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Lot 172
dating: Third quarter of the 19th Century provenance: Europe, Straight, double-edged blade, ribbed in the center and with double central fuller in the first half. Fine, bronze hilt with quillon, quillon block carved with braided branches and quillons with a beast's head. In-the-round grip, finely carved to effigy a shirtless archer, dressed in a kilt and intent on holding a handful of arrows (in the left hand he was once probably holding a bow of lance). Right hand holding another arrow. Bronze scabbard with decorations in relief. A vulture above, under which the two naked warriors are fighting, surrounded by the coconut palms. Lower other animals, and the Rod of Asclepius surmounting crossed bow and lance, a mask on the ground. length 25,9 cm.
Lot 27
dating: 19th Century provenance: Japan, With light, wooden structure, partially lacquered in black, with golden drawings with floral motifs and Manji-mon. External borders are not lacquered and provided with hooks for mounting on a bow. Leather lower part, with gilded Manji-mon as well. The two quivers provided with nineteen arrows in all, without tip, with gilded plumage. Rare in pair. Era: late Edo period. height total circa 87 cm.
Lot 624
DRESSEL, KISTER&CO. und NYMPHENBURG Figurengruppe und Figur, 20. Jhd.. DRESSEL, KISTER&CO. 'Leda mit Schwan und Amorette', nach 1907, Natursockel auf 4 profilierten Füßen, mit Lorbeergirlanden geschmückt, bewegte Darstellung eines Schwanes, dessen Hals von einem Tuch umschlungen wird, das von einem Putto gehalten wird, daneben Leda und ein blumenbekränzter Amor mit Bogen, H. ca. 20cm, kleine Beschädigungen; NYMPHENBURG 'Putto mit Pauke', Weißporzellan, Putto auf Rocaillensockel, Trommelstöcke schwingend, Modell-Nr. 1529 (Frankenthaler Neuausformung), H. ca. 14. Altersspuren. DRESSEL, KISTER&CO. and NYMPHENBURG group and figure, 20th century. DRESSEL, KISTER&CO. 'Leda with swan and cupid', after 1907, natural base on 4 profiled feet, decorated with laurel garlands, moving representation of a swan, its neck wrapped by a cloth held by a putto, next to it Leda and a flower-wreathed cupid with bow, h. approx. 20cm, small damages; NYMPHENBURG 'Putto with timpani', white porcelain, cherub on a rocaille base, drumsticks swinging, model number 1529 (new version according to Frankenthal designs), h. ca. 14. Signs of age.
Lot 17
A 19th century Limoges enamel charger decorated with a scene of Artemis and Apollo killing the children of Niobe, probably Samson in the manner of an original by the workshop of Pierre Reymond, the design after Philippe Gallethe vengeful god and goddess borne aloft by a cloud, smiting the figures below as they cower in fear, Apollo with his bow and arrow and Artemis with her spear, set against a verdant landscape with a city beyond, possibly the city of Tantalus located at the foot of Mount Sipylus, visible in the background, the reverse showing a Romanesque profile in the centre with a putto below wearing the diadem of Artemis, 39cm diameterFootnotes:ProvenanceProperty of a private Italian lady collectorLimoges in the south west region of France, has been world-famous for producing enamels for centuries. Originating in the 12th century, the industry of decorating metal objects, usually in bronze and brass (and mostly made for ecclesiastical purposes) in champlevé coloured enamels, thrived until circa 1370 when a swift decline meant that these precious manufacturing skills were almost lost. However, in the late 15th century the production of enamel returned to the region but with a move to producing more secular objects. With this revival came new techniques including painting the decoration directly onto the enamel rather than gouging out designs then flooding them with enamel. Several notable French workshops emerged with their own distinctive styles who would, in some cases, also sign or punch mark their work. Usually depicting mythological or religious narratives, these wares, often plates, chargers or plaques, became highly prized objects.The workshop of Pierre Reymond (c.1513 -after 1584) produced exceptional pieces throughout the 16th century. There is evidence to suggest that Reymond was both the owner of his large workshop and an artist in his own right, practising for over four decades. Hence his works were an obvious source for the fine reproductions produced by Samson in the second half of the 19th century.LiteratureSuzanne. Higgot, with contributions from Isabell Biron, Susan La Neice, Juanita Navarro and Stefan Rohrs, The Wallace Collection Catalogue of Glass and Limoges Painted Enamels, The Trustees of the Wallace Collection, 2011.We would like to thank Suzanne Higgot, curator of Glass, Limoges and painted enamels at The Wallace Collection, London for her kind and generous assistance in cataloguing this lotFor further information on this lot please visit Bonhams.com
Lot 765
dating: 19th Century provenance: Sulawesi, Undulated double-edged blade, in fine pamor, with wide base and curl. Ukiran and scabbard richly decorated with embossed silver foil and with cabochon stones (mostly turquoises and rose stones). Ukiran portraying a deity with partially gilded necklace. Warangka completely covered with silver foil and adorned with a prestigious toli-toli bow. Small defects and parts missing. This very rare kris is decorated with mounting of the gifts of the kingdom of Gowa-Tallo in South Sulawesi. length 48 cm.
Lot 717
A Royal Danish shortsword by C.L Seifert, circa 1910. the 70cm single-edged blade with spear tip and etched with foliate design, the ricasso marked 'C.F Siefert/KGL.HOF Guildthaekker/Kjobenhaven', with gold plated guard, decorated with the Danish coat of arms, knuckle bow, quillion and pommel, the grip inset with abalone shell, contained with leather scabbard with gold plated mounts, 86cms overall.
Lot 326
* Wallis (Barnes Neville, 1887-1979). Autograph Letter Signed, 'Daddy', White Hill House, Effingham, Surrey, 6 October 1953, to 'My dear Brother' [i.e. his oldest son Barnes Jr, 1926-2008], thanking him for his letter of birthday good wishes before talking about the Wild Goose project, 'The Wild Goose has flown again, most successfully, except that, owing to too hasty a stiffening of her bow undercarriage, which jerked up, she actually "took-off" twice after her first landing, compelling the pilot to land her 3 times in all plus the 3rd time the speed was so low that she was no longer under control, and sat down on her tail, or rather place where a normal bird would carry its tail!', with a pen and ink diagram showing this landing trajectory, then returning to family matters and agreeing that he can get some maths coaching in the holidays, noting that Boudie is in Welsh Wales with Nancy, 'no husbands by request!' and concluding that he doesn't suppose he shall 'finish the book-shelf before you return!', 2 pages, the second page written horizontally, a later unrelated pencil note by his daughter Mary inscribed to upper left corner of first page, 4toQty: (1)NOTESProvenance: From the family of Barnes Wallis, by direct descent. Wild Goose was an unmanned aerial vehicle developed by Barnes Wallis for his research into tailless variable-sweep aircraft incorporating a radical new control system capable of high-speed, long-range performance. After several years of tests and crashes the project was terminated in 1954 by which time Vickers had begun studies on a successor to the Valiant V-bomber. For this new project Wallis evolved his Wild Goose design into the Swallow.
![Churchill (Winston Spencer, 1874-1965). Photograph Signed, 1955, vintage gelatin silver print [by Vivienne], Churchill full f](https://cdn.globalauctionplatform.com/99b16446-913a-4f76-a304-ac6300d3f665/1ed7efd0-1e91-4ac7-a177-ac6400bcbd30/468x382.jpg)
Lot 373
Churchill (Winston Spencer, 1874-1965). Photograph Signed, 1955, vintage gelatin silver print [by Vivienne], Churchill full face and seated, with jacket and bow tie, small white ‘tippex’ mark to right of head, 16.5 x 13 cm, original card mount, signed and dates in brown ink to lower mount, ‘Winston S. Churchill, 1955’, framed and glazedQty: (1)NOTESProvenance: From the Winston Churchill Collection of Major Alan Taylor-Smith (1928-2019).
Lot 60
A very rare first half of the 19th century Scottish burr maple bow-fronted stick barometer with sliding bar for relative day recordingsAdie & Son, EdinburghThe Biedermeier-style case with rectangular cornice over a brass plaque with sliding bar to alternately reveal 'Yesterday' or 'Today', the trunk with two ivory recording knobs and terminating in a plinth cistern cover with inset ivory float for zero-ing purposes, the signed silvered dial with twin scales and verniers reading from 26 to 31 inches. 109cms (42 1/2ins) high (1)Footnotes:The Adie family supplied laboratories and the thriving scientific community in Scotland in the first half of the 19th century with the best instruments that money could buy. Such was Alexander Adie's standing in the scientific community, he was elected a Fellow of the Royal Society of Edinburgh in 1819. He took his son John into partnership in 1835 while based at 58 Princes Street. After 9 years they moved just four doors along the road. In 1857 Richard Adie took over the firm, although he continued to trade under the earlier name. In 1877 the firm moved to 37 Hanover Street. Their work is always of the highest quality. Alexander is probably best known for his invention of the sympiesometer in 1818.The pared-down elegance and use of light burr maple in the current lot is an echo of the Biedermeier style prevalent in Europe in the 1820-40 period, proving that the firm were well aware of the latest European fashions.This lot is subject to the following lot symbols: TP Y ФTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 9
A late 19th century French ormolu and marble mantel clock'Hope nursing Love'the Neoclassical-inspired case surmounted by the figure of Hope nursing Love, reclining on a large tasselled cushion atop the drum case flanked by a pair of Egyptian sphinxes in profile on a stepped bow fronted marble base with classical frieze mounts on toupie feet. The 5 1/2 inch white enamel circular Arabic dial with gilt fancy hands, the circular movement (numbered 314687) with Brocot type escapement with outside countwheel striking the hours and half hours on a bell. Ticking and striking. Sold with a pendulum and an associated winding key. 46cms (18ins) high (3)For further information on this lot please visit Bonhams.com
Lot 8
A black evening gown in fine jersey, shift design, with a satin rolled collar, at the front and pointed collar at the back, nylon zip, left has split on the hemline, edged in black satin and a bow, late 1960's, together with a white grosgrain evening dress, with a metal side zip, high neckline, and a slit open back design down to the lower back, long sleeve, left hemline is split with a scalloped design (2)
Lot 93
A collection of Victorian and Edwardian feathers in purple, mauve's, orange, deep blue and an Edwardian black and jade Edwardian neck feather boa, with ties, 15 (one is worn) and a taffeta, large bow with ties off a bustle skirt, and two large strips of black jet, bugle beads, black 1900s belt, built a marcasite long decorated and two black and cream crochets decorated strips (21)
Lot 94
A quantity of lace and tulle collars and modesty fronts, in spotted tulle and a 1920's snood, two body in tulle and pink ribbon and a cotton boned and a silk blue cream floral bow, four black shawls, to include one spotted chiffon, Edwardian, one large shanting sill, 1900, one crepe square, with fringing, 1910, one long lace shawl (4)
Lot 392
A LARGER JAPANESE MEIJI PERIOD CARVED IVORY NETSUKE - LUCKY GODS - TAKARABUNE- the ship carved will to depict seven lucky gods, each playing an instrument or holding implements, with a dragon head and pearn bow, upon carved stylized waves, very small marking to the base around the himotoshi, 9cm.
Lot 276
A George III 1803 Pattern Infantry Officer's Sword, the 81cm single edge curved and fullered steel blade faintly engraved with the Royal cypher, coat of arms and martial trophies, the gilt brass hilt with honeysuckle pierced and cast guard, the knuckle bow pierced and cast with crowned GR cypher, the wire bound wood grip lacking its original fishskin binding, with lion head pommel, lacks scabbard, 94.5cm CONDITION REPORT: . Dark black patching and pitting to the blade, with a slight nick towards the tip. Wear to the gilding on the hilt and lacking the original fishskin binding to the grip. Lacks scabbard.
Lot 271
Two Victorian Halberds, each with diamond section spear head, pierced axe blade and pick, long slender langets on a pine cylindrical haft, 258cm and 251cm; two Naga/Assam Spears, each with a small leaf shape blade and folded socket on a palm wood haft bound with red and black dyed goats hair and bristles; an Indonesian Palm Wood Spear and a Palm Wood Self Bow, (6) CONDITION REPORT: . Halberd blades and Naga spear heads have orange rust pitting. The palm wood spear does not have a head.
Lot 275
A George III 1796 Pattern Infantry Officer's Sword, the 82.5cm single edge fullered steel blade faintly engraved with the Royal cypher, coat of arms and martial trophies, the back edge engraved J J Runkel, Sohlingen, the gilt brass hilt with hinged double shell guard, one side crudely engraved Col.Golden, with silver wire bound grip, foliate sheathed urn pommel and stirrup knuckle bow, with steel scabbard, 100cm CONDITION REPORT: . Dark grey patching and pitting to blade and scabbard which has a small dent. The quillon is missing and there is a small solder repair to the wire binding of the grip.The urn pommel is missing a piece at the top. There is wear to the gilding of the hilt
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