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Lot 88
A silver inkstandWilliam Hutton & SonsSheffield, 1924Of rectangular form with shaped gadrooned border, pierced along the rim with scrolling foliate motifs and decorated with shells to each side, on four bracket feet, engraved with presentation and dated 1904 - 1925, supporting two silver mounted squared inkwells, the stand 23.4cm wide, 17cm deep, together with: a German silver bonbon spoon, Edwardian import marks for B Muller & Son (Berthold Muller), Chester, 1901, the bowl pierced and decorated with seated woman with a putto within a scrolling foliate motif and two putti to sides, with pierced terminal, 13.8cm long; a German silver caddie spoon, pseudo Hanau marks for Karl Kurz, Edwardian import marks for Boaz Moses Landeck, London, 1908, the bowl repousse decorated with a peasant in the countryside, with pierced handle and boat-shaped terminal, 9.5cm long; a 19th century Dutch silver caddie spoon, Edwardian import marks for Boaz Moses Landeck, Chester, 1907, the bowl repousse decorated with a scene of two peasants in an outdoor setting, with pierced handle and boat shaped terminal, 9.5cm long; and a spirit label, unmarked, weighable silver approx. 14.8ozt (5)Condition Report: Weighable silver doesn't include the spirit label and the two silver mounted inkwells.
Lot 302
A Ref No. M29D Two Cylinder Vertical Steam Plant with Flyball Governor, 13mm bore and stroke, brass steel construction, overall size 17x 9 x 10cm high, mounted to a wooden plinth 30 x 15cm, appears new/unused; supplied with an aluminium Steam Boiler, boiler dimension 176mm long, 78mm diameter, overall unit dimension 220 x 90 x 135 high mm, fitted with four glass spirit burners, plus a small quantity of spares, etc.
Lot 43
Edward McGuire RHA (1932-1986) Pearse Hutchinson Oil on canvas, 132 x 107cm (52 x 42") Signed and dated 1970 Provenance: Collection of John and Harden Jay; Private Collection, DublinLiterature: Brian Fallon and others, Edward McGuire p86, full page illustration, p.87, catalogue raisonne no. 45.Exhibited: Dublin, David Hendrick's Gallery, Claddagh Records' Group Exhibition 1970, cat. no. 24 Irish Exhibition of Living Art 1971, cat. no. 45; Hugh Lane Municipal Gallery The Irish Imagination, 1971, cat. no. 15 (also shown in Washington DC, Philadelphia and Boston) Artist's Choice, Ulster Museum, 1973, cat. no. 6, 6th Festival International, Cagnes-sur-Mer 1974, diploma award; Dublin, Irish Museum of Modern Art, EnVisage: The Face in Contemporary Art, 9th October 2001 - 21st April 2002. This work featured in the 1977 RTE documentary on Edward McGuire. This work was on loan to the Irish Museum of Modern Art from 1993 to October 2008.A superb example of Edward McGuire’s portraiture at its finest, painted at the beginning of a decade in which he completed likenesses of a succession of major Irish literary figures, including Julia O’Faolain, Michael Hartnett, Seamus Heaney, Anthony Cronin, Francis Stuart and Paul Durcan.Born in Glasgow to Irish parents who returned to Ireland and settled in Dublin when he was five years old, Pearse Hutchinson attended Synge St and studied Italian and Spanish at UCD. A friend of John Jordan, he was one of the mid-century Irish literary set and became a fixture in Irish cultural life. But there remained something elusive, even fugitive about him. The word “unconventional” has been used in relation to his talent and fortunes - although he occupied an academic position for a time, he was too restless a spirit to pursue a career as such. That restlessness led to travels and sojourns in Europe, especially Spain, and extended to a linguistic restlessness: he was enamoured of languages and liked to lose himself in the possibilities they opened up. That included his “native” tongue, for he also wrote in Irish, feeling able to express himself more directly in the language. And he was an enthusiastic translator.By the time he painted Hutchinson’s portrait, McGuire was fully mature as an artist. To some extent he had to emerge from his father’s shadow: Edward McGuire senior was a high-profile public figure, a sportsman, senator and businessman (who owned Brown Thomas). His son, surviving the challenges of childhood infirmities, came late to art. Enthused by the painters of the Florentine Renaissance, he eventually developed a meticulous, highly realistic mode of painting, at some remove from the Post-Impressionism his father, who also painted, favoured.McGuire’s studio (its contents now in IMMA) was like a laboratory. Working from precise preparatory drawings he made his highly distinctive paintings there with the aid of an elaborate colour dictionary, many years in the devising. This extraordinary colour recipe book provided him with the formulae for a vast range of tonal colours: rather than shading colour with black or white, he drew on an exactly prescribed mixture of colours, often complementaries, to produce the desired tonality. This painstaking method largely accounts for the exceptionally lustrous, rich quality of his paint surfaces. His painting have all the impact of, especially, Northern Renaissance portraiture, while being thoroughly modern.Aidan Dunne, November 2023
Lot 23
Marco Palmezzano (Forli 1460-1539)The Annunciation oil on canvas, most probably transferred from panel, arched top218.3 x 175.5cm (85 15/16 x 69 1/8in).Footnotes:ProvenanceThe Collection of Baron Blanc, Château de Chancy, near ChambéryCharles Sedelmeyer, Paris, 1907Galerie Sanct Lucas, Vienna, 1927Sale, Sotheby's, New York, 30 May 1991, lot 19Private Collection, CaliforniaThe Collection of Roy T. Eddleman, USAHaving completed his initial training with Melozzo da Forli, Marco Palmezzano, a native of Forli, then moved to Rome in the early 1490s. He later spent some time in Venice but then returned to Forli where he spent the rest of his long career carrying out many commissions in the area.At some point between 1927 and the 1991 sale at Sotheby's, the upper edge of the present canvas has been cut down to form an arched shape.The present Annunciation comes closest to the artist's altarpiece of circa 1512 for the Church of Santa Maria dei Servi in Forli and now in the Pinacoteca Civica (oil on panel, inv. no. 41). Both works see the two figures set before an arch, decorated with gold ground scrolling grotesques. Through the arch an expansive mountainous landscape is visible and the dove of the Holy Spirit is centrally placed high above the Virgin and Angel.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 208
PURCHASER MUST BE 18 YEARS OF AGE OR OVERA Weihrauch HW44 .22 Calibre Air Pistol, numbered 706462, with two Picatinny rails, the top one set with a Hawke Airmax 30SF Compact 3-12x40 scope, with Hull Cartridge, sound moderator and ambidextrous ergonomic grip, together with numerous boxed accessories, including a PAO Topaz Pre-Mount Duplex 2-7x32 long eye relief pistol scope, a Weihrauch 2x20 pistol scope, an additional Weihrauch sound moderator, a Hawke Swivel & Tilt Bipod, a cased LMBR Chrono-R2A shooting chronograph, a rifle rest, a black nylon and tan suede arm rest, three 10 shot magazines, a blister pack of Hawke match ring mounts, a Napier Power pull-through, two tins of Field Line pellets, two spirit levels, various tools, card targets and instruction leaflets, two large air cylinders with pressure gauges attached, and with a black hard plastic carrying case and boxes for accessories mounted on the pistol.In as new condition.
Lot 371
A small German clockwork Penny Toy size saloon car, grey and red lithographed tinplate with driver and chromed bumper, grill and headlights —4 1/2in. (11.5cm.) long (one Fairylite wheel); a post-war Lehmann AGA 910 seal balancing a ball; a German spirit-washed Petroleum can; a celluloid policeman and two Japanese fish whistles
Lot 842
Dolls’ house bedroom, two tinplate beds with embossed angels on front and back, one gold spirit wash and one pale blue and blue lithographed —4in. (10cm.) long; a larger white painted wire bed with nice old bedding; a tinplate washstand and a recent embroidered circular rug featuring Noah’s Ark
Lot 884
Metal dolls’ house chattels, a soft metal stick stand with green spirit wash —3in. (7.5cm.) high, a soft metal cot (missing two bed knobs), two cold painted bronze flowers in pots, a gold painted floor standing gong, a repainted tinplate hip bath, a wire framed screen and a parts from a soft metal fireplace
Lot 317
A box containing various silver and white metal wares to include a silver mounted green flash glass dressing table bottle, a silver bookmark with owl finial (London 1962), a bracelet stamped "Silver", various silver mounted button hooks and shoe horns, a white metal miniature table stamped "Amiragha" to base and a set of three bentwood style white metal chairs, a white metal miniature spirit kettle, stamped "Amiragha", etc., weighable metal 10 oz
Lot 104
First/Second World War ephemera including, a group photograph of Chaplains of the Army Chaplains Department with Orthodox priests, Middle East or Balkans WW1, printed WW1 patriotic cloth to the Royal Navy ' From the Victory to the Queen Elizabeth, For The Ships May Change But The Spirit Remains', Daily Telegraph Map of the Western Front (WW2), Motor Fuel Ration Book 1948, Clothing Books 1945-1948, Westminster Abbey service of celebration on the 3rd anniversary of the Formation of the Home Guard, May 16th 1943, Emergency Water Supply/Emergency Sanitation leaflets issued by the Emergency Committee of Stowmarket Urban District Council, Notes on MT (1939), HMSO publications on His Majesty's Minesweepers, Fleet air Arm, Front Line 1940-1941 (Civil Defence), Air Battle For Malta, (qty)
Lot 233
A Second War ‘Burma operations’ M.C. group of five attributed to Major J. L. Gwinnett, Duke of Wellington’s Regiment, attached 9/15th Punjab Regiment, Indian Army Military Cross, G.VI.R. reverse officially dated 1943, on original mounting pin; 1939-45 Star; Burma Star; Defence and War Medals 1939-45, nearly extremely fine (5) £600-£800 --- M.C. London Gazette 16 December 1943: Lieutenant (temporary Captain) Joseph Lawton Gwinnett (217397) The Duke of Wellington’s Regiment (West Riding) (attached 15th Punjab Regiment, Indian Army). The original Recommendation, dated 18 June 1943, states: ‘This officer was in command of a Company of Jats, mostly young and inexperienced men. Throughout the period stated he has shown the greatest offensive spirit and a constant desire to get to grips with the enemy. His very high order of leadership and personal courage under fire on the many patrols he has conducted have been an inspiration, not only to his own company, but to all the ranks of the battalion, and his patrols have invariably resulted in the acquisition of useful information. Two instances are given:- On 1 April on the Taungmaw front he conducted a patrol up a difficult ascent to a point behind enemy lines where he ambushed and killed a Jap withdrawing without loss. On 18 April he conducted a very enterprising patrol of two men and himself to behind enemy lines and returned with valuable information.' Sold with the official citation and forwarding letter with the envelope dated June 1950, address to Major J. L. Gwinnett, M.C. D.W.R., Hoyland Villa, Whiston, Rotherham, Yorks; the recipient’s release book dated, 6 October 1945; and Army Council enclosure for he campaign awards.
Lot 253
Family group: A Great War 1918 ‘Somme’ M.M. group of three awarded to Private A. H. Adcock, 7th (Service) Battalion, Suffolk Regiment, later 1st Battalion, Cambridgeshire Regiment - with whom he was serving when killed in action in operations in and around Morlancourt on 11 August 1918 Military Medal, G.V.R. (24022 Pte A. H. Adcock. 7/Suff: R.); British War and Victory Medals (24022 Pte. A. H. Adcock. Suff. R.) mounted for display, generally good very fine Three: Deck Hand E. J. Adcock, Royal Naval Reserve, who served with H.M. trawler Tugela and fell into the river near Great Yarmouth, where he was lost, presumed drowned, on 29 February 1916 1914-15 Star (538S.D. E. J. Adcock. D.H., R.N.R.); British War and Victory Medals (538S.D. E. J. Adcock. D.H. R.N.R.) mounted for display, good very fine Pair: Private J. H. Adcock, 1/5th Battalion, West Riding Regiment, who was wounded during the Great War British War and Victory Medals (26713. Pte. J. H. Adcock. W. Rid. R.) mounted for display, generally good very fine (8) £700-£900 --- M.M. London Gazette 16 July 1918. Albert Herbert Adcock was born in Brandon, Suffolk, and was the son of Mr and Mrs W. Adcock of 2 Seaman Cottages, Hopton, Great Yarmouth. He initially served during the Great War with the 7th (Service) Battalion, Suffolk Regiment, and was part of ‘D’ Company (commanded by Captain G. L. Crandon) which relieved a company of the 12th Battalion, Manchester Regiment from a trench position near the Millencourt Road, Somme, 2 April 1918. According to the Battalion War diary, the company was subjected to heavy trench mortar and artillery fire for the first two days in the line. During the course of which an ugly incident occurred with one of the posts of ‘D’ Company: ‘The enemy was seen advancing. The SOS was sent up and rifle and LG fire are once opened with good effect. He succeeded in getting within bombing distance of No. 6 Post and started to bomb it. This post was occupied with a LG under No. 265002 Sgt. W. Drew. Under this N.C.O.’s influence the men had discarded their equipment during the bombardment and immediately the bombing started Sgt Drew put up his hands in token of surrender, without making the slightest effort to defend his post. Capt. Crandon seeing the situation shouted to them to defend the post, this was apparently heard, owing to considerable hesitation on the part of 3 men. They all however went towards the enemy. Capt. Crandon at once order his Coy. to shoot at them and at least 2 out of the 5 were wounded… On the remainder of the front the enemy was repulsed with considerable loss.’ As well as the two wounded, Private H. Skinner was also killed in this incident. The post was retaken from German possession later the same day. The Company’s positions were attacked again on 5 April, and once again repulsed. They were relieved the following day. The conditions had been atrocious, and the already severe mud had been worsened by heavy rain throughout their five days in the front line. The Battalion War Diary lists 13 officers and men, including Crandon and Adcock, as having distinguished themselves during this period (2-6 April 1918): ‘I particularly wish to place on record the excellent spirit displayed by this Coy. throughout a very trying period. They fought exceedingly well and showed a fine spirit of determination under severe shell, TM and MG fire and severe climatic conditions. The valuable work performed by the following is particularly worthy of special mention….’ The Battalion was reduced to cadre strength on 19 May 1918, and Adcock was one of 11 officers and 408 men who transferred to the 1/1st Battalion, Cambridgeshire Regiment five days later. Private Adcock was killed in action on the Western Front on 11 August 1918. During 8-9 August, the Battalion was engaged in attacks at Morlancourt, as part of The Battle of Amiens - and the start of The Hundred Days Offensive. The Battalion were still engaged in operations in and around Morlancourt, 11 August 1918. Private Adcock is buried in the Ribemont Communal Cemetery, Somme, France, and is commemorated on the Hopton-on-Sea War Memorial. Edgar John Adcock was born in Carbrook, Norfolk in July 1891, and was the elder brother of the above. He served during the Great War as a Deck Hand with the Royal Naval Reserve. Deck Hand Adcock served with H.M. trawler Tugela, and fell into the river at Great Yarmouth, and is presumed to have drowned on 29 February 1916. He is commemorated on the Chatham Naval Memorial, Kent and the Hopton-on-Sea War Memorial. James Holton Adcock was the brother of the above, and resided at Lowestoft, Suffolk. He served during the Great War with the 1/5th, 7th, 9th and 2nd Battalions, West Riding Regiment. Adcock had enlisted in the Regiment on 10 December 1915. He was discharged due to wounds on 10 April 1919 (entitled to a Silver War Badge). Sold with some copied research.
Lot 65
A rare Inter-War ‘Iraq campaign’ M.M. group of five awarded to Gunner William Watts, Royal Garrison Artillery, who served on detachment with the Royal Engineers (Inland Waterways Transport) as a Maxim gunner on the defence vessel Greenfly which ran aground on 10 August 1920 and remained under heavy attack for the next 12 days Military Medal, G.V.R. (1409443 Gnr. W. Watts. R.G.A.); 1914-15 Star (40298 Gnr. W. Watts. R.G.A.); British War and Victory Medals (40298 Gnr. W. Watts. R.A.); General Service 1918-62, 1 clasp, Iraq (40298 Gnr W. Watts. R.A.) mounted court-style for wearing, contact marks, otherwise very fine and better (5) £1,800-£2,200 --- M.M. London Gazette 28 September 1921: ‘For bravery and devotion to duty during the period from the 10th to the 22nd August, 1920, on the defence vessel "Greenfly." Whilst under heavy fire, he displayed great coolness and courage, and inflicted severe casualties upon the enemy by his excellent handling of a Maxim gun.’ William Watts hailed from Olney, Buckinghamshire, and served as a Gunner in the Royal Garrison Artillery in Egypt from 24 July 1915. He afterwards served on attachment to the Royal Engineers (Inland Water Transport) in Iraq and Mesopotamia in operations against the insurgents from March 1919. Watts served as a Maxim gunner aboard the defence vessel Greenfly on the Euphrates river. The Greenfly Incident Whilst serving in Iraq, Watts served as a Maxim gunner aboard the defence vessel Greenfly on the Euphrates river. Under the command of Captain J. M. Roche, R.A., H.M. Gunboat Greenfly was one of 16 shallow-draught gunboats that formed the Tigris Flotilla. Like the other ships of the ‘Fly’ class, she had a displacement of 98 tonnes, was 126-feet long and 20 feet in the beam. However, in order to cope with the extreme variations in depth on both the Tigris and the Euphrates, her draught was only two feet. Her armament consisted of one 4-inch main gun, one 12-pounder, one 6-pounder, one 3-pounder, one 2-pounder anti-aircraft pom-pom, and four Maxim machine guns. As Ian Rutledge, in his book Enemy on the Euphrates recounts: ‘The crew consisted of two officers (Captain Roche and Second Lieutenant A. G. Hedger), and 20 infantrymen. Ordered to patrol the Euphrates north and south of Samawa, throughout July and early August 1920 she steamed up and down the river, engaging and destroying insurgent positions and strongholds wherever they were encountered. However, on 10th August, while heading down river to help defend the town and railway station of Khidr, Greenfly ran aground on a sandbank six miles from her destination. A sitting target for the insurgents, over the next week intense efforts were made to pull Greenfly off the sandbank, often in the face of accurate enemy fire, but without success and at the cost of rising casualties. On 20th August, as the insurgents’ fire became more intense, a final effort was made - her sister gunboat, H.M.S. Greyfly, accompanied by two launches, each carrying a company of Indian troops, managed to reach the Greenfly and made strenuous efforts to try and re-float the Greenfly. However, the mud of the Euphrates, whose water-level was rapidly falling, had closed further upon her, and she was stuck. Not wishing to see the Greenfly captured by the insurgents, the British had two options: to abandon and scuttle the gunboat, or to leave the crew onboard, additionally supported by an Indian escort, well equipped with rations and ammunition, ready for a second major rescue attempt as and when the necessary ships and special equipment could be assembled.’ The second option was chosen, and at this point Captain Roche left the gunboat to return to Khidr, leaving her under the command of Second Lieutenant Hedger. Rutledge continues: ‘By 30th September the situation on board the ship was getting desperate, and Hedger sent the following message, “Food is the great question on board, but if your arrangements are successful I expect that we shall be able to hang on. The condition of the crew is really very good considering the very severe shortage of rations that we have all experienced. Our spirits are still ‘up’ although at times we have all felt very depressed. I have lost one Indian and I have one British Other Rank severely wounded; besides these casualties I have one Indian wounded and 3 or 4 men sick owing to weakness caused by lack of food. Give us rations and we will have the heart and spirit to stick it out to the end.” It was to prove the last communication from the Greenfly. Precisely what happened to the crew and escort is a little vague. Only one body, that of a European, was ever found, and none of the crew or escort were ever seen again. The story goes that the ship was running out of food and despite efforts by the R.A.F. to supply the ship which failed, the Indian troops onboard the ship mutinied and killed Hedger and handed the ship over to the Iraq tribesmen who stripped the ship of her guns and remaining ammunition, and set her alight. Such was the conclusion of the court of inquiry held some months later, although it was stressed that ‘no absolute proof of this has been obtained’. The dates given in the citation above would seem to suggest that Watts left the ship on or shortly after the 22nd August. He does not appear to have been killed, unlike Lieutenant Hedger whose death is given as 10 October 1920 on the Basra Memorial. Captain Roche was awarded the M.C. in the London Gazette of 10 August 1921, Watts’ M.M. seemingly the only other award for this incident.
Lot 228
AN EARLY 20TH CENTURY ANGLO-INDIAN SILVER FOUR-PIECE TEA SERVICE unmarked, Bombay, c.1930, comprising a teapot, spirit kettle on stand, milk jug and two-handled sugar bowl, each of compressed circular form upon a stepped circular foot, the handles formed as elephants heads and trunks, the teapot and kettle spouts similarly formed, the teapot and kettle with a hinged gently domed lid surmounted by a cast finial formed as a mounted elephant, the bodies with embossed decoration in the Madras Swami style, of shaped vignettes of Hindu gods. (4) Spirit kettle 29.5cm high, 74.5 troy ounces grossTeapot, cream jug and sugar bowl with some dents to the foot. In otherwise very good condition.
Lot 838
Manchester Utd 2018/2019 Premier League aways match programmes Huddersfield Town + team sheet + match ticket + newspaper match report, Crystal Palace + match ticket + newspaper match report, Liverpool + match ticket + newspaper match report, Wolves + team sheet + match ticket + newspaper match report, WHU + match ticket + newspaper match report, Bournemouth + match ticket + newspaper match report; Champions League aways BSC Young Boys programme + club booklet, + match ticket + newspaper match reports Daily Mirror + Blick Spirit 19th + Blick Sport 20th September, Valencia programme + club booklet + official pre-match dinner menu + match ticket + newspaper match reports Daily Mirror + Super Deporte 12th + 13th December 2018; good. (A Lot)
Lot 11
Felicity ‘Pick ’n’ Mix' Felicity was found as a stray and is a Cavalier King Charles Spaniel. Her heartwarming art piece not only captures the essence of everyone's favourite sweet treat but also highlights the creative potential that exists within the playful spirit of dogs like Felicity. Measuring approximately 30 x 21 cm. Each unique piece of artwork has been created by the animals, using card or canvas and animal-safe paints, which are squeezed onto the medium and covered with a protective film. The animal's favourite food is then placed on the film, and the paint underneath is 'painted' onto the canvas as they enjoy their tasty treat! Animal painting is an activity that carers at the Rescue Centre do with dogs as part of their rehabilitation programme, to help them get ready for rehoming. Jodie Bennett, Community & Engagement Officer at Bristol Animal Rescue Centre says 'Part of the rehabilitation process is doing a series of enrichment activities to help the animals bond with carers and learn to have fun again. Many of the animals really enjoy painting, it’s a fantastic enrichment activity for them that gets them out of the kennels and gives them that one-on-one attention that they love.' Bristol A.R.C. has been caring for the city’s pets and wildlife since 1887, helping, healing and homing thousands of vulnerable animals each year. They are the longest-standing and largest local animal charity, and although we are proud to be affiliated with the RSPCA, they receive no automatic funding from it. They rely entirely on local support within the community to fund their vital work. More information can be found on their website www.bristolarc.org
Lot 4
Luna ‘Good Girl’ ‘Good Girl' is a poetic ode to the feminine spirit. It captures the essence of sisterhood, resilience, and the quiet power that resides within every woman. The painting invites viewers to embrace the beauty of femininity in all its facets, reminding us that strength and grace can coexist harmoniously, like the pink, purples and greens blending seamlessly on Luna’s painting. Measuring approximately 30 x 21 cm. Each unique piece of artwork has been created by the animals, using card or canvas and animal-safe paints, which are squeezed onto the medium and covered with a protective film. The animal's favourite food is then placed on the film, and the paint underneath is 'painted' onto the canvas as they enjoy their tasty treat! Animal painting is an activity that carers at the Rescue Centre do with dogs as part of their rehabilitation programme, to help them get ready for rehoming. Jodie Bennett, Community & Engagement Officer at Bristol Animal Rescue Centre says 'Part of the rehabilitation process is doing a series of enrichment activities to help the animals bond with carers and learn to have fun again. Many of the animals really enjoy painting, it’s a fantastic enrichment activity for them that gets them out of the kennels and gives them that one-on-one attention that they love.' Bristol A.R.C. has been caring for the city’s pets and wildlife since 1887, helping, healing and homing thousands of vulnerable animals each year. They are the longest-standing and largest local animal charity, and although we are proud to be affiliated with the RSPCA, they receive no automatic funding from it. They rely entirely on local support within the community to fund their vital work. More information can be found on their website www.bristolarc.org
Lot 18
A 19TH CENTURY ENAMEL AND GEM-SET HOLBEINESQUE PENDANT, CIRCA 1870The neo-renaissance style set with an oval-shaped garnet cabochon within an openwork vari-coloured enamel surround, accented with rose-cut diamonds and pearls to cardinal points, suspending a pear-shaped garnet cabochon pendant, with glazed compartment on the reverse within engraved foliate and scrolling detailing, mounted in gold, length (including bale): 6.7cmHolbeinesque jewellery is a term used to describe a distinctive style that was popular during the mid-19th century. Named after the German artist, Hans Holbein the Younger, who is known for his detailed and realistic portrait paintings, the jewellery is characterized by its intricate, highly ornate designs, often featuring enamel work, gemstones, and intricate gold or silver metalwork.This can be recognised by a large centrally placed cabochon gem, an engraving or inlay mounted in gold with coloured enamels. The back of each piece is often meticulously carved using scroll and foliage decoration.John Brogden and his colleague, Carlo Giuliano often copied jewellery depicted in Holbein's portraits of Tudor ladies from the court of Henry VIII. Other jewellery houses that produce Holbeinesque jewellery include Jules Wièse, Boucheron, Chaumet, and Vever.The metalwork in Holbeinesque jewellery was typically ornate and detailed, with intricate filigree, granulation, and scrollwork. The designs were often inspired by Renaissance and Gothic art, incorporating elements such as arches, columns, and floral motifs. Gemstones, such as diamonds, pearls, and coloured gemstones, were also commonly used to enhance the overall aesthetic.Holbeinesque jewellery was highly fashionable during the Victorian era, particularly during the mid-1800s, as it captured the romantic and nostalgic spirit of the time. Queen Victoria herself was known to be a fan of this style, and her influence helped popularize it. These pieces were often given as tokens of love, making them cherished heirlooms within families.Today, Holbeinesque jewellery pieces are highly sought after by collectors and antique enthusiasts. Their craftsmanship, historical significance, and timeless beauty continue to captivate those with an appreciation for intricate and meaningful adornments. The legacy of Holbeinesque jewellery lives on as a testament to the enduring appeal of finely crafted, sentimental jewellery from the past. Condition Report: Minor enamel loss on the bale otherwise in good conditionPearls: very good lustreGarnet cabochons: both well matched and in good conditionRose-cut diamonds: bright and livelyThe reverse in good conditionMinor to normal signs of wear, overall in good conditionTotal gross weight approx. 10.6g
Lot 301
Circa 4th-3rd century B.C. Comprising an embossed fragment of a breast-plate from muscle-type armour (thorax statos) representing Herakles fighting against the Hydra of Lerna; three-quarters of the hero's body preserved showing him naked in a dynamic position, wearing a fluttering short cloak (chlamys), overlooking the body of the monster of which the long tail covered with scales and fins is visible; fragment of cloak preserved separately. See Marazov, I., Thracian Warrior, Sofia, 2005, p.55, for a cheek-piece with Herakles in identical position; see also parallels with the warriors of the Panagyuriste treasure, pp.115-116; and Herakles against the Amazons in the Rogozen treasure; for similar elements on a bronze anatomical cuirass from Siris (BM) see D'Amato, R., Negin, A., Roman Decorated Armour, from the Age of the Kings to the death of Justinian the Great, Barnsley, 2017, p.46, fig.43. 122 grams total, 3.4-17.5 cm (1 3/8 - 6 7/8 in.).Acquired on the French art market before 2000. From an EU collection before 2020.This kind of armour is very rare, especially for this period, when most of the attested armour is plain or only slightly decorated. The young Herakles appears in heroic nudity running to the right, but, as on the cheek-piece from Gurlo, his head was probably turned in the opposite direction. The plasticism of the scene finds a good match in the Thracian tradition of the representation of weapons and armour, and the embossed elements with the highly prized work of the Panagyurishte treasure. The warrior-theme and the representation of Herakles or other fighting scenes on the Thracian and Hellenistic armours was a reference to the spirit of the immortal fighter. [2]
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