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Click here to subscribeA TAKE DOWN BOW FITTED WITH A SCORPION ADJUSTABLE SIGHT, two sets of boxed blades, one marked Ragim 28'' 24/66'', 25/62 Bow Sports and the other set of blades by Ragim 28'' 30/70'' also by Bow Sports, these come with ten arrows with flights and ten Easton shafts less flights and only four have tips, it appears the bow and blades as new (PURCHASER MUST BE 18 YEARS OR OVER)
A FLINTLOCK BLUNDERBUSS, fitted with a flared muzzle 16 inches brass barrel, the top of the barrel bears the makers name and mark of W. Kelley, London, William Kelley was made free of the Gunmakers Company in 1735, however, this was made in or after spring bayonets of the type with which this was fitted were first patented in 1781, it's spring bayonet, mounting bracket and spring are missing, however, its retaining catch at the rear of the breech still exists, its waterproof lock is fitted with a swan necked cock and the frizzen spring terminates with a roller bearing, it is fitted with a brass butt plate and trigger guard which is tastefully engraved with a trophy of arms on the bow and terminates with a pineapple finial, the wrist of its walnut stock has been expertly strengthened with two insert side plates, the lock is in working order
A HUNTLEY & PALMERS (READING) BISCUIT TIN, shaped as a A River Thames Tug Boat, hinged lid opens from the bows, marked 'Huntley & Palmers Reading Biscuits' to stern, length 43cm, (general wear, lid does not shut tight, flag loose) Condition Report Hinge appears complete and undamaged, minor dents to lip of lid where it fits over the base, very minor dents to the body where the lid fits, lid shuts very minor dents to bow, other minor scratches, marks, paint loss and wear
A French early 20th century gilt brass basket chandelier, with ribbon and bow decoration, four light fitting, 72cm high approx overall For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.comLighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Two Victorian copper jelly moulds, each of stepped turret form, one surmounted by a pineapple motif, the other by a grape motif, each with heart stamp at one end, 18.5cm long and 18cm long, with a further tall Victorian jelly mould surmounted by a bow motif, stamped 'CM 203 1/2', 16.5cm long, with a brass and copper samovar and cover, 19th century, the body of typical form with lion's mask drop ring handles and reeded cover, raised on tapering canted legs with lion's mask mounts and paw feet, 31cm high, and a pair of brass slide ejector candlesticks, 20cm high (6) For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
A Trevor J James & Co 'The Horn' Revolution alto saxophone, serial no T15464, in fitted hard case, with a Yamaha model YTR1335 trumpet, serial no 825446, in fitted hard case, a Stentor 'Student I' violin and bow in fitted hard case, a Yamaha recorder, a metal folding sheet music stand and an instrument stand (6)
A George III D-end mahogany side table, the bow front top with rosewood cross banding, above a frieze inlaid with satinwood stringing, raised upon legs of tapering square section, 73cm H x 94cm W x 45cm D For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
A George III mahogany bow front chest of drawers, the top centred with an inlaid satinwood fan roundel within inlaid satinwood cross banding and fan spandrels, above three graduated and cock beaded drawers, applied with oval brass back plates impressed with 'Trafalgar', raised upon splayed bracket feet, 83cm H x 98cm W x 49cm D
A Victorian Howard type club chair, the deep set seat enclosed by padded scrolled arms above the bow front sprung seat, raised upon incised cylindrical front feet and castors, 85cm For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
A Louis XVI style kingwood vitrine, mid 20th century, the glazed serpentine door with lower marquetry panel, flanked by glazed bow front side panels, punctuated by gilt metal appliques and enclosing a lined interior with three fixed shelves, raised upon tapering legs applied with conforming gilt metal mounts, 140cm H x 81cm W x 40cm D
A French gilt metal box, 19th century, the box of oval form with relief moulded scrolling acanthus leaves to the body, the hinged cover set with a hand painted portrait miniature of a girl in a bonnet, with bow motif above and scroll motif below against a star trellis ground, the interior with pink velvet lining, 7.5cm wide
Taito (Japan), Thunderbirds - A boxed Taito 'Thunderbirds' 'The Mole' Super Mechanics Vol 3. The model appears to be in Mint condition and appears to be missing a couple of internal packaging fixings. The model is presented within a Fair Plus window bow with a small hole to one side, some scuffing and general storage wear.
James Campbell (British, 1828-1893)A Pastoral Rehearsal oil on canvas63.5 x 115.2cm (25 x 45 3/8in).Footnotes:ExhibitedLiverpool Academy, 1860, no. 95.Literature Marillier, H.C., The Liverpool School of Painters, London, 1904, p. 84.This recently re-discovered work by the Liverpool artist James Campbell has been identified as his 1860 Liverpool Academy exhibit, A Pastoral Rehearsal. A group of men, women and children are gathered among a grove of trees on the edge of a village to sing and play. Led by the standing figure of a man who raises his right arm and bow to conduct, while holding his fiddle to his grey-bearded chin, and accompanied by a seated 'cellist and a third musician who plays a clarinet, six villagers sit side-by-side to form the choir. On the right, a man seems to gaze as if transfixed by the rhythm of the music and to which he beats time on a tambourine. At the centre, a flaxen-haired child wearing a pale coloured smock and with a school-satchel across his shoulder, holds the score for the violinist and 'cellist. On the left side of the composition, a youth with white shirtsleeves and a black cap rests in a wheelbarrow and holds a younger child – perhaps his sister – on his lap. One further spectator – a dark-haired woman – stands on the left side before a moss-covered drystone wall, holding a piece of embroidery or knitting. As the painting's exhibited title indicates, the folk seen together are preparing for a musical performance, perhaps as part of a wedding or May Day celebration. The various participants seem to be wearing workaday clothes, with the possible exception of the violinist/conductor who wears a shabby frockcoat and check trousers, so it may be assumed that the rehearsal is taking place at the end of the working day and when the children present have been released from school.James Campbell specialised in subjects showing the life of working-class men and women in his native city of Liverpool and surrounding countryside. For biographical information on the artist we depend on a short chapter in H.C. Marillier's The Liverpool School of Painters (1904). According to this source, Campbell studied at the Royal Academy schools in London (although, if this is the case, the academic training received there seems to have left no mark upon him). In 1851, having returned to Liverpool, he entered the Liverpool Academy as a probationer, exhibiting there for the first time the following year. Campbell was elected as an associate of the Liverpool Academy in 1854 and a full member in 1856. In 1857 he contributed to the Russell Place exhibition of Pre-Raphaelite art in London, being represented by works lent from the collection of the Liverpool collector and art entrepreneur John Miller and for which Ford Madox Brown had negotiated. In 1858 Campbell was invited to send works to the exhibition of contemporary British art shown that year in New York, Philadelphia and Boston. That Campbell was regarded in a friendly way by members of the progressive circle of painters is demonstrated by his having subsequently been admitted to membership of the Hogarth Club. Among Campbell's most loyal patrons, in addition to Miller himself, were George Rae, of Birkenhead, and James Leathart, of Gateshead.In the 1850s Campbell sent works to the Liverpool Academy from an address in Brunswick Square, Kirkdale (now part of Liverpool itself and lying to the north of the city centre). Particular works in urban settings by Campbell, such as Twilight – Trudging Homewards (private collection), in which two itinerant musicians, each of them blind, lead one another home at the end of the day, or Dinner in View (Christie's, 6 November 1995, lot 127), also of 1858 and showing gaunt figures dazed by hunger, are amongst the most extraordinary images of deprivation to come down to us from the mid 19th century. On other occasions, Campbell made painting expeditions into the Cheshire countryside, taking lodgings at Eastham Woods on the Mersey western shore, and on other occasions working at Bidston on the Wirral. These were both places favoured by the Liverpool artists in the middle years of the 19th century, and it is likely that the present rustic subject was made in one or other of them. Campbell's career as an artist was cut short by failing eyesight and from which he suffered even while he was still in his thirties. He exhibited at the Liverpool Academy only until 1864, while the following year he showed for the last time at the Liverpool Institution of Fine Arts. He was eventually awarded a pension and the offer of accommodation by the Royal Academy, and for which support his patrons Rae and Leathart had petitioned. The fact that Campbell had such a short working career – hardly longer than a decade and a half – and because he painted in such an exacting and meticulous way, explains why his works are rare.The loving attention to detail that Campbell paid in his figurative subjects owed much to the example of the Pre-Raphaelites. In addition, it seems likely that he studied Dutch genre paintings (and perhaps also French art of the 17th century – on occasions his works seems curiously akin to that of the Le Nain brothers). The way in which Campbell documented the lives of the folk he observed – describing as he did the privations they endured with such humanity – gives his works an idiosyncratic quality that makes them compelling.We are grateful to Christopher Newall for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
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