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Lot 362
A vintage glass counter top shop display case having brass fittings and a red velvet interior being filled with a good selection of jewellery and other mixed items to include an ethnic style necklace having multiple strands of orange stone beads with a round orange panel pendant, an Everite cocktail watch, a gold tone rope chain necklace, a pair of brass nutcrackers, an amber style beaded necklace, enamelled bowling badges etc.Measures 8cm x 35cm x 27cm.
Lot 465
A collection of jazz and blues 78 RPM records to include, Teddy Wilson China Boy and Rosetta on Parlophone, Louis Armstrong Potato Head Blues and Allingator Blues on Parlophone, Louis Armstrong Cornet Chop Suey and Muskat Ramble on Columbia, "Fats" Waller Viper's Drag on HMV, Jesse James Lonesome Day Blues and Southern Casey Jones on Vocalion, Teddy Wilson Them There Eyes and I Know That you Know on parlophone, Earl Bostic Sleep and Flamingo on Vogue label, Humphrey Lyttelton Get Out of Here and go on Home and Wolverine Blues on Parlophone, Humphrey Lyttelton Snag It and I Like to go Back in the Evening on parlophone, Ida Cox Four Days Creep and Death Letter Blues on Parlophone, Julia Lee Nobody Knows you When You're Down and Out and Decent woman Blues on Capitol label, Bessie Smith Weeping Willow Blues and Careless Love Blues on Parlophone, "Kings of Boogie Woogie Piano" Two and Few and Chicago in MInd on Vogue label, "Fats" Waller Shortnin' Bread and My Very Good Friend the Milkman on HMV, Art Hodes Get Happy and Indiana Fox Trot on Brunswick, Tommy Ladnier JB-BA and Really the Blues on HMV, "Fats" Waller Jealous of Me and The Joint is Jumpin' Fox-Trot on HMV, Art Hodes Georgia Cake-Walk and Liberty Inn Drag on Brunswick, Mahalia Jackson I Gave Up and Silent Night, Holy Night on Vogue, Bunk Johnson A Closer Walk With Thee and High Society on HMV, Milton "Mezz" Mezzrow Comin' on With the Come on part 1 and part 2 on HMV, Albert Ammons Bass Goin' Crazy and Suitcase Blues on Vogue, Ken Colyer's Jazzmen Goin' Home and Isle of Capri on Decca, Jelly-Roll Morton's Trio Shreveport-Stomp and Deep Greek-Blues on HMV, Muddy Waters Rollin' Stone Blues and Walkin' Blues on Vogue, Wild Bill's Stompers Eccentric and Baby Won't you Please Come Home on Esquire label.
Lot 589
A selection of four early 20th Century photograph albums to include an of photographs by George Pitt-Rivers of scenes in and around Uckfield, including many scenes around Hampstead Mill, with building pictures, surroundings and people, an album with 72 photographs relating to southern England in the 1920s and 30s, and including some images of cars, many individuals identified by name, scenes of Brompton Sanitorium Frimley, Ramsgate, Canterbury, Devon etc., another album post-war London, young cadets training in radio skills in Stone, student life in London in the 50s, the London to Brighton vintage car event, scenes in Devon and north Wales etc. Plus a 19th century occasional book, a sketchbook and an autograph book- both 20th century.
Lot 825
A selection of 9ct gold pendants to include a square pendant set with a faceted pink stone and white accent stones (hallmarked Birmingham), a flower head pendant set with white stones (hallmarked London 1981), a pearl pendant set with a white stone and a blue stone pendant in a decorative setting. Total weight 7.0g.
Lot 854
A collection of good silver jewellery to include boxed white metal Art Deco earrings with post backs adorned with white baguette stones and a matching pendant and necklace chain. Also 2 pairs of silver 925 marked drop earrings, one set on posts, the others hooks, a silver 925 brutalist ring with coloured pink inset mother of pearl by Mail, silver 925 fine link back chain with heart shaped pendant pave inset with mother of pearl by Mail. Together with 2 yellow metal bracelets and a yellow metal plated 3 stone ring.
Lot 874
Two hallmarked 9ct gold rings to include a dress ring prong set with an oval cut white stone flanked by two triangular white stones (hallmarked Birmingham 2003, size T.5) along with another dress ring prong set with a rectangular cut clear stone flanked by two further white stones (hallmarked Birmingham 2004, size T). Gross weight 4.7g.
Lot 889
A selection of silver rings to include a stamped 925 ring having pierced decoration set with a grey stone, a stamped 925 silver ring having pierced decoration scrolled shoulders, a stamped 925 domed head ring and an unusual large Danish design dress ring set with a green stone in a decorative setting being marked J Hull to the inside. Total weight 55.4g.
Lot 890
A 9ct gold bar brooch having rope twist design and ball decoration having a white stone to centre to middle. Hallmarked for Birmingham date letter S and stamped makers mark to verso. Together with a silver brooch having a gold decoration to front in the form of a bird on a bank of flowers. Gross weight 4.9g. Gold brooch measures 1.5 inches.
Lot 891
A selection of 9ct gold jewellery to include a pendant necklace having a white stone pendant on a gold setting, a pair of hallmarked gold hoop earrings, a hallmarked crucifix pendant, a stamped 9ct pendant of twisted design set with a light blue stone and white accent stones, a hallmarked wish bone pendant. Total weight approx 5.2g.
Lot 902a
A collection of yellow metal jewellery to include a Japanese Shakudo ware demi parure set including necklace, spacer bracelet and earrings having gilt scenes of birds, a pair of hoop earrings, a pendant necklace having blue and white stones and matching earrings, a pair of red stone drop earrings, a filigree ring etc.
Lot 929
A group of 9ct gold necklaces to include a stamped 9ct gold chain necklace having a stamped 9ct concentric circle pendant, a stamped 9ct gold chain with a hallmarked 9ct gold pendant set with an oval cut white stone, along with a stamped 9ct gold fine snake chain (missing clasp). Total weight 4.2g. Chains measure 18 inches, the snake chain measures 14 3/4 inches.
Lot 939
A collection of vintage costume jewellery to include a selection of ladies wrist watches to include Citron, Timex, Codex, Quartz, a selection of vintage brooches including a stag brooch set with a purple stone, a compact with floral decoration, a pair of gold plated pre Colombian replica cufflinks, pendant necklaces etc.
Lot 227
Grouping of Two (2) Native American Table Top Items. Includes: Bill Worrell (born 1936) Bronze shaman sculpture mounted on stone base, and ceremonial feathered stone sculpture inlaid with turquoise. Bronze sculpture is signed and numbered 15/150 on obverse side. Bronze measures 10" H x 5" W, sculpture measures 6-1/2" L. Condition: Rubbing otherwise good condition Estimate: $50.00 - $100.00 Domestic Shipping: $72.00
Lot 233
Grouping of Four (4) Inuit Stone Carved Hunter Sculptures. One is Signed Jaco Ishulutaq. Tallest measures 6-7/8" H x 5-1/2" W, smallest measures 5-1/4" H x 4" W. Condition: Jaco sculpture needs to be glued to base and has a small nick to top others good condition Estimate: $150.00 - $250.00 Domestic Shipping: $88.00
Lot 56
Jack Butler Yeats RHA (1871-1957)A Lament for Art O'Leary (1940) A set of six illustrations, pen and ink, variously sized 14 x 18.4cm up to 20 x 16cm (5½ x 7¼'' to 7¾ x 6¼'')Variously signed, signed with monogram and with monogram stamp;Together with a 2nd edition, Cuala Press. A Lament for Art O'Leary. Translated from the Irish by Frank O'Connor, with six illustrations by Jack. B. Yeats RHA. Reprint, 1971, for the Irish University Press, T.M. MacGlinchey Publisher, Robert Hogg PrinterProvenance: With Theo Waddington, Irish Art Project.Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats, Irish Academic Press, 1994, Catalogue No.1474, illustrated p.203, 204 and 205.Jack B. Yeats’s illustrations to the Lament for Art O’Leary are among his most expressive and memorable drawings. Cuala Press brought out a limited edition of 130 copies of Frank O’Connor’s translation of the 18th century poem in 1940 for which Yeats supplied six pen and ink illustrations. These were hand-coloured by Eileen Colum and Kathleen Banfield of the Cuala Press in the printed edition.The poem is the celebrated Lament of Eileen O’Connell composed in Irish for the wake of her husband Art O’Leary who was murdered on the orders of the local magistrate Abraham Morris in 1773. O’Leary came from a landed Catholic family and served as a captain in the Hussars of the Austro-Hungarian army. The couple lived in Rathleigh House, near Macroom, Co. Cork. Eileen was of the O’Connell family of Derrynane, Co. Kerry and an aunt of the future politician, Daniel O’Connell. Preserved orally for generations, her Lament is one of the last manifestations of the bardic poems of Gaelic Ireland. Frank O’Connor in his introduction to the poem, writes that the lament comes from ‘a world where the mind has no yesterday and no tomorrow’. Yeats’s drawings capture the despair and grief of Eileen as she mourns the violent death of her young husband. She searches for his body, grieves for him and buries his corpse. Yeats does not illustrate specific lines but creates a parallel vision of the tale in his epic pen and ink images. O’Connor described them as ‘noble drawings’ and they evoke the elegance and graciousness of the aristocratic heritage of the protagonists as well as the dramatic scenery of the Boggeragh mountains near Macroom where the events take place. The first illustration depicts O’Leary on his horse, galloping in the mountainy landscape of north Cork. He cuts an impressive figure, despite his evident youth. Holding his riding crop aloft, he wears a military style jacket and elegant hat, a reference to his status as an officer in the Austrian army. His silver hilted sword is prominently displayed. Art’s swaggering pose, which antagonised Morris, is mirrored by that of his horse who holds its head and neck erect adding to the noble demeanour of its young rider. This image is contrasted by the next illustration of Eileen walking upright and proudly with her two sons. The infant is tied by a shawl to her shoulders while his brother walks beside her. Behind them are high mountains and little cottages. The isolation of the widow and children after O’Leary’s death is emphasised in the lament where Eileen notes that there ‘hangs no throng of mourners’ as disease has decimated the people and prevented their attendance. The third illustration shows O’Leary’s horse standing at the gateway with its saddle empty. The bay mare’s return without its mount alerted Eileen to the fate of her husband and prompted her to search for him. One of the most impressive and unusual illustrations is that of Eileen on horseback as she goes in pursuit of O’Leary. Her locks runs wild, her arms are astray and her face and hair become subsumed into the surrounding sky. The rearing horse accentuates the wildness of her emotions. The treatment of the image encapsulates the inner grief and turmoil as expressed in the lines ‘On me is the griefThere’s no cure for in Munster. Till Art O’Leary riseThis grief will never yield That’s bruising all my heart, Yet shut up fast in it. ‘It also refers to the anger and vengefulness that Eileen expresses towards Morris, the man responsible for O’Leary’s death, who is referred to as ‘the bandy-legged monster, May he rot and his children’.In the last two illustrations Eileen is shown grieving over the body of her husband and carrying his coffin to be buried in the deserted cemetery of Cill na Martra. In the former, she finds O’Leary’s badly injured body where it had fallen from the horse at Carrignanimma. She kneels over the corpse, blood pouring from her hands. To the right the strange form of a standing stone, covered by O’Leary’s jacket, looks like a shroud or a spirit, suggestive of the reverberations of this violent death. The sweet expression of the woman’s face is contrasted by the contorted and ravaged features of the cadaver below her. The horse grazing in the background and the surrounding lush vegetation refer to the continuity of natural life, now lost forever to O’Leary. In the final illustration Eileen carries her husband’s coffin to an isolated cemetery surrounded by high mountains. Her body is contorted under the weight of the casket, her physique turned into a sinuous line expressive of sorrow. The empty scene of a young woman burying her dead in a remote landscape recalls imagery and accounts of the Great Famine. Visually it links the end of the Gaelic nobility to the next cataclysmic event in Irish history. The darkness of the Lament and the imagery it evokes is mitigated by the subtle manner by which Yeats has drawn the illustrations. Strong thick strokes of ink are counteracted by delicate hatching lines that convey shadow and movement, resulting in lively fluid drawings that exude energy and vigour. Yeats conveys a version of Eileen’s story that works independently of the text, offering the reader a visual sequence that is vivacious and contemporary. Róisín Kennedy May 2019
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