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Lot 13
A French diamond and emerald foliate Art Nouveau brooch, circa 1900 A French diamond and emerald foliate Art Nouveau brooch, circa 1900, the foliate whiplash brooch with rose cut diamond accents with a crescent of step cut emeralds, the brooch pin stamped with French poincons, 4.8cm long Condition The diamonds are all present, there is one emerald missing. The brooch clasp is later, and there is a later suspensory loop added at the top of the brooch to it can be used a a pendant, it also have two original suspensory loops hidden behind some of the leaves
Lot 20
An Austrian Art Deco diamond bow brooch, circa 1930, and onyx bow brooch An Austrian Art Deco diamond bow brooch, circa 1930, and onyx bow brooch, the carved and frosted rock crystal panels centred with an old cut diamond, and outer rose cut diamond accents, with calibre cut onyx detail, with Austrian gold marks, post 1925, 4cm long Condition The setting has some tarnishing, one of the settings holding the onyx has a slight tear towards the tip
Lot 202
A RARE NORTH GERMAN EMBOSSED AND ETCHED VAMBRACE FOR THE LEFT ARM, ATTRIBUTED TO THE MASTER SIGNED "AB", CIRCA 1540, PROBABLY BRUNSWICK formed of a large bracelet couter, the central portion drawn-up to a prominent bulbous panel over the point of the elbow, embossed with a pattern of overlapping scales etched with dentil bands, bordered above and below by bands each of three flutes converging sharply towards the inner joint of the elbow , the inner flute etched with a dentil pattern also, the medial flute undecorated and the outer flute etched with a scrolling tendril pattern, the wings bordered over their full lengths by embossed bands of overlapping disc-like scales etched with an alternating pattern of stylised rosettes and suns-in-splendour, with subsidiary border flutes etched with scrolling leafy tendrils, and the edges turned and roped, fitted with tubular upper-cannon, turner carrying two overlapping lames moving on sliding rivets and internal leathers, the turner and its lames each with cusped lower edge, and hinged tubular lower-cannon, its inner lame fitted with a single articulation below the elbow joint and the cuffs decorated en suite with the wings of the couter The embossed and etched decoration belongs in general to a group of field armours, the most well-known of which is the so-called "Giant`s armour" in the Royal Armouries, Leeds (II.126), historically said to be that of John of Gaunt; the backplate of this armour is signed by the etcher with the monogrammed initials AB: see Dufty & Reid 1968, pl. XXIV; also see Mann 1932, pp. 27-9pls. 1 and 2. The etched pattern on the present vambrace is derived from the rosette and flame pattern found on the majority of the armours forming this group. In this instance the conventional flames take the form of angular sharp spikes; the strangely spiky half-rosettes are common to the entire etched group. Dr. von Rohr has suggested that the etcher of the Leeds armour may be Bonaventura Abt, a painter working in Brunswick circa 1525-52. Abt worked both in the city and for Prince Heinrich the Younger at Wolfenbuttel. In 1535 Abt is recorded as painting an armour, an obvious possible reference to the process of etching on steel. An armour with a comparable plain embossed pattern is in the Wallace Collection (A33). Another, embossed but also not etched, is in the von Kienbusch Collection in the Philadelphia Museum of Art (cat. No. 9, pl. IX). The catalogue entry gives the provenance as the Princes Radziwell, thence together with other pieces, to Prince Hohenlohe-Schillingsfürst (a cadet branch of the Hohenlohe-Langenburg line). In addition to the closely related armours identified by Sir James Mann a locking gauntlet from a related armour is in the Frazier History Museum, Louisville, Kentucky (attributed to Augsburg circa 1525).
Lot 232
A FINE AND VERY RARE TWO-SHOT SUPERIMPOSED-LOAD WHEEL-LOCK PISTOL, NUREMBERG, CIRCA 1585 with two-stage barrel with swamped muzzle and the breech struck with both Nuremberg mark and that of the unidentified maker, a rampant beast, probably a unicorn, the lock with plain flat plate struck with Nuremberg mark and a scissors mark including the initials CS (Neue Støckel 2303), the plate extended forward of the dog-spring, fitted on the inside with a tubular priming-channel linking a vent in the front wall of the pan with a vent for the primary charge concealed just forward of the barrel girdle, with single-trigger mechanism, no provision for a mechanised cut-off, a pierced engraved iron plate fitted over the wheel, safety-catch, sliding pan-cover (release missing) and the dog engraved with a monster and a grotesque, with fruitwood full stock inlaid over its full length with a series of engraved staghorn plaques arranged within horn segmental lines and stringing, including a grotesque mask set between a pair of rollwerk plaques about the barrel tang, the contemporary figures of both a lady and a gentleman standing respectively within ball-flower panels over the butt and forward of the trigger-guard, a pair of monsters towards the muzzle, a deer-hunting scene over the reverse side, involving a mounted sportsman armed with a sword and a huntsman armed with a spear, and ball pommel decorated with a segmented pattern of alternating grotesque masks and capped by a horn roundel engraved with a cavalry officer, fitted with engraved horn ramrod-pipe and fore-end cap, the former decorated with a grotesque mask, baluster trigger, moulded iron trigger-guard, and original iron-tipped ramrod (belt hook and one horn plaque each missing) 49.5 cm; 19 ½ in The vent for the second charge is positioned conventionally at the breech, within a recessed small panel with dovetailed edges. The recess was originally intended to receive a hand-inserted cover to form a cut-off over the vent. The cover (now missing) was intended to slide between the breech wall and the inner face of the pan, and would have been suspended from a cord or short chain corresponding with the existing small staple set into the stock on the opposite side. The length of the iron portion of the ramrod indicates the correct seating depth for the primary charge. Surviving examples of 16th century superimposed-load firearms built on a single lock carrying a single mechanism are particularly rare, which suggests a historical preference for the more frequently evidenced second mechanism. The barrelmaker`s mark compares closely with another, identifiable as a unicorn, also in conjunction with a Nuremberg mark and found on an over-and-under wheel-lock pistol in the former Imperial collection in Vienna (A577): see H. Schedelmann 1972, p.28, pl. 49, the marks shown in detail. The maker`s mark on the lock is attributed mistakenly in Neue Støckel both as unidentified and as the mark of Georg (Jörg) Schneider of Nuremberg, both references share the single number 2303. Another example of this mark is found on the lock of a wheel-lock gun also in the former Hapsburg collection in Vienna (WS.D.285); further examples are found on the locks of both guns and pistols in the Royal Armouries, Leeds (XII.720), the Royal Armoury, Madrid (RA.K76f) and in the Metropolitan Museum of Art, New York (MM.04,165): op.cit. , p. 68 (mark illustrated).
Lot 407
A `HOUNSKULL` BASINET, 20TH CENTURY IN THE GERMAN STYLE OF THE LATE 14TH CENTURY of notable weight with a tall skull of ogival form projecting rearwards over the neck as a short `tail`, cut at the front with an arched face-opening, pierced around its lower edge and to either side of its face-opening with two series of small holes for the attachment of an aventail and lining, stuck at the right of the nape with the maker`s initials PL, for Per Lillelund-Jensen, within a rectangle, and fitted at the brow with two flat hooks set one above the other, serving to attach, beneath a pivoted catch with an animal-headed upper terminal, the hinge of a Klappvisier of `hounskull` form, with boxed slits over each eye and the mouth and small circular ventilation-holes at the right of its projecting conical snout (lightly pitted overall) 31.0 cm; 12¼ in The basinet resembles in form examples in the Metropolitan Museum of Art, New York (ex. Londesborough and Dino collections), and the Kunstsammlung der Veste Coburg, Thuringia (Laking 1920-2, Vol. I, pp. 243-4, figs 283-5).
Lot 173
A GERMAN CROSS-HILTED HUNTING-SWORD WITH EXTREMELY RARE ETCHED CALENDAR BLADE, THE BLADE CIRCA 1620-30, THE HILT AND THE SCABBARD EACH 16TH CENTURY with long broad flat blade double-edged and coming to a very short point, etched in fine detail over almost the entire length of each face with a Gregorian calendar in linear tabulated form, one side bearing the months "IANIARIVS" to "IVNIVS", the other "IVLIVS" to "DECEMBER", giving the days of the week abbreviated to their first letters, each day of the month numbered and with its saints` day or day of religious observance identified, the named months additionally identified by their respective German seasonal names together with the monthly total number of days, the monthly tables punctuated by cartouches filled with the twelve Zodiacal signs together with a cabalistic Greek miniscule letter, the final cartouche inscribed "Mon Esperence En Dieu" ("My Hope in God"), and decorated with rollwerk panels on both sides at the base, fitted with earlier rounded iron crosspiece with button terminals, stopper-shaped pommel, and wooden grip retaining a pair of "Turks` heads" and a portion of the original binding all of patterned brass wire: in an earlier leather-covered wooden scabbard, decorated with tooled moulded bands about the top, with provision for extra-pieces and fitted with pierced U-shaped iron chape (the blade coarsely filed along the edges and over the surface of the base on one side, the scabbard suspension hook and the extra-pieces each missing) 87 cm; 34¼ in blade This blade would appear to be hitherto unrecorded. A sword mounted with a calendar blade tabulated and inscribed in a near identical manner, almost certainly by the same hand, is in the von Kienbusch Collection, in the Philadelphia Museum of Art: see von Kienbusch 1963, cat. no. 439, pl.CII. The von Kienbusch blade is etched additionally with portrait medallions, including that of Maximilian, Count Palatine of the Rhine, the title with which he was invested in 1623. Another closely comparable blade signed by the Solingen bladesmith Clemens Tache was formerly in the armoury of the Grand-Dukes of Saxe-Weimar-Eisenach in the Wartburg: see Diener-Schönberg 1912 (W.-G.-I. Nr. 4456), cat. no. 401, p.110, pl.60. The Gregorian or Christian calendar was introduced by Pope Gregory XIII in 1582. For a general account of extant German and English hunting weapons with calendar blades see Blackmore 1971, pp.17-18. Also see Seiler 1940-42, pp. 11-19, for a detailed survey of the calendar blades of Ambrosius Gemlich of Munich (active circa 1527-42), whose work was most likely the source of inspiration for the present 17th century blade. The scabbard is of the type found on German and Swiss Landesknecht swords in the early 16th century and as such is very rare in its own right. A closely comparable example with sword and extra-pieces, circa 1520, is in the collection of the late Sir James Mann: see Dufty, 1974, pl. 16a.
Lot 616
A large collection of hair combs and ornaments comprising; a cased pair and clip, in box inscribed ""Barcelona"", a fan cockade, an ivorine Art Deco style 3-prong hair comb, another set with green coloured stones, 16.5cm, a tortoiseshell hair pin with gilt metal scroll mount, and a selection of tortoiseshell and simulated tortoiseshell hair combs, some s.d. (qty) (Betty Wolf Collection)
Lot 616
A large collection of hair combs and ornaments comprising; a cased pair and clip, in box inscribed ""Barcelona"", a fan cockade, an ivorine Art Deco style 3-prong hair comb, another set with green coloured stones, 16.5cm, a tortoiseshell hair pin with gilt metal scroll mount, and a selection of tortoiseshell and simulated tortoiseshell hair combs, some s.d. (qty) (Betty Wolf Collection)
Lot 1
`David Lloyd George` a Barratt & Co tile designed by George Cartlidge, from a photograph by Ernest Mills, in shades of green, `Little Boy Blue` a tile designed by Walter Crane, a large Minton Godwit tile and three other tiles impressed marks, Lloyd George tile 22.5 x 15.5cm Literature Tony Johnson The Morrisware, Tiles and Art of George Cartlidge, private press, page 80 plate 213 for a J H Barratt & Co portrait tile of David Lloyd George. Provenance Stephen Wilcock Collection
Lot 30
Two Minton`s Art Pottery Studio tiles designed by William Stephen Coleman, each painted with putti in a garden setting, in colours on a majolica turquoise ground impressed and printed marks, minor glaze loss 20cm. square Literature Joan Jones Minton, The First Two Hundred Years of Design and Production, page 222 for a similar design.
Lot 50
A fine Maw Jackfield charger, painted to the well with a galleon at full sail, another sailing into the distance, the rim a border of carnation flowers, in a rich ruby lustre on cream ground, the three hanging holes modelled as bearded mask, painted Camel MJ mark, chips to rim, 47cm. diam. Provenance J. G Glendinning O.B.E. Fine Art Society
Lot 77
A Doulton Lambeth stoneware ewer by Mark V Marshall, bellied form, incised with scrolling foliage, glazed in shades of green on a mottled green and white ground, and a Doulton Lambeth Carrara Ware vase by Mark V Marshall, impressed and incised marks, 23cm. high Provenance British Art Pottery Woolley and Wallis, 26th November 2008, lot 16 private collection
Lot 152
A rare pair of Raphael and Dante portrait plaques by Lewis F Day, dated 1876, painted incised a border of laurel monogrammed and dated in blue to reverse one in half and re-stuck 29cm. diam. Literature The Magazine of Art, 1878, page 179 these plaques mentioned in an article on painting on china Exhibited Howell & James, Regent Street 1878 Provenance private collection
Lot 174
An early Pilkington`s Lancastrian vase, dated 1912, slender, ribbed form, covered in a opalescent feathered blue glaze, two compressed vases covered in a curdled blue glaze and two others with feathered glazes impressed marks, tallest 24.5cm. high Literature A.J.Cross Pilkington`s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications page 34 plate XVII for comparable examples. A Catalogue of the Lancastrian Pottery, Manchester City Art Galleries, page 32 catalogue numbers 24 and 37 for two comparable vases.
Lot 242
A fine Wedgwood bowl painted by Alfred Powell, the interior painted with rooks nesting in a tree, the exterior with buildings in a landscape, with footbridges in the foreground, in colours impressed marks, painted artist monogram and 756, exhibition label 35.5cm. diam. Exhibited Crafts of the Cotswolds Exhibition, Cheltenham, 1951, catalogue number 285 Provenance Mr H. K. Gimson (Humphrey Kitson Gimson was nephew of Ernest Alfred Gimson). Private collection Literature Maureen Batkin Wedgwood Ceramics 1846-1959, Richard Dennis Publications, page 148 plate 353 for a comparable Rookery scene. The Harriman Judd Collection of British Art Pottery, January 22 2001, lot 415 for the above bowl.
Lot 257
A pair of Late Mayers Glasgow School plates designed by George Logan, printed in blue and yellow with Art Nouveau flower repeat, a Peacock coffee can, saucer and sugar bowl, a Continental Art Nouveau bust, a Brannam Pottery vase, a Gustavsberg Argenta plate and two other items printed marks, minor damages 20cm. diam.
Lot 300
Reginald Wells (1877-1951), attributed an ovoid vase, probably Soon, with flaring rim, covered in a streaked dark blue and ochre glaze, and a collection of pottery including C.H.Brannam and Briglin unsigned 9cm. high Literature John A Bartless British Ceramic Art, Schiffer, page 229 for a comparable vase.
Lot 468
A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1099, painted with columns of stylised flowers and foliage in shades of pink, yellow and black on a crackled white ground printed and painted marks, 31cm. high Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 630 catalogue number 135 for a comparable vase
Lot 469
A Boch Freres Keramis vase designed by Charles Catteau, pattern D.983, enamelled with two bands of stylised flowers in rust red and green on a crackled white ground printed and painted marks, facsimile signature 29cm. high Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 219 catalogue number 265 for a comparable vase
Lot 472
A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.974, painted with panels of stylised bell flowers in black enamel on a crackled white ground impressed, printed and painted marks, 28.5cm. Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 437 catalogue number 1042 for a comparable vase
Lot 474
A Boch Freres Keramis vase designed by Charles Catteau, pattern D.2233, painted with bell flowers and foliage in bright enamels on a crackled cream ground printed and painted marks, 31cm. high Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 708 for a comparable vase
Lot 478
A Boch Freres Keramis vase designed by Charles Catteau, by Marcel Bougard for Atelier Fantaisie, pattern D.1093, painted with bell flower roundels in colours on a brown ground printed and painted marks, 31cm. high Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 306 catalogue number 559
Lot 479
A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1111, shouldered square section vase, painted with stylised flowerhead and foliage panels in yellow and orange on a white and brown ground printed and painted marks, facsimile signature 25cm. high Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 304 catalogue number 705
Lot 482
A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.1000, shape 960, slender, swollen cylindrical form with everted rim, painted with geometric columns in green and black on a pale green ground printed, incised and painted marks, facsimile signature 30cm. high Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 426 catalogue number 994
Lot 484
An unusual Boch Freres Keramis vase designed by Charles Catteau, pattern D2531, footed form with four lug handles, enamelled in white, cream and black with cranes wading in a river, on a terracotta vase, painted marks restoration to foot rim, 34cm. high Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 370 catalogue number 794 for a similar vase
Lot 485
A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.2300, painted in mushroom with doves flying by berried foliage fronds, on a pale, speckled brown ground impressed, printed and painted marks, 22cm. high Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 390 catalogue number 868 for a comparable vase
Lot 553
A Birmingham Guild of Handicrafts copper wall or table lamp designed by Arthur Stansfield Dixon, the curved support on domed plate pierced for wall mounting, hinged, supporting hammered copper shade unsigned 58cm. high Literature Alan Crawford, By Hammer and Hand, Birmingham Museum & Art Gallery, page 99 plate 77 for another table lamp. Page 101 plate 80 for a contemporary illustration of a display of Birmingham Guild of Handicrafts lamps. Classic Arts and Crafts, Christie`s South Kensington, 2nd November 2000 lot 173 for an identical lantern.
Lot 556
A Walker & Hall Pride stainless steel four piece tea set designed by David Mellor, with black nylon handles and finials, comprising teapot and hinged cover, hot-water pot and hinged cover, sugar basin and milk-jug stamped marks, 16cm. high Literature British Art & Design 1900-1960, Victoria & Albert Museum, page 216 for this design
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