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Lot 62
ƟSalman Rushdie, the Complete Novels, plus short stories and non-fiction, first and limited editions, signed by the author [UK and USA, 1975-2017]a group of 26 volumes, comprising: Grimus (1975, author’s first work, dust-jacket spine very slightly faded, top edges spotted), Midnight's Children (1981, top edges of volume and jacket a little spotted), Midnight's Children (1981, first American Edition, dust-jacket a little faded), Shame (1983), The Jaguar Smile, a Nicaraguan Journey (1987, first American edition), The Jaguar Smile (1987, original printed wrappers), The Satanic Verses (1988, dust-jacket spine very slightly faded), Is Nothing Sacred (1990, original printed wrappers), Haroun and the Sea of Stories (1990), Imaginary Homelands (1991), East, West (1994), The Moore's Last Sigh (1995, Waterstone's limited edition copy), Good Advice is Better Than Rubies (1995, Pantheon Press limited edition, original printed wrappers and folder), The Moore's Last Sigh (1995), The Vintage book of Indian Writing 1947-1997 (1997, paperback edition), The Ground Beneath Her Feet (1999), Fury (2001), Fury (2001, first American edition), Fury (2001, first American edition), Step Across This Line (2002), Salimar the Clown (2005), Francesco Clemente self portraits (2006, portfolio-style exhibition catalogue of Francesco Clemente, with text by Salman Rushdie, illustrations throughout, original printed wrappers), The Enchantress of Florence (2008, number 12 of 100 copies, slip-case), Luka and the Fire of Life (2010), Joseph Anton (2012), Two Years Eight Months (2015), The Golden House (2017), all first English editions unless specified, original cloth or boards, dust-jackets present where applicable, all signed by the author, an excellent set of this much celebrated author's works, 8vo and large 4to Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
Lot 105
Basil Blackshaw HRHA RUA (1932-2016), The Lovers, After CourbetOil on canvas, 70 x 111cm (27½ x 43¾'')Signed versoExhibited: Tom Caldwell Gallery, Belfast, One Man Show, March 1981; label verso with title 'After Courbet'.Literature: 'Basil Blackshaw - Painter' edited by Brian Ferran, Illustrated Plate 108, pg. 102Basil Blackshaw once told me “I steal from good artists and bad artists. It’s what you do with the theft is what matters. Even a bad artist can help you to resolve a problem.” he said. ‘The Lovers’ or should we rename the painting ‘Gráinne agus Gráinne’ is Blackshaw at his mischievous best - stealing an idea yet uniquely giving his ‘otherness’ to Courbet’s interpretation of the same subject.The work has an echo too of Irish artist Michael Farrell in his interpretation of Boucher’s sexually erotic and provocative ‘Mademoiselle O’ Murphy..’Blackshaw’s painting is very much in the vein too of the Donegal Gaeltacht seanchaí Neidí Franc who habitually started his storytelling seisiún with the refrain.. “Ní raibh mé riamh gan aon scéal ach dá mbéinn gan aon scéal do chumfainn m’féin scéal” but suddenly ‘duende’ took hold and lifted the performer and listener into a celestial world.Basil has created his own story in this painting. It too invokes thoughts of eroticism inspired by ‘Baudelaire’s ‘Fleurs du Mal’ poetry. The physical presence is temporary ... the viewer enters another world once the eye falls on the lovers whose depiction is ephemeral and emotionally charged. Herein rest the foundations for a thesis on this most érotique oeuvre by Basil Blackshaw.Eamonn Mallie, March 2019A renegade and cowboy of the Irish art scene, Basil Blackshaw is known for pushing the boundaries of art and representation. Blackshaw made a career from depicting the shunned and marginalised of society, bringing to the fore subjects that many might have considered ‘tasteless’. In this, the painter found a comrade in Gustave Courbet, a French Realist and radical working in the 19th century.Despite his daring approach, Courbet ushered in a new reign of art in France and, for this, he would have gained respect from Blackshaw. One of Courbet’s more scandalous works was his ‘Sleepers’, commissioned in 1866 for a wealthy Turkish diplomat. Although erotic pieces were already in circulation, Courbet shocked the critics and viewers with this piece as, unlike previous images of the subject, Courbet painted his work on a grand scale, affording it an importance which was hitherto unprecedented. Such was the outrage at this lurid display, ‘Sleepers’ was mentioned in a police report of 1872 after its exhibition in a window and was used to demonstrate the lack of morality and principle held by the artist.In his ode to Courbet, Blackshaw has taken his work one step further. Unlike Courbet, who titled his work ‘Sleepers’, Blackshaw removes any pretence of ambiguity and boldly declares the piece as ‘The Lovers’. He strips away the non-essential elements of luxury; the flowers, the discarded jewellery and the prettily painted glass, disallowing any distraction from his main subject. In a wash of white and pink, the tousled bedsheets become inextricably linked to the bare flesh that so disrupted them, whilst the figure of one woman blends into that of the second, highlighting the intimacy of their tryst. The broad, confident brushstrokes, indicative of Blackshaw’s style, unapologetically lay bare the physicality of this scene and force us to confront one of the key characteristics of human nature. Nestled unashamedly in their comfort, ‘The Lovers’ lift the veil on a topic often considered as indecorous and glorify a subject that, in terms of Blackshaw’s work, would have walked hand in hand with the disparaged of society.Helena Carlyle, March 2019
Lot 133
A RUBY, DIAMOND AND PEARL SET PANEL BRACELET, centred with two entwined openwork navette-shaped panels, highlighted by a trio of pearls and bordered by channels of step-cut rubies and single and old-cut diamonds, on a two colour fancy-link bracelet, total diamond weight approximately 0.30ct, length 17cm
Lot 147
A RUBY AND DIAMOND CLUSTER RING, centred with a cluster of cushion-shaped old-cut diamonds in millegrained collet settings, to a circular border of step-cut rubies, above a scroll pierced gallery, two colour precious metal mounted, (rubies untested for natural/synthetic origin), total diamond weight approximately 0.70ct, ring size I
Lot 2
A VICTORIAN GARNET AND DIAMOND SET PANEL BROOCH, the circular panel centred with a star-shaped cluster of circular mixed-cut and triangular step-cut almandine garnets, with rose-cut diamond points between, bordered by ropetwist wirework, scrolls and beaded decoration, with later fitting, diameter 4.2cm
Lot 235
AN EMERALD, HALF PEARL AND DIAMOND CLUSTER BROOCH, the rectangular step-cut emerald with canted corners, in closed foil-backed setting, bordered by a row of half pearls, spaced by lasque-cut diamond points, to a tapered bar mount with later fitting, (half pearls untested for origin), length 3.85cm
Lot 261
A 19TH CENTURY RUBY AND DIAMOND DOUBLE-HEART BROOCH/PENDANT, designed as two entwined openwork hearts, individually set with channels of circular mixed-cut rubies and lasque-cut diamonds, surmounted by a similarly set loosely tied ribbon bow, highlighted by a square step-cut ruby and an old-cut diamond, principal diamond weight approximately 0.15ct, length 3.5cm
Lot 305
AN EMERALD AND DIAMOND PANEL RING, circa 1915-25, the lozenge-shaped panel centred with a rectangular step-cut emerald between two old and brilliant-cut diamonds, framed by pierced and millegrained channels of graduated old-cut diamonds, two colour precious metal mounted, indistinctly marked, panel length 1.25cm, total diamond weight approximately 0.30ct, ring size J
Lot 452
An L. S. Clucas of York, 54-inch Reproduction Ordinary.Built in 1981 to a very high standard in the guise of an 1884 Singer double-hollow-fork 'Challenge' bicycle, to include a replica of a Coopers patent adjustable mounting step. Other features include a 1-inch crescent rim front and back, adjustable headstock, 24-inch semi-drop handlebars with turned wooden grips, spoon brake and sprung operating lever, sealed front bearings, an 'Arab' style saddle support arrangement and rat-trap pedals. A sound and highly useable bicycle with an engraved identification plate fitted to the circular section backbone.
Lot 453
An c1883 Ellis & Co. 'Facile' Safety Bicycle Numbered K35 on the central handlebar knuckle, this bicycle was originally in the Willis collection and, given the wear on the tyring, has seen much enthusiastic use. The front wheel is direct spoked 46-inch and the rear, 24-inch. The circular section backbone is in sound order and retains shaped mounting step and rear mudguard. The spoon brake is operated by a sprung lever, itself fitted to 25-inch semi-drop handlebars with turned bone grips. The Beale & Straw's patented drive mechanism is complete and working, and the front bearings appear to be rolling well. The saddle frame supports a leather hammock-style saddle.
Lot 458
Dan Rudge & Co. Ltd., 'The Rudge' 54-inch Ordinary With a frame number of 28395, this bicycle dates from circa 1885. The tangent spoked driving and trailing wheels possess their original soldered-spokes and rims, and other features include 5-inch slotted cranks and original pedals, a front hub with cone ends and fitted to Daniel Rudge's 1878-patented adjustable bearing assembly, hollow forks, 27-inch (rare) detachable hooped handlebars with horn grips, a Brooks 'Long Distance' saddle, albeit a new top has been fitted, the rear support bolted to the circular-section backbone, the end of which is swathed into the rear forks holding a 17-inch wheel. Original nickel-plating and some original black enamel are also insitu. The company name, model and wheel size are clearly stamped on the steering yoke and, interestingly, the backbone manufacturer's acid-etched armorial for Hydes & Wigfull is located on the backbone, just behind the saddle; the company is also listed as bicycle makers in 1881. Other qualities include the very rare inclusion of a detachable handlebar option, together with a nickel-plated leg guard, an adjustable rear mounting step, and a spoon-brake to the front wheel. A highly original bicycle that was purchased from Downie's Cycle & Motorcycle Depot in Haymarket Terrace in Edinburgh in 1957, and has been dry-stored and little used for 60 years. Prior to 1957, it is believed to have been in one family ownership since new. Its early history is unclear, but it did feature as a stage prop for performances by comedian Tommy Lorne at the King's Theatre in Edinburgh in 1930.
Lot 463
An Open-Front High Wheel Tricycle A front-steering reproduction tricycle made to a high and exacting standard in (it is believed) the 1960s. Painted black, the driving wheels are 44-inches and the front steering wheel 20-inch. The machine comes with stirrup handle steering, double-pad saddle, left-hand operated contracting band-brake on the central drive hub, 1¼-inch long link driving chain, period style pedals, basket, mounting step, two Lucas matching oil-powered lamps, foot-rests, etcetera.
Lot 465
A c1890 Cross-Frame Safety Bicycle Believed to be a Pope-manufactured bicycle, it has been restored to a good standard. The 20-inch frame has been enamelled black with box lining, the 30-inch wheels have been re-built with stainless spoking, 1-inch crescent rims, inch-pitch chain with a 5-inch crank. Other features include a nickel-plated spoon brake and lever, 7-inch cranks and block rubber pedals, rear mounting step, 29-inch wide nickel-plated handlebars, leather-topped saddle, lamp bracket and saddle bag.
Lot 475
A c1875 Starley 'Ariel' Tension Wheel Bicycle A restoration project just removed from long term dry storage. It has a 38-inch 'V' section wheel with the remains of white tyring, and comes with all of its hairpin spoking and single tensioner in place, original hub and 7-inch slotted cranks. The solid steel backbone splits to the rear forks with a flip-down mounting step still insitu, and with an aperture for a rear brake assembly. The saddle spring is present as are the hooped handlebars with palm grips, (one needing repair) but no central securing nut.
Lot 476
A c1889 Solid-Tyred Safety Bicycle A basically complete bicycle, just in need of refurbishment, and coming with its original 26-inch handlebars with original bone grips, 30-inch wheels with ¾-inch rims and useable tyres, mudguard, inch-pitch block driving chain, chain-guard and adjustable bottom bracket, slotted cranks, saddle post and rear step.
Lot 1
AN IMPORTANT SILVER MOUNTED 20-BORE FLINTLOCK REPEATING GUN AND BAYONET FROM THE PERSONAL ARMOURY OF TIPU SULTAN, DATED AH 1200 or 1785, 38.5inch sighted three-stage barrel decorated in gold for half of its length with eight panels of bubri or tiger stripe interspersed with bands of scrolling vines and flower heads and dated AH 1200 or 1785, further marked with the place of manufacture the Haydarnagar Armoury and The devoted servant Sayyid Da'ud, the white metal foresight surrounded by a band of scrolling vines and flower heads, border and foliate engraved lock, in the French manner, decorated with a gold band to the step and with date and manufacture details in gold to match those on the barrel, stepped and chiselled cock decorated with scrolling foliage and flower heads and finished in gold, the self priming pan and steel also decorated to match, the 21-shot repeating breech mechanism based on the Lorenzoni or Chelembron system is finished in gilt and chased with scrolling foliage, retains two of the three loading chamber covers, one lattice pierced the other engraved, the carved wooden stock with silver side plate and butt plate, the former with, the former with the rack number 82 in Perso-Arabic and chased with flowers and vines, the latter decorated to match and containing a sprung trap for the bayonet, this released by a push button decorated as a flower head, the remainder of the stock well carved with foliage about the barrel tang and inlaid with scrolling silver wire, the back of the wrist also inlaid with scrolling silver wire in the form of a stylised tiger's mask, the remaining portion of the silver trigger guard decorated to match and with the rack number 82 in Perso-Arabic, complete with its companion bayonet stored in the butt, the socket decorated profusely with gold bubri design and carrying the same date and manufacturing details.See pages 45-48, The Firearms of Tipu Sultan 1783-1799 by Robin Wigington for a virtually identical gun. Please also see item RCIN 90673 in the Royal Collection for another.See page 33 for a reference to the small socket bayonets or "sangin" which were stored in the butts of some of Tipu Sultan's guns.The wooden fore-end and the forward magazine with the Tiger's mask are lacking from the Thomas Hart gun and the underside of the stock appears to have been struck by a musket or pistol ball which has removed part of the trigger guard and the supplementary mechanism release trigger This damage has left the gun with the cock locked in the firing position.Unlike other Tipu Sultan guns this one exhibits clear signs of having been badly damaged in its past andbearing in mind that the rest of the items of Major Thomas Hart's have all remained in general good order one can only conclude that the gun was in this condition when acquired by the Major. Furthermore, one could surmise that because the virtually identical examples of this gun that exist are in excellent order and were taken from the armoury that, in all probability, this gun came from the same rack in the armoury but rather than being taken directly from the rack after the fall of Seringapatam it appears to have been collected from the battlefield. The above opinion is compounded by the fact that the bayonet has been ripped along the socket channel a process that has been caused by the bayonet being forced backwards along the barrel and over the locking stud either when the gun was dropped, possibly when Tipu was wounded in the right side of his head, or when thrust. The important fact here is that the bayonet was fixed as opposed to being stored in the butt as it would have been in the armoury.Please also observe the tiny gold Haidar mark or H in Arabic that appears at the back of the breech on all three of the upper barrel flats. This mark also appears on the blades of three of the swords in this collection and denotes their presence in Tipu's personal armoury. From the Tipu Sultan collection acquired by Major Thomas Hart after the siege of Seringapatam.
Lot 1163
A 14ct blue and white diamond ring, the central round brilliant cut diamond, estimated approx. 0.77cts, collet mounted within a hexagonal framework with a single step cut diamond to either side and five treated blue diamonds above and below, overall total weight of diamonds estimated approx. 1.87cts, all set in white gold with a plain band stamped 585, size P, (5.1g)
Lot 1217
An 18ct and platinum emerald and diamond ring, the hexagonal step cut emerald, approx. 13.8 x 8.9mm, surrounded by round brilliant cut diamonds and two baguette cut diamonds to either side, shoulders set with a single small baguette cut diamond, total weight of diamonds estimated approx. 0.98cts, with plain band stamped '18ct Plat', size I (with sizing beads), (7.6g), cased
Lot 174
An 18 Carat White Gold Kunzite and Diamond Pendant on An 18 Carat White Gold Belcher Chain, an octagonal step cut kunzite within a border of round brilliant cut diamonds to a diamond set pendant loop, total estimated diamond weight 0.30 carat approximately, pendant measures 1.5cm by 2.7cm, chain length 45.5cm see illustration. The necklace is in very good condition. The pendant is hallmarked with sponsor's mark 'MLd', London, 2006. The chain is hallmarked with sponsor's mark 'CC', Birmingham. The chain fastens with a bolt ring catch. The approximate qualities of the diamonds are; colour J/K/L, clarity I1/I2/I3. Gross weight 9.2 grams. CR made 25.01.19
Lot 117
An 18 Carat Gold Emerald and Diamond Three Stone Ring, the octagonal step cut emerald in four yellow claws, flanked by two round brilliant cut diamonds in white claw settings, to a yellow pointed shoulder plain polished shank, total estimated diamond weight 0.30 carat approximately, finger size O1/2 see illustration. The ring is in very good condition. It is hallmarked with sponsor's mark 'HM', Birmingham. The emerald measures; 5.78mm x 5.86mm x 4.35mm. The approximate qualities of the diamonds are; colour H/I/J, clarity SI1/SI2. Gross weight 4.1 grams. CR made 25.01.19.
Lot 218
A Platinum Diamond Ring, the octagonal step cut diamond in four claws, to tapered baguette cut diamond shoulders on a plain polished shank, principal diamond estimated to weight 0.75 carat approximately, finger size M1/2 see illustration. The ring is in very good condition. It is hallmarked with sponsor's mark 'EF', London, 2006. The step cut diamond measures; 5.45mm x 5.39mm x 3.11mm. The approximate qualities of the principal diamond are; colour G/H, clarity VS2/SI1. Each tapered baguette cut diamond is estimated to weigh 0.02 carat approximately. The approximate qualities of the residual diamonds are; colour H/I/J, clarity SI1/SI2. Gross weight 4.2 grams. CR made 25.01.19
Lot 787
AN 18CT GOLD EMERALD AND DIAMOND RING set with estimated approx 0.50cts of brilliant cut diamonds, the step cut emerald is approx 10.9mm x 7.5mm x 3.6mm. approximate gem set head size 13.8mm x 12.3mm, finger size O, weight 6.5gms Condition Report: Emerald, translucent, bordering opaque. Diamonds clean and bright., mount in good order .
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26534 item(s)/page