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Lot 185
A stationary steam engine with dynamo single cylinder spirit fired engine driving dynamo to light, possibly by Doll Germany, much rusting to engine and base, spirit burner missing, cylinder cover missing, P, and cylinder and flywheel from a vertical boilered model. Rusting to metal parts, P (Est. plus 21% premium inc. VAT)
Lot 245
A large Carette single cylinder stationary steam engine, plated black boiler with brick base and chimney, large plated flywheel with reversing cylinder, on enamelled tin base, one area of enamel damaged to base, some deterioration of plate to boiler, with original spirit burner, safety valve balance weight missing, 35cm x 30cm x 50cm, F-G (Est. plus 21% premium inc. VAT)
Lot 7010
A replica 20th century cistern bulb stick barometer in the 18th century style, with a round topped mahogany case and visible cane, circular domed cistern cover and silvered register with a single Vernier, register engraved with recording scale and weather predictions, red spirit thermometer recording the temperature in degrees Fahrenheit and Celsius. �60-80Dimensions: Height: 92cm
Lot 1313
C20th burr walnut cigar Humidor, W31cm D23cm, H10cm, an oak revolving pipe rack with six pipes incl. Yello-Bole, Pipemaster, Moorland, Golden Duke, etc, a Longchamp leather covered tobacco jar and cover, H17cm, two tin of Dunhill Early Morning Pipe and London Mixture tobacco, two packs of 20 Dunhill White Spot cigarettes, pack of 50 Lambert & Butler Straight Cut cigarettes, Wedgwood Blue Jasper ware Spirit of Ecstasy dish and two packs of six boxes Brymay matches (qty)
Lot 311
A Good Victorian Surveyors Level By Harling, London, English, c.1850, signed in script 'Harling London' further engraved to the top with military arrow and 'W.D. 1720' and the same on the lid of the case, level finished in lacquered brass with fine screw adjustment, large spirit level, reversible site to eliminate error, tripod mount to base, in original French polished mahogany case, case width 27cm
Lot 606
Werkstatt Lorenzo Pietro SartoriBESONDERS SELTENER PÄPSTLICHER ALBARELLO Höhe: 33 cm. Toskana, 16. Jahrhundert. Schauseitiges Medici-Wappen für Papst Leone X innerhalb einer vielpassigen Kartusche mit den päpstlichen Insignien und Tiara, überfangen vom Heiligen Geist. Des Weiteren mit polychromem Rankendekor auf cremefarbenem Fond sowie weiteren Rautenkartuschen mit einer Lilie bzw. mit einem Kreuz. Über unglasiertem Stand der stark gebauchte Korpus mit Kleeblattausguss und grün-gelbem Bandhenkel. Glasur minimal verlustig, minimal rest. (1301484) (3) (13)Workshop of Lorenzo Piero SartoriVERY RARE PAPAL ALBARELLO Height: 33 cm.Tuscany, 16th century.The front side depicting a Medici coat of arms for Pope Leone X within a multifoil cartouche with the papal insignia and tiara, surmounted by the Holy Spirit.
Lot 35
James Arthur O'Connor (1792-1841)Wooded Defile with Figures and Distant Cattle Oil on canvas, 63 x 75cm (24¾ x 29½'')Signed and dated 1827Provenance: Collection of Dr. R.R Woods, Merrion Square, DublinExhibited: Dublin, Municipal Gallery of Modern Art, O'Connor Centenary Exhibition, 1941, Catalogue No. 35When, in Pride and Prejudice [1813] Jane Austen has Elizabeth Bennett exclaim ‘What are men to rocks and mountains?’ Austen, though offering us a humorous view of Romanticism, is nonetheless highlighting the beauty and power of landscape and its effect on us. For T.E. Hulme, the root of all Romanticism is when the individual feels within ‘an infinite reservoir of possibility’ and especially when the open, untamed landscape, the great outdoors, works wonders on both mind and imagination. James Arthur O’Connor belongs to the great Romantic movement, a movement that celebrates - in literature, music and especially in painting - creativity and a deep involvement with what Wordsworth calls ‘the goings on of earth and sky’. O’Connor was born, at 9 Exchequer St Dublin, in 1792. Shelley was born that same year. In 1792 Constable was sixteen, Turner was seventeen. Wordsworth and Beethoven were both twenty-two, and though not all of them knew each other, being contemporaries, their work reflected and expressed the spirit of the age in which they lived.O’Connor’s father, an engraver and printmaker, died when O’Connor was sixteen, his mother died before O’Connor’s twenty-first birthday. By 1809, O’Connor, then twenty-seven, began to exhibit with success at the Dublin Society. He most likely had been taught by his father but was also self-taught and his early work featured frequently commissioned landscapes of the west of Ireland including View of Lough Derg with Portumna Castle in the Background, The Grounds, Ballinrobe House, View of Westport with Croagh Patrick, Mangerton Killarney.In 1822, O’Connor, experiencing financial difficulties and hoping to improve his lot and help his orphaned sisters, moved to London with his wife Anastasia. He lived at Upper Marylebone Road, travelled widely in Britain and France, exhibited regularly at the Royal Academy, the British Institute and the Royal Society of British Artists. Exiled future French King Louis Philippe bought several of O’Connor’s work but O’Connor beset by conmen and dealers, who behaved dishonourably, deprived him of earnings that were rightly his.When he moved to Hampstead he lived close to where John Constable, an important influence, lived. In 1826 O’Connor spent a year in Brussels. In 1832 he lived in Paris for nine months and then spent six months in Southern Germany where the Saar and Moselle valleys inspired some of his best work. When O’Connor was forty-three, one of his Irish landscapes was acquired by the Musée des Beaux-Arts Thomas-Henry, Normandy, on its foundation in 1835, but during the 1830s O’Connor’s eyesight deteriorated and his career went into decline. O’Connor died poor in London aged forty-nine and was buried at St Luke’s Church, Chelsea. Prince Albert and the RA initiated a subscription to assist his widow. His obituary in the Dublin Monthly Magazine spoke of O’Connor as ‘a spirit of exceeding mildness; manly, ardent, unobtrusive and sincere; generous in proclaiming contemporary merit, and unskilled and reluctant to put forth his own’.His skill, imagination and brilliant compositional talents are evident in this exceptional work painted when he was thirty-five years old, Wooded Defile, Figures and Distant Cattle [1827]. Defile, here, means ‘a steep-sided narrow gorge or passage (originally one requiring troops to march in single file)’ and the dramatic, steep, rocky cliff-like landscape to the left and the rising ground to the right create a pathway along which four figures are travelling. These four figures, three men and a woman, carry with them and contain their own stories. In the foreground the two figures, a man and a woman, lit from behind, are given prominence. The tall-hatted man in rust-coloured jacket with walking stick and a dog on a lead, seems to have paused to look back at his companion. The woman in red dress, blue-green shawl and carrying a receptacle - a small cage perhaps? - as if in response to the man before her, stands her ground. Farther along the path, the man with his back to us carrying a basket and stick walks on slowly; the blue cloth in his basket a little bright detail, the side of his face brightly lit. A fourth figure in dark clothes and white shirt walks towards us leading a young cow. Each one prompts in the viewer a narrative of our own making. In this painting from 1827 we are invited to ask, who are they? where are they going? what are they like? And against the distant trees the ‘distant cattle’ of the title – important enough to get a mention.There are beautiful details here: in O’Connor’s handling of trees, rocks, shrubs but the triumph is in his capturing the way light falls through the defile and that beautifully bright golden-blue sky. Light, shade, perspective all make this a radiant and stunning work.Constable who died in 1837, just three years before O’Connor, said that ‘A gentleman’s park is my aversion. It is not beauty because it is not nature.’ Here, O’Connor celebrates the untamed, natural beautiful landscape, a landscape imbued with a Romantic sensibility where rocks and mountains dominate in every sense. Niall MacMonagle, February 2022
Lot 67
Granada School; second half of the 17th century."The Visitation of the Virgin".Oil on canvas.It has an inscription on the back (Athanasius).It has visible restorations on the back and the canvas has faults caused by the passage of time.It has a frame with faults in the carving and the gilding.Size: 43 x 59 cm; 51 x 66,5 cm (frame).In this work the artist portrays the biblical passage that deals with the Visitation of Mary, pregnant with Jesus, to Elizabeth, her cousin, pregnant by John the Baptist. This event is recounted in the Gospel of Luke, and appears frequently in art because of its theological importance (St. John leapt for joy, and Elizabeth recognised Mary as the Mother of the Saviour with the well-known "Blessed art thou among women and blessed is the fruit of thy womb..." as she herself received the influence of the Holy Spirit). The biblical text mentions the "house of Zechariah" in which Elizabeth lived, but does not mention Saint Joseph; however, conventions of the time that were more social than religious (it was not logical for a woman to travel alone) usually present the Putative Father of Christ, thus achieving a certain symmetry with the figure of Zechariah, who also appears in most cases.In this landscape-format work the artist includes the presence of the four figures in the scene, Saint Joseph, Zechariah, Elizabeth and the Virgin, although he relegates the male figures to the background, thus showing the importance of these two women as protagonists in the development of the Christian religion, as it is Saint John the Baptist who baptises his cousin Jesus. The author composes the image with the figures placed in the form of a frieze, and the postures of Mary and Elizabeth, slightly inclined, so that they form a triangle, following the most classical compositional style and thus ensuring an easy reading of the work and the transmission of the message. The piece presents a set of earthy and ochre tones, very common in the Spanish school. However, it is worth mentioning the luminosity given off by the figure of the Virgin, who, with her blue cloak, pearly skin and slight halo of sanctity, becomes the main focus of the scene.
Lot 71
Andalusian school; first half of the 18th century."Saint Teresa of Jesus".Oil on canvas. Relined.Measurements: 55,5 x 74 cm; 62,5 x 85 cm (frame).In the interior of landscape format, located in the central zone of the scene, she is placed with open arms and serene face, before the presence of the Holy Spirit that starts from a break of glory, located in the upper left zone of the scene. The action represents the transverberation of Saint Teresa of Jesus, a mystic and complete union between the divinity and the religious. Although it is worth noting that in this work, the usual arrows that are usually aimed at the saint's heart are absent.Teresa de Cepeda y Ahumada, better known by the name of Saint Teresa of Jesus or simply Saint Teresa of Avila (Avila, 1515 - Alba de Tormes, 1582) was a Spanish nun, doctor of the Catholic Church, mystic and writer. Together with St. John of the Cross, she introduced the great Carmelite reform, and her writings are a model in the ways of prayer and perfection. St. Teresa is undoubtedly one of the greatest and most admirable women in history. At the age of seven she already had a great predilection for reading the lives of the saints. Her brother Rodrigo was almost the same age, so they used to play together. The two children, impressed by the thought of eternity, admired the victories of the saints in conquering eternal glory, so they resolved to set out for the country of the Moors in the hope of dying for the faith and thus becoming martyrs. They set out from their home, but on the way they were picked up by one of their uncles, who returned them to their mother. In view of the failure of their plans, Teresa and Rodrigo decided to live as hermits in their own house and began to build a cell in the garden, although they never finished it. Teresa loved solitude from then on. In her room she had a picture of the Saviour talking to the Samaritan woman, and she used to repeat in front of it: "Lord, give me a drink so that I may never thirst again". During her adolescence, Teresa fell ill, and during her convalescence she decided to devote herself entirely to religious life. She entered the convent of the Incarnation in Avila at the age of eighteen and, after her health deteriorated, was cured, according to her, by Saint Joseph. Three years later, as she recounts in her writings, Jesus Christ appeared to her in the parlour with an angry countenance, reprimanding her for her familiar dealings with the laity, which had caused her to neglect prayer. In 1558 he had his first rapture and vision of hell, and from then on he enjoyed great heavenly favours such as the vision of the risen Jesus. All these mystical experiences were reflected in his lyrical-religious poetry.
Lot 232
Cinema Poster for the film 'Spirit of the Wild' year 1976 featuring Dan Hagerty (tears on folds). Provenance: The John Welch Collection, previous owner of The Regal Cinema, Minehead. These posters are all films shown at the Regal. Visit our website 'News from the Rostrum' for more history. Please note: These posters have all been folded, most have been written on the back and sold with all faults. They measure approximately 100cm x 76cm, although some are slightly smaller. Shipping - for in-house shipping all posters will be folded.
Lot 298
Y A VIZAGAPATAM IVORY BOXCIRCA 1780Engraved with pavilions and trees, the hinged top enclosing divisions9cm high, 31.5cm wide, 23cm deepFor related boxes engraved with comparable pavilions, fences and distinctive stylised two tier trees, see Christie's, London, Interiors - Style and Spirit, 1st April 2014, Lot 207 (£10,000), and Christie's, London, The English Collector, 3rd November 2011, Lot 157 (£9,375). See Jaffer, Amin; Furniture from British India and Ceylon, 2001 for related examples.
Lot 370
Y A SINHALESE EBONY AND SPECIMEN MARQUETRY OCCASIONAL TABLE AFTER DESIGNS BY THOMAS KING, CIRCA 1840-60Incorporating ivory, and white metal stringing74cm high, 60cm wide, 52cm deep Provenance: Private Collection, St. Peter Port, GuernseyThe design for these tables is taken from Thomas King's The Modern Style of Cabinet Work Exemplified, pl. 14, first published in 1829 (A. Jaffer, Furniture from British India and Ceylon, 2001, p.372), although the carved ornament is influenced by local Ceylonese tradition. Ceylonese models are distinguishable from their European counterparts by the introduction of a specimen wood top, decoration unique to the Galle district, and for the absence of a suspended pouch for needlework. Renowned for sophisticated craftsmanship, the inlaying of specimen woods from the Galle district was considered to surpass any specimen of English Tunbridge ware. Early references to these tables appear in the second quarter of the 18th century, but their popularity ensured that they continued to be made into the early 20th century. Such tables were made for British colonists in Ceylon and India as well as for export to England.A number of comparable tables with similar inlay of exotic woods and ivory are known, including one formerly at the Royal Commonwealth Society and another table which was on view at the Ceylon Court of the Paris Exhibition of 1855. A closely related table was sold Christie's, London, 31 October 2012, lot 257 (£8,750 including premium)For a further closely related table, see Christie's, South Kensington, Christie's Interiors - Style & Spirit, 1st April 2014, Lot 203 (£7,500). Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The top has some sections split/opened up and some sections lifting so that, as you might expect, the top is not smooth flush flat. There are some areas lacking the finish (almost as if something like nail varnish removed has been on some irregular areas). Some replacement geometric veneers.There is a frieze drawer with robust ebony drawer lining sides, an exotic timber as the drawer lining base. There is an original brass lock with no key.The feet have some minor chips, with some opening to the joints of the legs.Please refer to the additional photographs as a visual reference of condition.The vendor acquired this table from a private collection in St Peter Port, Guernsey - this was a private acquisition, not in a documented house sale. Condition Report Disclaimer
Lot 413
Y A FRENCH ROSEWOOD AND PARQUETRY OCCASIONAL TABLEBY FRANCOIS LINKE (1855-1946), LATE 19TH/EARLY 20TH CENTURYWith a frieze drawer, the gilt bronze edge moulding engraved 'F. Linke' 73.5cm high, 56cm wide, 33cm deepBorn in Bohemia, Linke arrived in Paris in 1875. In 1900 The Art Journal reported 'The work of Linke ...was an example of ... seeing inspiration amongst the classic examples of Louis XV and XVI (furniture) without in any great sense copying these great works'. From 1900 to the outbreak of the Second World War La Maison Linke became a pre-eminent furniture house in Paris, epitomising the spirit of the 'Belle Epoque'.Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. The varnished surface with various losses and scuffs resulting in some lighter coloured areas - see images. Key present and operates lock. Small amounts of filler used in places. The mounts with the expected wear and dark deposits. Some minor old veneer repairs - see images. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 1452
SIX ITEMS OF MINIATURE TEA WARES (6)Comprising; a coffee pot of baluster form, having a black handle, two kettles, a teapot, a milk jug and a brandy saucepan, with a black handlePlease find further images of four of the six pieces to show the marks on them. There are no apparent marks on the other two pieces.There is no stand for the smaller spirit kettle
Lot 1598
A SILVER SPIRIT FLASK AND FOUR FURTHER ITEMS (5)The spirit flask of curved rectangular form, (the hallmark rubbed), a pair of silver napkin rings with scroll pierced decoration, Sheffield 1913 by Walker & Hall, a hexagonal pill box and a filigree oval pill box, overall combined weight 218 gmsThe flask is a bit worn and has one or two dents, particularly to the back and side towards the top and to the bottom edge, hallmark rubbed, small dent to the top, overall a bit tired. It has not been tested for leaks.
Lot 4
Oana D Gavrila, "Love yourself", framed mixed media oil/acrylics and ink on Fabriano cotton paper, 45 x 35cm, c. 2020. My own version of beautiful J Lo looking sensual and strong as always! I loved painting her and those golden touches give the painting a glamorous look. It is one of the Golden Girls mini series, mixed media oil/acrylics and ink on Fabriano cotton paper.The painting comes mounted and framed. UK shipping £15. Oana is predominately a figurative and portrait artist who is always telling a story that touches the hearts of the viewers. A London-based artist that comes from a small city in Romania, she discovered painting in her mid-30’s and, without any formal training, managed to find her own inimitable style by creating unique figurative art. Oana is significantly concerned with the beauty of the human being. She tries to portray the struggle, the past, but also love, hope and harmony. She aims to bring or portray the beauty we seldom see. Reminding the viewer to feel. Reminding the viewer of the spirit within.
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