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Lot 103
Gill, Eric (1882-1940) Gill family collection of photographs of Gill's statues, carvings, inscriptional works &c. 1) 25 photographs of Eric Gill's statues & inscriptional work, all inscribed on the backs in Eric Gill's hand;including such works as "Mankind" (in the Tate Gallery); carvings in Portland stone for the West Dean Lychgate; stone decoration for Mirfield Refectory; "B.B.C. Details of Ariel, unfinished"; memorial stone for Sir Charles Hamilton at Broadway, Glos.; "Eve". Bath Stone 2 feet high approx. EG Apr. 1930"; 'St. Dominic Caen stone carved by Eric Gill, the Blackfriars Church, Oxford 1931 (about 18 inches high)...'; St. Francis (for Coplestone gravestone), Hoptonwood stone, about 3 feet high, 1935, in cemetery at Chester...'; 'Model for South Wind ca. 1929. Bath stone, about 2 feet long' (St. James's Park station); torso of a woman, a work completed at Ditchling, ca. 1920; 'Torso, Portland Stone, about 18 inches high'; The Glastonbury Madonna, in Portland Stone, completed in 1928; 'Headstone in Hopton-Wood Stone (Pitman's system), E.G. del. David R. Sc. 1936'; "Garden Statue", an early work completed 1911/12, later in Roger Fry's collection; elaborate bas-relief commissioned by the L.M.S. railway for their hotel at Morecombe, Lancs., illustrating the story of Nausica and Ulysses (1933), afterwards used on LMS menu cards; the Crucifix for G.K. Chesterton's grave in Beaconsfield Cemetery, 1937. 'S. Simeon Stylites (Garden Figure)'; Coat-of-arms for Jesus College, Cambridge, "Weldon Stone", about 7 ft. 6 inches high. 1930-31". The earliest photograph is one dated 1908 which shows three memorial stones, captioned 'Three memorials. A. Portland Stone - letters incised & printed black. B. Statuary Marble & Alabaster - Letters incised & painted "Brun rouge". C. York stone - Letters in relief.' A in the headstone for John Kipling, commissioned by the Earl of Lytton, 119 in THE INSCRIPTIONAL WORK... B is the oval tablet for Harriet Templer, 112 in THE INSCRIPTIONAL WORK. C is the headstone with relief inscription for Lily Duff, 79 in THE INSCRIPTIONAL WORK... 19052) 46 photographs of Eric Gill's statues & inscriptional work, all with inscriptions on the backs by members of the Gill family: Mary Gill, Evan Gill (E.G.'s brother), Petra Tegetmeier & Joan Hague (his daughters); and by Sir Wm. Rothenstein. There are 46 with their captions or other MS inscriptions. They include such works as "the money changers", the War Memorial of Portland Stone (6 ft x 16 ft.) on the wall of the Library at Leeds University, 1922-23, 418 in THE INSCRIPTIONAL WORK...; pierced carvings in door at the Radcliffe Library, Oxford, 1934; unfinished 'Headstone, Portland Stone, about 6' high'; 'The Divine Lovers'; funeral urn, in Willesden Cemetery, in memory of Walter Mortimer Ronalds, 1925; 'The golden calf'; Madonna & Child; tablet of polished Hopton-Wood stone, St. James, Piccadilly, in memory of Mary Beatrice Johnson, 1930; Memorial of Portland stone at Chirk, near Wrexham, 1920; 'A contortionist'; 'St. John the Baptist'; headstone in memory of Walter Consitt Boulter, 1913; Crucifix on the altar of Hart House Chapel, Toronto; Mother & Child (1913); portrait panel of Hopton-Wood stone, in memory of Ottoline Morrell, 727 in THE INSCRIPTIONAL WORK...; headstone of Delabole slate in memory of Percy Walter White; 'Joan of Arc'; 'A dancer'; '4th Station. St Cuthbert's Church, Bradford' (this has a number of inscriptions in William Rothenstein's hand); 'Study for Leeds War Memorial'; 'Leeds Memorial. The money changers, 1st stage'; 'Mater Amabilis'; 'Mankind'.3) 9 photographs of statues & carvings by Gill's assistants, six inscribed on the back in Eric Gill's hand. They are by Antony Foster, Charles Blakman, H.J. Cribb and Laurie Cribb. And the headstone for Eric Gill in the communal cemetery, Speen, Bucks, which was designed by E.G. himself but cut by his assistant Laurie Cribb. This is 762 in THE INSCRIPTIONAL WORK...4) 127 photographs without captions or inscriptions. They include such works as the headstone for Guinevere Shove; 'Ecstasy'; gravestone in Boulogne in memory of Herbert Trench, 438 in THE INSCRIPTONAL WORK...; tablet in memory of the McCosh family; Hopton-Wood stone tablet at Sevenoaks, Kent; coloured alabaster Mother & Child; Gravestone of York stone, 639B in THE INSCRIPTIONAL WORK... Plate VI); 'South Wind'; portrait panel of Lord Rutherford; statue of Mother & Child, commissioned by Rupert Brooke; Delabole slate tablet, 718 in THE INSCRIPTIONAL WORK; Grave-board at Suhr bei Aarau, Switzerland, 1933; The splits, 1 & 2; Portland headstone REMEMBER PHILOMEL; wall tablet in Brighton, for site of Russell House; stone tablet to mark the Coronation of King George V; Headstone at Drumoak, Aberdeen; wall tablet in the Maharani Hospital, Jagdalpur; sundial; headstone in Chester Cemetery for members of the Coplestone family; tablet of Roman stone in the Peek Frean pavilion, 1939; incised lettering on a pilaster of the British Museum, 394 in THE INSCRIPTIONAL WORK...5) Envelope of 15 photographs of Eric Gill's statues & carvings, mostly inscribed on verso by him or Mary GillNote: Provenance: Property of an English collector.
Lot 91
Helena Wolfsohn (Dresden) pot pourri urn and cover, circa 1900, twin gilt handles on an urn shaped body, decorated with panels of courtiers and floral block panels, all bordered with gilt scrolls, pierced cover with a laurel wreath handle, all raised on a square base, painted underglaze blue 'AR' mark, height 30cm
Lot 304
Box containing various glassware; boxed Cristal D' Arques French champagne flutes, Dartington Chateau boxed wine glasses, moulded and cut glass bowls and dressing table items, glass star ornaments, cruet items, glass trophy, two coloured glass liqueur or cocktail glasses etc. Together with a box of stoneware; bottles, two tone biscuit barrel, salt cellar, urn etc. (2)(B.P. 21% + VAT)
Lot 319
Box of various items to include; brass candlesticks, Court ware hand painted floral ceramic ewer and vase, Sylvac jug, two hollow pug dog figures, treen sewing mushroom, Mason's 'Formosa' miniature dresser jugs, miniature Beswick fireside spaniels, Wedgwood miniature urn, Crochendy basket ornament, Chelsom china bell, brass coffee pot etc. (B.P. 21% + VAT)
Lot 2
A heavy silver plated Coffee Pot, in the George II style, of upward tapering cylindrical form, with domed cover and urn finial, with a matching Hot Water Pot, each 27cms (10 1/2"); together with another silver plated Coffee Pot in the George II style, chased with foliage, pseudo-silver marks, 22cms (8 3/4"). (3)
Lot 411
A good Royal Worcester Pot Pourri, with pierced cover and urn finial decorated with roses, 10cms (4"); a Royal Worcester floral decorated Vase, 15cms (6"), a small Royal Worcester floral decorated Sugar Bowl and a Derby late 19th Century octagonal shaped and reticulated double wall Bowl decorated with flowers, 9cms (3 1/2"). (4)
Lot 429
A pair of Dresden porcelain Jars and Covers, each decorated with floral garlands, and flower head finial, 12cms (4 1/2"); together with a Limited Edition Caverswall porcelain Urn and cover, decorated with a goldfinch, as is, 26cms (10 1/2"); two Irish Dresden porcelain Musical Groups, 15cms (6"); and a pair of Limoges porcelain Bird Cages with birds. (7)
Lot 453
A very attractive Serves style porcelain Urn and cover, with ornate brass mounts, the domed top decorated with two river landscapes, flanked with two grotesque mask handles, on a pierced rim, the urn decorated with courting couple in a garden, signed Colin, the opposing side decorated with a river landscape on brass base, 48cms (19") high. (2)
Lot 645
An Edwardian inlaid and crossbanded mahogany Bureau Bookcase, the pierced and moulded swan neck pediment above two astragal glazed doors, the inlaid slope front with an urn and floral swags, enclosing a fitted interior with drawers and pigeon holes, above three long drawers and raised on bracket feet, 201cms x 76cms (79" x 30"). (1)
Lot 669
A fine late 19th Century French gilt brass and porcelain three piece Mantle Clock Garniture, comprising an architectural style Clock with porcelain urn finial above a circular porcelain dial decorated with birds and Roman numerals, and a landscape below flanked with four baluster shaped porcelain columns to each corner on an inverted breakfront plinth 41cms x 31cms (16" x 12"); together with a pair of matching Urns, 29cms (11 1/2"). (3)
Lot 680
Robert Healy, Irish (1743-1771) “Portrait of Mrs. Florinda Gardiner (née Norman) standing by an urn,” grisaille pastel on paper, signed and dated 1769, 61cms x 34cms (24” x 13 ¼”), bears label on reverse “Mrs Gardiner, mother of Luke Vic [?] Mountjoy, Killed in Battle 1798; Mrs Gardiner died 1812 . . drawing by R. Healy 1769” (1) In this full-length portrait, Florinda Gardiner is depicted standing in a lawn or parkland setting, beside an urn on a pedestal, her hand reaching out to touch the pedestal. Posed formally, she wears a long dress, with a high lace collar, bonnet, and flowing lace sleeves. In her left hand she carries a pair of gloves. Behind are trees and ivy-covered walls. The drawing reveals Healy’s consummate skill in using grey and white chalk to create subtle tones, not dissimilar to a mezzotint. Born in Derry in 1722, the daughter of Sarah (née Bolton) and Robert Norman, Mayor of Derry, Florinda Norman grew up at Lagore Co. Meath. In 1741 she married the twenty-one year old landowner and politician Charles Gardiner. The eldest son of Luke Gardiner, who had developed large areas of north inner-city Dublin, Charles went on himself to lay out Georgian terraces on Rutland Square and Cavendish Row. Inheriting the Mountjoy estates in 1769 he did not live long to enjoy them, as he died the same year. His interest in architecture is evident from his commissioning John Smith to design St. Thomas Church on Marlborough Street (destroyed 1922), based on Palladio’s Il Redentore in Venice. He and Florinda had three sons and two daughters, among them Luke, Lord Mountjoy M.P, who was killed in the Battle of New Ross in 1798, and Anne, who went on to become Lady Clancarty. Florinda died in 1812, aged 90, at Naas, Co. Kildare. Born in Dublin in or around 1743, Robert Healy (or Hayley), while living at Wood Quay, attended the Dublin Society drawing schools. He studied under Robert West, who in turn had studied in Paris under Francois Boucher, an artist whose preparatory chalk sketches were much sought after by collectors. As a consequence there was an emphasis on pastel and chalk drawing in the Society’s schools and Healy, like his contemporaries Hamilton and Hickey, excelled in small-scale portraits using only black and white chalks. Another contemporary of theirs in Dublin, Charles Forrest, also specialised in pastels, again using limited colour. In 1768 Healy was commissioned by Thomas Conolly to draw scenes of life in and around Castletown House, with people walking, skating and hunting. Some of these drawings depict Thomas and Louisa Conolly with grooms and horses. Healy preferred to set his figures in gardens and open-air settings rather than in interiors. The following year he won a prize at the Dublin Society for his drawing of a group of figures. As he died young, after sketching out of doors at Dangan Castle in inclement weather, Healy’s output was inconsiderable; some twenty-five drawings are attributed to him. His brother William, also an artist, drew in a similar style and took over Robert’s studio practice, and either finished or copied works by Robert, including a version of the present work. There are two self-portraits by Robert Healy in the National Gallery of Ireland. In one of these, signed and dated 1765, he holds a sketchbook and leans on a Classical bust. His full length portrait of Miss Cunningham holding her King Charles spaniel, signed and dated 1770, is in the Art Institute of Chicago, while his portrait of Anne, Countess of Clancarty, was in a Hamilton Osborne King sale in 1999. Dr. Peter Murray 2022 Provenance: Oldtown, Naas, Co. Kildare
Lot 713
A 19th Century French gilt brass and porcelain Mantle Clock Garniture, the clock case with an oviform porcelain two handled urn, flanked with pineapples to each side, above a circular enamel dial with Roman numerals, indistinctly signed, above a pink and white porcelain panel with two cherubs and bow fronted porcelain side panels with musical and other trophies, on a leaf cast base, 36cms (14") together with a pair of matching gilt brass and porcelain Tazzi, each with a dish top depicting a cherub, 20cms (8"). (3)
Lot 754
A fine quality walnut Longcase Clock, by Ambrose Moore of Dublin, the moulded cornice with urn finials, above a square glass dial, with Roman and Arabic numerals and subsidiary dial for seconds, the trunk with herring bone banding and a segmented veneered door, with oval glazed aperture, on a moulded and crossbanded box base, and raised on short bracket feet, 231cms h x 56cms w (91" x 22").
Lot 770
A three piece French gilt brass Mantle Clock Garniture, by Japy Freres, the brass case surmounted by a blue celeste porcelain urn, above an arched dial crested with ribbon bow, decorated with flowers, birds and figures in a garden, within a jewelled border and with Roman numerals, on a conforming base with central roundel, flanked with a porcelain panel to each side, 39cms (15 1/2"); together with a pair of matching Urns, each with two grotesque mask handles, 31cms (12"). (3)
Lot 857
A fine 19th Century French Ladies Boudoir Clock, in white marble with gilt bronze mounts, the urn finial with two rams masks and a centre flame finial, the painted enamel dial with Arabic numerals and floral swags, crested with a leaf swag tied with a ribbon bow and a beach collar below on a square base with four gilt bronze legs, 24cms (9 1/2"). (1)
Lot 55
George V silver teapot of circular form having a hinged lid with an ebonised urn finial and scroll handle, the border applied with a castellated edge, decorated with an applied castellated border and supported on three hoof feet, 15 cm tall, hallmarked for Birmingham 1922, makers mark the Adie Bros, gross weight 376 grams (a/f)
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68904 item(s)/page