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Lot 3599
COMMEMORATIVE MEDALS, BRITISH HISTORICAL MEDALS, Elizabeth I, The Alliance of Britain, France and the United Provinces, Dutch Silver Jeton, Dordrecht, 1596, below the name of Jehovah, Faith and Constance clasp hands, rev an arm from heaven holds stone with which to hit a pig, CAESA FIRMABANT FOEDERA PORCA, 29.5mm (MI 161/142; Dugn 3400; vL I, 471, 3). Very fine, toned.
Lot 507
ANCIENT COINS, ROMAN COINS, M. Nonius Sufenas (59 BC), Silver Denarius, SVFENAS S C, head of Saturn facing right, harpa and stone behind, rev PR L V P F, Roma seated left on pile of arms, holding a sceptre and a sword, being crowned by Victory stood behind, SEX NONI in exergue, 3.42g, 1h (Cr 421/1; Sydenham 885; RBW 1517). Light iridescent toning, nearly extremely fine.
Lot 100
OROLOGIO DA TASCA A CHIAVETTA CON SMALTO, FIRMATO AMATRIC, PERIODO LUIGI XVI Cassa a due corpi in oro e decorata con incisioni a motivi floreali, sul retro medaglione con smalto raffigurante figura femminile e un altare su sfondo guilloché; collarino circolare e anello ad arco. Quadrante in smalto bianco con carica frontale, numeri romani e suddivisione della minuteria a quinti con numeri arabi; lancette Breguet brunite. Meccanica a fusée firmata “Amatric 9385”, carica a conoide, scappamento a verga, coq traforata e incisa, colonnini modanati. Diametro Ø: 42 mm Note: funzionante. Smalto con lieve difetto, pietra mancante sul pulsante dell’apertura. KEY-WINDING ENAMEL POCKET WATCH, SIGNED AMATRIC, LOUIS XVI Two body gold case engraved with floral motive, glazed guilloché back with enamel female figure and an altar. White enamel dial, roman numbers; blued Breguet hands. Movement signed “Amatric 9385”, fusée, verge escapement, pierced and engraved cock, molded columns. Diameter Ø: 42mm Note: working. Enamel with slight flaw, missing stone on the case button. € 1500
Lot 106
OROLOGIO DA TASCA A CHIAVETTA, FIRMATO PATRON, PERIODO LUIGI XVI Cassa a due corpi in oro, lunetta decorata con rosette, retro ornato da applicazioni floreali che fanno da cornice a una raffigurazione a rilievo a tema allegorico; collarino circolare, anello ad arco. Quadrante in smalto bianco con carica frontale, numeri romani e suddivisione della minuteria a quinti con numeri arabi; lancette Luigi XVI. Meccanica a fusée firmata “J.L. Patron a Genève”, carica a conoide, scappamento a verga, coq traforata e incisa, colonnini torniti. Diametro Ø: 34,5 mm Note: quadrante con difetto, lancetta dei minuti spezzata, cerniera del movimento rotta, alcune rosette mancanti. KEY-WINDING POCKET WATCH, SIGNED PATRON, LOUIS XVI Two body gold case, bezel sets with rosette, back decorated with floral decor and a relief decoration with an allegoric theme. White enamel dial, roman numbers; Louis XVI hands. Movement signed “J.L. Patron a Genève”, fusée, verge escapement, pierced and engraved cock, lathe turned columns. Diameter Ø: 34,5 mm Note: flaw on dial, broken minute hand and movement hing, some stone missing. € 400
Lot 129
OROLOGIO DA TASCA SVIZZERO CON DOPPIA CASSA, FIRMATO FERROT, PERIODO LUIGI XVI Cassa in oro liscio con collarino circolare e anello ad arco allungato. Controcassa in oro incisa e decorata sulla lunetta con rosette, sul retro smalto blu decorato con paillons e scena galante centrale. Quadrante in smalto bianco, numeri romani e suddivisione della minuteria a quinti con numeri arabi; lancette Luigi XVI decorate con rosette. Meccanica a fusée firmata “P. (Philippe) Ferrot Genève 4707“, carica a conoide, scappamento a verga, coq traforata e incisa, pilastrini a balaustra. Diametro Ø: 37 mm Note: tracce di ruggine, smalto non originale, rosetta mancante. SWISS KEY-WINDING POCKET WATCH, SIGNED FERROT, LOUIS XVI Polished gold case; double case engraved, bezel sets with rosette, back with enamel scene. White enamel dial, roman numbers; Louis XVI hands. Movement signed “P. (Philippe) Ferrot Genève 4707“, fusée, verge escapement, pierced and engraved cock, banister pilasters. Diameter Ø: 37 mm Note: some rust, not original enamel, a stone missing. € 800
Lot 78
OROLOGIO DA TASCA FRANCESE A CHIAVETTA CON SMALTI, FIRMATO LORIMIER, PERIODO 1800 Cassa a due corpi in metallo dorato, lunette ornate con rosette, sul retro medaglione smaltato e decorato con paillons raffigurante entro cornice ogivale due fanciulle e un’urna; collarino circolare e anello ad arco. Quadrante in smalto bianco con carica frontale, numeri arabi per le ore e per i quarti; lancette “beetle-and-poker” dorate. Meccanica a fusée firmata “Fr.s Lorimier n. 2725”, carica a conoide, scappamento a verga, coq traforata e incisa, colonnini circolari. Diametro Ø: 59 mm Note: smalto con difetti, rosetta mancante. FRENCH KEY-WINDING ENAMEL POCKET WATCH, SIGNED LORIMIER, 1800 Two body gold case, bezels set with rosette, back with paillons and enamel representing two figures and an urn within an ogival frame. White enamel dial, arabic numbers; “beetle-and-poker” hands. Movement signed “Fr.s Lorimier n. 2725”, fusée, verge escapement, pierced and engraved cock, cylindrical columns. Diameter Ø: 59 mm Note: flaws on enamel, a stone missing. € 700
Lot 15
OROLOGIO DA TASCA FRANCESE A CHIAVETTA CON SMALTI, FIRMATO L’EPINE, PERIODO LUIGI XVI Cassa a due corpi in oro incisa a motivi ornamentali, sul retro smalto centrale entro cornice sovrastata da corona nobiliare e decorata da rosette raffigurante volto di nobildonna; collarino circolare, anello ad arco. Quadrante in smalto bianco con carica frontale, numeri romani e suddivisione della minuteria a quinti con numeri arabi; lancette Luigi XVI e ornate da rosette. Meccanica a fusée firmata “L'Epine a Paris", carica a conoide, scappamento a verga, coq traforata e incisa, colonnini torniti. Diametro Ø: 36 mm Note: rosette mancanti, difetti al quadrante e allo smalto. FRENCH KEY-WINDING ENAMELED POCKET WATCH, SIGNED L’EPINE, LOUIS XVI Two body gold case, engravings, back with applied enamel representing a portrait of a lady inside a frame decorated with rosette. White enamel dial, roman numbers; Louis XVI hands. Movement signed “L'Epine a Paris", fusée, verge escapement, pierced and engraved cock, lathe turned columns. Diameter Ø: 36 mm Note: some stone missing, flaws on dial and enamel. € 500
Lot 26
Gerard Dillon (1916-1971) NATIVITY hand-painted stone carving; (unique) 17¾ x 18 x 3in. (45.09 x 45.72 x Collection of George and Maura McClelland Images and textures of stone recur throughout Gerard Dillon's oeuvre, from the distinctive wall patterns in his West of Ireland paintings, to his idiosyncratic and playful interpretations of the carved Irish scripture crosses. Nativity, a hand-painted stone carving, is without parallel in Dillon's body of work, a unique and individual exploration of the traditional religious iconography and early Irish stone carving that he drew on throughout his career. Marking a departure from his two-dimensional work on paper and canvas, Nativity reveals Dillon's exploration of the graphic and sculptural potential of shallow-relief carving, as well as the layering of colours and tones on polished limestone.Although more often associated with his scenes of the Western Irish coast, and with his highly personal 'pierrot' or clown series, Dillon frequently employed religious iconography. In his biography of Dillon, James White highlighted the intensely religious visual culture that surrounded Dillon during his youth in Belfast, describing the 'altars with lamps and flowers would be in almost every little Catholic house in the Falls Road area', as well as the 'large coloured reproductions of the Sacred Heart and the Virgin'. (1) Forgive us our Trespasses (1942), for example, depicts the long queue for confession, whereas paintings such as The Holy Island or Fast Day engage explicitly with religious iconography and experience. Dillon's highly personal interpretations in these works, and particularly in Nativity, affirm his importance to the canon of religious art in twentieth-century Ireland. The formal structure of Nativity, with the individual figures depicted in carefully defined compartments, reflects the arrangements on the Irish carved scripture crosses, as well as his 'childhood love of cutting out and rearranging images from newspapers and magazines' (2). The inclusion of the three kings, and the kneeling shepherds at the base of the limestone block, balances the composition and focuses attention on the cross shape formed by the Christ child and angels. Both the formal arrangement and the treatment of colour and figures within Nativity reveal Dillon's deep engagement with Irish and European religious iconography. The figures of Mary and Joseph in profile reflect the flattened and stylised graphic style of Insular manuscripts such as the Book of Kells. The delicate washes of colour on stone and careful incisions delineating mass and form, however, may reflect the influence of medieval and early Renaissance Italian art, particularly the work of Giotto, or even the richly-coloured depictions of the Kings from the mosaics in Ravenna's Basilica of Sant' Apollinare Nuovo. The shallow-relief carving and formal arrangement of Nativity also echo early modern Irish grave-slab carving.The tonal depth and delicacy of this work on polished limestone is particularly evident when compared with a similar arrangement in wax crayon on paper, with its brighter and harsher colours, and with a flattened arrangement that resembles a design for stained glass (3). While Nativity remains unique within Dillon's oeuvre, the carved sharp relief of each figure in the stone perhaps influenced the strong graphic style of his later works, and particularly works such as Clown with Magnifying Glass in his Pierrot series. (4) Dr Niamh NicGhabhannAugust 20161. James White, Gerard Dillon: an illustrated biography (Dublin: Wolfhound Press, 1994), 18. 2. Catherine Marshall, 'Gerard Dillon', in Catherine Marshall, Peter Murray and Andrew Carpenter (eds.), Art and Architecture of Ireland, Volume 5 Twentieth Century, (London and New Haven: Yale University Press, 2015), p. 141. 3. Karen Reihill, Gerard Dillon, Art and Friendships, Adam's, Dublin, 2013, p.97 (catalogue no. 85 'Nativity'. "A preliminary drawing for a Bord Failte Christmas Card.")4. Karen Reihill, 'Behind the mask', Irish Arts Review, Vol. 29, No. 3, Autumn/Winter 2012, 104-107. L
Lot 50
Frederick Edward McWilliam RA HRUA (1909-1992) 'MATRIARCH' 1935 cherrywood; (unique) signed with initials 22 x 9 x 7in. (55.88 x 22.86 x 1 Collection of George and Maura McClellandAcquired from McWilliam's studio in the 1970s McW records 35.07 (the seventh work sculpted in 1935). Renovated by McWilliam in 1984. Gothenburg 1947; Waddington 1984; Herbert Read Gallery, Canterbury, 1986; Whitford & Hughes, London, 1988; Tate Retrospective, 1989, catalogue no. 10 (illustrated p.39); 'Irish Sculpture Exhibition', Jerome Connor Arts and Sculpture Weekend, Annascaul, Co. Kerry, 26-28 June 1998, catalogue no. 31 (illustrated on catalogue cover)F.E. McWilliam Gallery and Studio, Banbrdige, Co. Down, 2008, exhibition catalogue, illustrated .p.37; Highlanes Gallery, Drogheda, Co. Louth, 2009 In 1931, F.E. McWilliam travelled to Paris on a Robert Ross Leaving Scholarship from the Slade with fellow student Beth Crowther, from Golear, near Huddersfield, whom he was to marry in March 1932 at St. John's Presbyterian Church, Kensington, London. The McWilliams intended to live, study and work in Paris since: 'it was the mecca, and the whole atmosphere testified to this; holy ground, full of memories of Cézanne and the presence of Picasso.' He met Zadkine and visited his studio and he also went to Brancusi's studio and was given an extensive tour by the Romanian sculptor with long discussions on his work practice. However, in 1932/33 sterling collapsed against the French franc and both Beth and "Mac" (as he was known affectionately by his friends) were forced to return to England where they rented a home in Chartridge, Buckinghamshire set in a cherry orchard surrounded by sycamores. The couple only produced paintings when in Paris as sculpture was taught as a secondary subject at the Slade when McWilliam studied there and paintings were easier to sell, easier to execute and much easier to transport. However, with the ready material of fallen cherry trees and the space available McWilliam began carving, which was his first love. He had befriended the Belfast sculptor George MacCann (1909-67) as students in London and through him was introduced to Henry Moore. MacCann had been a student of Moore's at the Royal College of Art. Moore was, at the time, a carver in stone and wood and his influence then was enormous, not only in England but also internationally.Matriarch, the present work, belongs to this period when McWilliam realised the possibility of the trunk of a fallen cherry tree, to carve it into the recognisable form of a woman, yet creating an open space between the enfolding arms and the crossed legs as Moore had extolled in 1932. Moore believed that by opening up the sculpture it gave the work depth and the space creates a sense of volume, which McWilliam referred to as 'the 4th dimension.'McWilliam has revealed the richness of the cherry wood in carving along the grain and then painstakingly sanding it to smooth perfection. He never employed assistants or apprentices to finish his work or in Henry Moore's case to enlarge works from smaller maquettes. McWilliam's love of natural material is exemplified in this sensitive and timeless Matriarch. Dr Denise FerranAugust 2016 P
Lot 73
Elizabeth Rivers (1903-1964) HEAR NO EVIL, SPEAK NO EVIL stone signed with initials 10½ x 7½ x 5in. (26.67 x 19.05 x Collection of George and Maura McClelland The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.134 (illustrated) "Hear no Evil, Speak no Evil plays on the tradition of two sided heads from ancient archaeological sites. In this piece she [Rivers] allows the marks of the chisel to form a pattern, reducing the realism of the two heads to create a stylised composition that draws on her [Rivers'] cubist training, but which may also reflect her knowledge of such double-headed figures as those on White Island in Fermanagh. The subject, like many of her book illustrations reaffirms traditional moral teachings and proverbs. This is especially true of Rivers' work after WWII, when she saw Ireland as a kind of Norah's Ark of security in the midst of European chaos."(1)(1) Catherine Marshall in The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.124 P
Lot 160
Nathaniel Hone RHA (1831-1917) STONE PINES watercolour inscribed on Dawson Gallery label on reverse 10¾ x 13¾in. (27.31 x 34.93cm) Dawson Gallery, Dublin;Private collection The stone pine, with the botanical name Pinus pinea, is also called the Italian stone pine, umbrella pine and parasol pine. It is a tree from the pine family (Pinaceae). The tree is native to the Mediterranean region, occurring in Southern Europe, Israel, Lebanon and Syria. It is also naturalised in North Africa, the Canary Islands, South Africa and New South Wales.Stone pines have been used and cultivated for their edible pine nuts since prehistoric times. They are widespread in horticultural cultivation as ornamental trees, planted in gardens and parks around the world.This watercolour is probably a scene in the South of France. L
Lot 365
Four Framed Watercolour Paintings & Five Framed Engravings: A landscape with castle ruins by Richard Wilson RA, 5 ins x 8¾ ins (13 cms x 22 cms), in a decorative gilt frame 13 ins x 17 ins (33 cms x 43 cms). A rural landscape with stone cottages, cart & horse signed Dolcotty (?) and dated 1891, 8¾ ins x 13¼ ins (22 cms x 34 cms). A delightful folksy painting of 'North West View of Hornsey Church, Middlesex' with John Howard on his horse-drawn cart and his mule Sally behind, signed N. Lamb dated 1832 9¼ ins x 12¾ ins (23.5 cms x 32.5 cms), in a rosewood frame 13 ins x 16½ ins (33 cms x 42 cms). A marine scene with sailing boats and steamer, 9½ ins x 12 ins (24 cms x 30 cms). An engraving of a mountain landscape with figures published 1857 by George Baxter, 10¼ ins x 14½ ins (26 cms x 37 cms). A hand tinted coastal scene with coach & horses engraved by Lorieux after Ad. Van de Velde, 9½ ins x 11½ ins (24 cms x 29 cms). An oval Village scene with figures outside rural cottage 11½ ins x 14½ ins (29 cms x 37 cms). 'Times of the Day, Evening' engraved by F F Walker after Hogarth 7½ ins x 5½ ins (19 cms x 14 cms), and 'The Two Lovers' Le Blonde 1851, 4½ ins x 3½ ins (11.5 cms x 9 cms). Also a small unframed early 19th century oil on canvas: grisaille painting of a yelling gent.
Lot 291
A Specimen Marble Topped Tripod Table. The round top inlaid with a compass star to the centre and irregular stone specimens of a black ground around the border, resting on a 19th century ebonised base having a wrythen reeded baluster column above shaped silhouette cut legs terminating on small bun feet, 25½ ins (65 cms) high, 23 ins (58.5 cms) in diameter.
Lot 292
A Pietra Dura Pedestal Table. The circular top inlaid with birds at a bird bath to the centre framed by a key pattern border incorporating various coloured stone specimens. The black marble base having a bold baluster column centring a carved cup of crested leaves above decorative turning and a triform plinth raised on paw feet, 30 ins (79.5 cms) high 27 ns (69 cms) in diameter.
Lot 544
A Fine Chinese Bi-colour Jade Carving of two Female Immortals worked from pale stone; one holding a basket of peaches, the other a ruyi spectre and fly whisk, with a fish jumping at their feet and Fenghuang to one side. The figures flanked by a kylin and writhing dragon carved from the dark spinach green inclusions. 9½ ins (24 cms) high, 10 ins (25.5 cms) wide.
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400965 item(s)/page