulded borders (small dents), signed `Boutet Directeur Artiste`, chiselled with beadwork along the step, fitted with engraved cock decorated with a garland of flowers, gold-lined pan engraved with a pair of volutes, with scrolling rear fence, blued steel spring with roller, engraved button safety, and detents, steel engraved en suite with the pan, set trigger, figured walnut full stock, impressed `47`, carved with a panel of fine chequering over the fore-end and the grip, carved with a moulding along the length of the barrel on each side and inlaid with a running design of silver foliage beneath, the muzzle carved with anthemion and neoclassical foliage (one very small repaired crack), further foliage about the rear ramrod-pipe and the lock, each enriched with further panels of leafy conventional foliage in engraved silver, the tang enclosed with a raised fluted moulding and a pair of neo classical demi flowers, the butt with carved raised cheek-piece inset with a large pierced and engraved silver flowerhead, the base of the butt encircled by a broad panel of silver pierced chased and engraved with geometric panels filled with scale pattern and a band of waves (a small area with minor lifting), burnished steel mounts comprising chiselled trigger-guard with a neo-classical flaming urn finial, the bow with foliage at each end and an engraved rear finial, the rear portion continued by a scrolling panel of pierced ebony decorated with neo classical foliage (very small chips), two-piece vestigial side-plate engraved with a garland and a flowerhead respectively, the right enclosed by two engraved silver dragons breathing thunder-bolts, butt-cap chiselled with an urn on the tang, rear ramrod-pipe chiselled with a leafy garland and beadwork, four further faceted ramrod-pipes with beadwork mouldings, contemporary horn-tipped wooden ramrod, and remaining in very good condition throughout 70.5 cm; 27 ¾ in barrel The Annuaire of the Versailles Manufactory for this period includes the following entry: Prince de Bade - Carab. doub. détente, acier cis. damasq., placage argent, fr. 6075 AN XI (September 23, 1802 to September 23, 1803) The use of silver inlay in the stock and steel mounts, as opposed to silver mounts, might suggest presentation to a high ranking military officer. The proximity to France of the territories of Charles-Frederick, Margrave of Baden (1756-1811), together with his initial opposition to the French revolution and its effects, resulted in the devastation of Baden by French armies in the mid-1790s. Thereafter, having indemnified France and ceded some territory to that republic, Baden remained under the sway of its powerful neighbour until 1813. In November 1802, the margrave - having lost his eldest son in the previous year and clearly prescient regarding the ambitions of Napoleon - wrote France`s First Consul a fulsome letter in which he thanked Napoleon for his continuing protection and assured him of his admiration and loyalty: significantly, he chose to send his third - and favourite - son, Prince Louis, to France with the letter. In April 1806, by which time the margrave had become an electoral prince, ties between Baden and France were strengthened by the arranged marriage of the elector`s grandson and heir, Prince Charles, to the Emperor Napoleon`s adopted niece and newly created imperial princess, Stéphanie de Beauharnais. The elevation of the elector to the rank of grand-duke - an elevation approved and arranged by Napoleon - followed in July 1806 and further bound Baden to the fortunes of Napoleonic France. Elements of Baden`s small army served alongside that of France in several campaigns between 1805 and 1812: against Austria in 1805, Prussia in 1806, Britain (in Spain) in 1809 and Russia in 1812. Prince Charles, heir to his grandfather after 1801 and husband of Napoleon`s adopted niece from April 1806, was welcomed by personal letter into Napoleon`s military entourage in September 1806 - `J`approve le désir que vous avez de faire la guerre`. The prince was summoned to meet Napoleon at Bamberg early the following month and was with the French army at its decisive victory over that of Prussia at Jena on 14th October 1806, after which Napoleon wrote to Prince Charles`s widowed mother to reassure her that her son had done well at his first battle - `...il s`est bien comporté à la bataille et supporte bien la fatigue`. In 1807, Prince Charles commanded the Baden contingent at the siege of Danzig and continued on active service until 1808. Succeeding his grandfather in 1811, Charles maintained Baden`s support for France until the battle of Leipzig in 1813 demonstrated that the tide of war was no longer flowing in France`s favour. The political, military and personal ties that bound Baden to France from the late 1790s until 1813 must account for the existence of this carbine in the descendant family of the Grand Duke of Baden. It is possible that it originally belonged either to Prince Louis, who visited Napoleon at his father`s behest in 1802 and remained in Paris for some years, or to his nephew, Prince Charles, who served alongside Napoleon in his campaigns between 1806 and 1808: given the martial qualities of the weapon, the latter seems the most likely of the two princes to have been its original owner. Nicolas-Noël Boutet (1761-1833) the distinguished maker of armes de luxe inherited the position of gunmaker to Louis XIV from his father-in-law, Pierre de Sainte (active 1747-88). In 1792 he became technical Director at the new Versailles Manufactory and in 1800 rose to Directeur Artiste with overall control. He held this position until the closure of the manufactory in 1818. Boutet died fifteen years later in poverty, his career having survived six French Political regimes. Daniel Bouyssay was controller at the Versailles Manufactory from Year II (1793-4) until Year XIV (1805).
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216136 item(s)/page