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Lot 528
Fine George IV cast silver standish, complete with small chamber stick (lacking snuffer) and two silver mounted cut glass cruet jars, the stand with an engraved monogram and marriage presentation inscription to the side dated 1871, maker Rebecca Emes and Edward Barnard I, London 1822, 10.25" wide, 7.5" deep. 5" high, 31oz t silver
Lot 850
Brian Shields 'Braaq' FBA (1951-1997) - standing elderly gentleman holding a walking stick in his right hand wearing a brown coat, hat and white scarf; together with a smaller example depicting a gentleman and a small child, both signed Braaq, oils on board, 7.5" x 5.5" and 6.5"x 5" respectively (2)-** These are early examples by the Liverpool born Brian Shields as neither is inscribed with his deceased sister's name Ann-** The artist was born in Liverpool and is best known for his painting of industrial scenes of Northern Britain. He acquired the nickname 'Braaq' in his school days on account of his artistic talent, he was named after the French artist Georges Braque. The artist's first exhibition was held in 1974. -** Provenance - ex. collection the artist's southern based picture agent who lived in Surrey and ran The King street Galleries, St. James's, London in the early and mid 1970s
Lot 5106
A George III twenty-stick paper and boxwood fan, Ten Country Dances, Four Strathspeys and Four Reels for the Year 1792, printed with music and steps for dances of the Season, including The Siege of Belgrade, Prince of Wales's Fancy, Duchess of Gordon's Strathspey, Duchess of York's Fancy or the Prussian, and others, 25.5cm long, c.1792
Lot 112
William Sadler II c. 1782-1839 "Enniskerry, with Sugarloaf Mountain in the Distance and Figures in a Landscape," a pair., O.O.P., 15 h x 23 w cms (6" x 9") both same size In the first of this charming pair of panel paintings, a couple pause outside an inn, to chat to a man leaning on a fence. Behind them, a river cascades under a stone bridge. In the background are houses and a church, and beyond that a mountain. The scene depicted is most likely the village of Enniskerry, with the Sugarloaf Mountain rising in the distance. although there are some ?capriccio? elements that Sadler has introduced, to add interest to the scene, including the church steeple, and the building on the right. While the painting dates from around 1820, St. Patrick?s Church, with its tall steeple was not built until the 1850?s. Enniskerry was developed in the early nineteenth century, as a ?model? village, to house workers on the nearby Powerscourt estate. The second painting depicts a small group of people beneath a tree in a woodland setting. Two standing figures, a man with a walking stick and a woman with a child wrapped in her red coat, look anxiously at the sky, as if anticipating a coming storm. Another figure is seated in a grassy bank. Although best-known for his small landscape and genre scenes, depicting scenes in Wicklow, Dublin and Killarney, William Sadler II was also capable of tackling ambitious subject matter, as with his panoramic paintings, The Battle of Waterloo, The Embarkation of George IV at Kingstown 1821, and A London Capriccio inspired by the Burning of the Custom House 1814?the last of these one of only three known signed works by Sadler. For his smaller paintings he generally used mahogany or copper panels rather than canvas and his paintings often depend upon effects of light, either sunlight or firelight, to silhouette buildings, trees and figures. The motif of the hanging inn sign appears also in his Donnybrook Fair, as does Sadler?s artistic device of introducing a highlighted area behind this focal point, adding visual drama to the work. He painted recognisable landscapes, as with the Sugarloaf Mountain or Howth Head, and also ?capricci? where he invented buildings and landscapes. Invariably there is activity in his paintings, with ships heeling in the wind, banditti gathered around a fire, or travellers making their way along a country road. Born in or around 1782, son of a mezzotint artist of the same name, William Sadler II taught art and exhibited in Dublin through the first four decades of the nineteenth century. His father died when he was six years old, leaving Sadler to embark early on a career as a painter. In turn, he had a son, also called William Sadler, who was born in 1808 and is known for a painting of the army barracks (now demolished) overlooking the town of Fermoy. Dr. Peter Murray, 2022
Lot 52
John Faulkner (1835-1894) “Loading Peat, Co. Westmeath” c.1860 watercolour on paper approx. 43cms x 71cms (17" x 28") inscribed l.r. ‘cattle by J MacPherson’ While the extraction of peat from the bogs of Co. Westmeath goes back centuries, providing fuel for heating, in recent times intensive harvesting has become a contentious issue, as bogs and wetlands are now depleted. In Westmeath (and spanning several other counties), the Bog of Allen, one of the largest areas of peat in Ireland, is now becoming a protected wetlands environment. In the mid-nineteenth century however, harvesting peat was popular and widespread, restricted mainly by what could be cut by hand. This watercolour by John Faulkner depicts a cargo of turf being loaded onto a barge moored alongside a makeshift quay, perhaps on Lough Owel or Lough Ennell, from where canals enabled barges to sail to Mullingar, and connect with the Royal Canal. An improvised crane has been set up to transfer the peat onto the barge. On board the barge, three men stack turf, a man stands at the tiller, while in the foreground, a woman sits on the bank. In the left foreground, cattle stand in the shallows, while on the far bank, a punt ferrying people is propelled by a boatman pulling on a line. The scene has been enlivened by the inclusion of cattle painted by John MacPherson, an artist who collaborated with Faulkner on several other works, including In Broomsbury Park (Morgan O’Driscoll 2020). In the right foreground, a drover with a stick drives a bull along a path flanked by rushes. A student at the Royal Dublin Society’s School in 1848, Faulkner began to exhibit at the RHA from 1852 onwards. He became an ARHA in 1861 and a full member the following year, but some personal difficulty resulted in his resigning from the Academy in 1870 and emigrating to America, where he remained for a decade or so. Returning to Ireland, he afterwards settled in London, and in the 1880’s recommenced exhibiting at the RHA. Over the course of his career, Faulkner painted many landscapes with lakes and rivers, cattle and bridges. Although he occasionally collaborated with MacPherson, his own depictions of animals are quite competent. He worked in Scotland, North Wales, West Cork, Donegal, Connemara and Mayo, and throughout England. He also painted maritime scenes--generally rocky coastlines--including Ireland’s Eye, Crookhaven, Goleen and Cape Clear. Several of his English views depict scenes near Rickmansworth in Herefordshire, while others are set at locations near Warwick and Uxbridge. A watercolour by him, in the collection of the Crawford Art Gallery, depicts the river Avon near Warwick.
Lot 247
POSTCARDS - VARIOUSCollection of loose postcards relating to suffrage and World War I including portraits of suffragettes, RPPCs, and humorous and satirical cards, some written and posted, some with slight soiling and creasing (44)Footnotes:Postcards include:--7 portraits of WFL leaders including one of Charlotte Despard, sent by E. Fielden to Mrs [Emily] Duval ('The meeting tomorrow is at 7p.m.. I will meet you where the tram stops at Southall at that time. Yrs E. Fielden')--5 portraits, including 2 RPPCs of Emmeline Pankhurst and one printed.--View of Parliament with inset head and shoulders portrait of Nancy Astor, signed by her in ink below the portrait.--'Oh, what a difference!. 1. Reception of a Constitutional Deputation to the British Parliament at Westminster [policemen smiling and waving]. 2. Its result' [suffragette being arrested], satirical postcard sent to 'P.C. George, Police Station, High Street, Barry, Glam... ('Dear Friend. I hope that this will find you alright. I am so glad that you are doing so well, stick to it... Do treat these girls kindly, don't be rash..').--11 cards relating to suffragettes and women in World War I (3 by Fred Spurgin, 4 RPPCs of workers in a munitions factory).--16 humorous/satirical suffrage-related cards, mostly colour-printed.For further information on this lot please visit Bonhams.com
Lot 151
COOKERY & MEDICINEManuscript culinary and medicinal recipe book written in several hands, containing some 250 receipts, including 'For Minst Pyes', 'To make Cleave Cakes', 'For Griping in the Guts', 'Aunt C's raisen wine', 'How to make Aquamirabilis', 'A Plaister for a Sore-Throat', 'An Excellent Receipt for the Gravel or Stone from Dr Hebbin', 'To make the oyle of Swallowes' ('...Take twenty four Swallowes all a line...'), 'The Weapon Salve' ('...if the wound be done with the thrust of a weapon, anoint from the hilt or hand of the weapon towards the point, if it be made by a blow or cutt then from the back to the edge...'), 'Kings Evill' ('...tryed... especially by a gentlewoman upon a man desperately fare spent which the Doctors had given over to death...'), 'A Quakeing Pudding', 'A Cure for an Epidemical Distemper. Anno Domini 1741', 'A Receipt for a cake to be kept halfe a year', 'How to make Gumbles', some with names of contributors ('W. Briggs', 'Mrs Ward' 'Mrs Bertie', 'My Lady Jenkinson'), pen trials and figurative drawings on recto of last leaf with ownership inscription 'Grace Briggs her recete Book/ Eliz. Briggs rote this March 17456/ March 10 17456', including other names ('Joseph Briggs', 'Mary Howard'), c.122 numbered leaves (inconsistent), three leaves excised, dust-staining and marks, edges frayed with some small tears, one long tear to p.114, original calf gilt, worn with losses, holes for ties but lacking ties, 4to (207 x 150mm.), eighteenth centuryFootnotes:'IF THE WOUND BE DONE WITH THE THRUST OF A WEAPON, ANOINT FROM THE HILT': THE RECEIPT BOOK OF GRACE AND ELIZABETH BRIGGS.Amongst more unusual cures included here is one for the 'Weapon Salve', a remedy that healed a wound by treating the weapon that made it, hence the instruction here to 'anoint from the hilt'. Among the ingredients called for is a '...pint of knotted worms... the braines of a boar dried... the bloodstone called Hamatite all finly powdered... half an ounce or more of a dead mans scull...'. If the weapon is not to hand, it is suggested that a willow stick be thrust into the wound, advising '...if it be a great and dangerous wound then the weapon is to be anointed every day...'. It was a method first attributed to the Swiss physician Paracelsus in the sixteenth century and expanded upon by Sir Kenelm Digby who coined the phrase 'Powder of Sympathy' for the cure in the mid seventeenth century. Whether it was a natural or demonic process was widely discussed among physicians and clergy, who held that the cure was wrought by magic, a view compounded by William Foster in his Hoplocrisma Spongus, or a Sponge to Wipe away the Weapon-Salve of 1631. Our compiler assures the reader, however, that '...this salve have noe affinity with witchcraft or inchantment but worketh the effect or cure by Loadstone like virtue which it receives from the Starres and communicaties it by and through the agres, it cures all wounds of all Creatures haveing flesh and bones... although the party be many miles distant...'. This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 108
A collection of jewellery, comprising a 9ct gold fancy-link bracelet, two single stone stick pins, a cameo stick pin, two bar brooches, each stamped '9CT', (one with inscription), an engraved white precious metal wedding band, stamped 'PT', a single stone ring, stamped '9CT', and a hairwork memorial ring, bracelet length 17.5cm (9)Condition report: Approximate gross weights only: bracelet 7.8gm, stick pins combined 10.1gm, bar brooches combined 3.5gm, wedding band 3.1gm, single stone ring 2.6gm, memorial ring 1gm.
Lot 30
A George III memorial panel ring, the oval panel depicting a funerary urn and the motto 'NOT LOST BUT GONE BEFORE', within a red stone border, to a white enamel hoop inscribed 'Hannah Robinson OB 5 Aug 1769 AE 19', (some stones deficient or later replaced), together with a George III hairwork memorial panel, verso inscribed, with later stick pin fitting, and a 19th century half pearl and hairwork memorial panel ring, (shank deficient, half pearls untested for origin), first ring size approximately P (3)
Lot 56
A collection of antique and later jewellery, comprising a Victorian turquoise set panel brooch, applied with ropetwist wirework and bead decoration, glazed verso, a similar turquoise set pendant, glazed verso, a garnet and half pearl pendant, glazed verso, a blue enamel panel brooch, glazed verso, a Victorian gilt metal belcher-link long chain, suspending a fob seal and assorted pendants, an insect panel brooch, stamped '9CT', a Victorian white metal locket pendant, three 19th century gilt metal locket pendants, a blue stone and half pearl cluster stick pin, a gilt shell collar necklace, and further items, contained in jewellery case, (half pearls untested for origin), first brooch diameter 3.5cm (qty)
Lot 58
A collection of antique and later stick pins, comprising a diamond circlet stick pin, a diamond set lover's knot stick pin, a diamond single stone stick pin, three opal single stone stick pins, an oval shell cameo stick pin, and assorted further examples, of varied design, first stick pin panel diameter 1.1cm (23)
Lot 59
A collection of antique and later jewellery, comprising a diamond set foliate panel brooch, the lasque-cut diamonds in foiled closed-back settings, with similarly set pendant drop, adapted with later fitting, a trio of garnet set dress studs, each with serpent surround, adapted with later bar brooch fitting, an Edwardian stone set bar brooch, modelled as a shamrock, 9ct gold mounted, hallmarked for Chester 1910, a half pearl and stone set stick pin, stamped '9CT', (half pearl untested for origin), a hat pin, modelled as a dagger, and a purple paste brooch, first brooch length 4.1cm (6)
Lot 76
A peridot and half pearl pendant on chain, the shaped quatrefoil panel centred with a circular mixed-cut peridot and half pearl cluster, bordered by further half pearls to the cardinal points, stamped '9CT', on a trace-link chain, together with an opal and ruby flowerhead cluster ring, 18ct gold mounted, hallmarked for Birmingham 1908, (one opal deficient), an enamel and pearl foliate panel brooch, stamped '9CT', (one pearl deficient), a green stone stick pin, the hoop-shaped terminal stamped '15C', and a white metal wedding band, stamped 'PLATINUM', (all pearls untested for origin), pendant length 3.8cm (5)Condition report: Approximate gross weights only: pendant on chain 5.1gm, cluster ring 3.1gm, panel brooch 2.2gm, stick pin 1.1gm, wedding band 2.7gm
Lot 80
A collection of antique and later jewellery, to include a Victorian conch shell cameo brooch, the oval cameo carved to depict the profile of a bacchante, framed by beads and foliate scrolls, a smaller conch shell cameo brooch, a Victorian silver and hardstone panel brooch, modelled as a cross, (later fitting), a 19th century half pearl and hairwork memorial brooch, (later fitting), three white paste buckles, two stick pins, an enamel buckle, and a stainless steel cased wristwatch signed E. Bucherer, with unassociated bracelet, (all half pearls untested for origin), first brooch length 5.9cm (11)
Lot 98
A collection of jewellery and watches, comprising a yellow precious metal fancy-link bracelet, designed as a series of openwork scrolled links, highlighted with turquoise coloured cabochons, (two cabochons deficient), a French green and white paste ribbon bow panel brooch, with boar's head mark and lozenge-shaped maker's mark, two white paste clip brooches, a white metal open face pocket watch, a silver mesh-link purse, a cabochon set stick pin, a wristwatch by Lanco, two wristwatches by Casio, assorted further jewellery and costume items, first bracelet length 19.5cmCondition report: Gross weight of first bracelet only: 9.2gm (metal standard untested).
Lot 143
Two Victorian Etruscan style yellow metal target brooches, a 30mm diameter target brooch with an old cut diamond to centre and locket back, base metal pin; a 35mm target brooch set with a seed pearl star to centre, scroll border, locket back, base metal pin; two 40mm bar brooches, one set with an old cut diamond, hallmarked 15 carat, Birmingham 1889, locket back, base metal pin; the other set with two small rubies and a diamond point, marked 15ct, base metal pin; a yellow metal 45mm bar brooch with 10mm hollow bead terminations, base metal pin; a 9mm circular stick pin with small diamond point, marked 15ct, gross weight of lot including all metal 31.9g.
Lot 3064
A Quantity of Militaria, including a French campaign eating set comprising bone handled folding knife, fork and spoon, combined condiment holder, corkscrew and tumbler in a leather case, a copper powder flask, a pair of box spurs, Silver War Badge, a cockpit instrument panel, a Radiant Night marching compass, two Scottish swagger sticks, a leather show stick, puttees books etc
Lot 3071
A Quantity of Militaria, including a set of Underwood & Underwood stereoscopic cards 'The South African War' in fitted box as two volumes of books, together with a hand held aluminium and wood stereoscopic viewer, a model of a signal cannon on a wood carriage, a Pith helmet with leather chin strap, four wood swagger sticks with badges to Royal Artillery, London Rifle Volunteer Brigade, Rifle Brigade and Royal Army Service Corps, an inert Mills bomb, a wooden copy of a stick grenade, a photograph album relating to the Rifle Brigade and various pieces of ephemera etc.
Lot 3167
A 19th Century Sword Stick, the blade rusted into the leather covered wood haft, with brass ferrule, 92.5cm; a Burmese Dha, the 62.5cm single edge steel blade with scalloped engraved decoration to the back edge, with plaited vegetable fibre bound grip and two piece wood scabbard, 87cm; a Kukri, the blade stamped NEPAL, with horn grip, brass bolster and pommel and leather scabbard; a Canary Islands Naife, with 7cm single edge broad blade, the banded wood and metal grip decorated with bands of diapering and crosses, with tooled leather scabbard (4)
Lot 3195
A 19th Century Australian Aboriginal Hunting Stick (Boomerang), each slightly convex side with adzed decoration, one tip painted red, 91cm; a 20th Century Australian Boomerang, one side slightly convex, 71cm; an Edwardian Walnut Linen Smoother, the handle set with a silver plated monogram, 65cm (3)Condition report: 1 - Small chips to edge.2 - Chips to edges and a grain crack.3 - Sliver of wood missing from one side.
Lot 3205
A West African Fulani Sword, the 55cm single edge slightly curved with narrow fuller, the leather bound grip with brass globular pommel, with tooled leather scabbard, a North African Sword Stick, the 53cm double edge steel blade with deeply engraved scalloped bands, the curved handle covered in tasselled leather, the haft covered in woven decorative leather, with steel ferrule, 85cm (2)Condition report: Both with black patching and rust pitting to blade, some scuffing to leather, generally good.
Lot 562
Royal Humane Society, small bronze medal (successful) (Peter John Sargeant. 24th June 1952.) complete with bronze brooch buckle in its Elkington case of issue, good very fine £200-£240 --- ‘The rescue took place on 24 June 1952 on the mud flats at the mouth of the River Colne, at Ray Creek, Point Clear, St. Osyth, Essex. Barry Trevor Stock, aged 10 years, attempted to ride his cycle across the mud flats as a short cut to the far shore starting at about 9.00p.m. About 200 yards out, the front wheel dropped into a hole of soft mud and the boy fell into the hole with the bicycle on top of him. He struggled but could not get up, so he shouted for help. It was nearly an hour before his cries were heard and by that time it was quite dark. William Norman Station-Bevan, his wife and others tried to find the boy without avail. Station-Bevan then brought his car to the cliff top and lit up the flats with his headlights. This helped Peter John Sargeant and Harold Benjamin Glynn who were having difficulty in locating Stock from the sound of his cries. They sank to their waists in a soft patch, tried a fresh cast and reached the boy. Here Sargeant borrowed Glynn’s stick, clambered into the soft hole and freed the boy whom he carried to safety. Glynn, a sick man, could not assist in this being exhausted by his efforts. For their efforts in rescuing Barry Stock, Peter Sargeant, a schoolboy aged 15 years, was awarded the R.H.S. Bronze Medal and Harold Glynn, a window cleaner, aged 27 years, was awarded the R.H.S. Certificate on Vellum’ (Case No. 62,653).
Lot 1005
A Victorian turquoise and pearl brooch (the pearls untested and unwarranted), marked '9ct', 2.06 grams gross; a 9ct gold colourless stone eternity ring, 1.64 grams gross; a ring set with five small diamonds, marked '585', 1.86 grams gross; an unmarked ring set with five graduated diamonds, 1.38 grams gross; a stick pin; a pair of drop earrings marked '375'; and a sapphire earring and pendant set
Lot 1122
A Caithness millefiori heart shaped pendant, a silver brooch commemorating Queen Victoria's jubilee in 1887, a cased silver thimble, an object made by Sydney & Co, 1905, a silver shoe horn, a silver Albert chain, a Victorian locket and chain, a jockey's hat stick pin in a box, together with other items and a broken 9ct gold chain, 2.31 grams gross
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133752 item(s)/page