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Click here to subscribeA late Victorian silver mounted and facet cut glass spirit flask with bayonet top and removable cup, by William Leuchars, London 1889, four George V silver circular dishes with shaped and moulded rims, on pedestal bases, 4ins diameter x 2.25ins high, Birmingham 1927 and 1928 (all loaded), and four silver specimen vases, various (all loaded)
An 18th Century English Jackfield pottery jug with traces of an overglaze design in silver and enamels of a flowering basket and single flower sprays, 7.75ins high and an 19th Century English brown salt-glazed stoneware two-handled loving cup with applied moulded reliefs, 5.25ins diameter x 5ins high, a 19th Century brown salt-glazed stoneware wine jug, stamped "Shepard. Wine and Spirit Merchant 25 West Smithfield", 16ins high, a late 19th Century Doulton Lambeth stoneware mug with applied reliefs, 5.25ins high, and a small collection of 19th Century pottery, various (ten)
EIGHT BOXED DINKY TOYS CARS, all complete and in playworn condition with some paint loss and wear, mainly to raised edges and corners, boxes worn and damaged with many missing flaps, Rolls-Royce Silver Wraith, No.150, two tone grey, some wear to chrome bumper and missing Spirit of Ecstary, Humber Hawk, No.165, black and green, Nash Rambler, No.173, turquoise body with red flash, Plymouth Plaza, No.178, two tone blue, Packard Clipper, No.180, cerise and cream, Volkswagen Karmann Ghia Coupe, No.187, green and cream, Triumph Herald, No.189, green and cream, De Soto Fireflite Sedan, No.192, turquoise and tan
1- Kitto, J: The Gallery of Scripture Engravings, historical and landscape, in 3 volumes. P Jackson no date, c1846. Each volume with 132pp Plus 64 engraved plates, total of 192 plates including numerous views. Cont. half leather ; rubbed and lacking a small piece from foot of spine of vol. 3. Occasional foxing . 2- Cromwell's Soldier's Bible: E Stock, 1895. Facsimile Reprint of 1643 Edition. 1st. Edn. thus. Recent cloth binding with gilt lettering to upper cover; 3- Adams, W: Sermons upon several subjects. 1790, 1st. Edn. PP:vii i, 380. Cont. full treecalf; rubbed; light stain to bottom margin of last few pages ; 4- The Spirit of Praise a Collection of Hymns Old and New. F. Warne, n.d. [1866], illustrated in colour, gold and black and white. bound by A W Bain in full morocco with gilt decoration and aeg; Hinges cracking ; 5- The Birth-Day Souvenir. Griffith and Farran, no date, presentation inscription dated 1860. With 30 highly illuminated pages Plus a presentation page, all in colour and gold. Original full morocco. Little rubbed and recased,. Vg ; 6- [Defoe, Daniel]: Religious Courtship . Brambles, 1808. PP:249, Plus Frontis plate. Later half leather with new endpapers ; 7- Wheeler, Rev. F W: Sermon delivered at Freeman Chapel, Kingston, Jamaica. Office of the Evangelist, Kingston, Jamaica, 1851. Recent cloth, title page repaired; 8- Elegant Extracts: Or Useful and Entertaining Passages in Prose. Dilly, 1794. Recent half leather. Vg; 9- The Extraordinary Black Book . Wilson, 1831. Frontis. 576pp. Cont. half leather(11)
Collection of Disney and other Wade whimsies, Beswick bisque 'Spirit of Freedom' horse model, collection of 'Just the Right Shoes by Raine, mostly boxed, three Capodimonte figures, boxed, Royal Doulton figure, Diana HN3266, Michael Doulton signed exclusive 1990, Coalport Ladies of Fashion 'Daphne', Lilliput Lane cottages, Waterford crystal boxed vase, Thomas Webb boxed vase and other decorative ceramics Condition Report Click here for further images, condition, auction times & delivery costs
WWI LOCAL INTEREST: A collection of WWI Norfolk Regiment uniform and effects consisting of service dress tunic with four pocket front and brass buttons, peaked cap bearing Norfolk Regiment badge, brown leather buskins and Derby Scheme armband. Documentation includes: request refusal for transfer into the R.N.A.S., transfer to Army Reserve, certificate of service in Volunteer Force. A scumbled tin trunk and James Dixon & Sons brown leather cased spirit flask with saddle mount from the same family. All relating to V123616 PTE. WALTER BAXTER of the 4th Volunteer Battalion Norfolk Regiment. Walter lived in Pulham Market (Near Diss, Norfolk). Some minor moth damage to hat, hole to upper-left breast and some discolouration to the tunic.
A WWII Royal Air Force Distinguished Flying Medal awarded to casualty 130794 FLYING OFFICER HUGH MASON RAF (medal numbered 904842). Hugh served as an air gunner in the Royal Air Force Volunteer Reserve as part of 103 and 83 Squadrons. 103 Squadron began the war as an advanced air striking force, with the Vickers Wellington from October 1940 as a night bomber unit, later equipping with the Lancaster. 83 Squadron focused on precision raids and night operations, being equipped with Avro Manchesters and soon-after, Lancasters. In August 1942 the squadron was transferred to the No. 8 Group Pathfinder Force at RAF Winton, operating as a marker force for the main force of Bomber Command, later returning to RAF Coningsby. Hugh was listed in the London Gazette on the 21st November 1941 as a recipient of the DFM. His citation reads as follows: Mason, Hugh. 904842 Sergeant, No. 103 Sqn. L. G. 21/11/1941. Sorties 26, Flying Hours 154.15. Air Gunner Air2/9334. "By his outstanding keenness and devotion to duty, Sgt. Mason has at all times shown himself to be one of the squadrons most reliable Air Gunners. His determined spirit and cheerful nature has gone a long way to help in keeping up the morale of his crew and in setting a very fine example to the rest of the squadron. Since joining the squadron in January 1941, this NCO has achieved an excellent operational record and it is unfortunate that, up to date, he has been denied the chance to prove his worth against the enemy but I am of the opinion that his consistent good work, both in the air and on the ground, is sufficient to warrant the award for which he is recommended. His Captain, Sgt Addy, cannot speak too highly of his excellent work in the air and in particular, his splendid spirit which, even although the aircraft is under the most severe flak-fire, always remains cheerful and competent." 22, August, 1941. The lot also includes a photographs including Hugh Mason with his crew beside a Lancaster Bomber, ephemera, Air Gunner cloth patch, and metal badges including Pathfinder and RAF
Rock Interest: a mixed collection of L.P's to include The Beatles 'White Album' No. 107813, 'Sgt Pepper' (later press), 'Abbey Road', Spirit 'Live' (import L.P shrink wrapped Potato Records), Rolling Stones, Rory Gallagher, The Who 'Live At Leeds', 'Odd n Sods', Bellamy Brothers, Bob Dylan 'The Freewheelin' L.P ('33' on textured orange label) etc; Lynard Skynard and The Who 12" singles.
Book of Hours, Use of Rouen, manuscript on vellum, in Latin and French, 98 leaves including initial and final blanks: fols. 1, 22v, 59v, 98v also blank, Modern foliation in pencil on the upper right corner (not taking into consideration first blank leaf), single column, 20 lines, ruled in brown ink, written in brown ink in a regular textura, major feasts in Calendar in gold, others alternating blue and mauve, 14 lines of prayers on fol. 98r in a different and slightly later hand,14 fine full-page miniatures, mostly in arched compartments, with full floriate and foliate borders, inhabited by birds, squirrels, monkeys and fantastic animals or occasionally flanked by multi-coloured marbled columns, smaller illuminated miniatures in Calendar, each page of text with illuminated floriate and foliate border on one side, in gold and colours, including some animals, numerous decorated illuminated initials in varying sizes, line-fillers throughout, a few small spots and stains but generally in bright and fresh condition, 20th century dark brown morocco by Baum, spine gilt, gilt-stamped morocco pastedowns, earlier gilt edges, 8vo (165 x 108mm.), Rouen, [1480s].⁂ An excellent example of an illuminated book of hours, the intimate prayerbook for the laity, produced in Rouen in the last quarter of the 15th century (possibly c.1480-1485): a mixture of devotion, literacy and luxury executed for a patroness. The style of the illumination and iconographical features allow us confidently to attribute its production to the workshop, or a close follower of the Maître de l'Échevinage, so named after a group of manuscripts he illuminated for the library of the Council of Aldermen (échevins) of Rouen, and now in the Bibliothèque Nationale in Paris. This highly esteemed and influential artist worked in the Norman town from 1450 to c.1485, and is also known as the Master of Latini Geneva, from a Brunetto Latini manuscript in the Geneva Library. The manuscript opens with the Calendar, in which the names of local saints are included - among others, Ansbertus (9th February), the patron of Rouen Romanus (23rd October), and Martialis (3rd July) - and further confirm its place of production. Each month is framed within an illuminated border containing vignettes representing the relevant sign of the zodiac and seasonal labours respectively. Landscapes and details are rendered with great care. Moreover, the manuscript contains 14 full-page miniatures, each introducing the traditional sections of the Book of Hours. The elaborate carved architectural structures or thrones, the draperies shaded in gold, and the landscapes visible beyond, with views of a walled town (possibly Rouen), are remarkable. The miniature opening the Gospel sequences (fol. 14r), which depicts all four evangelists, is particularly noteworthy. It departs from the standard iconography: while the four evangelists are normally all the same size, here the emphasis is placed on St. John, seated on Patmos island and in the act of writing on a scroll. Luke, Matthew, and Mark on the other hand are depicted in smaller marginal vignettes, and are represented in different activities: Luke writes, Matthew reads, and Mark examines the point of his pen. This unusual iconography is distinctive of the Échevinage Master, and is repeated - in slightly variant forms - by his followers. Other stylistic or iconographical characteristics are recognisable in the eight miniatures illustrating the Hours of the Virgin, and or in the macabre image of the Three Living and Three Dead introducing the Office of the Dead (fol. 72r), a set of prayers for the dead and dying. More specifically, the manuscript shows striking similarities with the MSS Walters 224 and 241 of the Walters Art Gallery in Baltimore, both produced in the 1480s by a follower of the Échevinage Master. Occasionally customers paid for having special miniatures in their Book of Hours, usually one representing themselves kneeling before the Virgin or a particular saint. This is the case in this manuscript: the miniature on fol. 91r depicts its unknown patroness, dressed in a rose-madder robe and wearing a black headdress, kneeling before a seated Virgin Mary holding the Christ child. The manuscript is therefore the issue of female patronage, and the coats of arms on fol. 96v, which, in a certain sense, signs the manuscript, is also possibly related to the family of this woman.Text (for the use of Rouen):Fols. 2r-13v: Calendar, in French; fols. 14r-17vr: Gospel sequences; fols. 17r-19v: Obsecro te; fols 19v-22r: O Intemerata; fols. 23r-54r: Hours of the Virgin: Matins (fol. 24r: Lauds; fol. 31r: Prime; fol. 40r: Terce; fol. 43v: Sext; fol. 46r: None; fol. 48r: Vespers; fol. 50r: Compline; fol. 51v); fols. 54v-56v: Hours of the Holy Cross; fols. 57r-59v: Hours of the Holy Spirit; fols. 60r-71v: Seven Penitential Psalms, Litanies; fols. 72r-90v: Office of the Dead; fols. 91r-96v: Marian hymns (Fifteen Joys of the Virgins), in French.Illustration:Calendar. Fol. 2r (January): The Water Carrier; Feasting; fol. 3r (February): The Fish; Warming by fire; fol. 4r (March): The Ram; Pruning; fol. 5r (April): The Bull; Hawking; fol. 6r (May): The Twins; Riding; fol. 7r ((June): The Crab; Shearing sheep; fol. 8r (July): The Lion; Reaping; fol. 9r (August): The Virgin; Winnowing; fol. 10r (September): The Balance; Sowing; fol. 11r (October): The Scorpion; Treading Grapes; fol. 12r (November): The Archer; Slaughtering a Pig; fol. 13r (December): The Goat; Roasting a Pig.The subjects of the 14 full-page miniatures are as follows: 1. fol. 14r: St. John in Patmos at centre, the other evangelists in smaller vignettes; 2. fol. 24r: Annunciation, episodes from Virgin's life at base; 3. fol. 31r: Visitation, drollery at base; 4. fol. 40r: Nativity, drollery at base; 5. fol. 43v: Annunciation to the Shepherds and Shepherdess; 6. fol. 46r: Adoration of the Magi; 7. fol. 48r: Presentation in Temple, drollery at base; 8. fol. 50r: Flight into Egypt; Miracle of Cornfield at back; 9. fol. 51v: Coronation of Virgin, drollery at base; 10. fol. 54v: Crucifixion with thieves; 11. fol. 57r: Pentecost; 12. fol. 60r: King David penitent, admonished by Nathan, Combat of Goliath at base; 13. fol. 72r: Three Living and Three Dead, a man run through by skeletal Death with his dart at base; 14. fol. 91v: Virgin and Child enthroned with the female manuscript owner kneeling.Provenance: first female owner depicted on fol. 91v; two coats of arms on fol. 96v; the German collector George Nestle-John (1839-1895; see Bibliothek George Nestle-John. Illustrierte Bücher des xiii.-xix Jahrhunderts, Frankfurt, 6 October 1931, lot 81, and pl. lxiib; estimated 1,500 Reichs-Marks), copy of catalogue included in the lot.Literature: G. Swarzenski- R. Schilling, Die illuminierten Handschriften und Einzelminiaturen des Mittelalters und der Renaissance in Frankfurter Besitz, Frankfurt 1929, no. 125 and pl. lxiib; R.S. Wieck, Time …
FOUR SILVER SPIRIT FLASKS, LONDON, BIRMINGHAM AND SHEFFIELD, 1905-1919 comprising: three oblong with bun-shaped lids with detachable beaker bases including one with glass interior, the fourth of pocket-fitting curved form, 9-13cm high; together with an American silver flask, first half 20th century, engine-turned, stamped 'STERLING SILVER, 13.5cm high weighable silver 800gr (25oz) (5)
PATRICK GRAHAM (B.1943)Mayo Series, Approaching StormOil on canvas, 183 x 204cmSigned, inscribed and dated 2007Provenance: With Hillsboro Fine Art, label verso.From the Antoinette & Patrick J. Murphy Collection.Born Mullingar, County Westmeath in 1943, Patrick Graham’s childhood shaped his life and art. His father emigrated in search of work, his mother spent long periods in hospital suffering from TB, and, aged six, Graham was sent to ‘a small rural community, to my grandparents, my brother and sisters went other places, orphanages I think’. Displaced, without siblings, ‘I became a watcher . . . at six or seven years . . . I became aware that I was a stranger, I was silent; for my secret self I found secret places - a pool of spring water, a tree so tall and full of flickering light that lifted me high up into the unpeopled sky. . . . In my private world there existed an innocence of God and of beauty, a magical belief in nature, my holy trinity, so to speak, was God, nature and a secret self receptive to a vision not of the eye but of the sensual engorgement that saw from within.’ He tells of how ‘I would strip naked on the bog, fill myself with the sensuality of the black earth, then black light and the head-high colour’. This for Graham was ‘pure energy’ and ‘my truest most innocent experience of the transcendent body made one in God and nature’. But ‘bog, body, the eating and drinking of colour, the sensual earth and the sensual body and spirit’ of boyhood gave way to power and terror on entering the Christian Brothers. There he experienced ‘religious fear and religious guilt’ but school also offered hope. In 1957 he began to help his art teacher provide stage sets and backdrops for local amateur productions and it was this that formed Patrick Graham’s palette which Peter Murray lists as ‘ochres, umbers, Titian reds, purples, Naples yellow and blue-blacks’. A brilliant draughtsman and teenage prodigy, Patrick Graham won a scholarship to NCAD and was recognised as such by his tutors and fellow-students. But he himself felt that he ‘collapsed under the dogmatic demands of academic tyranny’. After college, he worked in advertising for a while, abandoned painting for years and in an Interview with John Daly of Hillsboro Fine Art said, ‘I left behind that part of my life that stretched from 1962 to 1983 and began again from nil’. In a 1978 solo exhibition Graham presented his NCAD Diploma from 1964 with Cancelled stamped across it accompanied by a self-portrait with gouged-out eyes. Today, Patrick Graham, is revered by Irish artists, is internationally acclaimed and has been the subject of numerous exhibitions [Los Angeles, Amsterdam, London] and symposia here and abroad. Elected to Aosdána in 1986, Graham was awarded the President’s Gold Medal, Oireachtas Exhibition 1987For years, Graham had a house and studio in Lacken, on the North Mayo coastline. Very interested in that landscape’s archaeological and historical past, especially sheela-na-gigs and famine graves, speaking of the broader landscape he told John Daly that he loved ‘to look into nothingness’ there. This magnificent painting, in which Patrick Graham’s intense, sensual, boyhood connection with landscape still holds, gives us a bird’s eye view of a rugged, dramatic coastline. In the foreground a solid cliff face is loosely, fluently rendered. Low down, a cave’s dark opening contrasts with a sunlit grassy stretch on the cliff top and the gleam of silver sandy beaches in the distance, along the coast, lures and delights the eye. We are on the edge of the North Atlantic and it’s captured here translucently. Signed lower right ‘Graham, Lacken 2007’ the words ‘Mayo 2007’ are also found top centre. The words, lower left, ‘Approaching storm North Mayo Coast’ indicates imminent change, nature in constant flux.Patrick Graham likes to show the work and disappear. ‘If it needs me around to give it life, then I’ve failed.’ To John Hutchinson [in an Irish Arts Review interview] he spoke of ‘absolute surrender in relation to my work’. That ‘a loss of self-will, combined with an awesome sense of - for want of better words - some sort of “God experience”, is what I’m trying to achieve.’ And that’s what he achieves and achieves gloriously here.Niall MacMonagle
A collection of plated and glass wares including silver plated cocktail shaker, plated coffee pot and matching hot water jug with etched decoration, a hip flask, four spirit labels, etc, together with a cut glass decanter and stopper of two sided form with white metal mount and three further decanters and stoppers
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