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Lot 909
Michael Harris - Isle of Wight - A large later 20th Century Seascape Bell vase of sleeve form, decorated with veined blue patches over an opal and gold aventurine ground, numbered 46/500, signed by Michael Harris, height 22.5cm.N.B. This piece was formerly in the Ronald Stennett-Willson collection.
Lot 1004
dating: 1840 circa provenance: France, Octagonal, micro-rifled, 13 mm cal. barrel, finished, marked in gold 'CANON TORDU', with base engraved with floral motifs and frame, slightly bell-mouthed nozzle, fore-sight; engraved tang with rear sight; lock elegantly engraved with a bird on a branch and floral motifs, provided with safety lock and anti-friction system. Wooden, full stock with grip checkered with scales, steel mounts, finely engraved in imperial style, butt-plate with a silver Medusa head. Set trigger. Bone-tipped ramrod. length 36 cm.
Lot 1005
dating: first quarter of the 19th Century provenance: Liege, Rifled, octagonal, 14 mm cal. barrel, re-finished, with slightly bell-mouthed nozzle, precision fore-sight; engraved tang with sight; lock signed 'Rongé Liege' with anti-friction system. Wooden, full stock with checkered grip and decorated with nails. Iron mounts, engraved in imperial style, trigger-guard with finger support, trigger with set trigger. Silver butt-plate with lion's head in high-relief. Wooden ramrod without tip, cartridge extractor. length 33.5 cm.
Lot 1026
dating: circa 1600 provenance: Germany, Four, juxtaposed, smooth-bore, round, 15/17 mm cal. barrels, with slightly bell-mouthed nozzle, chiselled with acanthus leaves (three barrels of 15 mm cal. and one in damask of 17 mm). The barrels are fixed on an iron support with articulated supporting pin and chiselled sides, the only pan is in iron, rectangular, rounds up all the vents in the upper part. Matchlock with a crowned stamp 'A'. Serpentine with wing screw for match fixing. Wooden stock of archaic shape with long, iron trigger-guard. Some parts with the 19th century restores. length 153 cm.
Lot 1034
dating: First half of the 19th Century provenance: England, Smooth-bore, bronze, round barrel, divided by the rings, provided with stamps at the base and with strongly bell-mouthed nozzle. Flintlock engraved with floral motifs. Wooden, full stock with brass mounts. Brass-tipped wooden ramrod. length 80.5 cm.
Lot 1035
dating: Early 19th Century provenance: England, Iron, round barrel, with Birmingham test-bed stamps, with brass, bell-mouthed nozzle, with rings at the ends. Lock with slightly roundish plate, with remains of engraved crown, surmounting the mark 'Y 2', tang marked 'TOWER'. Pitting on the iron parts. In working order. Wooden, full stock (repairs on the grip and restored butt side), marked 'Y 2' on the grip. Smooth, brass mounts, iron ramrod. length 80,5 cm.
Lot 1039
dating: circa 1800 provenance: London, Bronze, smooth, three-stage barrel, first part octagonal with test-bed stamps and 'LONDON', round after two segments with strongly bell-mouthed nozzle; flintlock signed 'BENNETT' provided with safety lock. Wooden, full stock (small parts missing) with brass mounts, butt chiselled with inscription 'COLE 114'; back with oval escutcheon. Metal-tipped wooden ramrod. length 75 cm.
Lot 1044
dating: Mid 19th Century provenance: Brescia, Octagonal, 13 mm cal. barrel, with slightly bell-mouthed nozzle, fore-sight, fix rear sight with two adjustments, with foldaway sight leaf, white metal outlining at the base. Seven-facet bore. Breech with monogrammed mark, tang with floral engravings. Forward spring lock signed 'Giovanni Michelloni IN BRESCIA'. Mechanics to be reviewed. Adjustable trigger. Wooden, full stock with fishbone milling at the grip, butt side with cheek-piece. Iron mounts, trigger-guard engraved with birds. Brass-tipped wooden ramrod. length 105,5 cm.
Lot 27
dating: First Empire provenance: France, Short, octagonal, micro-checkered, 12 mm cal. barrel, provided with three stamps at the base, bell-mouthed nozzle, gilded decorations at the ends; engraved tang, with rear sight; lock signed 'DESJARDINS', finely engraved and with sealing system; wooden, full stock with checkered grip iron mounts, engraved in imperial style; iron ramrod. length 16.5 cm.
Lot 282
dating: Mid 19th Century provenance: England, Smooth-bore, iron, round three-stage barrel, with test-bed stamps and strongly, circularly bell-mouthed nozzle; forward spring lock, with remains of engravings and inscriptions. Wooden, full stock, slightly embossed (small restore) with brass mounts, decorated with floral motifs. length 42.5 cm.
Lot 37
dating: Mid 19th Century provenance: Turkey, Smooth-bore, two-stage barrel, first octagonal, with Arabic stamp, then round, with strongly, circularly bell-mouthed nozzle, decorated with silver floral and geometrical motifs through all the length. Engraved lock. Wooden, full stock with brass mounts. False ramrod. length 45 cm.
Lot 38
dating: Mid 19th Century provenance: Turkey, Smooth-bore, two-stage barrel, first octagonal, then round and with circularly bell-mouthed nozzle, decorated with silver and gold floral and geometrical motifs through all the length. Engraved lock. Wooden, full stock with filigree inlays and silver, engraved mounts. Stamps. Bone-tipped wooden ramrod. In patina. To be cleaned. length 53 cm.
Lot 46
dating: 1840 circa provenance: France, Octagonal, micro-rifled, 13 mm cal. barrels, damascened, engraved with framed at the base, bell-mouthed nozzle, fore-sight; engraved tangs and with rear sight. Forward spring locks, engraved with spider webs and floral motifs. Elegant, three quarters stocks, finely embossed with a shell on the fore-end cap, garlands around the locks and oak branches at the pommel, checkered grips. Iron mounts, engraved in imperial style. Trigger-guards with finger support, set trigger. In patina. To be cleaned. length 37 cm.
Lot 47
dating: Early 19th Century provenance: Paris, Octagonal, micro-checkered, 14 mm cal. barrels, signed 'PIRMET A PARIS', bell-mouthed nozzle, with golden frame and fore-sight; forward spring locks, converted to percussion, with remains of signature and finishing. Wooden, half stocks, with checkered grip and smooth, iron mounts. Trigger-guard with finger support, set trigger. In their wooden case, lined with green cloth and provided with all the tools and key. length 36 cm.
Lot 50
dating: First half of the 19th Century provenance: Italy, Round, smooth-bore barrel, with strongly, ovally bell-mouthed nozzle, decorated with brass-inlaid floral motifs; engraved tang; flintlock, the surface with rust damages so as the barrel. Wooden stock in two parts, with brass mounts, engraved with floral motifs. A button on the back, to fold the butt. Wooden ramrod with iron cartridge extractor. length 82.5 cm.
Lot 67
dating: early 18th Century provenance: Mexico, Smooth-bore, two-stage barrel, octagonal first part with brass-inlaid decorations, round second part with strongly bell-mouthed nozzle and with a ring; engraved tang; miquelet lock; wooden, full stock, mostly covered with pierced and engraved, brass mounts, portraying animals among floral motifs, fore-end with double eagle, back with a snake. Brass mounts. Iron belt hook. Brass-tipped wooden ramrod. Very scarce. length 36.5 cm.
Lot 75
dating: Second half of the 18th Century provenance: Spain, Smooth-bore barrels, octagonal first part, with crowned mark among the lilies, engraved with floral motifs, then round, with circularly bell-mouthed nozzle and with rings at the ends. Engraved tangs. Iron lock with round plate; wooden, full stocks, with brass mounts, engraved with floral motifs, butt-plates with busts. Wooden ramrods. length 39,5 cm.
Lot 84
dating: circa 1800 provenance: Marseille, Iron, round, smooth-bore barrel, first part richly chiselled with trophies on a gilded ground, in bass-and high-relief, round after the rings, engraved and gilded with floral motifs and beams, silver fore-sight on a heart-shaped base, circularly strongly bell-mouthed nozzle; lock decorated en suite and signed 'VIGNIAT'; wooden, full stock, with filigree inlays in silver thread (parts missing). Replaced iron trigger-guard coming from a Spanish rifle. Silver butt-plate. Restored counter-plate and escutcheon on the back. Original ramrod with cartridge extractor. Needs and adequate restore. length 91 cm.
Lot 87
dating: 18th Century provenance: Spain, Smooth-bore, two-stage barrel, octagonal first part with two, deep marks, gold-plated among the cross and floral decorations, round after the rings and acanthus leaves, and with a ring at the nozzle, which is circularly, strongly bell-mouthed. Engraved tang. Miquelet lock, slightly engraved with floral motifs. Wooden, full stock, richly inlaid with silver plates, engraved with floral motifs in rococo style, silver mounts, decorated en suite. Iron belt hook. Silver-tipped wooden ramrod. length 89.5 cm.
Lot 981
dating: late 18th Century provenance: France, Round, bronze, smooth-bore barrel, with strongly, circularly bell-mouthed nozzle, in one piece with box-lock frame, engraved with trophies and geometrical motifs; iron cock, safety lock, batterie, trigger and trigger-guard. Wooden, micro-checkered butt. length 20 cm.
Lot 1009
Autograph: An autograph album - numbered 129 containing circa 60 signatures collected in person by Laurie Butcher during 1994 and 1995. These autographs are mostly single sided and written in ballpoint or felt-tip pen. Signatures to include: ERIC MASON, GARY SOBERS, DUNCAN BELL, EAMON HOLMES, TONY BLAIR and JULIE ROGERS. A full list is available on our website or by email upon request. The album is in excellent condition with no staining. PROVENANCE: The Laurie Butcher Collection - please see lot 1000 for details.
Lot 1075
AUTOGRAPHS: A LARGE QUANTITY OF AUTOGRAPH ALBUM PAGES - these were originally part of the Laurie Butcher Collection sold in previous sales. This group is a large selection of COMEDIANS' autographs together with stars from the world of MUSIC: Signatures include: THE KRANKIES; MIKE HARDING; WAYNE BRADY; MICK MILLER; KATHERINE RYAN; KAREN KAY; B.A. ROBERTSON; MARTHA WAINWRIGHT; JAMES HUNTER; SEASICK STEVE; DARYL BACK; ROY BUDD; JET HARRIS; ANDY WILLIAMS; ABBE LANE; MADELINE BELL; RUBY TURNER; RICK SPRINGFIELD; EMILE BELCOURT; OSSIE YUE; JOAN BAEZ, GLORIA GAYNOR and RICK WAKEMAN - circa 30+ PROVENANCE: Previously from The Laurie Butcher Collection - please see lot 1000 for details
Lot 2195
Bell, Gordon Ed.by: Whitby, Pickering & Scarborough Railway, Early Victorian Guides, pub.2008, Baines, Stephen: The Mary Rose of Yorkshire, pub.2010, Jefferson Christie, Barbara: Sowing The Seeds of Time pub.USA 1994, Stamp, Tom & Cordelia: The Life of James Cook, pub.Caedmon 2001 and The Probate Inventories of Whitby, N.Yorks 1700-1800, 5vols. Provenance: From the Library of a Private Whitby Collector Condition Report Click here for further images, condition, auction times & delivery costs
Lot 200
A COLLECTION OF GLASSWARE includes a Cranberry bell form candle cover with clear facet handle, 22cm high, together with a Cranberry bon-bon dish with cover and clear prunt decoration, a Victorian Mercury glass vase, 24.5cm, and a globe and shaft deca nter with stopper and a ceramic 'Port' label
Lot 219
A COLLECTION OF SECOND QUARTER 20TH CENTURY AUTOGRAPHS AND SIGNED EPHEMERA the majority are big band musicians of the era to include drummers Gene Krupa, Buddy Rich, Count Basie, Charlie Kunz, Sam Browne with Elsie Carlisle, together with actors Bell a Lugosi, Fred Astaire, Stanley Holloway and numerous others
Lot 31
An Italian mandolin by Raffaele Maratea est. 1895, bears label "Raffaele Maratea Allievo Di Vinaccia Sistema De Meglio Fabbricante Di Strumenti Armonici, Napoli - Vice 2 Porta Piccola Montecalvario, 40", together with Bell Brand mandolin strings, made by the National Musical String Company and framed photographs of previous owner holding the mandolin, taken 1904.
Lot 34
World War Two hardback book titled Dambuster the Definitive History of 617 Squadron at war 1943-1945 signed on the inside title page by 10, bomber command veterans includes John Bell, Les Munro, Mac Hamilton, Harry Johnson, Les Knight and Bill Gordon. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Lot 1485
A Late XIX Century French Gilt Metal Clock, the rectangular case inset with Sévres style porcelain panels decorated with cherubs, the white enamel dial with Roman numerals and inscribed "Hry Marc, Paris", bell striking movement, the case cast with cherubs, flowers and reclining female surmount, 28cm high, key present.
Lot 190
Thompson (Henry) The soules alarum-bell. Wherein the sicke soule (through the horror of conscience) being awakened from security by the sight of sinne, hath recourse to God by meditation and prayer, 2 parts in 1, second part with woodcut pictorial title, woodcut head-pieces and decorative initials, lacking first title, A2, K1, L1, and N10, R9 torn at foot, with loss of text, a few holes, stained, modern calf, [STC 24024], 12mo, [printed by Iohn Beale], 1618.sold not subject to return. ⁂ Rare. ESTC lists only 3 copies (BL, Dulwich and Sion College).
Lot 218
Manners (Catherine Rebecca) Poems, second edition, manuscript corrections in the author's hand to 2 poems, with 5 line note to one, engraved portrait frontispiece, John Bell, 1793 bound with Review of Poetry, Ancient and Modern. A Poem, first edition, manuscript corrections in the author's hand to 4 pages, one with 4 line note, lacking half-title, J.Booth, 1799, together 2 works in 1 vol., autograph poem signed "Catherine Huntingtower, September 19, 1842" bound at rear, pencil inscription "Given to me by my highly esteemed & valued friend Lady Huntingtower formerly Lady Manners" to front free endpaper, 19th century morocco, gilt, neatly and sympathetically rebacked, g.e., 4to. ⁂ Catherine Manners, (1766-1852), married William Manners, later Lord Huntingtower in 1790. She published two works of poetry, the copies of which in this lot have manuscript corrections. For example in the poem "Lines addressed to a Mother in Ireland" she alters the word "tedious" to "lonely", explaining in the margin "I have, on reflection, altered tedious to lonely; or no hour, except in pain, or sickness or dull company, could ever have tedious to a mind so active & enlightened as that of my dear mother was". Bound in with this copy is a 2-verse manuscript poem "What to thee is golden hair?/What are features heavenly fair?/Teeth of pearl & breast of snow/Eyes that sparkle, cheeks that glow?" with the author's explanation of how she came to write it.
Lot 55
John Luke RUA (1906 -1975)Nude MaleOil on board, 69 x 23cm (27 x 9'')Provenance: Estate of the artist; Private Collection.Exhibited: John Luke (1906-1975), Ulster Museum, Belfast and Douglas Hyde Gallery, Dublin, 27 January-4 March 1978 (no. 4); John Luke: Work from The Studio, The Bell Gallery, Belfast, February-March 1980 (no. 23).Born into a working-class part of north Belfast John Luke initially left school to work in the city’s shipyards and then its linen mills. His extraordinary talent at drawing brought him to Belfast School of Art when he was still a teenager. After enrolling in evening classes his teachers encouraged him to become a full-time student. In 1927, after wining prizes at the Sorella Art Exhibition and the Royal Dublin Society’s Taylor Art Competition, Luke won the prestigious Dunville Art Scholarship, which would enable him to study at the Slade School of Fine Art in London for the next three years. This ‘Male Nude’ was painted at the Slade under the tutelage of Henry Tonks, one of the most influential teachers of drawing in the early twentieth century. It was completed in the ‘life painting’ class and its combination of incredibly fine drawing and tiny feathery cross-hatched brushstrokes, to build up light and shade, demonstrates Luke’s outstanding abilities as a draughtsman. Luke later recalled that Tonks had initially been critical of his drawings, stating ‘these are rather good, as far as they go, but there’s no form in any of them’, and subsequently Luke concentrated all his efforts to perfect his drawing skills. The striking facial features of this male nude would later be re-used for the central figure in Luke’s painting ‘The Rehearsal’, which was commissioned by the Belfast Museum and Art Gallery (now Ulster Museum) in 1948 as a demonstration of the tempera technique. Its anatomical fidelity also recalls Tonk’s drawings especially the male nudes he made as part of his work recording wounded veterans during the First World War. Tonks had initially trained as a surgeon and according to his biographer ‘used his anatomical knowledge to teach life drawing as a swift and intelligent activity’. Luke drew and painted many male nudes at the Slade employing a variety of different materials. A further example is his ‘Seated Figure’ (lot 54 above) which is quickly, and brilliantly, sketched with chalks. Tonks encouraged his students to work with pastels and chalks when drawing from life (like the old masters). Whether in chalk or oil paint Luke fully realized Tonk’s desire to see the model as a ‘corporeous unity’, to render the ‘flesh’ so it was almost tactile. Dr. Joseph McBrinnBelfast School of ArtUlster UniversityBorn into a working-class part of north Belfast John Luke initially left school to work in the city’s shipyards and then its linen mills. His extraordinary talent at drawing brought him to Belfast School of Art when he was still a teenager. After enrolling in evening classes his teachers encouraged him to become a full-time student. In 1927, after winning prizes at the Sorella Art Exhibition and the Royal Dublin Society’s Taylor Art Competition, Luke won the prestigious Dunville Art Scholarship, which would enable him to study at the Slade School of Fine Art in London for the next three years. This Male Nude was painted at the Slade under the tutelage of Henry Tonks, one of the most influential teachers of drawing in the early twentieth century. It was completed in the ‘life painting’ class and its combination of incredibly fine drawing and tiny feathery cross-hatched brushstrokes, to build up light and shade, demonstrates Luke’s outstanding abilities as a draughtsman. Luke later recalled that Tonks had initially been critical of his drawings, stating ‘these are rather good, as far as they go, but there’s no form in any of them’, and subsequently Luke concentrated all his efforts to perfect his drawing skills. The striking facial features of this male nude would later be re-used for the central figure in Luke’s painting The Rehearsal, which was commissioned by the Belfast Museum and Art Gallery (now Ulster Museum) in 1948 as a demonstration of the tempera technique. Its anatomical fidelity also recalls Tonk’s drawings, especially the male nudes he made as part of his work recording wounded veterans during the First World War. Tonks had initially trained as a surgeon and according to his biographer ‘used his anatomical knowledge to teach life drawing as a swift and intelligent activity’. Luke drew and painted many male nudes at the Slade employing a variety of different materials. A further example is his Seated Figure which is quickly, and brilliantly, sketched with chalks. Tonks encouraged his students to work with pastels and chalks when drawing from life (like the old masters). Whether in chalk or oil paint Luke fully realized Tonk’s desire to see the model as a ‘corporeous unity’, to render the ‘flesh’ so it was almost tactile. Dr. Joseph McBrinnBelfast School of ArtUlster University
Lot 128
A pair of carved and painted wood torchere stands, probably first half 19th century, each circular top with gadrooned edge, above a pierced and tapering tri-form stem, on a tripod base with acanthus and bell flower carved scrolling legs, each 112.5cm high, the tops 34cm diameter For related designs of ‘Candle Stand’ see Thomas Chippendale, ‘The Gentleman and Cabinet-Maker’s Director’, 1754, Plates CXX and CXXI, ( illustrated by Elizabeth White, Pictorial Dictionary of British 18th century Furniture Design, Antique Collectors Club, 1990, page 303-305).
Lot 182
A pair of George III painted demi-lune commodes, late 18th or early 19th century, each arbascato marble top above a central cupboard door decorated with a putti, classical medallions and foliate swags, flanked by similarly decorated bowed doors, each door divided by a trailing bell flower motif surmounted by a patera terminal, on turned and reeded tapering legs, each 88cm high, 118cm wide, 50cm deep Provenance: Private Collection, London The Collection of John Lionel Trafford of Hill Court Estate; Christie's House sale, Hill Court, Ross on Wye, 1982. Provenance: The Collection of John Lionel Trafford of Hill Court Estate.Christie's House sale, Hill Court, Ross on Wye, 1982. Hill Court, then called The Hill, was built for Richard Clarke (d 1702), then of Old Hill Court, from 1698 onwards. The design of the house, and of the garden, has been attributed (Daniels and Watkins 1994, 18) to John Kyrle. In the mid eighteenth century the house was heightened and extended by the addition of symmetrical wings. Following the death of Jane Clarke in 1806, the estate passed to Kingsmill Evans, grandson of Thomas Evans and Alice Clarke, Jane's aunt. He left the house to his nephew, Kingsmill Manley Power (d 1888). In 1890 the property was sold to Major Lionel Trafford whose family lived there until 1982. For a related pair of polychrome decorated commodes, see Christie’s , The Collection of the late Peter Ascroft, 17th August 2016, Lot 301.For a related design of single cabinet attributed to Mayhew & Ince and incorporating green painting, see Christie’s London, Lyons Demesne Works of Art from The Collection of The Late Dr. Tony Ryan, 14th July 2011, Lot 50 (£103,250). See also Christie’s, New York, Exceptional Sale, 13th April 2016, Lot 25 ($245,000) for a pair of George III side table demonstrating related design elements and use of green and polychrome painted decoration.
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