An 18 Carat Gold Full Hunter Keyless Minute Repeater Chronograph Pocket Watch, circa 1900, manual wound lever movement, column wheel chronograph movement, split bimetallic balance with blued overcoil hairspring, enamel dial with Roman numerals, outer fifth of seconds track, seconds dial, case with repeat slide and chronograph button in the band, front cover with an engraved monogram, inside back cover stamped 18c and numbered 1793851mm wideCase with surface scratches, back cover and case sides with small dents, front cover with an engraved monogram, front cover is very slightly springing when fully closed, dial with fine hairline cracks, hand setting correctly and winding smoothly, chronograph is working correctly, minute repeater is sticking when pushing the slide, repeat is striking the gongs but not at the correct time and needs attention, movement is clean and in going order. Total watch weight 126.6g.
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An Edward VII Silver and Enamel Vesta-Case, by Elkington and Co. Ltd., Birmingham, 1906 oblong, the hinged cover with suspension loop, the front enamelled with the badge of the Staffordshire Country Cricket Club51mm, gross weight 1oz 3dwt, 36grFully marked on bezel and further part marked inside cover. There is some wear to the maker's mark but in general the marks are still legible. There is some surface scratching and wear overall, consistent with age and use. There is some bruising. This is mostly on the back.
Elgin: A 14 Carat Two Colour Gold Full Hunter Keyless Pocket Watch, signed Elgin, National Watch Co, USA, 1906, manual wound full plated lever movement signed and numbered 12443023, split bimetallic balance, enamel dial with Roman numerals, seconds dial, elaborately decorated case covers with two colour gold flower heads and swags, front cover with a vacant cartouche, maker's mark Keystone and numbered 4858460 and 14k 585 fine51mm wideCase with surface scratches, front cover hinge with a minor split, front cover is slightly springing when fully closed due to the split on the hinge, dial with small scratches between 1 & 2 o'clock position, hand setting correctly and winding smoothly, movement in going order. Total watch weight 132.7g.
An 18 Carat Gold Full Hunter Keyless Minute Repeater Chronograph Pocket Watch, circa 1900, manual wound lever movement, column wheel chronograph movement, split bimetallic balance with a blued overcoil hairspring, two jewelled hammers repeating on two outer gongs, enamel dial with Arabic numerals, outer fifth of seconds track, two dials for seconds and date, plain polished case with chronograph button and repeat pusher in the band, inside covers stamped 18k and numbered 51014 51mm wideCase with surface scratches, case sides with minor dents, case covers are closing and opening correctly, dial centre with small scratches visible under an eyeglass, chronograph is working, but the chronograph hand is not returning back to the 12 'clock position, chronograph minute counter is working, repeat is working, movement in going order. Total watch weight 102.8g.
J.Hargreaves & Co: An 18 Carat Gold Full Hunter Chronograph Pocket Watch, signed J.Hargreaves & Co, Liverpool, Maker's to the Queen, 1878, key wound lever movement signed and numbered 45.564, split bimetallic balance, enamel dial with Roman numerals, outer fifth of seconds track, case with slide in the band to operate chronograph, inside case covers stamped with maker's mark JH&Co and a Chester gold hallmark for 187856mm wideCase with light surface scratches, front cover with slight rubbing to the vacant cartouche, dial edge above 12 with hairline cracks, dial is otherwise clean, winding smoothly and hand setting correctly, chronograph slide in the band is working, chronograph is working, movement in going order. Total watch weight 150.8g.
An 18 Carat Gold Full Hunter Triple Calendar Quarter Repeater Chronograph Pocket Watch with Moonphase Display, circa 1900, manual wound lever movement, column wheel chronograph movement, blued overcoil hairspring, bimetallic balance, two hammers quarter repeating on two outer polished steel gongs, enamel dial with Roman numerals, outer fifth of seconds track, four sub dials for day/date/month and seconds combined with moonphase aperture, plain polished case with repeater slide and chronograph button in the band, bezel with adjustment calendar levers, inside case covers stamped 18ct and numbered 1036 52mm wideCase with surface scratches, case sides with small dents in parts, later 9 carat gold bow, inner dust cover with small dents, dial with hairline cracks and damage at the 2 o'clock position, repeat is working, calendar adjustment levers are working, chronograph button is working, movement in going order. Total watch weight 129g.
Robert Curtis: An 18 Carat Gold Full Hunter Keyless Chronograph Pocket Watch, signed Robert Curtis, 19 Lowgate, Hull, 1893, manual wound lever movement signed and numbered 148279, split bimetallic balance, enamel dial with Roman numerals, outer fifth of seconds track, plain polished case with slide in the band to operate chronograph, case maker's mark PW and a London gold hallmark for 189352mm wideCase with surface scratches, covers with small dents, chronograph slide in the band is working, dial is clean, hand setting correctly and winding smoothly, chronograph is working, movement in going order. Total watch weight 123.5g.
An 18 Carat Gold Open Faced Chronograph Pocket Watch, 1894, key wound lever movement, enamel dial with Roman numerals, outer fifth of seconds track, case with slide in the band to operate chronograph, case stamped inside with maker's mark IJTN and numbered 119247, Chester gold hallmark for 189456mm wideCase with surface scratches, case sides with small dents, chronograph slide in the band is working correctly, case back cover is slightly springing when fully closed, glass with scratches, dial with very minor scratches, hand setting correctly and winding smoothly, chronograph is working, movement in going order. Total watch weight 158.9g.
Full title: Hendrik van Balen (1575-1632): Achilles is recognized among the daughters of Lycomedes, oil on copperDescription:Work: 73 x 46 cmFrame: 92 x 64 cm The painting depicts the discovery of Achilles by Odysseus. Thetis, Achilles' mother, wanted to prevent her son's participation in the Trojan war, and so, dressed in women's clothes, hid him among the daughters of Lycomedes of Skyros. Odysseus, well aware that Achilles was needed to win the war against Troy, managed to discover his true identity through a ruse. Odysseus is depicted here as a merchant who comes to offer beautiful objects, including weapons. While the daughters choose jewels, Achilles opts for the sword. The painter has depicted life at the court of Lycomedes and focuses the attention on Achilles, dressed as a woman, who has just unsheathed the sword. The theme was popular from the Italian renaissance onwards and was occasionally adapted in the Netherlands since the late 16th C. Interpreted allegorically, the Achilles theme illustrates absolute heroic virtue. Despite his mother's precautions, Achilles follows his true calling and will go to battle.Examples from the 17th C. are unusually numerous (e.g. Francken I, Sebastiaan Vranckx, Theodoor van Thulden, etc.). The version of P.P. Rubens (now Madrid, Prado, inv. no. 1661, canvas, 267 x 246 cm), on which Anton van Dijck probably also contributed, undoubtedly exerted a strong influence in the Antwerp artistic milieu. The painting offered must be situated in the same Southern Netherlands tradition. The decorative style of the figures and the enamel-like finish of the whole clearly point in the direction of the Antwerp painter Hendrik van Balen (1575-1632). Van Balen was a renowned painter in the early 17th C. During the performance of the Rosary Cycle in St. Paul's Church in Antwerp (ca. 1617), he received a remarkably higher wage than P.P. Rubens, Jacob Jordaens and Anton Van Dyck. Although he was a skilled painter, by contemporary standards his compositions seem somewhat linear and overloaded. However, the horror vacui is not really disturbing because of the colourful upholstery of the whole. As a theme, the scene presented here fits perfectly in his style idiom. Rubens' example, which was created shortly before 1620, was Van Balen's starting point for the structure of his composition. He has paraphrased Rubens's onset in the right half of his painting (note the backward-facing man in the right foreground and the touch of the left arm by the man further back who may be identified with Odysseus) and extended it to the left with colourful spectacle elements that should evoke the rich court life. Compared to Rubens, the psychological tension in Van Balen's version is less developed. The difference in size between the two paintings also contributes to a different interpretation of the traditional theme.That Hendrik van Balen worked out the theme of Achilles between the daughters of Lycomedes is apparent from a statement in Gerard Hoets' Catalog of Naamlyst van schilderyen met derzelfver pryzen', The Hague, 1752, in which a painting with the theme 'Achilles onder de Maagden, door van Baalen, het landschap van den Fluweele Breugel , zo goet en eel als ooit gezien is' (Achilles among the Virgins by Van Balen, the landscape byJan Breughel, as good as has ever been seen' is mentioned. The work is attributed to Hendrik van Balen and Jan Breughel I (1568-1625). The explicit mention of the landscape may suggest that this is not the version, although 'the landscape'caneventuallyrefer to the lavish still life in the foreground.The painting is accompanied by a certificate fromKatlijne Van der Stighelenof December 1997 (prof. Dr. Katlijne Van der Stighelen (°1959) is a Belgian art historian. She is known for her research and publications on female artists in the Netherlands and portrait painting by the Flemish masters. Katlijne became a doctor in art history at KU Leuven in 1988, with a thesis on Anna Maria van Schurman. She was subsequently appointed associate professor in 1990, professor in 2001, and full professor in 2007 at the same university. In 2002, she held the Rubens Chair at Berkeley University for three months. Since 2003 she is a member of the Royal Flemish Academy of Belgium for Science and the Arts. In 2018 she was curator of 'Michaelina. The leading lady of the baroque', a retrospective that was part of Antwerp Baroque 2018 and was set up in collaboration with the Rubens House and Tourism Flanders, link): "Moreover, the connection should be made with a painting of the same title from the museum of Aix-en-Provence. The painting has been reproduced very little but was associated with Hendrik van Balen some time ago (in the catalogue 'Le siècle de Rubens dans les collections publiques françaises', Paris, Grand Palais, 1977, p. 281, reference is made to the painting at Aix: Achille chez les filles de Lycomède). As far as composition is concerned, the work in question fully corresponds to the painting on offer. There may be two versions of the same theme. The way of working undeniably seems to betray Van Balen's own contribution. The doll-like structure of the women's faces, the recurring dark piercing eyes, the soft and somewhat plump-looking anatomy, the small hands with short parallel fingers: these are all stereotypical characteristics of Hendrik van Balen's mature style. The balanced dosage of the red parts and the frieze-like position of the protagonists are equally characteristic. Taking into account the chronology that appears in the extensive contribution of Ingrid Jost concerning the oeuvre of Hendrik van Balen (Ingrid Jost, 'Hendrick van Balen D. Ä. Versuch einer Chronologie der Werke aus den ersten zwei Jahrzehnten des siebzehnten Jahrhunderts unter besonderer Berücksichtigung der Kabinettsbilder', in: Nederlands Kunsthistorisch Jaarboek, 14, 1963, pp. 83-128), the work can be situated between 1620 and 1630. This dating is also confirmed by the relationship with Rubens' composition, which was created shortly before 1620."
A George V. silver trophy, the wavy rim with cast border and twin scrolling handles having an enamel badge for the North London Motor club and presentation inscription "Barnet Grass Speedway Sept 27th 1931 R.A.Scott", maker Turner & Simpson, Birmingham, 1930, h.13cm, together with two George V. silver trophy goblets each for Barnet Grass Speedway to R.A. Scott, dated June 21st 1931 and 2-10-32, maker Turner & Simpson, Birmingham, 1930 and 1931, h.11cm and 7.5cm. gross weight 6.4oz. (3)Lots 1246 to 1260 comprise a collection of early Speedway / Grass-Track Racing trophies and badges awarded to Roland Albert Scott a.k.a. “No.69” Read more here
A George V silver trophy cup, of bell shaped with twin handles on a domed foot, having an enamel badge for the North London Motor Club and inscribed " Barnet Speedway 2.7.33. R.A. Scott", maker Turner and Simpson, Birmingham, 1932, h.14cm, 6.8oz.Lots 1246 to 1260 comprise a collection of early Speedway / Grass-Track Racing trophies and badges awarded to Roland Albert Scott a.k.a. “No.69” Read more here
A George V. silver trophy cup, the shaped rim with cast border and acanthus capped twin C-scroll handles, having an enamel badge for the North London Motor Club above a presentation inscription "Barnet Grass Speedway July 24th and August 1st 1932, R.A. Scott", maker Birmingham Medal Co., Birmingham, 1932, h.19cm, 10.8oz.From a collection of early Speedway / Grass-Track Racing trophies and badges awarded to Roland Albert Scott a.k.a. “No.69”The majority of these trophies date from the early 1930s and include races put on by the North London Motor Club and staged at Barnet Speedway. This grass and cinders track was used from 1929 until 1936 and attracted thousands of spectators and competitors during the early boom years of Grass-Track Speedway.Speedway took off as a competitive sport in the UK after the First World War when technological advances and mass production led to increased availability of motorcycles to the general public. When the Auto Cycle Union banned racing on public roads in 1925, many riders clubbed together to hire privately-owned grass fields (after the harvest had been collected), which naturally led to dedicated clubs and racetracks being established in the late 1920s.Roland Albert Scott was a keen amateur competitor from these early beginnings – and was clearly very successful. Early Speedway racers became stars in their own right and were commemorated on cigarette cards, while championships were reported on in the National press. Despite ebbs and flows in the popularity of the races, it is now a major competitive sport with many branches of contests and an annual Speedway World Cup.Lots 1246 to 1260 comprise a collection of early Speedway / Grass-Track Racing trophies and badges awarded to Roland Albert Scott a.k.a. “No.69” Read more here
PAIR OF CHINESE CANTONESE VASES EARLY/MID 19TH CENTURY decorated with Rose Mandarin scenes, surrounded by the Greek Key design, the rest of the vases decorated with precious objects, butterflys, mythical creatures, peonies and kumquats (2)26cm highA few small areas of loss to the enamel, some gilt fading, one vase has nibbles to the top rim. Additional images uploaded.
NORWEGIAN ENAMELLED NECKLET BY ALBERT SCHARNING ALONG WITH A SIMILAR BROOCH AND PAIR OF EARRINGS comprising three rows of enamelled links, in sterling silver, signed to the reverse, along with a Norwegian enamelled brooch and pair of earrings of a similar style Qty: 3Minor chips to the earrings as shown in photos. Other enamel in fair condition. Items tarnished, predominantly the necklet.
Hornby / Bassett-Lowke / Buco and other Commercial manufacturers a mixed group of Rolling Stock and Railway Accessories consisting of Hornby O Gauge 2 x Bassett-Lowke Signals, Marklin or similar signal mounted on a wooden base, together with a pair of re/overpainted crossing gates and a pair of Buco / Paya 4-wheel Goods Rolling Stock including an Esso Tanker and a WD Covered Wagon (latter with 3 x detached buffers). Included with this lot is a wooden Carriage Depot or similar mounted on a wooden base with enamel signs for Castrol, News of the World to both sides with an old retail label to the rear. Condition varies but generally Good to Good Plus. (13)
Meccano block setting crane built using parts in red, green and yellow mounted on a 4-pillar base with double sets of wheels to all corners. Crane stands 28" tall and has a total boom length of 44" (71cm x 1.12m) approx, top boom is mounted on a roller bearing, red and white Meccano enamel sign to one side with an electric motor mounted in the crane cab and connected by a number of gears. Includes a detached hook and plastic bucket. Will require a little work but nevertheless an interesting model.
OMEGA SEAMASTER COSMIC 2000 BRACELET WRISTWATCH, c. 1970s, stainless steel, enamel filled baton markers, silvered dial, automatic movement, centre seconds, day and date windows, snap-on back, Omega brick link bracelet with deployant clasp, 38mm diam.Comments: crown sets hands and date as normal, outer minute track worn between 5 and 6, dial with marks to perimeter, general surface scratches commensurate with age and use, links with minor stretch, ticks when wound, not timed for accuracy, service advised. No box, papers etc.
CHINESE FAMILLE NOIR 'CRANE & BAT' DISH, 6-character Qianlong mark, decorated with eight Manchurian cranes around a central Shou roundel, alternating bats with peaches and crane border, 35.5cm diam.Comments: small chip to underside of rim, rim fritted, tears in glaze at base, black enamel with surface scratches.
TISSOT SEASTAR VISODATE PR-516, stainless steel, ref. 41516, 17J cal. 782 manual wind movement no. 105***7, brushed silvered dial with black enamel tipped baton markers, lume-filled paddle hands, screwdoan back, original steering wheel bracelet with signed deplyant clasp, in blue Tissot box with guarantee booklet dated 1968, 34mm diamComments: excellent
ASSORTED JEWELLERY comprising 18ct gold fine chain, pair of yellow metal earrings, yellow metal, enamel and pearl clasp, yellow metal dumbbell pin, 18k gold link bar brooch, and a 14k IWC ladies watch head, 21.4gms gross (7)Provenance: deceased estate Ceredigion, consigned via our Carmarthen Office
ASSORTED JEWELLERY comprising 9ct gold heart lock and 9ct gold bull pendant, sapphire and diamond pendant on chain, agate brooch, Tudric napkin ring, turquoise panel earrings and coral earring, marcasite and pearl pendant, Juvenia fob watch, dress rings, enamel badge, Quen Mary caddy spoon, Waiter pin ETCProvenance: private collection Vale of Glamorgan, consigned via our Cardiff Office
ASSORTED YELLOW METAL JEWELLERY comprising 9ct gold seed pearl hinged bangle, pair of 9ct gold diamond chip earrings, yellow metal seed pearl swallong brooch, 9ct gold black enamel mourning ring and a yellow metal curb link brooch with agate drop, 31.3gms gross (6)Provenance: private collection Cardiff, consigned via our Cardiff Office
NORWEGIAN STERLING SILVER & ENAMEL BRACELET, the bracelet designed as two rows of teeth in deep blue enamel, designed by Einar Modahl, stamped '925 S' 'Sterling Norway' with designer's initials, 38.6gmsProvenance: private collection Cardiff, consigned via our Cardiff OfficeCondition Report:Unboxed
COLLECTION OF PREDOMINANTLY MILITARY INTEREST SWEETHEART BROOCHES & BADGES comprising mother of pearl H. M. S. Hood brooch, sterling silver and enamel London Rifle brigade brooch, Auxiliary Territorial Service brooch, yellow metal and tortoiseshell Royal Sussex Regiment brooch, silver and tortoiseshell Army Service Corps brooch, brass and enamel Monmouthshire brooch, New Zealand fern brooch, French 75mm artillery pendant, Ypres brooch, butterfly wing heart design necklace, Royal Navy double heart brooch, RMS Lanfranc brooch, The Welsh Regiment brooch, Saskatoon brooch, Royal Army Ordnance Corps pendant brooch, all presented on pillowProvenance: private collection Carmarthenshire, consigned via our Carmarthen Office
18TH CENTURY WORCESTER comprising teapot and cover printed in puce with 'Ruin by the Cliff', the reverse with 'Two Bridges', also finely coloured by hand, Zorensky Collection label to base, circa 1764, 14cms high, together with Worcester plate printed in black with 'Milking Scene no. 1', depicting a gentleman leaning against a tree talking to a milkmaid milking a cow, finely coloured by hand within a puce scrolled border, circa 1768, 18cms diameter (2)Provenance: ex Zorensky CollectionAuctioneer's Note: Illustrated by Simon Spero and John Sandon, The Zorensky Collection (1996), p.373. The print on the plate, by Robert Hancock, derives from 'A View of Woobourn In Surry, the seat of Philip Southcote, Esqr.', a print published by Luke Sullivan in 1759. See Joe Handley '18th Century English Transfer-Printed Porcelain', no.2.24, pp.70-1. 'The Two Bridges' print derives from an engraving by F Vivares after Patel, see Handley, op cit, p.177. For the other print see no.5.9, p.152.Comments: 2 chips to rim of spout, firing crack to spout, chip to footring of plate, wear to enamel decoration commensurate with age, plate rim warped, viewing encouraged
ASSORTED COLLECTABLE COINS comprising £50 banknotes series, various £2 coins, William and Kate $1 coin, commemorative coins including Sir Winston Churchill, Elizabeth I, Magna Carta, plate and enamel coins, 1977 jubilee coins, 50 pence collector's coins, Royal Navy 2015 uncirculated £2, large commemorative coins including Diana, National Anthem, Wartime leader, five gilded tin collector's crowns ETCProvenance: private collection Cardiff, consigned via our Cardiff Office
A pair of Norwegian yellow enamel earrings (A/F), a yellow metal link chain, approx. length 48cms, a hallmarked 9ct part cufflink,(A/F), jump rings, one earring, gem stones, stamped 9ct & silver paste cluster ring, ring size P, and two brooches (A/F), hallmarked 9ct gold hoop earrings(broken),pair of cluster earrings, etc.
A collection of four various sterling silver and guilloche enamel decorated butterfly brooches, predominantly yellow decorated, stamped marks verso, the largest 3 x 5.5cm; together with a sterling silver and guilloche enamel circular pill dish, decorated with a winter landscape scene, dia.4.6cm (5)Large yellow butterfly with areas of surface chips/losses to enamel at either side of base of wings.All with tarnishing to silver reverse areas.
An early 20th century enamel on copper rectangular plaque in the Pre-Raphaelite taste, titled Benedicite Omnia Opera, heightened in gilt, 14.5 x 23cmWith large loss from lower left hand corner running to central area.Further consistent losses to outer edge.General age-related wear throughout.
A collection of Scandinavian jewellery, to include silver and enamel zodiac bracelet, variously stamped 925 S verso, length 18cm; a pair of David Andersen silver and enamel leaf shaped clip earrings, stamped marks verso, each 3cm; and a pair of rolled gold and enamel engine turned cufflinks, of circular form (3)
Two mid-20th century Carltonware ceramic New Bird of Paradise pattern ginger jars and covers, each enamel and gilt decorated, printed marks verso, the larger h.25cm, the smaller h.21.5cm; together with a Carltonware Chinese Bird & Cloud pattern jar and cover, of ovoid form, typically enamel and gilt decorated, printed marks verso, h.19cm (3)All pieces very good, no apparent faults.
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