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Lot 148
Late 19th Century Scottish Officer's Dress Dirk 13 inch, single edged blade with sharpened back edge point. Clipped spine. Large and narrow fuller. Gilt brass, thistle decorated ferrule. Gilt brass, line edged pommel with central, clear cut stone. Carved basket weave grip with brass stud decoration. Contained in its black patent scabbard with gilt brass, thistle decorated mounts. The middle mounts containing a matched pair of knife and fork. Both with plain gilt brass ferrules. Gilt brass, line edge pommels with central clear cut stones. Basket weave wooden grips with brass stud decoration. PAYMENT BY BANK TRANSFER ONLY
Lot 117
SIR EDWIN LUTYENS (1869-1944) SURVEY OF LINDISFARNE CASTLE, HOLY ISLAND MARCH 1902 pencil and wash, inscribed SURVEY OF LINDISFARNE CASTLE, HOLY ISLAND MARCH 1902, later framed(56cm x 78cm)Footnote: Note: Located on Holy Island, near Berwick-Upon Tweed, Lindisfarne Castle was initially built as a fort in 1550, using materials from the island’s priory which was abandoned in 1537. Over the next three hundred years, the fort was transformed into a military station, occupied by soldiers who kept watch over the harbour for any potential attacks. In 1901, on a trip to Northumberland to explore the area, the remains of the fort were discovered by publishing magnate Edward Hudson, owner of Country Life Magazine. He tasked his friend and architect Edwin Lutyens to redesign and refurbish the Castle into an elegant holiday home in the Arts & Crafts style. The work was completed in 1912 and ranged from external work, such as the beautifully cobbled ramp, to major structural interior work: vaulted ceilings, arches, the use of different levels linked by steps and carefully installed fireplaces and cupboards. Throughout the Castle, Lutyens used a variety of materials, including brick, stone, slate and wood to create simple forms and rustic textures that drew upon the castle’s origins, whilst remaining a warm and homely environment for Hudson. In 1911, Lutyens instructed Gertrude Jekyll to design the walled garden, located on the site of a vegetable plot which provided food to soldiers living in the fort some time ago. The present two lots are an initial survey of the castle in 1902 before plans were drawn up for its renovation.
Lot 158
HAROLD STABLER (1872-1945) (DESIGNER) RICHARD LLEWELLYN BENSON RATHBONE (1864-1939) (MAKER) RARE patinated copper, glass(103cm wide, 88cm high approx.)Footnote: Note: Harold Stabler initially trained in woodwork and stone-carving before being appointed Head of Metalwork at the Keswick School of Industrial Arts in 1898. After a short time there and later at Liverpool University, he moved to London in 1907 where he was Head of the John Cass Institute’s Art School until 1937. Stabler worked with a number of materials, including enamels, metalwork, glass and ceramics, producing designs for mass-production which had a notable influence on the development of modern English design of the 1920s and 30s. He exhibited extensively at The Art Worker’s Guild and in 1936 he was one of the first to be appointed a Designer for Industry by the Royal Society of Arts. A relative of W. A. S. Benson, Richard Llewellyn Benson Rathbone was also the cousin of Harold Rathbone, Head of the Della Robbia Pottery in Birkenhead. He initially trained in metalwork with Benson, before setting up his own workshop in 1908. In keeping with the Arts & Crafts aesthetic, Rathbone’s work proved popular and he is known to have produced metalwork designs for Mackmurdo, Heywood Summner and C.F.A. Voysey. Rathbone also taught metalwork classes at Liverpool University, where he was later joined by Harold Stabler in 1903. By 1905 he moved to London to take a position as Head of the Art School at the John Cass Institute.
Lot 346
JOSEPH HAYES (1869-1916) FOR ST. PETER'S CHURCH, MORNINGSIDE FIGURE OF SAINT JOHN, CIRCA 1907 plaster maquette, later mounted on a carved oak plinth(figure 111cm high, including plinth 139cm high)Provenance: St. Peters Church, MorningsideFootnote: Note: Regarded as amongst Sir Robert Lorimer’s most innovative architectural designs, St Peter’s, Morningside was built in two stages from 1906-7, with the nave completed from 1928-9. The church was designed by Lorimer in an Italianate style and includes stained glass by Morris and Gertrude A. Meredith Williams, Nina Millar Davidson, and Pierre Fourmaintraux, metalwork by Thomas Haddon and a fine Arts & Crafts lead font by G. P Bankart. On the exterior are carved stone sculptures by Joseph Hayes including The Crucifixion with Our Lady and St. John of around 1907. The current lot is the maquette for the figure of St. John. A polychrome carved wood sculpture in the apse of around 1908 uses the same figure. Joseph Hayes worked on several projects with Lorimer from around 1900, including the management of the carving for the Thistle Chapel in St. Giles’ Cathedral, Edinburgh, built from 1909-1911.
Lot 379
MAX JOSEF GRADL (1873-1934) (ATTRIBUTED DESIGNER) FOR THEODOR FAHRNER PAIR OF JUGENDSTIL CUFFLINKS, later converted from buttons, silver, set with green stone cabochons, marked to reverse TF/ 950/ REGD/ MB (Murle Bennett, importer), import hallmarks for London 1903(1.2cm square)Footnote: Literature: Becker, V. Art Nouveau Jewelry, Thames & Hudson 1998, p.142, pl.210 where buttons of a similar design are illustrated.
Lot 123
A nine stone diamond cluster ring, the cluster measuring approx. 11.96mm in diameter, engraved shoulders, the band marked 'c1.14', hallmarked 18ct gold, sponsor's mark 'C-R', Birmingham 1977, gross wt. 5.41g, size O. Condition - sold without certificate, however, central stone weighing approx. 0.33 carats, appears with inclusions just off table facet visible with 10x loupe only, other stones with minor inclusions, no yellowness visible in stones, general wear to band.
Lot 148
A seven stone diamond half hoop eternity ring, total approx. diamond wt. 1.10 carats, hallmarked 18ct white gold band, sponsor's mark 'M... & Co', Birmingham 1977, gross wt. 4.39g, size O. Condition - sold without certificate, diamonds appear bright and lively, no yellowness visible, minor inclusions with 10x loupe only, general wear to band including slight rubbing to sponsor's mark.
Lot 199
A ruby and diamond Rolex design signet ring, the central round stone weighing approx. 1.68 carats, measuring approx. 8.73mm x 2.92mm, surrounded by 14 round brilliant cut diamonds, cast white metal design, band marked '14K' & 'S.2.63 D.0.28', gross weight 9.05g, size L/M. Condition - sold without certificate however the central stone shows evidence of treatment and inclusions visible with naked eye, diamonds with various inclusions visible with 10x loupe.
Lot 201
A tanzanite and diamond cluster ring, the central rectangular cushion cut stone weighing approx. 2.66 carats, surrounded by eighteen round brilliant cut diamonds, band marked '18K 750', gross wt. 4.87g, size N/O. Condition - central stone with inclusions visible with naked eye, diamonds with inclusions visible with 10x loupe.
Lot 204
A tanzanite and diamond cluster ring, the central rectangular cushion cut stone weighing approx. 3.21 carats, mounted above two round brilliant cut diamonds weighing 0.20 carats each, diamond set shoulders, white metal band marked '18K 750', gross wt. 3.49, size N. Condition - sold without certificate however central stone with inclusions visible with naked eye, inclusions visible in diamonds with 10x loupe, no yellowness visible in stone, little wear to band, minor wear to tanzanite including nibbles etc.
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