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Lot 133
Bedcover. A bedcover belonging to Elizabeth Cotton (1756-1830), pieced bedcover finely hand-embroidered overall with pattern of wavy lines worked in stem stitch in blue thread, scattered with large flower sprigs and leaf stems worked in chain and satin stitch in polychrome silks, with inset wide border of linen-backed cream cotton quilted with bow and lattice pattern, hemmed with linen tape, torn paper label stitched to reverse of hem inscribed in sepia ink 'Belonged to Elizabeth Cotton my Great Aunt - G. A. Farmer', with the dates 1756-1839 possibly added in another hand, generally toned, some brown marks and minor soiling, 2 or 3 closed tears (largest 4cm long), 194 x 217 cm (76.5 x 85.5 ins)QTY: (1)
Lot 147
Clothing. A gentleman's coat for theatre or fancy dress, late 19th century, handmade burgundy velvet coat, with standing collar, 3 slits in rear of skirt, and 6 hooks and eyes to front fastening, front, slits, and wide turn-back cuffs heavily ornamented with gold metalised ribbon and gold soutache braid, cuffs with cream satin ribbon lappets and false close-gathered muslin sleeves, right shoulder with gold braid decorated cream satin epaulette and matching bow with tasselled tails, the epaulette fastened with a paste button, lined with cream silk (partially perished), 18 cm split at top of central rear seam, left shoulder seam with 5 cm split, chest 100 cm (39.5 ins), sleeves 66 cm (26 ins), length 88 cm (34.5 ins), together with a Victorian bicorn hat and 2 other itemsQTY: (4)NOTE:A well-made and rather sumptuous item of theatre costume or fancy dress, based on a Georgian justaucorps, or elaborate coat for court presentation.
Lot 150
Clothing. An Edwardian tea gown, circa 1910, & others, full-length dress of fine white cotton lawn, with high neckline, long sleeves, and asymmetrical fastening at front with 10 self buttons, heavily embellished with pin tucks and lace insertions/trims, a few minor fox spots, bust 80 cm (31.5 ins), waist 70 cm (27.5 ins), sleeves 58.5 cm (23 ins), length at front 141.5 cm (55.75 ins), length at back 24.5 cm (62 ins), together with an Edwardian overdress of net, with short-sleeved unstructured lace bodice (some short breaks in lace), pale green silk sash, side panels of net lace and ribbon embroidery (one panel missing), and decorative diamanté buttons at waist and shoulders (a few stones missing), and an Edwardian gown of stiff striped white cotton, with metal hook and eyelet closure to front, and bow decoration, long sleeves with ruffled cuffs, a small and large v-shaped pocket, and a ruffled hem, some scattered fox spots, plus 7 other early 20th century garments, various sizes and condition QTY: (10)
Lot 151
Clothing. Embroidered skirt for a Robe à la Française, British, circa 1730-40, hand-stitched wide skirt, composed of 5 pieced cream silk panels, each 72.5 cm (28.5 ins) wide, 1 panel unadorned, with 31 cm long stitched opening from waistband, the other 4 panels elaborately hand-embroidered in polychrome silk threads with a wide border (46 cm/18 ins) depicting an abundance of flowering and fruiting meandering stems including roses, tulips, carnations, and pomegranates, some of the stems gathered together with a bow, using a variety of stitches, including stem stitch, long and short stitch, latticework, basket weave, and satin stitch, the skirt shaped for pannier hoop with gathers to sides, original tape edging and drawstrings to waist, hem and one side seam stitched, the other side seam raw, a few small marks and 1 or 2 minor pulled threads, pale brown stain to blank area above embroidery (6 x 3 cm), 2 cm closed tear to hem almost touching a leaf, 99.5 x 362 cm (39.25 x 142.5 ins)QTY: (1)NOTE:Provenance: The Farquhar Collection, Redlynch House, Salisbury, Wiltshire (see also lot 160).A rare, beautifully-preserved, large portion of embroidery on a wide skirt, intended to be part of an 18th century gown, but seemingly never used. The condition of this almost 300-year-old piece is remarkable, with the colours still vibrant and the silk fabric robust. The finished gown would have been worn with a pannier beneath, made of metal, cane or whalebone supports, to give the skirt its shape. The voluminosity of the gown would accentuate the small waist of the wearer, whilst the large expanse of costly material would indicate the wealth and status of the lady. As the 18th century wore on skirts expanded in width so that by the middle of the century some ladies wore panniers seven feet wide.The Farquhar family were bankers and collectors of fine art and antiques. Celebrated members of the family include John Farquhar who bought Fonthill Abbey, Wiltshire, in its entirety from William Beckford in 1823, and Alfred Farquhar who was one of the partners of the private bank Herries, Farquhar & Company, which eventually merged with Lloyd's at the beginning of the nineteenth century. The bank lent money to Napoleon III, and in 1871, when Napoleon was exiled, he sought refuge with banking partner Sir Walter Rockcliffe Farquhar. According to family tradition, the former Emperor struggled to repay his debts, so instead paid in kind, with valuables from French royal palaces which had been brought to England by bullock carts.
Lot 267
English School. Portraits of George Bagster (1739-1819) and his wife Mary (née Denton, 1738-1823), circa 1780's, a pair of head & shoulder portraits, the first of a bewigged young gentleman half-profile to right, wearing a black coat and white necktie, evidence of closed repaired tears on closer inspection, the second of a dark-haired lady wearing a black gown and white collar with bow, a large frilled and beribboned mob cap on her head, latter with superficial surface craquelure, both sometime relined, with ink inscriptions on stretcher respectively: 'G. Bagster' and 'portrait of Mary Bagster née Denton wife of third George Bagster', each approximately 76 x 63 cm, matching gilt frames (90 x 78 cm)QTY: (2)NOTE:Portraits of the parents of publisher Samuel Bagster (1772-1851).
Lot 323
Millais (John Everett, 1829-1896). Portrait of Effie Gray James née Millais, 1875, watercolour on wove paper, laid onto blue paper mount with oval aperture, head and shoulders portrait, half profile to left, of a young girl wearing a blue bow under her white collar, her fair hair coiled and pinned up at the back of her head, monogrammed and dated 1875 lower right, aperture size 27.7 x 20.5 cm (10 7/8 x 8 1/8 ins), sheet size 38.3 x 27.3 cm (15 x 10 3/4 ins), mount size 44.4 x 34.5 cm (17 1/2 x 13 1/2 ins) QTY: (1)NOTE:Effie Gray James née Millais (1858-1911) would have been around seventeen when her father painted this portrait.Two albumen prints of Effie taken by Beatrix Potter's father, Rupert, show an unmistakable likeness to the present work: a portrait of Effie with her father in 1879 (V&A BP.1287), and Effie as Nell Gwynne in 1882 (National Portrait Gallery PG x131241).
Lot 316
Three Dutch brass and copper tobacco boxes, 18th century, each of rounded rectangular form, comprising: one engraved with a hunting; one signed J.A.K.M, for Johan Adolph Keppelmann, an engraver from Iserlohn (Westpahlie), decorated with two Royal portraits to one side and a battle to the reverse; a box signed Johann Heinrich Giese, decorated with battle scene dated 31 July 1760 and a naval battle to the underside, 15.5cm long and smaller; together with small brass bow, 19th century, with engraved interior base and ring handle, 13cm diameter (4)Please refer to department for condition report
Lot 418
An Austrian gilt-wood and ebonised wall timepiece, circa 1900, the case surmounted with a ribbon-tied bow above a fluted twin-handled urn, the white enamel dial with Arabic numerals, having cylinder movement, 70cm highPlease note that Roseberys do not guarantee working order or time keeping of any automatic, mechanical, quartz or other timepiece.Please refer to department for condition report
Lot 503
An Edwardian Sheraton revival bow front mahogany corner display cabinet, satinwood and ebony strung with marquetry inlay, the spindle cornice above glazed door and single drawer beside faux drawer, the base with square tapered legs and spade feet joined by undertier, 168cm high, 74cm wide, 50cm deepPlease refer to department for condition report
Lot 14
A sovereign coin pendant on chain, consisting of a mounted 2002 half sovereign gold coin with a shield design on the reverse, attached to an applied bow motif surmount set with diamond and ruby highlights, on a fine curb link chain, Sheffield hallmarked as '375' with maker's mark 'GS' and a Golden Jubilee commemorative mark, 2002, pendant measures 3.5 x 2.4 cm, chain 46.5 cm, total weight of item 12.1 grams.
Lot 353
An early 20th century R & Co (Richard & Co) jumbo 8-day "Anglaise Riche" bow-sided cased carriage clock with wrythern folding bale handle. The concave Arabic dial with silvered chapter ring and matted plain mask. The movement chiming the hours on a coil gong. On a moulded skirt base.For restoration
Lot 378
A large silver dressing table box of bow fronted rounded rectangular form, the pierced hinged cover with repousse chased decoration depicting a bride and groom leaving the church in a carriage with figures waving within C scrolls with two bells to either side, opening to reveal a gilded interior supported on four legs with claw feet, London 1903, by William Comyns, 14.4cm wide, together with another similar box by the same maker, London 1905, 12cm wide, 8.8ozt gross.
Lot 430
A large silver dressing table box of bow fronted rounded rectangular form, the pierced hinged cover with repousse chased decoration depicting a bride and groom leaving the church in a carriage with figures waving within C scrolls with two bells to either side, c scrolls and angels masks, supported on four legs with chased leaf decoration, London 1903, by William Comyns, 18cm wide, 9.3ozt
Lot 29
David Bowie/Tin Machine - A collection of LPs, to include Goodbye Europe, a limited edition issue of 500 copies on coloured vinyl, numbered 110/500, Bow 3/4/5, The Glass Spider Tour press conference 1987, Spider 101, Don't Be Fooled By The Name, DOW1, limited edition interview picture disc, Lets Talk, AR 30010, Interview picture disc, D.B. 1010, together with a collection of Tin Machine, and 12 inch singles. (qty)
Lot 31
David Bowie - A collection of 7 inch singles, to include fourteen RCA demo singles, two Panic in Detroit/ Knock On Wood RCA 2466, The Laughing Gnome/The Gospel According To Tony Day, DM123, Right/Fame, RCA 2579, Ziggy Stardust/The Jean Genie, RCA 2302, Holy Holy, APBO 0293, Life On Mars, RCA 2316 (p/s), Speed Of Life/Be My Life, PB1017, Fantastic Voyage/Boys Keep Swinging, BOW 2, Drive In Saturday/Round And Round, RCA 2352, Can You Hear Me/Golden Years, RCA 2640, Amsterdam/Sorrow, RCA 2424, Breaking Glass, BOW 1, We Are The Dead/TVC 15, RCA 2682, A New Career In A New Town/Sound And Vision, PB 0905, together with further picture discs and 7 inch singles. (30)
Lot 537
A collection of artist designed miniature teddy bears, comprising Honey Hill Bears Misty designed by Maureen Frost, limited edition 5 of 6, Actually Bears by Jackie Pastel, limited edition 3 of 5, Jen's Teds Cherry by Jenny Dunkley, Jen's Teds Max by Jenny Dunkley, Teslington Bears grey mohair bear with bumble bee by Tracey Nelson-Turner, Bow Wood Bears Teasel by Jan Draper, and Bow Wood Bears Spot by Jan Draper. (7)
Lot 740
Franklin Mint - The Victoria & Albert Museum Porcelain collection - An assortment of vintage 20th century Franklin Mint porcelain in a variety of pattern to include Chinese, Furstenberg, Tournay, Mennecy, Chelsea-Derby, Venice, Hochst and Bow. Together with an unmarked example. Various conditions. Measures 12cm tall.
Lot 202
William Tassie, Scottish, 1777-1860, a Pitt Club members badge, with central white paste portrait of William Pitt mounted on black glass, within a Latin inscription NON SIBI SED PATRIAE VIXIT, beneath a laurel wreath and bow, the reverse engraved THOs FLEMING ESQr, IN MEMORY OF THE Rt HONble Wm PITT DIED 23 JANy 1806 AGED 47, the portrait - 1.5cm high, the frame - 4.5cm highNote: William Tassie was the nephew of the Scottish medallion maker James Tassie (1735-1799). Born in London, he was trained by his uncle to model gems, cameos and medallions, which were generally cast in composition paste pioneered by James Tassie. When William took over James’s business it was a successful competitor to Wedgwood. He continued in a similar vein and added his own designs until he retired in 1840. His works are in the collections of the National Gallery of Scotland and the National Portrait Gallery, London. Please refer to department for condition report
Lot 211
John Henning, Scottish, 1771-1851, a plaster portrait relief of Admiral Sir Pulteney Malcolm, 1768-1838, dated 1809, depicted in naval uniform, signed HENNING F 1809, in a gilt-brass oval frame surmounted with ribbon-tied bow, easel support to reverse, the portrait - 7cm high, the frame - 17.5cm high; together with Paul Martinovich, The Sea is My Element, The Eventful Life of Admiral Sir Pulteney Malcom 1768-1838, Helion & Company, 2021 (2)Note: Malcom was a notable Scottish officeer who entered the navy in 1778 and saw active service in the War of American Independence. He became a captain in 1794 and spent the later 1790s in the East, returning home in 1803. In February 1804 he took the 'Royal Sovereign' out to the Mediterranean and, after briefly commanding the 'Kent' under Nelson there, shifted early in 1805 to the 'Donegal' in which he took part in the great pre-Trafalgar chase to the West Indies. He missed Trafalgar itself, having been sent to Gibralter for water but rendered assistance in the aftermath. He remained in the 'Donegal' until 1811 and then became captain of the fleet in the 'Royal Oak' in 1812 and rear-admiral in December 1813. He was third-in-command during the Anglo-American War and in 1816-17 commanded the squadron enforcing the security around the imprisoned Napoleon at St Helena. The son of a Paisley carpenter, John Henning initially modelled profiles in wax and then began to produce portrait medallions. During his years in Glasgow his sitters included James Watt. He moved to Edinburgh in 1803 and studied at the Trustees’ Academy. In 1811 he went to London where he spent twelve years drawing the Parthenon friezes. With the help of his son, Henning later made large plaster replicas of the friezes to decorate important London buildings to mark the British victories at Trafalgar and Waterloo. He also made small plaster copies of the Raphael cartoons.Please refer to department for condition report
Lot 334
A George III mahogany and boxwood strung bow front sideboard, of diminutive form, central drawer flanked by two cupboard doors, raised on tapering legs and spade feet, with key, 94cm high, 103cm wide, 54cm deep Please refer to department for condition reportwater stains to top, scratched, small piece of beading missing from top of far right leg
Lot 17
Follower of Sir Godfrey Kneller, 18th Century School, oil on canvas, three quarter length portrait depicting a lady as Diana the Huntress with bow and arrow and dog by her side, 74.5cm x 69cm, unsigned, framed 101cm x 94cm. Condition - re-lined, gold painted modern frame, modern mount, not possible to check canvas under window mount, appears re-sealed, canvas on stretcher 77.5cm x 72cm, no evidence of damage/repair to canvas.
Lot 51
Late Victorian mahogany and mixed woods inlaid, bow front display cabinet. The moulded gallery with ribbon, floral and foliate inlay and moulded top above a single astragal glazed door flanked by two bowed glass panels, the interior revealing velvet fitted shelf above a kidney shaped under tier standing on square tapering legs and splayed feet. 99x143x39cm approx . (B.P. 21% + VAT)
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117845 item(s)/page