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Five various walking sticks including two Greek examples, one carved with a hand holding a male head with moustache handle, the other a dog's head handle with face verso handle, both marked 'Kepkypa', a chestnut walking stick with gold plated hoof finial, a hardwood walking stick with carved head handle and an ebony swagger stick with collar marked 'B.M. & Co Sterling Silver'
An art deco silver cased and pink guilloche enamel travel / easel clock, with gilt dial, Arabic numerals, marked '8 Day', (af), together with a french Victorian blue porcelain balloon clock with spelter base and a brass cased carriage clock with bevelled glass front, back, sides and to escapement (3)
Six Royal Crown Derby paperweights, including four 'Number Bears', numbers 2, 3, 4 and 8, together with 'A Gift From Harrods', limited edition 60/150 and 'Drummer Teddy', limited edition 1333/1500, all with printed marks to bases, all with gold stoppers apart from Drummer Bear that has a silver stopper, Harrods and Drummer bear with certification, all boxed
A Victorian silver plated and cranberry glass 6 piece Epergne or Table Centre, 17" (43cms); together with a very ornate Austrian rococo style porcelain Bowl, decorated with battle scenes on dark blue and gilt ground with two rustic handles, 12" (30cms), and a Japanese Satsuma Bowl with bamboo handle. (3)
A good quality 18th Century walnut Longcase Clock, with arched blind fret work hood over a brass and silver dial, the circular chapter ring with Roman numerals, a second hand, and aperture, signed Thomas Wilmshurst of Deal, the main body with arched panelled door on box base, approx. 219cms (86")high. (1)
A good Irish 18th Century mahogany Silver Table / Tea Table,ÿwith dish top and plain frieze raised on four shell capped cabriole legs terminating in pointed pad feet, 68cms h x 77cms w x 50cms d. (1) * See Irish Furniture, The Knight of Glin and James Peill, page 238, Plate 142, for similar example.
Early 17th Century Netherlandish School George Montgomery Bishop of Meath oils on panelÿ 1611, 45" x 34" (114cms x 87cms) Inscribed t.r.ÿ ?Anno Dniÿ 1611ÿ Aetatis fuaÿ 45? In this three quarter-length portrait from the Howth collection, George Montgomery [also Montgomerie] (c.1566-1621) is depicted standing, left hand resting on a red cushion, while in his right hand he holds a Bible. His clerical garb is fine but austere, with minimal decorative lacework on collar and cuffs. On his right thumb is a signet ring. At the top left of the canvas are the Montgomery family coat of arms, a blue shield surmounted by a casque and hand holding a fleur-de-lys. On the shield, a lance and sword crossed, three fleur-de-lys, with three golden rings at the bottom. The shield flanked by scarlet and grey foliate forms, surrounding a casque helmet and terminating in two golden tassels. At the top right of the canvas, an inscription ?Anno. Dniÿ 1611 / Aetatis Fua 45,? indicates that the portrait was painted in 1611, when the sitter was forty-five years of age. This would suggest a birth date of 1566 for George Montgomery, who was born at Braidstane in Ayrshire, Scotland, and who, along with his older brother Hugh, was deeply involved in the settlement of Ulster. The Montgomery family had close connections with King James VI, and soon after James?s accession to the English throne, George was appointed Dean of Norwich, and then Bishop of the diocese of Raphoe in Ireland. To the dismay of his wife, other Irish appointments followed, including Clogher, Derry and, in 1609, Meath. Montgomery was an able administrator, and while his efforts to secure the conversion of Roman Catholics in Ireland to the Protestant faith met with limited success, he is remembered for founding grammar schools and glebes, and for ensuring that ownership of escheated lands of churches and monasteries in Ulster were transferred to the Church of Ireland. Although for the most part an absentee prelate, after his death in London in 1620, in accordance with his wishes, Montgomery?s body was brought back to Ireland and he was interred in the graveyard at Ardbraccan, Co. Meath, where a large monument was erected in his memory. Whatever about the Howth portrait, Samuel Lewis in his 1837 Topographical Dictionary was clearly not impressed: ?The tomb ofÿGeorge Montgomery, bishop of Meath and Clogher, stands on the north side of the slab; and strongly fixes attention by its minglement of pretension, barbarousness, and absurdity.ÿFigures which it exhibits of the bishop, his wife, and his daughter, are the rudest productions of the chisel that can well be conceived.ÿ Beneath the figures are the words, "Surges morieris, judicaberis"ÿ[roughly translated, the dead will rise and be judged]. The three figures on the tomb are said to be George, his wife Susan Steynings, and their only child, Jane, who was born about 1598 and in 1615 married in Nicholas St. Lawrence, 11th Baron Howth, with whom she had seven children. Montgomery described the St. Lawrences as ?a noble house, the best of the Pale of Ireland.? They had reason to be grateful, as a considerable fortune passed to them through the marriage, Montgomery describing it as ?a great burden for settling the estate of the house of Howth.? Susan Steynings died around 1614, and George married secondly Elizabeth Brabazon. He died on 5th January 1620. In the portrait at Howth, the stern expression of Montgomery echoes closely one of the few known portraits of Richard Boyle, 1st Earl of Cork. In these works, both dating from around 1610, the sitters are bearded and wear plain lace collars; their expressions are hard-head and sceptical, as befitted men who devoted their lives to the plantation of Ireland. Another portrait of George Montgomery hangs in Clogher Cathedral in Co. Tyrone; Together with its Companion: Portrait of Susan Steyning (1573-1614), wife of George Montgomery,ÿ Inscribed ?Anno Dniÿ 1611ÿ AEtatisÿ Fecitÿ 43? ÿ Like the companion painting of her husband, George Montgomery, the identity of the artist who painted this portrait of Susan Steyning is not known, but it is broadly in the style of Daniel Mytens the Elder, Adam de Colone or Paul Van Somer, just three of the Netherlandish artists who flocked to London in the late sixteenth and early seventeenth centuries, taking advantage of a rising demand for portraits. Adam de Colone worked also in Edinburgh, and as George Montgomery was from Ayrshire, the artist who painted this portrait may have been a follower of de Colone. In this three quarter-length image, Susan is depicted standing. In her right hand, she holds a Bible, while in her left she has an ornamental silver fan handle, designed to hold ostrich feathers. Such a luxury in early seventeenth-century Ireland would have would have attracted comment, but the portrait seems intended to downplay her fortune, and the fan holder is devoid of feathers. Susan?s dress is black and without ornament, the only hint of wealth conveyed by a few pearls securing her hair. Apart from three rings on her fingers, she wears no jewellery, and with ruff collar and plain lace cuffs, she presents the appearance of a devout wife of a Bishop. As in the portrait of her husband, she wears a signet ring on the thumb of the hand in which she holds a small Bible. The inscription on the painting is difficult to decipher, butÿ appears to date the portrait to 1611, and so it was painted just three years before her death. The eldest daughter of Alice Fry and Phillip Steyning, of Holnicote in Somerset, in 1598 Susan married George Montgomery in Norwich. Montgomery was then appointed to bishoprics in Ireland and their daughter Jane was born in Co. Armagh, around 1598. Susan?s younger sister Margaret Steyning married John Willoughby of Payhembury in Devon, with whom the Montgomerys corresponded, and in the family archive, the ?Trevelyan Papers?, there is a letter from Susan in which she mentions her husband?s going to Ireland, and her daughter?s concerns. After her death, George lost no time in arranging a marriage between Jane, now one of the wealthiest heiresses in early seventeenth-century Ireland, and the eighteen year-old ÿNicholas St. Lawrence, 11th Baron Howth. The marriage brought Jane an aristocratic title, Baroness Howth, while she in turn brought much-needed cash into the old Anglo-Norman Howth family. Nicholas and Jane had seven children, of which one son and four daughters reached adulthood. Their son William became 12th Baron Howth. A Royalist rather than a Parliamentarian, Nicholas died in 1643, while Jane outlived him by many years, and died in 1678. George, Susan and Jane are all buried in the family tomb at Ardbraccan in Co. Meath, which was restored in the mid eighteenth century, around the same time as the rebuilding of Howth Castle.ÿ (2) Dr.ÿPeterÿMurrayÿ2021
A fine quality silver plated and gilt highlighted Shield, by Elkington & Co., designed by Leonard Morel Ladeuil (French 1820 - 1888), the shield depicts both the Fourth and Fifth Books of John Milton's epic poem "Paradise Lost," and was made to celebrate the 200th Anniversary of the work. the overall is decorated in repouss‚ and low relief with multiple figural panels surrounding a centre section of Adam & Eve, approx. 86cms x 68cms (34" x 27"), hallmarked / stamped at base. (1) * The Elkington Tournament was a re-enactment of a medieval joust. It was funded and organised by Archibald, Earl of Elkington, as part of the Gothic Revival and rise of Romanticism during the late 18th Century and early 19th Centuries. It was held in Scotland in August 1839.
Circle of Nicolaes Elias, called Pickernoyÿ "Portrait of a Lady," three-quarter length, in a black dress with an attractive and delicate embroidered stomacher and a ruff and ornate head dress holding a silver mounted book on a table, and a floral glove in the other, indistinctly signed or inscribed "Act. 27" lower right, with coat of arms to the top right, O.O.P., approx. 41 3/4" x 30 1/4" (106cms x 78.1cms), in moulded black frame. (1)
A three compartment silver plated Tantalus Frame, with swing handle, a brass JardiniÅ re with ring handles and lion paw feet, two copper Kettles, a brass mounted leather Cartridge Case, a brass Door Stop, a copper Pan, a brass Pan, an ebonised and parcel gilt Wall Bracket, a copper Jug, etc. (a lot)
A George I Irish silver two handledÿCup and Cover, Dublin 1739, indistinct makers mark, possibly Andrew Godwin, chased with stylised strapwork and cartouches applied with two leaf scroll handles, surmounted with a conforming dome cover with pineapple finial on stem base, 12" (30cms) high. 1523gr. ( Approx. 54 ozs ) (1)
An early 19th Century - 15 piece Sheffield silver plated and crested Platter Set, including a large oval Venison dish with two scroll handles, a hot water cavity, a gravy tree and well, 25" (63cms), a large oval Platter, 22" (56cms); another 20" (51cms) with matching pierced Mazarin; a pair of oval Platters, 17 1/2" (44cms); a smaller ditto with matching pierced oval Mazarin, 17 1/2" (44cms); a 16" (40cms) Platter, and 6 - 13" (33cms) small Platters. (a lot).
A large heavy Irish silver two handled Cup and Cover, George III Dublin 1815, by Jas. Scott, the dome top with a gadroon edge and a leaf cluster finial above a band of scrolling bell flowers, the baluster shaped body with a band of scrolling vines in relief and two leaf cast scroll handles on a leaf cast stem base (also with West stamp) 15 1/2" (40cms) high. 2911gr.(Approx 103 ozs.)ÿ (1)
A fine Victorian silver Chalice, in the Gothic Revival style with hexagonal flaring knopped stem, by Geo. Fox, London c. 1860, the bowl with a band inscribed in Gothic Script, on recurving hexagonal foot, 6 1/2" (17cms) 283 gram, the base stamped Lambert, Coventry St., London. (1)
A very heavy large Victorian crested silver melon shaped Tea Kettle, on warming stand with burner, by J. Chas, Edington, London 1846, the lobed body chased with fruit and scrolling foliage under a swing handle with two ivory insulators, over a scroll spout on a heavy cast silver rococo tripod base with three scroll legs around a silver burner, 2491 grams (approx. 90 ozs). (1)
A magnificent late 19th Century French silver and silver gilt Ewer, by Maison Gustave Odiot, Paris 7773, the reticulated body with inner silver gilt layer, the outer layer chased and cast in the Neo-classical style with floral sprays scrolling foliage, male and female masks, the double scroll handle headed with an armadillo figure and a leaf and bead cast spout on a conforming base, 2497 grams, (Approx 88 ozs) 15 1/2" (39cms). (1)
The Curragh Whip Cup, 1847 A magnificent Victorian silver Trophy Cup, by Robert Garrard 1848 London, the ornate cover finial with stylized fox heads above a coronet and four tongues centred with medallions "The Curragh Whip" won by Rat-trap, 1847", on an ornate vase shaped stem on a serpentine shaped circular base with grotesque masks, 24" (61cms) 3676grs (130 ozs). (1)
A rare Irish George II silver Salver, of square serpentine form by John Hamilton, Dublin 1726 / 1727, with armorial crest, of The Gorge Family, (possibly part of the dowry of Lucy Gorge, Baroness Howth), the plate chased with shells and masks, 16 1/2" (41cms), 2835 grams (Approx 100 ozs)ÿ(1)
A small 18th Century bronze Vase,ÿdecorated with intricate intertwined silver lines, terminating with animal heads, and with bat mask handles, approx. 10.5cms (4") high; and a small bronze Pot with archaic type decoration, and with splashes of gold colour, approx.. 6cms (2") high. (2)
Two pairs of oblong silver plated Bread Dishes, one pair with a bead edge, the other pair with a reeded edge, each approx. 16" (41cms); together with a pair of small 19th Century oval Salvers, two other smaller similar ditto, a crested boat shaped Snuffer Tray and a small circular Card Tray. (10)
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2466194 item(s)/page