Audemars Piguet. Rare montre bracelet en or blanc 18K (750) sertie de diamants avec date mouvement automatiqueAudemars Piguet. A rare 18K white gold automatic calendar bracelet watch with diamond set dial Model: Millenary Limited Edition for Oman Sultan Qaboos Bin Said's 35th anniversary of accession to the throneReference: 15142BC.OO.1136BC.01Date: Circa 2005Movement: 32-jewel Cal.2325 automatic, adjusted to heat, cold, isochronism and 5 positions, No.578686Dial: Red, dot diamond set hour markers, Sultan Qaboos Bin Said portrait, date aperture at 3, polished luminous filled sword hands, white pointed arrow centre secondsCase: Brushed and polished oval form, back secured by 6 screws, cabochon set crown, No.E69795Strap/Bracelet: Fitted brushed and polished 18K white gold linkBuckle/Clasp: Signed polished 18k gold double folding claspSigned: Case & movementSize: 39mm Weight: 150,22g Accompaniments: Audemars Piguet fitted box with Oman Khanjar emblem, outer card, Certificate of Origin and Guarantee cardFor further information on this lot please visit Bonhams.com Movement: Runs when powered at time of cataloguingDial: GoodHands: GoodGlass: GoodCase: Surface scratches throughoutStrap/Bracelet: Surface scratches throughoutBuckle/Clasp: Surface scratches throughout, associatedWe do not test any watches for their accuracy and as such timekeeping cannot be guaranteed. We advise that if you are bidding on a watch, that you or your agents are completely satisfied with the condition of the lot. We recommend that all watches are serviced and polished after the sale as they are handled throughout the viewing period. Please note that although Bonhams endeavour to include reference to any replacement parts within our Condition Reports we cannot confirm that each individual element of the watch is original or that, if replaced, the replacement has been made using original manufacturer's parts.
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Fünf Auszeichnungen, Serbien, 19./20. Jhdt. Silberne Medaille für Verdienste um das Königshaus, an beweglicher Kronenagraffe und Dreiecksband. Silberne Dienstauszeichnung an weiß-rotem Band. Zwei ovale Abzeichen, farbig emailliert (gechipt), mit aufgelegter kyrillischer Chiffre "P I" (Petar I., rs. Nadel fehlt) und "A I" (Aleksandar I.). Bronzemedaille (Vergoldungsreste) mit Portrait Aleksandars, ohne Band. Teilweise leicht beschädigt, Altersspuren. Five Serbian awards, 19th/20th century
Sieben Jubiläums-Militärkreuze 1848 - 1908 und Bänder Buntmetall, vergoldet. Schauseitig das Portrait Kaiser Franz Josephs I., rs. die Jahreszahlen 1848 - 1908. Unterschiedliche Prägequalität. Zwei am Dreiecksband. Dazu separat mehrere unterschiedliche Bänder auch zu anderen Auszeichnungen. Teilweise leicht beschädigt, Altersspuren. Seven jubilee military crosses 1848 - 1908 and ribbons
Bildnis der Zarin Maria Alexandrovna, Russland, Mitte 19. Jhdt. Großformatige Lithografie. Unten in der Mitte kyrillisch betitelt, u.a. bezeichnet "Verlag Velten in Petersburg" sowie "Imp. Lemercier, Paris" und "Carlsruhe bei J. Velten". Unter Glas und Passepartout, Holzrahmen. Etwas fleckig. Maße der Lithografie 42 x 26,5 cm, Rahmenmaße 60 x 43 cm.Marie von Hessen-Darmstadt (1824 - 1880) heiratete 1841 den späteren Zaren Alexander II. von Russland. A portrait of the Tsarina Maria Alexandrovna, mid-19th century
KPM-Tasse und -Untertasse zum Infanterie-Regiment Nr. 15 (Garde), um 1900 Weißes, glasiertes Porzellan, handbemalt, feiner neobarocker Goldliniendekor. Die Tasse mit schauseitiger Malerei von Soldat und Unteroffizier sowie Regimentsname auf Banderole, die Untertasse mit gemaltem Portrait des "Alten Dessauers". Im Boden jeweils die blaue unterglasierte Zeptermarke (bei Tasse schwach erkennbar) sowie die rote Reichsapfelmarke und "KPM". Leichte Gebrauchs- und Altersspuren. Höhe der Tasse 8,5 cm, Durchmesser der Untertasse 15,5 cm. Sehr repräsentativ, selten und schön erhalten. A KPM cup and saucer to Infantry Regiment No. 15 (Guard), circa 1900
Otto Fürst von Bismarck - kleine Portraitbüste, Ende 19. Jhdt. Kupferfarbenes Buntmetall, braun patiniert (berieben), rs. der Schriftzug "... H Gladenbeck & Sohn" (undeutlich). Sehr lebensnahe, detaillierte Bildnisbüste des Kanzlers mit Hut und Mantel, gestaltet von Harro Magnussen (1861 - 1908). Auf rundem profilierten Steinsockel (etwas bestoßen). Gebrauchs- und Altersspuren. Gesamthöhe 20 cm. Vgl. Thieme-Becker Bd. XXIII, S. 565. Otto Prince of Bismarck - a small portrait bust, late 19th century
BRITISH SCHOOL,PORTRAIT OF EDWARD THEODORE, LORD SALVESEN oil on canvas, signed 'Bowie' and dated 1936image size 169cm x 108cm, overall size 197cm x 136cm Framed.Label verso: Doig, Wilson and Wheatley, Edinburgh.Provenance: This lot is being sold on behalf of Scottish Youth Hostels Association (also known as Hostelling Scotland) a registered Scottish charity No. SCO13138. It formed part of the collection of art from Carbisdale Castle. Carbisdale Castle was built in 1905-1917 for the Duchess of Sutherland on a hill across the Kyle of Sutherland. Until its closure, the castle had a large collection of art, with some pieces dating back to the year 1680 and including a number of fine Italian marble statues. Colonel Theodore Salvesen, a wealthy Scottish businessman of Norwegian extraction, bought the castle in 1933. He provided the castle as a safe refuge for King Haakon VII of Norway and Crown Prince Olav, who would later become King Olav V, during the Nazi occupation of Norway in World War II. During that time the castle was also used to hold important meetings. King Haakon VII made an agreement at the Carbisdale Conference on 22 June 1941, that the Russian forces, should they enter Norwegian territory, would not stay there after the war. Three years later, on 25 October 1944, the Red Army entered Norway and captured thirty towns, but later withdrew according to the terms of the agreement. After the Colonel died his son, Captain Harold Salvesen, inherited the castle and gave its contents and estate to the Scottish Youth Hostels Association. Carbisdale Castle Youth Hostel opened to members on 2 June 1945. Towards the end of 2014 Carbisdale Castle was put up for sale and in 2015 the bulk of the art collection was sold by Sotheby's reportedly raising £1M for SYHA. The internet has a plethora of information about Carbisdale Castle and some of the lots now being offered can be seen in situ at: Carbisdale Castle - Part 2 of 2 (The Interior) - YouTube.
BRITISH SCHOOL,PORTRAIT OF EDWARD THEODORE, LORD SALVESENoil on canvas, signed indistinctly and dated 1935image size 126cm x 100cm, overall size 160cm x 135cm Framed and under glass. Label verso: Doig, Wilson and Wheatley, Edinburgh.Provenance: This lot is being sold on behalf of Scottish Youth Hostels Association (also known as Hostelling Scotland) a registered Scottish charity No. SCO13138. It formed part of the collection of art from Carbisdale Castle. Carbisdale Castle was built in 1905-1917 for the Duchess of Sutherland on a hill across the Kyle of Sutherland. Until its closure, the castle had a large collection of art, with some pieces dating back to the year 1680 and including a number of fine Italian marble statues. Colonel Theodore Salvesen, a wealthy Scottish businessman of Norwegian extraction, bought the castle in 1933. He provided the castle as a safe refuge for King Haakon VII of Norway and Crown Prince Olav, who would later become King Olav V, during the Nazi occupation of Norway in World War II. During that time the castle was also used to hold important meetings. King Haakon VII made an agreement at the Carbisdale Conference on 22 June 1941, that the Russian forces, should they enter Norwegian territory, would not stay there after the war. Three years later, on 25 October 1944, the Red Army entered Norway and captured thirty towns, but later withdrew according to the terms of the agreement. After the Colonel died his son, Captain Harold Salvesen, inherited the castle and gave its contents and estate to the Scottish Youth Hostels Association. Carbisdale Castle Youth Hostel opened to members on 2 June 1945. Towards the end of 2014 Carbisdale Castle was put up for sale and in 2015 the bulk of the art collection was sold by Sotheby's reportedly raising £1M for SYHA. The internet has a plethora of information about Carbisdale Castle and some of the lots now being offered can be seen in situ at: Carbisdale Castle - Part 2 of 2 (The Interior) - YouTube.
JOHN GREENWOOD (AMERICAN 1727 - 1792),PORTRAIT OF MRS RIDDOCH OF LETTERFOURIE oil on canvas, signed and dated 1783image size 75cm x 59cm, overall size 94cm x 77cm Framed. Note: Greenwood was born in Boston and settled in London in 1762. The sitter is likely Isabella Riddoch (1741 - 1792), who was visited by Dr Johnson on his tour of the Hebrides in 1773. Greenwood's work is represented in the Yale Center for British Art.
SIR GEORGE HAYTER (BRITISH 1792 - 1871),PORTRAIT OF JOHN EVELYN DENISONoil on board, inscribed label versoimage size 33cm x 27cm (oval), overall size 51cm x 43cmFramed. Handwritten label verso. Note: One of the sketches for 'The Meeting of the First Reformed Parliament' 1836, now in the National Portrait Gallery. Denison was subsequently Speaker of the House of Commons.
After Sir Godfrey Kneller, British/German 1646-1723- Portrait of Grinling Gibbons; mezzotint, 28 x 21.8 cm. Framed and glazed. Unexamined out of frame. A horizontal crease running across the sheet towards the centre. Significant abrasions towards the lower edge of the sheet. Light marks, dents, and abrasions across the sheet generally. Otherwise in fair condition overall.
Samuel William Reynolds, British 1773-1835- Portrait of Sir Joseph Paxton, after Octavius Oakley; mixed-method mezzotint, proof, published May 1st 1851 by R. Moseley 58, London St, P. & D. Colnaghi & Co., 13 & 14, Pall Mall East, and J.L. Grundy, 130, Regent Street, London, 60.5 x 43 cm.: Louis Hague, Belgian 1806-1885- Her Majesty's Picture of the Transept of the Great Exhibition, after David Roberts RA; hand-coloured lithograph, from Dickinson's Comprehensive Pictures of the Great Exhibition of 1851, published May 1st 1852 by Dickinson Brothers, 114, New Bond Street, 65.5 x 46.8 cm.: Robert Carrick, British 1829-1904- Looking over the Dam, after Philip Branon; hand-coloured lithographpublished by Ackermann & Co., June 9th 1851, bears label for Baynton-Williams, Knightsbridge, to the reverse of the frame, 33.5 x 49 cm.: W L Walton, British fl. 1834-1856- The East End, after Phillip Brannan; hand-coloured lithograph published by Ackermann and Co. in 1851, bears label for Baynton-Williams, Knightsbridge, to the reverse of the frame, 33.5 x 50 cm.: together with a contemporary etching of an interior at the Crystal Palace Exhibition, numbered '4/10' in pencil (lower left) (part mounted/unframed) (5) Sir Joseph Paxton: Framed and glazed, unexamined put of frame. Light marks and chips to the frame generally. Light cockling to the sheet within the frame. Discolouration to the sheet generally, alongside dark marks towards the upper and left edges, and further marks to the sheet in areas. Evidence of spots of light foxing in areas. Otherwise in fair condition overall. Great Exhibition: Framed, mounted, and glazed, unexamined out of frame. Light marks and scuffs to the frame generally. Light cockling to the sheet within the frame. Evidence of light horizontal folds running down the sheet, visible to the left-hand side, with a noticeable fold to the lower edge of the sheet. Light discolouration to the sheet in areas. No evidence of further creasing or of tears to the sheet. Otherwise in fair condition overall. Looking over the Dam: Framed, mounted, and glazed, and unexamined out of the frame. General marks and chips to the frame. Very light cockling to the sheet, and evidence of very light creases in areas, consistent with handling. Evidence of very minor marks to the sheet in areas. Otherwise in good condition overall. The East End: Framed, mounted, and glazed, unexamined out of frame. General marks and chips to the frame. Evidence of minor discolouration to the sheet. Evidence of very minor creases in areas, consistent with handling. Possible very minor spots of foxing, and spots of restored foxing, in areas. Otherwise in good condition overall. Crystal Palace etching: Discolouration to the sheet where it has been exposed to the light. Evidence of very minor spots of foxing in areas. No evidence of creases, tears, or water damage to the sheet. Otherwise in good condition overall.
Property from the estate of the late David Cornwell, best-known as the author John Le CarréMrs Burnet, British school, 19th century- Portrait of Godin Ellis; watercolour on paper, bears printed label to the reverse of the frame, 9.9 x 9 cm. Framed, mounted and glazed, and unexamined out of frame. Minor marks and scuffs to the frame. Evidence of discolouration/browning to the sheet, and spots of foxing in areas. No evidence of tearing or creasing. In fair condition overall.
French School, early 19th century- Portrait of a young girl in a bonnet; pastel on paper, 25.5 x 20.5 cm. Framed and glazed. Unexamined out of frame. General damage and losses to the gesso of the frame. Approximately three small holes towards the left of the sheet. A vertical line running down the left edge of the sheet, possibly from where the sheet has been attached to another. Possible minor abrasions and marks to the sheet. Otherwise in fair condition overall.
Fiari, Italian School, early 20th century- Portrait of a lady from behind, turned to the right; watercolour heightened with white on paper, signed 'Fiari' (lower right), bears label for 'Leggatt Brothers' to the reverse of the frame, oval, 33 x 23 cm.: British School, 19th century- Floral study; watercolour and bodycolour on paper, 21.7 x 27.8 cm.: British School, early 19th century- Design for a carriage; pen, ink, and watercolour on paper, dated '1829' (lower right), 13.4 x 19.8 cm. (3) Fiari: Framed and glazed, unexamined out of frame. Significant damage, losses, and marks to the frame generally. Cockling and light creasing to the sheet, alongside discolouration and spots of foxing in areas. In fair to poor condition overall. Floral study: Framed and glazed, unexamined out of frame. Light marks and scuffs to the frame generally. Significant browning/discolouration to the sheet, alongside spots of foxing in areas. Possible light creasing in areas consistent with handling. Otherwise in fair to poor condition overall. Design for a carriage: Framed and glazed, unexamined out of frame. Some marks and scuffs to the frame generally. Some marks and minor abrasions to the sheet in places. Otherwise in good condition overall.
European School, early 20th century- Portrait of a man in a turban; oil on canvas, 48 x 37.5 cm. Framed, and unexamined out of frame. General marks, chips, and scuffs to the frame. The canvas is secure on the stretcher and sits well within the frame. The paint surface is stable on the support. Abrasions to the paint surface, particularly towards the edges but also generally across the canvas. Very minor indentations in areas. Evidence of very minor pigment separation in areas. Marks and surface dirt generally. Otherwise in fair to good condition overall.
A 19th century bohemian glass vase, of tall baluster form, the green glass body with central portrait roundel depicting a young lady in traditional clothing with a tambourine, the other side depicting a floral arrangement, decorated throughout with gilt embellishment, on a white overlay spreading foot, 43.5 cm high
Chinese Art A jade and semi-precious stone imperial necklace (Cao Zhu). China, Qing dynasty, early 19th century. . Cm 123,00. Important devotional artifact made of green jade, amethyst and coral beads. The Cao Zhu is a rosary based on Buddhist models that was introduced in official ceremonies by the Qing dynasty emperors, as recorded in the codex "Illustrated Regulations for the Ceremonial Paraphernalia in the Qing dynasty" by Huangchao Liqi Tushi. The manual regulated the number of spheres, extensions and materials that could make up this peculiar artifact. The importance of this accessory in official ceremonies is illustrated by a portrait of Emperor Yongzheng, now at the Palace Museum in Beijing, a painting in which the emperor wears a Chao Zhu of pearls.
African art Ivory Coast, Baule.Mask portrait. Wood with dark patina.1960s. . Cm 20,00 x 45,50. Rare and important portrait masks. They were not worn on the face, the master sculptors were inspired by characters or canons of beauty according to the requests of the patrons. The portrait masks are described and published in the book 'Baule: African Art, Western Eyes' by Susan Mulllin Vogel, published by Yale University Press in cooperation with the Museum for African Art, New York, p. 134 -143).Provenance: Personal collection of the 'Arte Africana' Gallery, Turin. Ex. Collection arch. E. Volterrani, Turin.
![Kings of East Anglia, Æthelstan (825-40), Penny, [Ipswich], Eadnoth, edelztan re+, draped bust right, breaking inner circle,](https://cdn.globalauctionplatform.com/e326032c-4887-405e-a8c8-af65010ecdd3/20bd11e0-184c-4f59-b2f6-af6d01199218/468x382.jpg)
Kings of East Anglia, Æthelstan (825-40), Penny, [Ipswich], Eadnoth, edelztan re+, draped bust right, breaking inner circle, rev. eadnod monet around cross-crosslet, 1.36g/6h (Naismith E30a, same obv. die = SCBI BM 833, same dies; Pagan, BNJ 1982, p.58; N 434; S 948). Nearly extremely fine, struck on a full round flan, free from the usual porosity but with some patchy toning; extremely rare thus £8,000-£10,000 --- Naismith’s corpus records just two examples of Æthelstan portrait pennies struck by Eadnoth, from two obverse and two reverse dies. The present coin, which is seemingly only the fourth known example, was struck from the same dies as the coin now housed within the British Museum, and the same obverse die as the piece sold through these rooms in 2022. Æthelstan was a king of the independent Kingdom of East Anglia which emerged following the end of Mercian Supremacy in 825. Unfortunately, the paucity of contemporary written sources means that we know little about events in the region during the first half of the ninth century. The Anglo-Saxon Chronicle relates that in 825 the Mercian King Beornwulf, after his disastrous defeat at the battle of Ellendum against King Ecgberht of Wessex, was slain by an anonymous king of the East Angles. Beyond this, little interest was shown by the Chronicle’s compiler towards the East Anglian kings or their activities. This fact, coupled with a complete absence of surviving charters from the area, means that we must turn to the numismatic evidence for answers. The identity of the first independent king of East Anglia is made clear from the hoard record, with the Middle Temple hoard being particularly informative. The large group, deposited at some point during the 840s, contained 243 early ninth century coins produced under various kings across England. Included within were some 39 pieces of Æthelstan. No coins of any other independent East Anglian ruler were present, making Æthelstan’s primacy clear. The name Eadnoth, the moneyer responsible for the striking of the coin offered for sale here, first appears on pennies of the Mercian king Offa in the 780s and then on coins of the obscure local king Eadwald who usurped power in East Anglia for a brief period during the late eighth century. Following this Eadnoth signed no coins during the first two decades of the ninth century, despite the productive nature of the East Anglian mint under the supervision of the Mercian Kings Coenwulf and Ceolwulf. Finally the name reappears in c. 824 on the coins of the last Mercian rulers to exercise power within the region, Beornwulf and Ludica, before continuing onto the coinage of the independent king Æthelstan. Given that several decades lapsed between these episodes of the minting activity we ought to consider the possibility that these are two different moneyers by the same name. Elsewhere, attempts have been made to detect familial connections between successive moneyers operating within the same area who share similar names. The case of Eadnoth may provide another good candidate for such a scenario, and it is possible that the Eadnoth who struck our coin was a relative, perhaps even a son, of Offa’s moneyer. In common with all of Æthelstan’s portrait coins, the present specimen was struck at the beginning of the monarch’s reign, as part of an issue that probably lasted until c. 830. Æthelstan portrait pennies were completely absent from the Middle Temple Hoard. From this some have inferred that these early coins must had dropped out of circulation by this point. However, the same hoard contained numerous pennies struck under Æthelstan’s Mercian predecessors, Coenwulf, Ceolwulf and Beornwulf. It is difficult to believe that all of Æthelstan’s portrait pennies ceased to circulate on account of wear, damage and loss whereas those of earlier rulers consistently did not. We should not dismiss the possibility that Æthelstan’s Portrait coinage was officially called in and deliberately withdrawn from circulation in a renovation monetae. Such a policy was seemingly employed by the Kings of Wessex during the second half of the ninth century to help bring uniformity to their currency and led to a total absence of earlier coins in hoards deposited after the reform’s instigation. It is notable that following the short episode of iconographical variation early in Æthelstan’s reign all of the East Anglian coinage, continuing throughout the reigns of his successors Æthelweard and Eadmund, was of a generally consistent design. If such a reform was implemented it would help to explain why the portrait pennies of Æthelstan remain so excessively rare, despite the general increase in ninth century coins discovered and excavated over the previous two decades. Works cited: Blunt, C.E., Lyon, C.S.S., and Stewart, B.H.I.H., 1963. ‘The coinage of southern England, 796–840’, BNJ 32, pp.1–74 Pagan, H.E., 1982. ‘The Coinage of the East Anglian Kingdom from 825 to 870’, BNJ 52, pp.41-83 Pagan, H.E., 1986. ‘Coinage in southern England, 796-874’ in M.A.S. Blackburn (ed), Anglo-Saxon Monetary History: Essays in memory of Michael Dolley (London), pp.45-66 Naismith, R., 2011. The Coinage of Southern England 796–865, BNS Special Publication 8, 2 vols. (London) Naismith, R., 2012. Money and Power in Anglo-Saxon England: the Southern English Kingdom 757-865 (Cambridge) Stenton, F., 1971. Anglo-Saxon England. Third Edition (Oxford)
![Stephen (1135-1154), Penny, Cross and Piles type [BMC VI], Cambridge, Regnald, rein[–] om : gra, 1.29g/9h (Allen BNJ 2012 –;](https://cdn.globalauctionplatform.com/e326032c-4887-405e-a8c8-af65010ecdd3/9a0e8048-6425-4b7c-8579-af6d01227653/468x382.jpg)
Stephen (1135-1154), Penny, Cross and Piles type [BMC VI], Cambridge, Regnald, rein[–] om : gra, 1.29g/9h (Allen BNJ 2012 –; Mack –; EMC 2019.0198, same dies; N 876; S 1281). Slight curve to flan, otherwise very fine, strong portrait and lightly toned; the mint signature clear and unrecorded for this type in the standard references £2,600-£3,000
Henry V (1413-1422), Groat, class A, mm. cross pattée with sunken centre containing pellet, henric di gra rex anglie z franc, emaciated bust, large fleurs on bust, quatrefoil after henric, saltire stops except after di (double), rev. posvi devm adivtorem mevm; civitas london, quatrefoil after posvi, double saltire stops, 3.61g/12h (Stewartby p.323 [Henry IV]; Harris BNJ 1997 12 [A-2:R.A-5] and pl. 2, 12, this coin; Potter I, O2; N 1359(b); S 1759). Double-struck and with some surface marks, otherwise very fine, strong portrait, very rare £2,400-£3,000 --- Provenance: G.L. Eades Collection, Sotheby Auction, 3-4 March 1902, lot 280; F.A. Walters Collection, Part I, Sotheby Auction, 26-30 May 1913, lot 244; R.C. Lockett Collection, Part III, Glendining Auction, 4-6 November 1958, lot 3075; D. Mangakis Collection; ‘Motcomb’ Collection, Morton & Eden Auction 78, 17 March 2016, lot 39; F. Bartlett Collection
William the Lion (1165-1214), Short Cross and Stars coinage, Sterling, Phase B, Henri le Rus, le rei wilt, crowned bust left with sceptre, rev. henri le rvvs, short cross, stars in angles, 1.22g/9h (cf. SCBI 35, 78; B 32b, fig. 51b, same dies; S 5031). Possibly removed from jewellery, very fine and toned; portrait of pleasing fluid style £240-£300
British Victories, 1815, a tubular brass box medal by E. Thomason, lid inset with portrait medalet of Wellington, containing 21 brass medalets, each with winged Victory, revs. the battles named , each 16mm, tube 38 x 19mm (Eimer 84; BHM 888; E 1076) [Lot]. Tube good very fine, medalets generally extremely fine with some duplication £100-£150
Henry II (1154-1189), Penny, class Ib2, Lincoln, Rodbert, rodbert · on · nico, curls 2/4, 1.39g/5h (SCBI Mass 385 and Mossop Aa, pl. xcii, 22, this coin; N 963; S 1344). Portrait flat, good fine, toned £100-£120 --- Provenance: H.R. Mossop Collection; J.P. Mass Collection, Part III, DNW Auction 69, 15 March 2006, lot 887 [from Baldwin 1998]; J. Sazama Collection, Part IX, DNW Auction 114, 18 September 2013, lot 1164 (part)
W. MacGillivray A. M. , F. R. S. E. The Travels and Researches of Alexander Von Humboldt. A condensed narrative of his journeys in the equatorial regions of America and in Asiatic Russia. With a portrait of Humboldt by Horsburgh. A map of Orinoco by Bruce and 5 engravings by Jackson. 3rd edition, revised. Published b Oliver and Boyd. Edinburgh and Simpkin Marshall. London. 1836. 428 pages including index. 16 additional of advertisements. Publisher's brown boards, decorated and titled in gilt. Spine defective. 1836. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
BEATLES a collection of Beatles memorabilia and ephemera with a shelf of various Beatles, John Lennon, Paul McCartney, George Harrison and Ringo Star literature, coffee-table books and Beatles Monthly booklets, together with various Beatles posters, jig-saw puzzles, photographs, postcards, badges, T-shirts, slippers, fab-four portrait serving tray, coffee mugs, magazines and cut outs, a coffee table featuring a Beatles jig saw puzzle under glass, framed pictures and wall hangings VHS tapes etc Condition Report:Available upon request
λ Karl-August Schreinzer (1819-1897), a portait miniature, gold and diamond bracelet, mid 19th century, the clasp set with an oval miniature on ivory reputedly depicting the engineer Charles Baird (1766-1843), within a border of cushion-shaped diamonds, to a bracelet composed of gold cylindrical links engraved to the front with Rococo-style scroll work, bracelet length 18.3cm, portrait miniature 4.2 x 3.2cm excluding frame, fitted case, portrait minature signed Schreinzer
λ A Stuart crystal miniature portrait, early 18th century, the faceted oval rock crystal over an ivory portrait miniature of a woman, possibly Queen Anne, within an open work scroll frame, surmounted by a crown applied with enamel and set with a tiny diamond crystal, length 3cm including crown, possibly adapted from a slide or pendant, fittings deficient
λ A portrait miniature, gold and enamel snuff box, early 19th century, of rectangular outline, the lid inset with a glazed ivory portrait miniature of Napoleon after Jean-Baptiste Isabey (1767-1855), bordered by blue enamel, the lid, sides and base engraved with floral scrolls and geometric panels, measuring 8.9 x 6.2 x 2cm, assay and maker's marks, gross weight 163.9 grams, fitted case stamped Garrard & Co.
A gold, enamel snuff box, France, 19th century, the lid set with an oval portrait of a lady in 18th century dress wearing pearls, possibly Marie Antoinette, within a dotted white border, to a ground of red guilloché enamel, the outer edge with a further border of white enamel and floral scrollwork in three-coloured gold, the sides and base of similar design, measuring 8.3 x 6.5 x 3.8cm, French assay mark and maker's mark, gross weight 302 grams, fitted case stamped Garrard & Co.
λ A portrait miniature, gold, enamel and pearl snuff box, late 18th/early 19th century, the miniature circle of Richard Cosway, of oval outline, set with a glazed ivory miniature portrait, possibly of a young George IV when Prince of Wales, to a sunburst ground in deep blue guilloché enamel bordered with white and gold enamel and half pearls, the side with similar panels between enamelled urns, accented with gold, green and white enamel decoration, measuring 8.6 x 6.2 x 2.8cm, box apparently unmarked, the interior of the lid with a glazed compartment containing a lock of hair, portrait and hair compartment possibly later added, gross weight 147.9 grams, fitted case stamped Garrard & Co. Cf.: Royal Collection Trust, accesison nos. RCIN 605164 and RCIN 605140 for similar images of the future George IV after Richard Cosway (1742-1821), from miniatures commissioned in the period spanning 1781-86
A gold, enamel and diamond snuff box, possibly France, mid 19th century, of oval outline, the lid set with an enamel portrait, possibly of the Marquise de Montespan after Jean I Petitot (1607-1691), to a border of rose-cut diamonds, within a frame of enamelled laurel leaves, against a blue guilloché enamel ground, the outer edge, side and base similarly enamelled, measuring 8.1 x 5.8 x 3cm, interior with partial French warden, decharge and maker's marks, portrait panel possibly later added, gross weight 161.5 grams, fitted case stamped Garrard & Co.
A mixed collection of metal ware and ceramics, to include: a Benson copper and brass teapot and a matching twin handled sugar bowl, 21cm wide; a copper and brass milk jug, 8cm high; an Art Deco chrome plated table lamp, modelled as an plane, lacking glass shade, stamped stamped Sarsaparilla Deco Designs NYC, 33.6cm wide; a Dixon & Co Sunderland lustre jug, 15.3cm high; a silver plated three piece vanity set, comprising a hand mirror and two brushes, with relief Art Nouveau decoration, silver plated jewellery casket, with similar decoration, hinge to cover broken, 14.5cm wide, 14.5cm deep; a copper and brass kettle, marked T & Co., 26.5cm wide; a silver plated oval tray, 36cm wide; a Royal Doulton oval portrait plaque, in associate case, 7.5cm high, 6cm wide (lot)Please refer to department for condition report
Jack Cross, British, 20th century- Market Square, Westerham; oil on board, signed and titled along the lower edge 'Jack Cross Market Square, Westerham, c.1900', 33 x 51 cm: together with three unframed oils on card by the same artist of similar size depicting Beckenham Road Corner, Bromley and a portrait of a Mr. Bert Parfitt (unframed) (4)Note: the artist was active around the 1970s often depicting scenes of the 1900s.Please refer to department for condition report
Faith Kenworthy-Browne, British 1882-1973- Portrait of a lady seated full-length in an interior; oil on canvas, signed with initials (lower left), 61 x 45.5 cm.: together with another work by the same artist depicting an interior scene with flowers in a vase and paintings; oil on canvas, signed with initials and dated '1968' (lower right), 61 x 50.9 cm. (part unframed) (ARR) (2) Portrait of a lady: Framed, unexamined out of frame. Light marks and chips to the frame generally. Stretcher bar marks visible to the upper and right edges of the canvas. Fine and settled craquelure in areas. Two repair patches visible to the verso, one larger patch towards the upper centre of the canvas, and the other smaller patch towards the centre of the lower section of the canvas. Evidence of light abrasions and marks of surface dirt to the canvas generally. Areas of impasto are well-preserved. Interior scene: Unframed. Stretcher bar marks visible to the upper and lower edges. Light abrasions visible to the canvas, particularly towards the corners and edges but also generally across the canvas. Surface dirt across the canvas. Areas of impasto are well-preserved. Otherwise in fair condition overall.
John Sheehy, Irish b.1949- Abstract portrait, 2021; oil on canvas, signed and dated along the lower edge 'John Sheehy 2021', further signed and dated twice on the reverse, 50.5 x 40.4 cm: together with two unframed oil on board portraits, each signed, each 74 x 44 cm (3) (unframed) (ARR) Please refer to department for condition report
Edward Wolfe, South African/British 1897–1982- Self-Portrait; lithograph, signed and numbered '13/53' in pencil, 52.5 x 42 cm. (ARR) Framed and glazed, unexamined out of frame. Marks and damage to the frame generally. A small loss to the glazing lower right. The sheet appears to be cockling slightly within the frame. Evidence of browning/discolouration and spots of foxing generally. Light dirty marks and creases to the sheet consistent with handling. Otherwise in fair condition overall.
Property from the estate of the late David Cornwell, best-known as the author John Le CarréTimothy Paul, British school, late 20th/early 21st century- Portrait of a boy, turned to the left; etching, signed and dated 'Timothy Paul / 'Nov 90'' and inscribed 'A/P' in pencil, 8.7 x 10.3 cm. (ARR) Framed, mounted, and glazed, and unexamined out of frame. Minor marks and scuffs to the frame. Light cockling to the sheet within the frame. Minor spots of foxing and possible light creasing consistent with handling. In fair condition overall.
Roland Piche, British b.1938- Portrait Head, 1972; screenprint in colours on wove, signed, dated, titled and numbered 66/70 in pencil, together with two further screenprints in colours on wove, each signed and numbered variously from editions of 70 in pencil or crayon, largest sheet 102.4 x 70 cm, (unframed) (ARR) (3) Provenance: The Thomas CollectionPlease refer to department for condition report
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