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Lot 178
Four West African bow harps, Adungu, 20th century, to include a Songye attributed anthropomorphic example and another with applied string of beads to the neck, each with rectangular animal skin covered bodies, two further bow harps with gourd bodies, one with cow horn neck and applied cowrie shells
Lot 429
A collection Victorian jewellery and pocket watchComprising of a diamond-set and blue enamel stick pin, approximately 0.10ct total, a 9ct yellow gold brooch decorated with seed pearl and pink sapphire, stamped with UK hallmark, an Etruscan revival granulated brooch, stamped 15ct and maker's mark AWJ & Co, an agate brooch and a silver pocket watch deocrated with blue guilloche enamel overlaid with white and gold foliate enamel, 64.62 grams (5)Condition report: enamel deficient to bow of pocket watch and stick pin
Lot 184
A Mangbetu bow harp, Adungu, 20th century, the shaped wood body with figural neck in the form of a standing female, with linear coiffure, scarification marks to the face and body picked out with copper wire; a Nigerian bow harp, 20th century, with Yoruba type carved head terminal, with five strings and animal skin resonator, a & another with leather bound body with two resonating holes, the sic strings with square tuning pegs
Lot 175
Two Indian Dilruba, 20th century, each with animal hide resonator, and turned tuning pegs, the finger boards terminating in recessed pointed arches and scroll terminals, the larger example with a HMV Sound Box, and with carved bone bridge, nut and embellishments and with bow, 97.5cm & 90cmCondition report: Larger Dilruba: Blemishes on bow stick, slight pitting on bone caps. Dilruba's sympathetic strings loose, age marks on metal frets and HMV sound box. Wear consistant with use.Smaller Dilruba: Discoloured animal hide resonator and bone veneer on anchor. Crack on main body from neck joint downards and small cracks on neck by upper bridge. Wood showing age wear ad blemishes.
Lot 191
A Sumatran Batak Hasapi, 20th century, the boat shape body with a terminal carved as a figure astride a diminutive animal, 77cm; an Ethiopian Masenqo (Masinko), the animal hide body with plain wood shaft with carved terminal and with bow, 83cm and an Afghan Rabab, 20th century, with animal skin resonator, the shaped body ink inscribed with calligraphy, with turned and carved tuning pegs, the headstock decorated with brass studs, 90cm
Lot 9
A mid 19th century French ormolu mounted white marble mantel clockRaingo Freres A Paris, case and movement numbered 1035The highly elaborate case surmounted by a floral urn and a large ribboned bow leading to flowing swagged garlands held by two bronze putti, on a stepped classical base with egg and dart moulding on beaded toupie feet. The 3 1/2 inch signed white enamel Roman and Arabic dial with gilt fancy hands, the circular movement with with outside countwheel striking the hours and half hours on a bell. Ticking and striking, together with a pendulum and an associated double ended winding key. 32cms (12 1/2ins) high (3)Footnotes:Property of a Gentleman.For further information on this lot please visit Bonhams.com
Lot 53
A Chinese porcelain Famille-Verte 'Romance of the Three Kingdoms' Yen Yen vase, Kangxi period (1662-1722). The ovoid body rising from a spread foot to a tall neck and flaring rim. The painted enameled scene on the vase may be identified as an episode from the 'Romance of the Three Kingdoms' inspired by the novel authored by Luo Guanzhong (circa 1330-1400). On the lower ovoid body of the vase painted three warlord figures and eunuchs as well as military leaders include General Guan Yu galloping on horseback, wearing a green robe over his armour and holding a Green Dragon Crescent Blade or guandao, crossing a bridge. The figures are drawn within a continuous hilly scene, with the sea in the distance. The neck of the vase with three warlord figures and the five Tiger Generals including Lu Bu wearing his distinctive two-plumed helmet holding a bow and arrow. The body and neck of the vase is divided by bands of green key-frets from which rise upright overlapping lappets hiding war banners and weapons insinuating a large army. The vase H45cm, on hardwood base. Total height incl. base 51.5cm. The bottom cut with a hole to convert it to a table lamp. Some damage and repair to the rim. (2) Provenance: N. Cambalios collection.
Lot 1240
A late Victorian mahogany drop dial wall timepiece with eight day single fusee movement, the painted 12-inch circular dial with Roman hour numerals and inscribed 'V.R Cunningham Camberley & York Town', the case with moulded circular surround above a bow apron with glazed lenticle and curved scroll mouldings, height 53cm, with pendulum. Note: V.R. Cunningham is a recorded clockmaker working in Camberley, Surrey, in the late 19th century.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1267
A Victorian mahogany drop dial wall timepiece with brass single fusee movement, the 12-inch painted circular dial with Roman hour numerals and indistinctly inscribed 'Cartwright...' within a moulded surround, the bow apron with glazed lenticle and flanked by carved foliate mouldings, height 52cm, with pendulum.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1254
A late 19th century mahogany drop dial wall clock with two train movement striking on a bell, the 12-inch painted circular dial with Roman hour numerals within a moulded surround, the bow apron with glazed lenticle and curved scroll mouldings, height 53.5cm, with pendulum.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1248
A Victorian mahogany cased drop dial wall timepiece with eight day single fusee movement, the painted 12-inch circular dial with Roman hour numerals within a moulded surround above a bow apron, height 50.5cm, with pendulum.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1323
A late Victorian mahogany drop dial wall timepiece, the 12-inch painted circular dial with Roman hour numerals within a moulded surround, the bow apron with glazed lenticle, flanked by carved fruiting vine mouldings, height 53cm, with pendulum and winding key (faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 591
An Inuit bow Alaska cedar, with a channelled ridge to the flat side and intricately woven sinew to the back, early 19th century, 136cm long. Provenance Collected by British artist Frederick Whymper (1838-1901) who arrived in Victoria from England in 1862 to set about on a sketching tour of northern British Columbia. In 1863 he joined as an artist the Vancouver Island Exploring Expedition and in November 1864 an exhibition of 33 of his drawings was held in Victoria. In 1865 Whymper joined as an artist the Russian-American Telegraph project, which intended to construct a telegraph line linking the United States and Europe through British Columbia, Alaska and Siberia. In 1867 the project was abandoned and Whymper returned to England and published his narrative, Travel and Adventure in the Territory of Alaska. A private collection, Canada. Woolley and Wallis, Salisbury, Tribal Art, 22 Sept 2020, lot 71. The Graham Turner Collection. cf. William Fitzhugh and Susan Kaplan. Inua: Spirit World of the Bering Sea Eskimo, 1982, p.104, no.98, 'sinew-backed bows are among the finest native weapons produced in North America.'
Lot 571
λAn Inuit bow drill Arctic, 19th century walrus ivory, each end with two holes for line attachment, the three planes engraved hunting scenes of figures in Umiaks hunting whales and walrus, another party after caribou and a figure hunting birds, 30.5cm long, cased. (4) Provenance The Graham Turner Collection.
Lot 441
Flint (William Russell). Drawings, 1st edition, London: Collins, 1950, 134 colour plates & illustrations, minor marginal toning, publishers original blue cloth, spine lightly rubbed to head & foot, folio, together with; Reade (Brian), Beardsley, 1st edition, London: Studio Vista, 1967, numerous black & white illustrations, slight water stain to the front endpaper to pp.10, original cloth in dust jacket, covers toned & slightly rubbed to head & foot, large 8vo, Mardersteig (Giovanni), The Officina Bodoni, an account of the work of a hand press 1923-1977, Verona: Valdonega, 1980, colour & monochrome illustrations, small water stain the bottom of the spine binding throughout, publishers original gilt decorated cloth in slipcase, slight water damage to the foot of the spine, large 8vo and other art & antique reference, including Bow Porcelain, by Frank Hurlbutt, 1st edition, London: G. Bell and Sons, 1926, folio, some original cloth in dust jackets, some paperback editions, G/VG, 8vo/folioQty: (2 cartons)
Lot 1544
A late 19th century carved alabaster figure group 'The Three Graces', raised on a lotus leaf carved floral adorned oval plinth base, height 44cm.Additional InformationThere is restoration to the left hand of the central muse where it joins the hand of the other muse and there is also restoration to the hand of the other muse at this point.There is restoration to the ribbon tendrils of tied bow to the back of the central maiden's head and to either side of her shoulder. The foot which extends out to the right from the right hand muse is restored and the other foot has a slight restoration to the outer toe on the supporting foot. There is restoration to the top of the base section of the plinth to the left hand side, this is slightly bluer and more opaque in coloure compared to the rest of it. There is rubbing to all three noses, general rubbing and small nicks here and there throughout and some losses to the flowers at the front.
Lot 5050
Ethnographic series, Paul Birkbeck 1939-2019, Two Amazonian figures in a boat one with bow and arrow poised to shoot at fish, 36 x 50 cms., mounted on board, not signed ABOUT PAUL BIRKBECK; an appreciation, written by one of his daughters and published in the Guardian following his death. "My father, Paul Birkbeck, who has died aged 80, was an artist and illustrator whose work is familiar to those of a certain generation brought up on BBC childrens TV programmes such as Crystal Tipps and Alistair, Play School and Jackanory. His distinctive style and keen eye for detail ensured that he became one of the BBCs most-used artists through the 1970s and 80s. Born in Woolwich, south-east London, Paul attended Brighton College and Epsom School ofArt. After completing his national service, he also became the banjo player for the Dedicated Men Jugband, who signed to Pye Records in 1965. The bands single, Boodle Am Shake, did not trouble the charts but Paul soon began designing sleeves for Decca Records. In 1965 working with BBC childrens TV he became a prolific illustrator for its programmes. For Jackanory he illustrated 14 stories, including A Dog So Small (read by Judi Dench) and Peter Pan, (some in this sale), as well as the BBC Sunday afternoon Bible stories series In the Beginning. His work for Jackanory continued for many years. He created the memorable opening titles for The Vikings in 1980, presented by Magnus Magnusson, and the iconic Miss Marple series, starring Joan Hickson. Paul also drew the backgrounds for the ground-breaking TV series Jane, starring Glynis Barber, which mixed cartoon backgrounds with live actors and was based on the 1940s comic strip of the same name. (some in this sale). In 1991, as well as supplying illustrations, he was in front of the camera playing himself each week in the BBCs six-part childrens TV history programme Now Then, an educational show that cleverly brought our ancestors to life. Paul taught illustration at Leicester Polytechnic, Epsom College and the Royal College of Art, but continued to work in TV, including delivering the titles for the Stanley Baxter Show on Channel 4. He branched out into book illustration with Salman Rushdies 1990 childrens fairy tale Haroun and the Sea of Stories, for which his lavish pictures were much lauded, not least by Rushdie. My father spent the latter part of his life on personal commissions. His work appeared at the Keith Chapman Gallery, London, in Royal Academy summer shows and Sunday Times watercolour exhibitions between 2003 and 2008, and in the Mall Galleries Discerning Eye exhibitions. PROVENANCE The artworks in this sale have been consigned by his family. NOTES: The pictures in this sale were prepared in various mediums often used by the artist and often in conjunction with one another, including, pen and ink, crayon, water-colour, gouache, pastel, and oil and acrylic paints on card or on paper. The auctioneers acknowledge the help of his family in cataloguing this collection, and where-ever known each picture has been listed under its broadcast designation. but the vendors do not guarantee that all attributions in this respect are correct. The family do however guarantee that the pictures, both signed and unsigned are the work of Paul Birkbeck. . All sizes are approximate.
Lot 5268
Paul Birkbeck 1939-2019, Hercules with bow and arrow and other figures by a river, 50 x 70 cms, not signed. ABOUT PAUL BIRKBECK; an appreciation, written by one of his daughters and published in the Guardian following his death. "My father, Paul Birkbeck, who has died aged 80, was an artist and illustrator whose work is familiar to those of a certain generation brought up on BBC childrens TV programmes such as Crystal Tipps and Alistair, Play School and Jackanory. His distinctive style and keen eye for detail ensured that he became one of the BBCs most-used artists through the 1970s and 80s. Born in Woolwich, south-east London, Paul attended Brighton College and Epsom School ofArt. After completing his national service, he also became the banjo player for the Dedicated Men Jugband, who signed to Pye Records in 1965. The bands single, Boodle Am Shake, did not trouble the charts but Paul soon began designing sleeves for Decca Records. In 1965 working with BBC childrens TV he became a prolific illustrator for its programmes. For Jackanory he illustrated 14 stories, including A Dog So Small (read by Judi Dench) and Peter Pan, (some in this sale), as well as the BBC Sunday afternoon Bible stories series In the Beginning. His work for Jackanory continued for many years. He created the memorable opening titles for The Vikings in 1980, presented by Magnus Magnusson, and the iconic Miss Marple series, starring Joan Hickson. Paul also drew the backgrounds for the ground-breaking TV series Jane, starring Glynis Barber, which mixed cartoon backgrounds with live actors and was based on the 1940s comic strip of the same name. (some in this sale). In 1991, as well as supplying illustrations, he was in front of the camera playing himself each week in the BBCs six-part childrens TV history programme Now Then, an educational show that cleverly brought our ancestors to life. Paul taught illustration at Leicester Polytechnic, Epsom College and the Royal College of Art, but continued to work in TV, including delivering the titles for the Stanley Baxter Show on Channel 4. He branched out into book illustration with Salman Rushdies 1990 childrens fairy tale Haroun and the Sea of Stories, for which his lavish pictures were much lauded, not least by Rushdie. My father spent the latter part of his life on personal commissions. His work appeared at the Keith Chapman Gallery, London, in Royal Academy summer shows and Sunday Times watercolour exhibitions between 2003 and 2008, and in the Mall Galleries Discerning Eye exhibitions. PROVENANCE The artworks in this sale have been consigned by his family. NOTES: The pictures in this sale were prepared in various mediums often used by the artist and often in conjunction with one another, including, pen and ink, crayon, water-colour, gouache, pastel, and oil and acrylic paints on card or on paper. The auctioneers acknowledge the help of his family in cataloguing this collection, and where-ever known each picture has been listed under its broadcast designation. but the vendors do not guarantee that all attributions in this respect are correct. The family do however guarantee that the pictures, both signed and unsigned are the work of Paul Birkbeck. . All sizes are approximate.
Lot 120
A LATE 19TH CENTURY EMERALD, DIAMOND AND PEARL PENDANT/BROOCH, set with a round-shaped pearl pendant within a foliate surround accented with circular-cut emeralds and rose-cut diamonds, suspending from a ribbon bow of similarly-set, mounted in gold, length 4.7cmCondition Report: yellow metal unmarkedNormal signs of weartotal gross weight approx. 12.20g
Lot 117
Thomas Sword Good (British 1789-1872)The egg sellerOil on panel25.5 x 19cm (10 x 7¼ in.)Traditionally identified as a portrait of the artist's nieceProvenance:From the collection of Matthew G. Erinson [?], 1886Bought by John Wheeldon Barnes, Esq, 1894Leggatt Brothers, LondonSale, Christie's, London, 4 November 1988, lot 192Condition Report: Some light rubbing and abrasions to the framing edges. There is a small line of gilt running along the right framing edge, which probably occurred whilst gilding was applied to the frame. The panel is beginning to bow ever so slightly and therefore doesn't sit completely flush in the frame. There is some very light surface dirt around the top left of the sitter's bonnet which flairs under UV however this does not appear to be retouching. Inspection under UV light reveals traces of a green cloudy varnish which has been partially removed, but no further evidence of restoration or repair.Condition Report Disclaimer
Lot 114
Johann Joseph Acherman (Swiss 1790-1845)Portrait of a lady wearing a gold dressOil on canvas laid to cardSigned (lower right)84 x 57cm (33 x 22¼ in.)Condition Report: The card has now started to bow. There is a deep surface scratch to the sitter's handkerchief, and again off the sitter's right shoulder. Additional numerous small surface scratches and scuff throughout, some with associated paint loss. Inspection under UV light reveals some light retouching to the background however this is hard to read under the varnish. The figure generally seems untouched however.Condition Report Disclaimer
Lot 174
An Austrian model 1850 infantry officer's sword, slightly curved fullered blade 34.25 in., maker's mark of F.S. Jung (five Maltese crosses); steel hilt with narrow shell guard extending in front to form a knuckle bow and at the back to form a scroll pierced for a sword knot, wire bound shagreen grip, steel scabbard with two domed lockets.
Lot 55
Austria: First World War era Decorations for Services to the Red Cross: Merit Cross 2nd Class with war decoration, silver and enamel cross with wreath, a red cross and the legend 'PATRIAE AC HUMANITATI' to the centre, reverse '1864/ 1914', tri-fold ribbon, minor enamel damage, good very fine or better; Merit Cross 2nd Class without war decoration, silver and enamel cross, no wreath, bow ribbon, flake of enamel missing from reverse of left arm, discolouration to obverse centre, otherwise nearly extremely fine; Merit Cross 2nd Class with war decoration, central elements other than red cross missing; Silver Medal, oval with enamelled central plaque and border, 'PATRIAE AC HUMANITATI', tri-fold ribbon with swords, good very fine, ribbon stained; Bronze Medal, as the last but in gilt-bronze, ribbon without swords, hairline cracks to central plaque, wear to gilding, otherwise good very fine; together with two later medals, of similar form to the last, reverse legends 'FÜR BESONDERE VERDIENSTE UM DAS ÖSTERREICHISCHE ROTE KREUZ'. [7]
Lot 220
A United States model 1840 NCO's sword, straight blade 32 in., marked for Ames and dated 1864, cast brass hilt with shell guards and knuckle bow, brass mounted leather scabbard; together with a U.S. musician's sword, of similar for but with etched blade and ornately embossed hilt with folding inner shell, steel scabbard. [2]
Lot 191
A rapier, flattened hexagonal-section blade 32.5 in., two short fullers pierced with slots; steel hilt with vestigial arms, shell guard formed within a loop interrupted by a double baluster and chiseled and pierced with decoration involving a classical bust surrounded by foliage inhabited by beasts, knuckle bow also interrupted by a baluster, pommel in the form of a helmeted head, braided wire bound grip.
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