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Lot 371
A Continental silver pocket watch the case engraved with a butterfly and bird, marked with a French Crab stamp (800/1000 silver content) and maker`s mark `JR` within a diamond with grapes between, numbered 11038, the 40mm white enamel face with gilt decorated black Roman numerals and blue five minute markers, signed `Droz_Georget, Besançon`, the dust cover engraved `Cylindre 10 Rubis` encircled by engine turning, bar movement, with key.
Lot 470
A Tibetan Mahakala type mask blackened carved wooden mask depicting a Dharmapala (wraithful deity) with a crown of three skulls, relief carved flaming cheeks and eyebrows, protruding eyes, pierced nose and mouth with menacing grimace, evidence of vibrant orange and yellow pigments, remnants of old wax stamp to reverse, 11x8½in. (28x21½cm.) wide.
Lot 521
A 3rd Reich German Army officer`s sword wire bound grip, brass guard with acorn and oak leaf design, a Wehrmacht army eagle and swastika on the langet and patterned hilt, the 32½ in. blade plain with wide shallow 22-inch fullers on each side running from 1in. above the ricasso, the blade maker marked with the Eickhorn Squirrel and acorn mark to the ricasso, as well as bearing GES. GESCH stamp to the bottom of the guard, silver painted scabbard with hanging ring.
Lot 96
Roderic O'Conor (1860-1940) Étude de Femme (c.1915-17) Oil on canvas, 54.5 x 66cm (21½ x 26") Signed. Atelier stamp verso Signed on middle bar of stretcher "No.9 Roderic O'Conor 'Etude de Femme' Exhibitied: Salon d'Automne, 1919 (1920); "Modern British Paintings" Crane Kalman Gallery, London,1969 (2), ill.; Roderic O'Conor 1860-1940, Retrospective Exhibition, Barbican Art Gallery, London; Ulster Museum, Belfast; National Gallery of Ireland, Dublin; Whitworth Gallery, Manchester, 1985 Cat No. 66 Provenance Hotel Drouot, Paris, Vente O'Conor 7 février, 1956, Crane Kalman Gallery, London, 1969; Mr.J. P. Reihill, Deepwell, Blackrock. Literature Roderic O'Conor 1860 -1940, Roy Johnston,1985, illustrated p.89 Roderic O'Conor 1860-1940, Jonathan Benington, Cat. No. 195, p.213 1992 The young woman who is the subject of this painting by Roderic O'Conor is believed to be Renée Honta. She was born in 1894 in the south west of France in the historic city of Pau, which is situated near the Pyrenees close to the border with Spain. Little is known about her early life or her reasons for leaving the parental home to travel to Paris, but Renée was to play an important role in O'Conor's life, initially as his model and mistress and then as his constant companion, later his wife in 1933. O'Conor included the painting in a group of nine works which he exhibited at the Salon d'Automne in 1919, the year which marked the return of the Salon to the Paris exhibition calendar following its temporary suspension during World War I. In this painting Renée, then in her early 20's, is depicted in a relaxed pose lying on what appears to be a wooden seat or long bench with a wooden arm rest. Her upper body is probably being supported by a concealed cushion covered with a draped blue and white patterned fabric, which appears frequently in O'Conor's studio paintings. She appears comfortable in her surroundings, and the subtlety of her smile and facial expression seem to indicate a relaxed relationship with the artist, who, when this portrait was painted, was thirty four years older than she was. O'Conor has composed his figure on the diagonal and has added interest to his composition through the introduction of a specific anatomical contrast between the angularity of her arms and the subtle rhythm of her reposing body. He has also made the most of the contrast between light and dark areas through an increase in values in the painting of her upper body and arms, which he has set off against the dark area of the bench and studio wall beyond. Additional visual contrast is introduced through variety in the paint application, which ranges from the dark background stain quickly scrubbed into the canvas to the energy of the brush marks defining the fabric of Renée's dress in the bottom right corner of the painting. The expressive wet on wet technique and blending of the paint directly on the canvas is typical of O'Conor's painting technique at this period in his career. Dr. Roy Johnston
Lot 116
Colin Middleton RHA RUA MBE (1910-1983) Surrealist Composition with Girl, Bell and Bird Oil on board, 61 x 61cm (24 x 24") Studio stamp verso Provenance: Colin Middleton Studio Sale, Christie's, London, 4th October 1985, Cat. No. 184 (illustrated); where purchased 'Surrealist Composition with Girl, Bell and Bird' was probably painted around 1974, between Colin Middleton's two major late achievements, the Wilderness and Westerness cycles. The 1970s marked Middleton's return to an engagement with Surrealism, which he had first explored in the 1930s at a point when only a handful of artists working in Britain were committed to this movement. Middleton's early surrealist works, however, appear more emotionally inspired and more unsettling in tone, experimenting with a range of subversive Jungian imagery to explore the psychological and physical experience of a war-ravaged world. In the 1970s Middleton's surrealism seems less visceral and more self-consciously inventive, demonstrating his remarkable skill to interrelate a series of fantastical ideas to create a pictorial logic that fully engages the viewer. There is a sense of ceremony or performance in the present work. This is presented within a shallow space that still hints at a larger landscape and it appears as if the figure has emerged from the boxes beside her that form part of a drawn-in contraption that is ambiguous in its action or intention. While the bell can suggest transition amongst many other meanings, the bird is often used in Middleton's work in close conjunction with a female figure to represent their spiritual or non-physical aspects. Middleton creates a world in parallel to ours to explore ideas that transcend the physical but, as in the Wilderness Series, he sets out an intriguing puzzle without defining an answer. Dickon Hall
Lot 25
A rare Poole pottery clay model of an owl, modelled on a slab base, Poole England impressed stamp to base edge Provenance: bought by the vendors mother at a charity sale in the mid 1970s, probably in Wolvercote or St Michaels Church, Oxford, reputed to have been donated by the Guy Stringer family at that time. Guy Stringer was Managing Director of Carter Tiles and later in 1969 moved to Oxford to work for Oxfam. The glass eyes are a later addiction by the vendors mother
Lot 575
A quantity of Royal Mail stamp postcards, to include Gilbert & Sullivan, various others, St John Ambulance 1887-1987 22p card, Australian Bicentenary 34p card, a quantity of others, mainly 1980s, some fitted in an album, together with a framed book plate and two other prints of Little Morton Hall and Bramall Hall Cheshire.
Lot 69
Rene Lacoste (Wimbledon and French Tennis Champion) Silver Trophy. Fine Silver Tennis trophy – 1923 ` The North London Hard Court Lawn Tennis Club Gentleman` s Open Singles Championship" Spring Meeting Silver Trophy engraved with the winners names from 1923 to 1939 (up until the war) silver hallmarked Sheffield 1922 with makers "F&F" stamp mark - overall 7"h x9.25" max – wt 17oz. Note: Winners names include French & Wimbledon Champion Rene Lacoste (twice), Mayes, Spence, Turnbull, A. Gentien, Ritchie, Hare and David. The tournament was annually staged at the Gipsy Lawn Tennis Club grounds in Stamford-Hill (formed in about 1920) where seven hard and twelve grass courts were available
Lot 118
Scarce Vic Mason` s Ironstone ceramic cricket large serving bowl and plate stand c1849 - both the bowl and plate have printed transfer of crossed cricket bats within a sash c/w wording which has been worn out with wear – the base of the bowl is tamped with the retailers details Sharpus 13 Cockspur St London – the plate has the Mason` s stamp for the 1849 period – both pieces having been repaired with period metal rivets – the bowl measures 10x12" and plate measures 13"dia (A/F) For ref see the Keith Crump Cat – lot 435
Lot 269
5x good playable smf irons to incl 2x J.H Taylor Autograph deep face "Mashie Irons" one with shaft stamp, 2x W Park Musselburgh lofting irons incl one l/h and one with shaft stamp - Andrew Forgan Glasgow thick top, curved sole mashie - 4x with original hide grips and 1 x just showing the underlisting and with 2 x the maker` s shaft stamps
Lot 425
2x Patent mallet head putters to incl London Co "Cuiras" patent persimmon putter with nickel face insert and sole plate – parallel aiming lines to the head together with a good Standard Golf Co Braid Mills alloy mallet head putter c/w makers shaft stamp – both fitted with full length leather grips
Lot 513
6x various socket head woods to incl 2x brassies one stamped Robinson Singapore, plus 4 drivers incl a R. Forgan St Andrews Gold Medal Crown model c/w shaft stamp, Spalding with 5x circular alloy pins to the face insert, A Shanks Silloth plus one other shortened (4") et al – all fitted with period full length leather grips (6)
Lot 926
Miscellaneous golf collection to incl Royal Bank of Scotland Jack Nicklaus £5 note, various Open Championship related items incl Royal mail stamp collection, Playing cards, collection of Wilson Staff Bakelite cash dishes, face inserts, BBC Golf Vinyl L.P in sleeve, various trade cards incl AB&C, Donaldson, S. Anargyros et al – needs a look (a lot). Note: Re Estate of late Phil Lester PGA
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165598 item(s)/page