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Lot 230
A painted wood icon of St Mark 19th century, Russian, tempera on wood, highlighted with gilt 18 x12.7cm together with a brass crucifix, 20th century, with micromosaic, with inset medallions, inscribed Roma verso, 21 x 14.5cm (2)Provenance: The property of the late Baron John Mauger Langin Condition ReportThe icon with chips and losses to the paint. Some craquelure to the paintwork. The crucifix with rubbing some losses to the micromosaic.
Lot 96
Eric Gill's Guild of St Joseph & St Dominic, Ditchling, a carved wood Crucifix, circa 1930, carved and gilded, unsigned44.5 x 36cmProvenance:Purchased on a visit to Ditchling, Sussex, in the early 1930s by Father Francis Bartlett, later Monsignor Bartlett, of Westminster Cathedral as a present for the present vendor's parentsThe collection of Quentin Stevenson
Lot 12
A VICTORIAN OVAL BOG-OAK MOURNING LOCKET,with carved lyre and floral swag appliqué, with engraved dove motif to interior and containing a lock of blonde hair and a photograph of a young Victorian gentleman; together with a profusely carved brooch encompassing the heraldic emblems of Shamrock, Rose and Thistle; together with a throat ornament mount featuring the same carved emblems with recumbent Irish wolfhound to centre; together with two carved Latin crucifix pendants (one damaged); together with 57 spherical beads ; and with a Victorian photograph of the owner Mrs Giffney wearing the items above.Presented with typed correspondence on the subject dating to 1951 from Mr Anthony T. Lucas (1911-1986), former President of The Royal Irish Society of Antiquaries and Director of the National Museum of Ireland.Since Classical Antiquity, humans have endeavoured to impress the inevitability of death and therefore the importance of living. The Latin trope ‘Memento Mori’ (Remember That You Must Die) is expressed through the world’s art, funerary architecture, and jewellery. Motifs such as the skull, the skeleton, the rat, the coffin and the earthworm have been employed throughout Classical history and later to impart a universal understanding of the term. Mourning Jewellery deviates from the former in that it commemorates the death of a specific person, usually by marking their death dates or even utilising their hair, skin or teeth in the fabrication of the piece. The execution of King Charles I in 1649 was arguably the first example of popular ‘Mourning Jewellery.’ Despite the grievances aired during his reign, culminating in the Second English Civil War and the dissolution of the Monarchy, Charles I had many sympathisers to the Royalist cause. After his execution, many of his supporters commissioned jewellery bearing his image and dates secretly engraved on the inside of the ring band or behind a concealed locket. This implied that these nobles had remained faithful to the Royals even during the period of the Commonwealth (1649-1653) and later the Protectorate (1653-1659) up until the Monarchy’s restoration in 1660, whereupon the wearer would hope to be rewarded for their loyalty to the Crown. Later in the 19th century, the untimely death of Prince Albert (1819–1861) provoked the reigning monarch, Queen Victoria into a lifelong state of mourning. The remaining forty years of her reign saw the macabre motifs associated with mourning jewellery evolve into decidedly more romantic imagery of roses, doves, angels, willows and urns. Typically, the piece was set with enamels and other complementary precious stones and ornamentation such as pearls, to symbolise tears, and jet for grief. The blackened wood of the bog oak became an excellent Irish alternative to the more widely recognised Jet used in Victorian jewellery. As a result, the bog oak ornaments, became the ideal transfer for the nationalistic motifs of a country on the precipice of independence. Imagery was favoured which further promoted the national identity of Ireland as an established state with its own identifiable customs and symbols. The most common motifs include round towers, shamrocks, abbeys, Irish wolfhounds and harps, all which serve to perpetuate a national identity for Ireland’s fledgling tourist industry. The use of Bog Oak for decorative purposes was not a novel concept as it had been chosen as the primary material for the Downhill Harp, crafted by Cormac O’Kelly in 1702. However, Mr Patrick McGuirk is generally credited with escalating the demand from what had previously been considered a cottage industry craft. Supposedly, in 1821 McGuirk presented King George IV and The Duchess of Richmond with a carved cane on their visit to Dublin. The Duchess commented that it would be preferable to carve in the native wood of the country. Taking this to heart, McGuirk attempted to carve on bog oak he acquired and finding it quite suitable, he commenced what would become a robust trade nationwide for the next 100 years or so. Joseph Johnson of 22. Suffolk Street, Dublin is credited with patenting a high-pressure moulding mechanism for high relief detail using heat and steel dies. This enabled the production of ornaments to increase, and it became a highly profitable business on a larger industrial scale. Other important names in the trade include John Neate (1796-1838) of Kerry, Cornelius McGoggin (fl.1850-1914) of Kerry and Dublin and William Gibson of Belfast and many more otherwise.Stephanie Brennan August 2024
Lot 618
A NORTH EUROPEAN CARVED BOXWOOD FIGURE OF CORPUS CHRISTI (2)Probably German, 19th Century Modelled with upwards gaze, 39cm high; Together with a polychrome painted wood Corpus Christi, probably Spanish, 18th / 19th Century, 59cm highCondition report: The first Christ with missing arms, holes for where the crown should be, and a chipped foot at the bottom, with signs of a burn area to the hole (possibly from a candle, or just heavy dirt and oxidization). Some minor shrinkage cracks to the back, loss to the back of the head and a void hole to the lower back. Minor spots of a paint in areas. The second figure, could be Spanish, possibly and maybe provincial - 18th/ 19th Century. The arms glued at the joints. A light weight timber. Some chips and losses to the back. See extra images. Old holes from previous stand, or crucifix. Other chips and knocks to the extremities, such as the cloth, top of head and other areas, commensurate with use and age.
Lot 231
Spanish Colonial Wood Crucifix Corpus Carved and polychrome painted wood having a cut tin halo Property from: an Estate, Chicago (Gold Coast), Illinois Height: 38 inches, Width: 11 1/2 inches, Depth: 6 1/4 inches Condition: overall moderate to heavy wear, lacks arms and cross, insect damage, bent and oxidized tin halo Category: Collectibles > Religious Estimated Sale Time: 1:15 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2
Lot 72
Ca. AD 900 - 1000.A Byzantine bronze reliquary cross comprised of two crosses held together by hinges at top and bottom. This cross was intended to hold a relic. Each side is moulded with the crucifix surrounded by a motif of circles and dots on the arms. The surface of the back is polished. For similar see: MET Museum Accession Number: 2018.870.2.Size: 165mm x 75mm; Weight: 275gProvenance: Private UK collection, acquired on the Belgian art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 80
Ca. AD 900 - 1100.A cast-bronze crucifix pendant with five engraved stylised vegetal motifs. The back is worn from centuries of and use. On top of the pendant is a pierced suspension. Size: 35mm x 20mm; Weight: 3gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 79
Ca. AD 900 - 1100.A cast-bronze crucifix pendant with five engraved circles with indents at the top and at the centre of the arms. The back is worn from centuries of and use. On top of the pendant is a pierced suspension. Size: 35mm x 20mm; Weight: 5gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 77
Ca. AD 900 - 1100.A cast-bronze crucifix pendant with engraved circles and a cross at the centre. The back is worn from centuries of use. A pierced suspension loop is at the top of the pendant. Size: 40mm x 22mm; Weight: 5gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 476
A 17th century carved and polychrome painted corpus Christi, the brass mount inscribed 'This crucifix was given by Pope Innocent X about anno domini 1652 to Lord John Somerset second son of the Marquess of Worcester, brother to the Duke of Beaufort which said Lord John Somerset in time of the usurpation of Cromwell was forced to leave England and went to ask relief of several Catholick [sic] princes in Europe. Upon whom the King of France settled six hundred pounds per year and afterwards went to Rome and received from Pope Innocent X the said crucifix which was given to John Vincent Gandolfi by Mrs Carolina Brickenden, sister of Mrs Anne Somerset, godmother to said John Vincent Gandolfi May 2 1765,' 14cm high overall
Lot 187
Pair: Private G. E. Dobinson, 11th (Lonsdale) Battalion, Border Regiment 1914-15 Star (17575 Pte. G. E. Dobinson. Bord. R.); British War Medal 1914-20 (17575 Pte. G. E. Dobinson. Bord. R.) good very fine (2) £70-£90 --- George Ernest Dobinson was born at Great Orton, Carlisle, on 5 November 1892, the second son of farm labourer William Dobinson of Cumnersdale, Cumberland. Educated at Westward School in Cumberland until 26 October 1906, he is recorded in 1911 as a farm labourer residing with his parents at Allen Cottage in Caldbach (Caldbeck). Listed as serving with "C" Company in the 11th Battalion Nominal Roll of November 1915, Dobinson landed in France on 24 December 1915 and likely joined the Battalion at camp at Bouzincourt, close to the town of Albert in the Somme department. Crossed by an intricate lattice of trench systems dug into the chalky, muddy landscape, this wasteland of discomfort with names such as 'Crucifix Corner' and 'Oban Avenue' soon became home to the men. Colin Bardgett, author of The Lonsdale Battalion, 1914-1918, adds: 'They learned that a pick and shovel was just as important as a Lee-Enfield rifle, and it was better to shoot fast than accurately... They learned that trench clubs and mills bombs were more use than ceremonial swords and bayonets.’ The First Day of the Battle of the Somme The experiences and sacrifices of the 11th Battalion, Border Regiment, on 1 July 1916, are described by many historians as typifying the slaughter on the Somme. Detailed to emerge from the front line trenches and advance across No Man's Land in the Leipzig Salient, it wasn't long before carefully aimed enfilade fire from the German-held Nordwerk began to mow down the infantry in scores: 'At 8am exactly Colonel Machell gave the order from the edge of Authuille Wood to move out. The Lonsdales wished each other good luck and shook hands, then they started their advance, some cheering and singing as if at a football match. They moved in blob formation, little groups of men being slightly to the rear of the one in front and slightly to the flank, this being considered the best formation under shell fire. As soon as the Lonsdales came into the open the deadly enfilade machine gun fire ripped through their ranks. The Germans found their mark; a hail of bullets cut furrows in the earth as the machine gunners found their range. The Lonsdales were being strewn all over the ground (ibid).' Of the 28 officers and 800 men who took part in the attack, 25 officers and 490 men were killed or wounded that day. According to the Lonsdale Battalion Casualty List, "C" Company lost 22 killed and 106 wounded; a few survivors managed to reach the 17th Highlanders who succeeded in capturing the Leipzig Redoubt - perhaps the greatest success for 32nd Division that day - but contemporary accounts later described the majority of the men as being 'cut down like grass'. It would be another three months before the original objective of Mouquet Farm was finally captured on 26 September 1916, with further daily losses of life. The UK, World War I Service Medal and Award Roll, 1914-20, later confirms the transfer of Dobinson and a number of 11th Battalion survivors to the Machine Gun Corps, the re-allocation of consecutive service numbers indicating at the same time and likely upon the reduction of the Battalion to cadre strength in May 1918. As one of the 'originals', Dobinson numbered among a select few who had survived the Somme and the steady rates of attrition during Operations on the Ancre and the German retreat to the Hindenburg line in 1917. Recorded in 1921 as a horseman and a resident of Hesket-in-the-Forest, Penrith, Dobinson died at the Cumberland Infirmary on 2 December 1953, his last address recorded as 18 Short-Street, Carlisle.
Lot 789
Two 9ct yellow gold crucifix pendants, a yellow metal propelling pencil converted to a brooch, length 4.5cm, a gold plated blue enamel and seed pearl set locket pendant, height 2cm, a 9ct yellow gold bracelet charm modelled as a shoe, a mourning brooch, silver purple stone set brooch and a loose red stone, approx 4ct, combined weighable gold approx 5.5g (8).
Lot 75
A collection of vintage and modern costume necklaces. The lot to include a rolled gold crucifix on yellow tone metal chain. A Ciro yellow tone metal necklace green glass oval links. A Monet yellow tone metal filigree beaded necklace. To also include a necklace with large medallion pedant with dollar sign and a necklace with pendant in the form of a apple. Combined weight 673.3g. Measures approx 48cm / 150cm. All weights, measurements and sizes are approximate.
Lot 26
A collection of three 20th century necklace pendants in the form of crosses. The lot to include a mother of pearl crucifix having an image of Christ on the cross etched to surface. A silver cross set with abalone cabochons. Stamped 925. A silver cross embellished with seed pearls. Stamped 925. Measures approx 7.7cm x 4.8cm/5cm x 3.1cm (including pendant bale). Weighs 37g. All weights, measurements and sizes are approximate.
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