A REGENCY BRASS INLAID MAHOGANY BRACKET CLOCKUNSIGNED, CIRCA 1820The five pillar twin fusee bell striking movement with anchor escapement regulated by lenticular bob pendulum, the shouldered backplate engraved with geometric border decoration, the 8 inch slightly convex cream painted Roman numeral dial with steel moon hands set behind hinged convex glazed cast brass bezel, the case with brass pineapple finial to the elevated gadroon-carved surmount over cavetto cornice and fluted band to frieze, the front with brass fillet-edged recessed quadrant panels decorated with brass foliate motifs around the dial flanked by brass line decorated slender strip pilasters, the sides with brass rosette ring handles over rectangular fish-scale frets, the rear with rectangular glazed door set within the frame of the case, on skirt base incorporating fluted band to upper edge and brass roundel and line inlaid decoration to front over brass ball feet.49.5cm (19.5ins) high, 28cm (11ins) wide, 16.5cm (6.5ins) deep. Provenance: The Late William Keith Neal, Antique firearms collector, formerly of Bishopstrow House, Warminster, Wiltshire. Condition Report: Movement is complete and in reasonably clean working condition with no visible evidence of alteration or noticeable replacements. The dial has been restored but is of good colour with some slight mellowing and light scratching together with a slight defect to the XI numeral (relating to dial foot attachment). The hands are undamaged. The case is generally in sound original relatively untouched condition. The left-hand side has some shrinkage cracking due to carcass movement towards the leading edge and a small loss to the fluted moulding above the skirt. The rear door has lost the veneer overlap bordering the left-hand edge and the clock is a replacement. The top finial block is also a replacement otherwise faults are limited to lesser shrinkage in places, a few minor bumps, scuffs and other age-related blemishes.Clock has winder but no case key. Condition Report Disclaimer
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534297 Los(e)/Seite
A VICTORIAN BRASS MOUNTED EBONISED QUARTER-CHIMING 'BASKET-TOP' BRACKET CLOCKRETAILED BY NOBLE AND CHIVERS, BATH, LATE 19th CENTURYThe substantial four columnar pillar tripe chain fusee movement with anchor escapement regulated by lenticular bob pendulum, chiming a choice of two tunes on a graduated nest of eight bells and sounding the hours on a gong, the backplate with pendulum holdfast, the 6.75 inch wide rectangular dial with shaped silvered plate engraved NOBLE & CHIVERS, BATH to the matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes beyond the minute track, witch scroll pierced steel hands and unusual oak leaf cast gilt spandrels to angles with the upper interrupted by twin subsidiary CHIME/SILENT and CHIME ON 8 BELLS/CAMBRIDGE CHIMES selection dials with winged mask ornament between, the 17th century style case with twin putto term cast hinged carrying handle to the pierced 'basket' caddy superstructure decorated with seated putti and baskets of flowers within foliate strapwork, flanked by brass flambeau urn finials to angles over double cavetto top mouldings and brass-fillet bordered glazed aperture to the front door applied with scroll pierced mounts to the frame, the sides with rectangular cast brass frets further decorated with a central classical term and seated putti within foliate strapwork, the rear flush with rectangular brass grille inset door set within the frame of the case, on cavetto mounded skirt base applied with ribbon-tied floral cast mounts to angles over brass paw feet.42cm (16.5ins) high with handle down, 28.5cm (11.25ins) wide, 21cm (8.25ins) deep. Noble and Chivers were retailers of silver, jewellery and luxury goods based at 2 New Bond Street Buildings, Bond Street, Bath. They succeeded the business established by Thomas Noble in circa 1770 and were in business from prior to 1875 until after 1900. Condition Report: Movement is complete and in full working condition (will run, chime and strike) however the mechanism is somewhat dirty/dusty with [patchy oxidation to the old lacquered finishes to the plates. There is no visible evidence of alteration or noticeable replacements; a gentle clean/service is advised. The dial is in very good original condition with only relatively light mellowing to the lacquered/silvered finishes. The minute hand has been repaired. The case is also in very good original condition with faults very much limited to overall tarnishing of the mounts, very slight shrinkage and edge-rubbing to the ebonised finish.Clock is complete with pendulum and a modern crank winder (no case keys required as doors are secured via manually operated latches). Condition Report Disclaimer
Pair of Art Nouveau brass wall lights with whiplash design decoration, the sconces inscribed 'Hubbell', with two fluted vaseline style shades, 28cm wide exc. fittings (2) Condition Report The fittings one one light do not hold securely in place. Numerous nibbles to base of shades. A crack and loss to the bass of one shade. Some surface wear and imperfection in the glass of the shades. Surface wear and marks throughout brass. Please note these lights are not earthed. Please see additional photos.
Japanese Meiji period (1868-1912) satsuma rectangular box, the interior painted with chrysanthemum, flowering prunus and iris, on a gilt seeded pattern ground within dense floral borders, the exterior with figures at various pursuits, the underside with gilt and black character seal mark (missing lid)Condition ReportSurface marks, light wear to gilt in places, accretions, small chips to a couple of corners. General wear and tear.
Arts & Crafts planished brass pendant ceiling light of tapering trumpet form, with three branches, issuing frosted glass petal shaped shades, 50cm high approx. Condition ReportOverall of good decorative appearance. There are some scattered small rust coloured marks to the planished surface of the pendant, some general surface wear overall to brass, no splitting, arms in good order and moving well, lamp shades are ok with some minor surface scratching, some wear to ceiling rose. Looks reasonably level when hung.
Pair of Art Nouveau brass wall lights with S-shaped tendril branches and lobed wall mounts, with orange tinted mottled blue glass shades, 28cm wide exc. fittings (2) Condition Reportlight surface scratches to shades, small chip to mounting edge of one shade. Branch with soldered repair to top of one tendril, repair to curved part on one branch, gas valves soldered shut/fixed in place, tarnishing to both. General wear and tear.
Hans Brattrud (Norwegian, 1933-2017) Set of four 'Scandia' rosewood chairs and two teak examples produced by Hove Mobler in Norway in the 1960/70's, partial labels to underside of three chairs, height approx. 93cm (CITES REF: 24GBA108KCD26) Condition Report Light surface scratches, scuffs and knocks. Fading/discolouration in places. Both teak chairs with extra holes to seat. Obvious colour changing on them, either from fading or restaining to wood. Metal frames with some scratches, accretions and marks. Split to one of the underside beams. General wear and tear.
Art Nouveau pendant brass two-branch ceiling light with central globe finial and pierced decoration, issuing frosted glass petal-shaped shades, 52cm high Condition ReportOverall in good order, it has been wired for electricity. There is some typical surface pitting and tarnishing to brass overall, but this is typical for age. Shades are in good order and screws and fittings are present (as photographed).
Spode bone china 'Blue Colonel' pattern part dinner service, printed red and black marks, pattern no. Y6235-Q, printed with flowering leafy tendril border, reserved on a fluted ground, including two circular two-handled vegetable dishes and cover, an oval serving dish, a sauce boat, six two-handled soup cups, cake plate, assorted plates in sizes and other items Condition ReportVery good overall condition. Some very light surface scratches. No signs of crazing or wear to gilt. General wear and tear.
Art Nouveau brass pendant ceiling light of entwined tendril form, 28cm high and a single Art Nouveau brass wall light with adjustable branch of pierced foliate design, 28cm wide, each with frosted glass shade, (2) Condition Report Some marks and wear throughout metal fittings to both. Some marks, nibbles to bases and air bubbles throughout shades. Possibly a repair to branch wall light. Please see additional photos.
Group of frosted glass lamp shades and pendant light fittings, including two Art Deco style flame-moulded shades, a grape moulded example and others, some with chrome and brass fittings Condition Report Chip to the tip of the flame of the frosted flame shade (with chrome mount), the other flame shaped shade (without mount) is cracked and has noticeable chipping at rim (opening). Some wear to gilding to one of the shades. Otherwise there is some minor wear, they have not been fully inspected beneath mounts where mounts have been screwed in place.
Pair of French Art Deco patinated bronzed spelter models of panthers on marble bases, each signed Frecourt, GR France, on ochre marbled rectangular plinth bases, 15cm highCondition ReportLight surface marks/scratches, accretions. One is slightly loose on its base. Appears to be a small area of repair to the underside edge of the marble base on one. General wear and tear.
Chinese export blue and white porcelain shaped rectangular serving dish, late 18th century, painted with pavilions and terracing in willow landscape, the border with cell scroll pattern and butterflies, 36.5cm wide Condition ReportLight surface mark and scratches. Wear around the edges. Chip to edge. General wear and tear.
Assorted collectables including a programme for the British Grand Prix 1977, Daily Mail Race of Champions 1971, the vintage Lucas foghanger automotive light, assorted draughtsman's tools (many boxed), a collection of painted lead toy farm animals, figures, fencing and other related items, a compass and other items (1 box)
Four Chinese export blue and white plates, late 18th century, comprising a pair of octagonal form painted with pavilions and terracing within island landscapes, 23cm wide, another with figures in chinoisierie landscapes similar and a small circular plate painted with flower sprays with hatched borders (4) Condition Report Small plate with light surface marks, accretions, small chips/nibbles to edge.Octagonal plates with light surface marks, accretions, small chips/nibbles to edge and underside, 2 plates with hairlines at edge. General wear and tear
A solitaire diamond ring, the transitional cut stone of around 3.12 carat in a platinum crown with heart forms, ring size J Condition Report Good condition, the stone is eye clean, under magnification small mineral and crystal inclusions can be seen, these are light in colour and do not detract from the brilliance of the stone. Plus there are two miniscule nicks on the edge of the stone, please see images
A German silver part table service originally for eighteen by A. Kunne, Altena, post 1886 .800 standard, in a classical garland and ribbon bow pattern, engraved P, comprising: Eighteen table forks, Eighteen tablespoons, Eighteen dessert forks, Eighteen dessert or teaspoons, 3756g (120.75 oz) gross (72); Together with the following with silver handles and steel blades: Eighteen table knives, Eighteen dessert knives; Together with the following with silver handles and silver or gold plated blades and tines: Six fish knives, Five fish forks, Sixteen fruit knives, Seventeen fruit forks; (80)All contained in a light oak five drawer canteen box
Charles-Théodore Frère, French 1814-1888- Dhows on the Nile with Cairo beyond; oil on panel, signed 'TH. FRÈRE' (lower right), inscribed 'T.H. Frère / Ernest E. Ware F.R.C.S. / June 5/36' verso, 13.5 x 37 cm. Provenance: Private Collection, UK. Note: Frère came from a family of artists, which included his brother Pierre-Édouard Frère (1819-1886), and nephew Charles-Édouard Frère (1837-1894), and studied at the École des Beaux-Arts under Camille Roqueplan (1802/3-1855) and Léon Cogniet (1794-1880). He was particularly celebrated as an Orientalist painter, informed by his extensive travels around the Middle East and North Africa throughout his career. He first visited Algeria in 1836-39, completing paintings for King William I of Württemberg (1781-1864), and later journeyed to Malta, Greece, Turkey, Syria, Lebanon, and Egypt, establishing a studio in Cairo in 1853. The present work typifies Frère's style and subject matter, using a delicate colour palette of pinks and light blues to evoke the particular fall of light on the vista beyond.
Circle of Johann Wilhelm Jankowski, Austrian c.1825-1870- View of a castle by a lake; oil on canvas, 73.5 x 100 cm. Provenance: Property from a European Private Collection. Note: Jankowski produced a number of landscapes which are strikingly similar to the present composition, depicting a somewhat fantastical fortified building on what appears to be an Italianate lakeside, illuminated by a soft, golden light which lends the scene a further element of romance. The present work heavily recalls Jankowski's style, especially in the generous application of lighter pigments which the artist has used to highlight the details of the façades.
Edward Hughes, British 1832-1908- Portrait of Mrs Florence Villiers with her son Algernon, full-length, seated together in a springtime garden landscape; oil on canvas, signed and dated 'Edward Hughes/ 1897' (lower left), 158.5 x 118.3 cm. Provenance: By family descent from the sitters to the present owner. Note: Edward Hughes trained at the Royal Academy Schools, and exhibited widely throughout his prolific and successful career, including at the Royal Academy, The British Institute, and The Grosvenor Gallery. Hughes initially gained recognition for his genre pieces, which were reminiscent of the works of the Scottish painter Thomas Faed (1826-1900). Later in his career, he became renowned for his portraits of the aristocracy, which bore a striking resemblance to the ‘fancy’ pictures created by John Everett Millais (1829-1896). His early works were characterised by meticulous attention to detail, influenced by Millais and other members of the Pre-Raphaelite movement. As the century progressed, however, his paintings became increasingly opulent and lavish, reflecting the fashionable Impressionist style, which was popular with his Victorian sitters. These works featured vibrant tones, broader, looser strokes and emphasised the play of light on the fabrics and textures of his sitters’ clothes and the surrounding landscape, which is clearly visible in the portrait presented here. Here, Hughes has depicted Florence Villiers, née Ricardo, and her son, Algernon Villiers, in a garden. During the nineteenth century, motherhood held a central place in the domestic ideal, and middle-class Victorian mothers dedicated more time to their children compared to previous generations. They engaged in play, education, and integrated their children into daily life within the household. In Hughes’s picture, Algernon holds a basket filled with freshly picked flowers, suggesting that mother and child may have spent the day exploring and learning in the garden. A similar portrait by Hughes titled Portrait of Mrs. Drury Percy Wormald and her Son in an Autumnal Landscape sold at Christie’s New York in 2007 ($6,600).
John William Wright, British 1802-1848- Portrait of a lady seated at a table, reading a letter; watercolour heightened with white on paper, signed with monogram and dated 'JWW / 1846' (to the letter, centre), 49 x 37 cm. Provenance: Private Collection, UK. Note: Wright is perhaps best-known for his illustrations for Charles Heath's (1785-1848) 'Heroines of Shakespeare' of 1846, and the present work serves as a typical example of Wright's romanticised depictions of sitters in historical dress or theatrical costume. In this watercolour, Wright has exhibited his technical mastery of the medium of watercolour, evoking the detail of the frills on the sitter's dress, and the light which bounces off the china on the table beside her.
Charles Walter Simpson, RI, British 1885-1971- The Duck Pond; watercolour and bodycolour on paper, signed and dated 'Charles W. Simpson 1903' (lower left), 49.5 x 59.5 cm. Provenance: Private Collection, UK. Note: Simpson studied at the Bushey School of Art under the equestrian painter Lucy Kemp-Welch (1869-1958), an experience which undoubtedly informed his work as an animal and bird painter, for which he enjoyed considerable success. The present work is typical of Simpson's approach, especially in his loose, impressionistic brushstrokes, evoking the glimmer of light on the ripples of the duck pond.
Attributed to Aert de Gelder, Dutch 1645-1727- Study of a young woman and a man wearing a soft cap, possibly representing Esther and Mordecai; brown ink and sepia and grey wash with traces of red chalk, on laid paper with arms of Amsterdam watermark, bearing indistinct monogram 'A...' or 'R...' (?), and date inscription 'f 164 (both lower right), the reverse bearing further inscription 'Ja...n Six', numbered 'N. 117' and '49', and stamped with unidentified collectors' mark 'G.W.', encircled, in violet ink, the reverse of the frame extensively inscribed, in French, 'Aert de Gelder / Dordrecht 1645-1727 / étude pour la fiancee juive de la Pinakothèke de Münich', and with further transcriptions of the writing and stamp on the reverse of the sheet, 27.7 x 21.1 cm. Provenance: Private Collection, UK. Note: The present drawing, which depicts a young woman in regal or possibly bridal attire beside an older man wearing a soft beret, may represent the subject of Queen Esther, the Jewish wife of King Ahasuerus, and her cousin, Mordecai, who together defied a plot to kill the Jewish people in Persia. After their people were saved, Esther and Mordecai wrote a letter to all the Jewish people in the Persian provinces, urging them to commemorate this victory, thus laying the foundations for the festival of Purim. The subject of Esther was often treated by Rembrandt (1606-1669) and his pupils, including, significantly, Dordrecht-born Aert de Gelder, who was one of the last pupils to work in Rembrandt's studio and who continued to work in the older master's style until the 18th century. De Gelder revisited the story of Esther and Mordecai on several occasions, and the composition of the drawing presented here bears similarities to paintings of the same subject held in the collections of the Museo Nacional de Bellas Artes, Buenos Aires (inv. no. 8643) and the Musee de la Chartreuse, Douai. The striking directness and modernity of the composition, the dramatic interplay of light and shadow, and the distinctive combination of heavy wash and chalk are typical of De Gelder's approach. An example of a similar technique used by the artist includes a drawing depicting the Dream of Jacob, now in the collection of the British Museum, London (Oo,10.120). It is worth noting that the facial features of the female figure are reminiscent of those of Saskia van Uylenburgh (1612-1642), Rembrandts first wife and frequent model, who was portrayed not only by her husband but also others working in his environment, including Govaert Flinck (1615-1660). The collector's mark G.W. [Lugt 12226] is not identified, but possibly relates to an anonymous auction held in Paris on the 7th January 1920.
John 'Warwick' Smith, OWS, British 1749-1831- The New Road over the Pontine Marshes; pencil and watercolour on paper, signed, dated, and inscribed 'New Road over the Pontine Marshes / JohnSmith / 1803' verso, 23 x 34.5 cm. Provenance: with Martyn Gregory, London, where purchased by the present owner; Private Collection, UK. Exhibited: March 1985, Martyn Gregory, 'Exhibition of Early English Watercolours', catalogue 39, lot 121. Note: 'Warwick' Smith was the son of a gardener to the Gilpin family, and, as a result of this connection, went on to study under the animal painter Sawrey Gilpin (1733-1807). Over the course of his career, Smith became particularly celebrated for his topographical watercolours, depicting views across Britain and Italy, where he travelled under the patronage of George Greville (1746-1816) between 1776-81, leading to the publication of 'Select Views in Italy'. Smith likely revisited the present sweeping marshland view several times over the years. A smaller sketch of a nearly identical scene, showing the Via Appia through the Pontine Marshes flanked by rustic architecture, was recorded in the collection of Sir John Trevelyan, 5th Baronet (subsequently with Abbott and Holder, London). That example was dated 1795. The present picture is a classic and striking example of Smith's work, with an expansive vista illuminated by soft, warm light. A similarly vibrant and warmly lit vista, also depicting the countryside between Naples and Rome, is held in the collection of the Morgan Museum and Library, New York [1984.20].
Robert Dodd, British 1748-1815- Windsor Castle Packet and La Genie Privateer; pencil, watercolour, and bodycolour heightened with scratching out on paper, inscribed 'WINDSOR CASTLE PACKET, and Le GENIE PRIVATEER / To William Rogers Esqr. commanding the Windsor Castle, and his brave Crew; this View, of their engaging and capturing a French / Privateer Schooner of superior force on the 1st of October 1807 / Comparative Force: Windsor Castle. 8 small Guns, 28 Men / Le Genie. 6 six Pounders one 24 P. 86 Men' to the lower margin, 30.2 x 35.4 cm. Provenance: Private Collection, UK. Note: A print after the present drawing is held in the collection of the National Maritime Museum in Greenwich [PAG9422], as is another drawing by Dodd of ''La Blanche' towing 'La Pique', a French prize' [PAF5856], similarly depicting the sails battered by canon fire. As Robert Dodd also used to engrave his own naval battle scenes for wider distribution, it is likely that the present picture, which is accompanied by an inscription to the lower margin, is a preparatory study for the known print of this subject. The 'Windsor Packet' was launched at Yarmouth in 1804, serving as a Falmouth packet, often completing journeys to New York and the Caribbean islands of Barbados and Jamaica. The ship is best known for its decisive defeat of the French privateer schooner 'Jeune Richard', which, despite the much greater resources and man-power of the French vessel, resulted in its capture at the hands of the 'Windsor Packet'. A contemporary report of the action describes how 'This achievement reflects the highest honour upon every office, man, and boy that was on board the Windsor Castle; and, in particular, the heroic valour of her commander, so decisive of the business, ranks above all the praise. Had Captain Rogers stayed to calculate the chances that were against him, the probability is, that the privateer would have ultimately succeeded in capturing the packet; whose light carronades could have offered very little resistance at the usual distance at which vessels engage; and whose very small crew, without such a coup-de-main, ay, and without such a leader, could never have brought the combat to a favourable issue'.
Sir William Blake Richmond, RA, British 1842-1921- Porch of Sultan Hassan; oil on panel, signed with initials and dated 'W.B.R 1888' (lower right), 40 x 29.4 cm. Provenance: Purchased in 1912 from the Fine Art Society by Constance Goetze (wife of the artist Sigismund Goetze). Purchased in 1986 by a private collector, Melbourne, Australia and thence by descent. Literature: Helen Lascelles, 'The Life and Works of Sir W. B. Richmond, special Christmas edition of The Art Annual', 1902, illustrated p.21. Simon Reynolds, William Blake Richmond – An Artist’s Life, 1842-1921, 1995, pp.350, 356, 358. Exhibited: New Gallery, London, 'The Works of Sir William Blake Richmond, Winter 1900-1901', either no.248 or no.252. The Fine Art Society, London, 'Paintings of Italy, Greece and Egypt by William Blake Richmond', March 1912, no.19. Royal Birmingham Society of Arts, 'Autumn Exhibition', 1912, no.116. Note: ‘The minarets and towers of Cairo are gilded with a pale gold shimmer. The city is a phantom, it is transparent, it is light all light, but so delicate that every detail is concealed within the soft embracing atmosphere. Nothing looks real – nothing is to be grasped – the city is an unreality…’ (William Blake Richmond, 'The Silver Chain', 1916, p.24). Richmond first visited Cairo in 1885 and was enchanted by the city, making several return visits in the next few years. He was particularly interested by the places of worship and painted the Mosque of Sultan Hassan several times, including a depiction of the interior courtyard (private collection). As his wife later recalled; ‘This was the most Eastern place that Sir William visited, and the tropical heat, the low mud huts, the brilliant moonlight on the palms, the crowds of Arabs, and the primitive way of life, were to him intensely attractive… He stayed some time in Cairo, devoting himself especially to drawing in the mosques and about the environs of the delightful city, not yet spoiled by European barbarians, frequently spending the entire day in one or other of the mosques observing the picturesque crowds of Arabs, negroes and Copts passing from the shadow of the deep doorways and recesses to the full light of the court open to the sky. One has not realised what colour is until the East has been visited.’ (Helen Lascelles, 'The Life and Works of Sir W. B Richmond, special Christmas edition of The Art Annual', 1902, illustrated p.21).
Paul H Ellis, British fl.1882-1908- Street Scene in Jerusalem; oil on canvas, signed 'Paul.H.Ellis' (lower left) and inscribed 'Street. Scene / Jerusalem' verso, 25.3 x 20.4 cm. Provenance: Private Collection, UK. Note: Ellis was most prolific as a painter of Orientalist scenes, with street scenes of Middle Eastern and North African cities, including Istanbul, Thebes, and Cairo, forming a significant part of his output. The present work, depicting a busy street in Jerusalem illuminated by a warm, golden light, is typical of the artist's work.
EIGHT ITEMS OF FURNITURE comprising two formed ply and tubular metal high stools, 104 (h), 34 x 34cms seats, Mexican pine side cabinet with magazine pockets, 52 (h) x 54 (w) x 48cms (d), oak two-tier tea trolley, 80 (h) x 59 (w) x 40cms (d), vintage oak collectors display cabinet, glazed single door, interior slim shelves, 74 (h) x 52 (w) x 12cms (d), G. Quaeck & Co Porthmadog light elm wall rack, drop down cupboard front, shaped sides, 66 (h) x 88 (w) x 15cms (d), glazed front bookcase, sliding glass doors, interior shelves, 88 (h) x 71 (w) x 23 (d), pink Lloyd Loom style linen basket, 59 (h) x 42 (w) x 29cms (d)Provenance: private collection Conwy
MODERN LIGHT OAK FURNITURE PARCEL, comprising extending dining table, 75 (h) x 120.5 (l) closed, 166 (l) with additional leaf x 80cms (w), single drawer console table, conjoining under-tier shelf, 76 (h) x 70 (w) x 30cms (d), two drawer entertainment stand, 54.5 (h) x 108 (w) x 40.5cms (d), nest of three occasional tables, 51.5 (h) x 55 (w) x 40cms (d) the largestProvenance: deceased estate Conwy
TWO POLISHED OAK BOOKCASES, comprising light oak example, three quarter upper rail, three frieze drawers, twin glazed lower doors, interior shelf, square supports, 92 (h) x 93 (w) x 23.5cms (d), stained oak open bookcase, carved, shaped three quarter upper rail, three open shelves, lower edge moulding, 81 (h) x 69 (w) x 27cms (d)Provenance: private collection Conwy
Hilary Mantel, The Wolf Hall Trilogy, all first editions, first impressions, all published London, Fourth Estate, all original cloth gilt, all in dust wrappers: 'Wolf Hall', 2009, title page from another copy signed by Mantel and mounted on card loosely inserted, 'Bring Up the Bodies', 2012, signed on title page, 'The Mirror and the Light', 2020, signed on title page, all in fine/fine collectable condition, all dust wrappers with prices intact (3)
(Plain Wrapper Press.) Manuel Mujica Lainez; Luciano De Vita (ill.): 'Cantata de Bomarzo. A libretto by Manuel Mujica Lainez, Seven etchings by Luciano De Vita', Verona, Plain Wrapper Press, 1981, limited edition, number 77 of 83 copies only signed by the author and the artist, printed by Gabriel Rummonds and Alessandro Zanella on an 1847 Washington handpress, the type handset Horizon Light with display lettering by Golda Fishbein on white Wookey Hole handmade paper, 7 large tissue guarded etchings by Luciano De Vita, these pulled by Cataldo Serafini in Bologna, translated into English by G. Rummonds from the original Spanish text, folio, original quarter black leather lettered in gilt, patterned paper covered boards, original slipcase, together with the Plain Wrapper Press Keepsake 'Cantat di Bomarzo', one of 130 press-numbered copies, the entire edition, printed by Gabriel Rummonds and Alessandro Zanella as a keepsake from the press, translated into Italian by Francesco Tentori Montalto, 4to, original stitched printed wraps (2)
Bing clockwork 0.4.0 and tender, Great Western Green 3703 and two Chocolate Cream coaches, O gauge very good condition, working, with some track, also destination board clock, H: 20 cm, and signal with light, H: 28 cm, plus two other locomotives and three coaches for repair. UK P&P Group 2 (£20+VAT for the first lot and £4+VAT for subsequent lots)
Kenner Star Wars vintage 3 3/4" figures x 16 including Admiral Ackbar, General Madine, Paploo, Teebo, Imperial Commander, C-3PO removable limbs, R2-D2 and Princess Leia Boushh, all complete generally Good to Excellent and Gamorrean Guard, Princess Leia Bespin, Darth Vader, TIE Fighter Pilot, Obi-Wan Kenobi, AT-ST Driver, Han Solo trench coat and Hoth Stormtrooper, all incomplete generally Good to Excellent, also includes some accessories and a USED R2-D2 pop up light sabre backing card. (17)
An octagonal silver cigarette box with gilded interior, Walker & Hall, Sheffield 1938, 10cm, 5.2oz.Condition report:Shape remains very good, no dents or distortions. The cover closes very flush. Slight rubbing to the maker's touch mark to the body, but crisp assay and date letter, and crisp marks elsewhere. Minor rubbing to the gilt interior of the cover where it closes over the body. Light surface scratching and wear.
Haselbech oak dining table, rectangular boarded top with cleated ends, turned legs, 153x92cm, height 77cm.Condition report:The top is in good overall condition, only a few light surface marks and scratches, however the corner ends all have scuff and heavy scratching (see additional images). Frame is sound. Legs and friezes are relatively free of significant marks and wear. Distance between the legs on the end 55cm, distance between the legs along the sides 88cm.
Early 19th century needlework panel of cupid in a rose garden, in a gilt frame with ribbon surmount, panel measures 48cm x 41cm; a gilt framed Regency style mirror, oval plate, with Urn and Swag mount, 71x44cm; and a brass and onyx four-light candelabra, 37cm.Qty: 3Condition report:There are losses to the embroidery, repair and damage to the top of the frame. There are losses and cracks to the mirror surround. The centre of the candelabra and one foot are loose. Please see additional uploaded images.
Victorian pine cupboard, two doors, plinth base, width 77cm, depth 45cm, height 77cm.Condition report:Colour variation, staining, and some light surface scratching throughout. The interior is equally a little stained. There is a 5mm gap between the cupboards so not exactly a tightly sealed cupboard. Latch is replaced.
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534297 Los(e)/Seite