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Click here to subscribeA .577 CALIBRE ENFIELD PERCUSSION THREE-BAND SERVICE RIFLE, 39inch sighted barrel fitted with ramp and ladder rear sights, pitted, border engraved lock stamped 1856 over TOWER and crown over VR at the tail, pitted, hammer screw replaced, full stocked with WD and arrow stamp to the butt, regulation brass and steel mounts, steel ramrod. Three groove rifling.
AN 1822 PATTERN INDIAN ARMY OFFICER'S SWORD, 82cm blade by Mole, etched with scrolling foliage and crowned VRI cyphers, the back edge stamped MOLE and with an arrow over I, regulation brass Gothic hilt incorporating a crowned VRI cypher, wire bound fishskin grip, contained in its steel scabbard.
Czechoslovakian gilt metal dress clip, scroll-style design, central blue paste stone, hammered finish, 49mm; an Art Deco style Czechoslovakian dress clip, D-shape with two parallel vertical lines of 8 baguette cut colourless paste stones, 37mm; a rectangular gilt metal dress clip, rectangular cabochon cut faux lapis lazuli to centre, 49mm; a gilt metal filigree work dress clip, traingular-shape with faux turquoise cabochons, 30mm; a leaf-shape dress clip, three sets of different tone blue beads in arrow formation to front, 49mm; a dress clip in form of a flowering plant, faux coral centre to flower, 68mm x 26mm; a two-tier gilt metal dress clip, faux coral central stone, two tiers of pierced gilt cones with faux coral bead finials underneath, 40mm; and other 1930s to 1950s gilt metal dress clips.
A brass tsubaNara School, 19th centuryOf rounded rectangular form, carved in shishiaibori (sunken relief carving) and inlaid with a mounted archer slaying a bird with an arrow, which falls to earth on the reverse, to be retrieved by an attendant; signed Nagaharu. 7.6cm (3in).Footnotes:リザーブ設定無し鐔 韃靼狩人 銘「永春」 19世紀The Edward Wrangham Collection of Japanese Art: Part II, lot 34.www.bonhams.com/auctions/19295/lot/34/Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
An Elizabeth II Gold Fountain-Pen and Pencil, by Parker, London, 1960, 18ct, each with engine-turned barrel, the caps each with arrow clip, engraved with initials, the fountain pen 13.8cm long (2) . The pencil fully marked on bottom. Part marked on clip and cap. The top further stamped 'Parker', the base further stamped 'Made in England'. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable to the engine-turning which is somewhat soft. The mechanism doesn't function properly and the base doesn't fit snuggly. The pen fully marked on bottom. The clip and cap each part marked. The top further stamped 'Parker' and the base further stamped 'Made in England'. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable to the engine-turning which is somewhat soft. There are some minor bruises. The pen has not been checked to see if it functions properly. Each is engraved with initial and there are no papers or box with the lot.
2001 Mercedes-Benz SL500 Silver Arrow Transmission: automaticMileage:54600The 4973cc, R129 Mercedes-Benz SL500 carried on the tradition of the fast and reliable grand touring convertible from Mercedes-Benz. Born out of the earlier 500 SL models, the new SL500 featured many new and innovative ideas for the time such as controlled electronic damping, automatically expanding rollover bar and a more modern multi-link rear axle. A fully operating electric hood, windows, door mirrors and seats made this model easy and comfortable to operate. With powerful engines, stopping power was aided by anti-locking braking for reassurance. During 1995, a mild facelift was carried out to the model range that included revisions to the headlights, taillights and several new features adopted as standard including side air bags, automatic climate control and ESP. A special edition of 2001 SL500 and SL600 was made to celebrate the 1930's Silver Arrow race car. It had a two-tone interior, leather on steering wheel and seats, and special wheels. Built mainly for the US market, right hand drive SL500 Silver Arrows are rare; it is believed that only a hundred were made for the UK market.The Mercedes-Benz SL500 Silver Arrow Limited Edition offered here is one of the 100 UK supplied cars and was first registered in March 2002. Having covered a mere 54,600 miles, this stunning example is finished in Silver Arrow metallic silver with grey and black leather interior. The car boasts a sizeable history file and the last service recorded was carried out recently and included a replacement of the shock absorbers. Specification highlights include factory panoramic hardtop, climate control, cruise control, 18” alloy wheels, electric seats with memory, heated seats, CD auto-changer and wind-deflector. This stunning SL is the perfect opportunity to own a usable modern classic that will surely appreciate over time.Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
MUSIC - A collection of 35 autograph and typed letters, signed, by Sir Adrian Boult, Sir John Barbirolli and Roger Quilter. [etc.]MUSIC - Acollection of 35 autograph and typed letters, signed, comprising: 13 letters bySir Adrian Boult (1889-1983), dated between 1958 and 1973; 7 letters by Sir JohnBarbirolli (1899-1970), and one by his wife, Evelyn Barbirolli (1911-2008), dated between 1957 and1964, and an inscribed programme; and 12 autograph letters and one telegram byRoger Quilter (1877-1953), dated between 1948 and 1949 [but many undated]; all addressed toLionel Dakers. Sir Adrian Boult's letters are largely social although severaltouch on the technical side of conducting; for example, in one typed letter,dated February 28th 1967, he states: "... I suppose the only fool-proofway of conducting that passage [unidentified] is what I understand was done bythe wife of a very great conductor, Felix Weingartner, who only gave one beatfor two bars, but I cannot believe that she would have done it until after hisdemise. No, as soon as you have played it yourself a few times you will find itworks all right beating one in a bar and one in every bar. You may find it auseful exercise to tap with your two hands on the table, two in one hand andthree in the other; you then evolve a rhythm [arrow pointing to musicalnotation in the margin] with a gap which very soon becomes second nature. I amafraid otherwise the solution is, as is the solution for many other things,that it will not work at all well until you know the music. Once you do that itcomes quite easy ..." Sir John Barbirolli's letters almost exclusivelyconcern arrangements for his visits to see Lionel Dakers in Exeter, although inone, dated 12th July 1957, he suggests a detailed programme for a concert atRipon, while remaining vague about which Brahms symphony to go for. RogerQuilter's letters are largely social and concerned with health problems andrarely trespass onto musical subjects, although in one, undated, he indulges inwhat is, presumably, an elaborate joke at his own expense, unless there wasgenuinely a student who shared his surname (which seems unlikely): "Do youhappen to know of someone who could give some harmony lessons to a young fellowof 25, who wants to go to the RCM to study - he has [?]worked at piano, but hasneglected harmony, which of course one has to know something about now. Ithought perhaps you might know of someone. I don't imagine this young man canafford much! His name is Quilter, it appears - but I have never heard of himbefore. He wanted to know if I would give him lessons. Just off to the WigmoreHall!" Lionel Frederick Dakers (1924-2003), the recipient of theseletters, was a distinguished English Cathedral organist who served in Ripon andExeter cathedrals. He was Director of the Royal School of Church Music between1972 and 1990 and President of the Royal College of Organists from 1976 to1978. (35)
DICK PHILIP K.: (1928-1982) American Writer of Science Fiction, considered a master of dystopian fiction. A lengthy, interesting T.L.S., love, Phil (with a love heart and arrow drawn in his hand alongside his signature), three pages (separate leaves), 4to, n.p. (Santa Ana, California), 13th January 1981, to Professor Patricia Warrick. Dick commences his letter announcing that he is 'Elated at finding what seems to be an explanation for my March 1974 experience I have been reflecting on the subject of monism (in view of the fact that my explanation is that I saw a monistic world such as Spinoza describes, as I discuss in my two previous letters). Now what I've been pondering is: What value, if any, would the thought of the first great monist in philosophical history have for me; that is, Parmenides? I always sensed that Parmenides' thought was crucial in explaining March 1974 but I could not apply it. I mention Parmenides in VALIS, as you know, and my 'Two-Source Cosmology' is based on his metaphysics' and continues to explain 'In my recent letters I mention what I call the macrometasomakosmos, but I do not explain it, since I was copying from my notes. This is my neologism for a changeless morphologically-arranged world that I saw; it seemed to be conceptual (hence morphologically-arranged); the world we normally see, which I call the flux world, as Heraclitus called it, feeds into this macrometasomakosmos new accretions that cause what I call the phylogons (which are the eide or Forms within this eternal structure or kosmos) to reticulate and arborize, as in a memory system that is being perfected, made more complex and completed. I could not figure out for years where this macrometasomakosmos is; then very recently I realized that it is our world but seen correctly; that is, in terms of four spatial axes rather than three spatial axes plus time; in other words, time is converted into the fourth spatial axis (as I keep saying in VALIS, 'Here time turns into space'). So I regard this permanent macrometasomakosmos not as a separate world from our own-as Plato's Form world is from the flux world-but as this world correctly seen, so instead of having two worlds as with Plato I have one world: I) Seen incorrectly as continually passing out of existence, which is our flux world. II) Seen correctly as eternal, with new accretions constantly added to it, but conceptually arranged; that is, the macrometasomakosmos is not static; it grows and perfects and completes itself, but it is permanent. The phylogons are permanent. This realm is a marvelous structure and is obviously the kosmos that Pythagoras envisioned (he used the term 'kosmos' in a very unusual way; it is worth researching his meaning; basically he used the term to mean 'the harmonious fitting-together of the beautiful' and he believed that the kosmos is alive). I am now of the opinion that to see our world correctly as the macrometasomakosmos is to see a monistic world. Although I got the idea from Spinoza I at once turned to Parmenides; he believed that the world-order truly (correctly) seen was a monistic world in which there was no change; he opposed this to the flux world that our percept system reports. (I know you know all this, but I am laying out the basis here for my own conclusions, so forgive me.) Now, Parmenides explained the problem this way: the world-order is made up of a dialectical interaction between Form One and Form Two, which resemble respectively Yang and Yin of Taoism. However, as I mention in VALIS, Parmenides believed that Form Two was only seeing; it just seemed to exist; men believed wrongly that it existed. So what he called the 'dry soul' which had no Form two in it could apprehend the world under the aspect of Form One alone) based on the premise of like-to-like; what you are subjectively is what you will experience externally, a rather sophisticated doctrine for such an early period in history). Dick returns to his experiences of March 1974, Now, I have talked for years about what I call a 'second signal' that I saw added to the reality that we normally see; this, I mean, in March 1974. Something that is normally missing-but which exists; it is missing only in that we do not perceive it-got perceived by me. In my two previous letters I conclude that this 'second signal' is the other attribute of natura sive substantia………OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM, THE COMPLETE DESCRIPTION FOR THIS LOT IS NOT AVAILABLE. PLEASE CONTACT IAA EUROPE S.L. DIRECTLY FOR A FULL CATALOGUE ENTRY.
Five 'OO' Gauge/4mm Southern Region Coaches, includes a Tri-ang Ref No. R225 Un-powered Motor Coach, an Exley Composite (missing one bogie), an adapted Motor Coach, Exley with Tri-ang motor? (poor), etc. Plus four Pullman Coaches, two with interior lighting, one other (Lucille) missing its chassis. A "Golden Arrow" Coach R/No. 53095 and three G.W.R versions, thirteen items, fair to very good.
An early 20th century garnet and quartz yellow metal necklace, comprising an oval cabochon garnet drop, approx 12 x 9mm, with supended from an arrow shaped gold detail set above with a round cut quartz, to two open work triangular details each sith quartz set terminals to a fine link chain, unmarked 17'', assessed as 9ct gold, total gross weight approx 8.8gms Condition report: Good-clasp in working order, minor wear and tear only
A 9ct gold 1950's gents Rotary wristwatch, round cream tone dial with applied arrow and number markers, cushion shaped case approx 28mm, on a leather strap, total gross weight approx 27.4gms along with a ladies Art Deco 14ct gold Tower wristwatch on a later plated strap, together with a collection of costume jewellery to include faux pearl necklaces, glass and plastic versions (1 bag)
A ladies Breitling stainless steel wristwatch, round cream tone dial, with applied gold tone arrow markers, dial approx 23mm, signature name/ logo to dial, steel case, numbered to reverse 1082-29, signed Breitling, to a bracelet link strapCondition report: working at time of report, wear and tear, scratches to glass and case
A cased diamond-set tiara (without terminals), the five graduated arrow-like stems are each set with a line of graduated old circular-cut diamonds in silver and gold, the detachable terminal jewels missing, cloth-bound metal frame, highest stem 7.5cm, tiara 15cm widest, fitted blue velvet box, the silk lining stamped R&S Garrard Haymarket
Two pocket watches comprising a nickel plated Thomas Russell & Son open face pocket watch and a gun metal Albion military pocket watch with Swiss made 15 jewel movement, white enamel dial having Arabic numerals cathedral style hands and seconds subsidiary dial at 6 o'clock, the rear of the case stamped '31329 W' with broad arrow, case diameters 55mm & 48mm. Condition: Thomas Russel not running, Albion appears to be in working order although neither sold with any guarantees, losses to lumed numerals, hands re-lumed, cracks and small losses to enamel on Albion, wear to both cases throughout.
Two military General Service Time Piece pocket watches, one with white enamel dial and the other with black enamel dial, both with previously lumed hour markers and hands, Arabic numerlas and seconds subsidiary dials at 6 o'clock, stamped to rear of cases with broad arrow, 'GS/TP, S, 018495' & 'G.S.T.P, Q, 7822', case diameters 50mm each. Condition: both not currently in working order and wont be sold with any guarantees to be, black dial watch has chip to dial at 11 o'clock, both have wear and losses to lume, surface wear to both cases including dents and scratches.
A set of eight Chippendale style dining chairs, each with mahogany arrow and carved back, with drop in leather upholstered seats, including two carvers, 99cm high, 62cm wide, 49cm deep. Upon initial inspection all the chairs are generally worn and scuffed. But appear structurally sound, with drop in seats.
A small group of costume jewellery including a turquoise pearl and enamel decorated insect brooch, length 25mm, a 9ct yellow gold cultured pearl and amethyst oval brooch, length 24mm, a circular locket with engraved detail, an arrow brooch, a brooch in the form of a 'cello, a white metal necklace and a damaged yellow metal and cultured pearl necklace.Additional InformationDamage to the enamel of the insect brooch and heavy damage to the body itself, crudely attached pin to the reverse. The yellow metal necklace has snapped on the chain and is unmarked. The amethyst brooch has got solder marks where the pins return has been replaced, quite heavy wear throughout.
Seven military and military-type open faced crown wind pocket watches, the example with black dial bearing military broad arrow and stamped 'G.S.T.P. 115716' to reverse, with further dials and signed S. Smith & Son Ltd Trafalgar Square, Junghans and Frenca, for restoration (7).Additional InformationVarious condition issues, some with chips and cracks to dial, loss to hands. Varying wear to cases, rubbing to enamelling/colouring of numerals. One has lost the crown. The Smith, Frenca and an unmarked dial running but there is no guarantee of working order to any of these watches. As stated, for restoration.
ATTRIBUTED TO JOHN WRIGHT; an 19th century watercolour portrait miniature, quarter length, of a gentleman looking to his right, wearing a blue coat with gold buttons, tied stock and frilled cravat, set within a yellow metal mourning frame, 6.5 x 5cm, the reverse with applied roundels, the first with initials 'W.T.F', the second with a bow and arrow sheath, with locks of hair and jewelled detail.
A hallmarked silver cigarette case with engine turned detailing, Birmingham 1966, length 11.5cm, together with a hallmarked silver vesta case, a plated vesta case and a WWI chrome cased compass, engraved C.Haseler & Son Ltd Birmingham VI 7195 and dated 1918 (4).Additional InformationThe cigarette box with general tarnishing and some small dents. The vesta case also with some light age wear tarnishing and the lid does not close flush. The plated vesta case is worn throughout. The compass with general age wear patina to the exterior, interior with loss of definition to the arrow to the underside of the glass.
A 19th century walnut wheel barometer, height 103cm.Additional InformationThe arrow for the damp dry dial is lacking. The surface of the dial is heavily crazed and with wear, some areas of re-touching, particularly to the area which states Much-Rain. Woodwork a little tired, some attention possibly needed.
A 20th century 1892 pattern Household Cavalry trooper’s sword, blade 34½” with ordnance inspector’s marks, serial number “10001” (indistinct) and “7 47” (July 1947 ?), the back edge also numbered “A 0167”, regulation pattern plated hilt with black fishskin grip, in its plated scabbard, the throat marked “WS broad arrow 99” and “973 6864”. Near VGC (refurbished?) £200-300.
A late 20th century 1892 pattern Household Cavalry trooper’s sword, blade 34” by Wilkinson, number 128463, the back edge also marked “8465-99-122-1831” and “WS broad arrow 99” (1999?), regulation pattern plated hilt with black grip and white buckskin knot, in its plated scabbard, the throat marked “WS broad arrow 99” and “973 6864”. VGC (refurbished?) £200-300.
A scarce Australian Victoria State Force .563" Lancaster oval bore percussion 2 band short rifle, 47¾” overall, barrel 31½”, the breech bearing London private proofs for 26 bore, with ladder rearsight graduated to 900 yards, and with bayonet bar on right of muzzle, numbered 1351; the otherwise plain lock impressed “CHARLES LANCASTER, LONDON”; walnut fullstock with steel mounts, the trigger guard having nipple protector attached by a chain, the butt plate tang engraved “VF” (Victoria Forces) over a broad arrow and number “1351”; with sling swivel on the upper barrel band, small reinforcing plate forward of the lower barrel band, and original steel ramrod. GWO & C . See “Australian Service Long Arms” by Skennerton, p87 £950-1000
1960s-70s Bagged & Blister Packed Airfix Aircraft Kits, English Electric F.1A Lightning, Hawker P1127, Henschel Hs 123, F4U-1D Corsair, S.R.53, Harvard II, Cessna 0-1 Bird Dog, Cherokee Arrow II, Spad VII, Fiat G.50, de Havilland Chipmunk, S.A Bulldog, all appear complete but are unchecked, boxes F-G, Bulldog partially opened (11)
A pair of Minton coloured parian 'Putti' candlesticks: decorated in green enamels and gilt, on fluted columns with bead and acanthus leaf bands, impressed arrow and factory marks with date cyphers for 1863, 24cm [tiny loss to rim of one nozzle]. * Cf. Richard Dennis 'The Parian Phenomenon' page 90, fig 146.
λA George IV silver-mounted tortoiseshell snuff box, by Nathaniel Mills, Birmingham 1827, oval form, the hinged cover with a tortoiseshell panel, inlaid with Eros firing an arrow, the underside with a tortoiseshell base, plus an 18th century silver and tortoiseshell snuff box, of oval form, and a silver-gilt mounted wooden snuff box, replacement cover, by Nathaniel Mills, Birmingham 1834, length 8cm. (3)
An Anglaise French striking carriage clock: the eight-day duration movement having a platform lever escapement and striking the hours on a gong with a push button to allow a repeat of the last hour at will, the movement backplate stamped with the serial number 9439, the brass masked dial having an ivorine chapter ring with stylised black Arabic hour numerals, blued steel spade hands and signed for the retailer Mappin & Webb, Paris, the brass Anglaise case having fluted columns with cast Corinthian capitals and matching handle, with a concave moulded base and top, height 21cm handle up, 16.5cm handle down.*Notes Although unsigned, the hand setting arrow and font for the lettering Hands is near-identical to those used on carriage clocks as signed for the well-known carriage clock maker François-Arsène Margaine of Paris at the beginning of his production.
John Green of Skipton, a carved oak longcase clock: the eight-day duration movement striking the hours on a bell, the 12 inch square brass dial having a raised chapter ring engraved with black Roman numerals and meeting-arrow-head half-hour markings and engraved either side of VI o'clock Green, Skipton, the matted centre having ringed winding holes, a subsidiary seconds dial, date aperture and blued steel hands, with cherub-and-crown cast-brass corner spandrels, the later carved flat-topped oak case having pillars to the hood, a raised panel to the base and standing on bracket feet, height 221cm.* Biography John Green is recorded as working in Skipton, Yorkshire from before 1704 until his death in 1742, following the death of his wife in 1739.* Notes Reference Brian Loomes Yorkshire Clockmakers Pub. Dalesman Books 1972
Henry De La Fueille, London, a walnut panelled marquetry longcase clock: the eight-day duration, five-pillar movement striking the hours on a bell with an internal rack set high within the backplate, the eleven-inch square brass dial having a raised silvered chapter ring engraved with black Roman hour numerals, Arabic five-minute outer numerals and 'meeting arrow-head' half-hour markings, the matted dial centre with ringed winding holes, subsidiary seconds dial and date aperture with decorative engraved surround, with cast-brass cherub-and-crown spandrels to the four corners and blued steel hands, the walnut case with panelled marquetry inlay to the base and trunk door, with a further inlaid panel above and convex throat moulding, the inlaid flat-top hood with three-quarter columns, with brass-cased weights, height 207cm.* Biography Henry de la Fueille, a Hugenot born circa 1670, is recorded as being a clockmaker working in London from circa 1690 before shortly moving to Jersey where he died in 1736. He and his wife Marguerite, a member of the Aubin clockmaking and jeweller family, had a son Henry who was baptised in July 1701 at the French Hugenot Church in Threadneedle Street, London. Another son Abraham was apprenticed to his uncle, the goldsmith Henry Aubin in circa 1716. Marquetry longcase clocks are noted signed for de la Fueille when working in both London & Jersey.
Art Deco diamond and sapphire intaglio brooch depicting mother and child holding torches, 37mmCondition report: One stone is detached but present. The intaglio is possibly glass rather than crystal, it does have a small corner missing and other minor chips around the edge. The intaglio has light surface scratches. The coloured stones are not sapphires/possibly synthetic stones or onyx? and are very dark but present with a red translucency when a light in shone (see extra images). There is a mark/maker's mark on the pin which is a diamond shape lozenge with an arrow and two initials, possibly GT. the setting is probably platinum and has minor distortions and evidence of solder repairs. Weighs approximately 6.4 grams.
Post War RAF Instrument-Board Time-Clock, circa 1953, a Smiths Air Ministry 8-day “Elapsed-time” chronograph clock, as fitted to DH Vampire & Hawker Hunter aircraft inter-alia, Code No. V308 – 306, Serial No. 1092/53, 6A/3157, Broad-arrow stamped with inscribed plaque to back casing, with alloy mounting bracket (latterly used for classic car rallying)
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