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Lot 2279
French nickel mounted violin bow by Louis Bazin circa 1930, unstamped, the stick round, the ebony frog inlaid with pearl eyes (one missing) and the ebony adjuster with two nickel bands, 57gm (partially haired and with partial lapping) *This bow is sold with a certificate of authenticity from Pierre Guillaume dated 4 April 2022
Lot 2292
Good French Maillechort mounted violin bow by Louis Bazin circa 1930, the stick round, the ebony frog inlaid with pearl eyes and the ebony adjuster with two Maillechort bands, 60gm - *This violin bow is sold with a certificate of authenticity from P. Guillaume dated 31st March 2023, certificate no. 23585 *This lot is subject to VAT at 20% on the hammer price
Lot 2293
Good French silver mounted violin bow by C.N. Bazin, unstamped, the stick round, the handle inlaid with geometric mother of pearl diamond shapes, the ebony frog inlaid with pearl eyes and the ebony adjuster with two silver bands, 65gm - *This violin bow is sold with a certificate of authenticity from P. Guillaume dated 14th February 2023, cert. no. 22364 **This lot is subject to VAT at 20% on the hammer price
Lot 2402
Good late 18th/early 19th century French violin possibly by Charles Thouvenel, unlabelled, the one piece back of faint medium curl with similar wood to the sides, the head of plainish wood, the table of a fine width grain and the varnish of a light reddish-brown colour on a golden ground, 14 1/4", 36.20cm, bow, case
Lot 2405
German violin by and labelled Hormann Schlosser, Geigenmacher in Erlbach.'Gesotzhch Geschutzt', the one piece back of faint wild flame with similar wood to the sides, the head of plainish wood, the table of a medium width grain and the varnish of a light brown colour on a golden ground, 14 1/8", 35.90cm - *This violin is sold with a silver mounted violin bow, faintly stamped
Lot 2413
Interesting violin labelled Antoniazzi Romeo Cremonese..., the two piece back of medium curl with similar wood to the sides and head, the table of a fine width grain slightly widening to the flanks and the varnish of a light reddish-brown colour on a golden ground, case - *This violin is sold with a gilt metal and faux tortoiseshell mounted violoncello bow stamped *Lothar Seifert* - * Ivory Sale Submission Reference XU5BUJVN
Lot 2512
Contemporary English violoncello by and labelled Malcolm Rae, Leicester (r) 1986, the two piece back of faint medium/fine curl with similar wood to the sides and head, the table of a medium/fine width grain and the varnish of a light orange-brown colour on a golden ground, 28 7/8", 73.30cm, hard case - *This instrument is sold with a nickel mounted violoncello bow by and stamped R. Paesold; also another nickel mounted violoncello bow, unstamped
Lot 2515
English violoncello in need of restoration by and labelled Jeffery J. Gilbert, Peterborough, Fecit, Anno MCMXXIX; also signed and dated 1929 to the inner back, the two piece back of medium curl with similar wood to the sides and head, the table of a fine width grain and the varnish of a light reddish-brown colour on a golden ground, 28 1/4", 71.70cm, bow
Lot 4226
A rosewood cased violin, bearing label to inside, 'Jacobus Stainer in Ablom piopeOenipontum 1656'. Inside of case bearing label for 'Rushworth & Dreaper Musical Instrument Makers 11 &13 Islington Liverpool'. Violin with single piece back, and with two bows, one bow stamped 'W E Hill & Sons', the other initialled 'H&S', violin 61cm long, back 35.5cm, case 78cm overallCondition Report: With distressed outer case.Wear and one or two minor nicks to edges and areas on the body due to use, particularly in the chin area and the underside of the neck. The back is worn due to age and use. The Hills & Sons bow is stamped with a 'C' when the frog is removed. The H&S example is stamped 'D' on the shaft and 'D' and 'C' on the metal base of the frog.
Lot 54
A FLORENTINE BRONZE OF NESSUS AND DEIANIRA 17th century, in the manner of Francesco Fanelli (fl.1608-1641), depicting Nessus rearing and holding the struggling Deianira in his arms, 21.75cm high on a rectangular pedestal base, 30cm high overallProvenance: Purchased from Daniel Katz Ltd., Jermyn Street, London SW1YPrivate collection, Hampshire.Note: This popular theme from ancient Greek mythology is one of the tales recounted in Ovid's Metamorphoses. Having offered to carry Hercules and his wife Deianira across the river Euenos, the centaur Nessus took advantage of the situation to ravish Deianira. Hercules, observing the scene from the river bank, drew his bow and fired an arrow, which pierced the centaur's chest.Francesco FanelliLittle is known about Francesco Fanelli (born c.1577 - died c.1641). Fanelli, a Florentine by birth, was documented in Genoa in 1608, where, until about 1631, he produced religious works in marble, silver, ivory and bronze. By 1635, he was working at the English court. Although he described himself as 'sculptor to the King of Great Britain', it is unclear whether this title was official. The V&A owns versions of several small bronzes by the artist, described as "francisco the one-eyed Italian" in an inventory of Whitehall Palace in 1639. George Vertue stated that Fanelli "lv'd and dyd in England"; he is last documented in 1641 and believed to have died soon after.
Lot 1490
A XIX Century Rosewood What-Not, with pierced back, four bow fronted shelves on barley twist supports, 110cm high, 52cm wide.front turned finial needs reglueing, corner spindle missing, polish loss to the top shelf, repairs to the corner of top shelf by the finial, repairs to barley twist support. Dimensions 43cm wide x 83cm high x 33cm depth
Lot 21
FOUR DRESS RINGS, comprising 9ct citrine ring, silver opal ring, yellow metal garnet ring, and believed Indian yellow metal agate ring, antique paste bow double clip/brooch, another paste brooch similar, together with small group costume jewelleryProvenance: private collection MonmouthshireComments: ordinary worn appearance, wear and tear commensurate with age
Lot 100
19th century seed pearl yellow metal lace pin, plaited section to centre behind glazed compartment, seed pearl surround, hinged pin and simple loop brooch fittings, dimensions approx 19 x 13mm; together with a 19th century carved carnelian plated pendant brooch, the carnelian depicting monkey-type creatures, suspended from ribbon and bow, hinged pin and simple loop brooch fittings, length approx 5cm (2)
Lot 3
Late 19th / early 20th century diamond and seed pearl unmarked yellow gold pendant necklace, the cross set with small round old cut diamond to centre, twenty-four seed pearls, ribbon and bow surmount set with small round old cut diamond and seed pearls, bead and rope twist chain, tongue and barrel clasp, length approx 39cm
Lot 446
Collection of antique and vintage jewellery to include a Continental early 20th century-style simulated pearl and rhinestone cluster silver gilt hinged bangle, stamped 800, cased; an early 20th century white metal heart shaped locket with ribbon and bow surmount, cast cherub decoration in relief, glazed panel verso, length approx 5.5cm; a 19th century rock crystal and seed pearl set target pendant brooch, glazed compartment verso, hinge pin and simple loop brooch fittings, bale attachment; a Victorian paste plated brooch; an amethyst heart shaped pendant, a Continental rhinestone silver brooch, simple hook and hinged pin brooch fittings, stamped 800 etc (q)
Lot 109
This two-part box features a frosted bow and sparkling crystal with which to show off your gift. Elevate your gift card or special piece of jewelry with this forever keepsake. Waterford backstamp. This item has its original box which measures 3.5"L x 4"W x 4.5"H. Dimensions: 3"L x 3"W x 2.5"HManufacturer: WaterfordCountry of Origin: IrelandCondition: Age related wear.
Lot 156
2018 Swarovski Crystal Society Loyalty Gift. Adorable faceted topaz-colored crystal giraffe wearing a green crystal bow tie. Swarovski acid mark on the bottom. Made in Liechtenstein. Item has original box that measures 4"L x 4"W x 1.25"H. Issued: 2018Dimensions: 1"L x 1"W x 2"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 160
2019 Swarovski Crystal Society Loyalty Gift. Adorable faceted clear crystal fox wearing a green crystal bow tie. Swarovski acid mark on the bottom. Made in Liechtenstein. Item has original box that measures 3.75"L x 4"W x 1.25"H. Issued: 2019Dimensions: 1.25"L x 1"W x 2"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 292
Hand painted exclusive edition figure of a young boy hiding a bow behind his back. Goebel backstamp. This item has its original box: 5"L x 3.75"W x 7.5"H. Artist: M.I. HummelIssued: 1993-1994Dimensions: 2.25"L x 2.25"W x 5.25"HManufacturer: Goebel HummelCountry of Origin: GermanyCondition: Age related wear.
Lot 98
Delicate glass serving bowl with a wedge and fan cut bow design, elegantly footed for a touch of sophistication. Marked Marquis/Waterford on bottom. This item has its original box which measures 12"L x 12"W x 11"H. Dimensions: 7.25"H x 9"diaManufacturer: WaterfordCountry of Origin: IrelandCondition: Age related wear.
Lot 214
PLAYING AROUNDOne-Sheet (27.25" x 41")Fine+ on Linen Warner Bros., 1930Benefitting from partial touchup to the folds, pinholes, creases along the borders, very minor chips, and a couple of tears. There is some faint foxing still visible and the borders have been partially airbrushed.One of the Pre-Code highlights available in this auction is the movie Playing Around, based on a short story by Viña Delmar and directed by Mervyn LeRoy. The film portrays the story of a flirtatious young woman named Sheba (played by Alice White) who rejects Jack (played by William Bakewell), her steady but low-paid suitor, in favor of the flashy gangster Nicky (played by Chester Morris). Alice White, often compared to the vivacious "It" girl Clara Bow, had a promising career ahead of her when this movie was released. She was one of the few stars who successfully made the difficult transition from silent films to sound pictures.This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.
Lot 46
CALL HER SAVAGEOne-Sheet (27" x 42")Very Fine- on Linen Fox, 1932The beautiful Pre-Code stone litho one sheet on linen offered here pictures, Bow in all her red-headed glory, a marvelous image of a legendary actress. This is an extremely rare alternate style poster, one far lovelier and more striking than the one sheet more commonly available. It is, therefore, a highly desirable piece celebrating the career of this iconic actress, the ultimate Jazz Age flapper.This poster has been restored to fix previous issues, including tears and fold wear. There have been touchups to cross-fold center points and to sporadic tears, especially in the lower border. The image is clean, and the poster presents well.Clara Bow, known as the "It" girl of the silent era, was a top actress during the 1920s. She was the first female cinema sex symbol and represented the lively Jazz Age. Bow was one of the few Hollywood stars who successfully transitioned from silent to sound films. However, her talking career was short-lived due to the pressures of working with the new technology, and the increasing number of scandals associated with her, both real and imagined. This film was her second-to-last picture, marking the end of an era and a legendary career.This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.
Lot 121
WILLIAM STRANG R.A., R.P.E. (SCOTTISH 1859-1921) GIRL WITH FAN Signed and dated 1912, oil on canvas Dimensions:76cm x 63.5cm (30in x 25in) Note: William Strang was an artist of many facets. He was both a pre-eminent etcher, pivotal in the medium’s revival at the start of the 20th century, and a popular society portraitist, regularly commissioned to depict key figures of the day. Strang’s diverse frame of artistic reference made it hard for critics to place him canonically. One minute he appeared a Realist, touching on contemporary social issues, the next he seemed more akin to a Symbolist, mining Classical, Biblical and allegorical subjects. He encompassed these multitudes with much skill and integrity, earning himself a respected position in the turn-of-the-century London art world. The portrait offered here illustrates how these seemingly disparate threads manage to interlace within his work to unique and impactful effect: concurrently truthful to its subject, decoratively appealing and enigmatic in atmosphere.Strang was born in Dumbarton, Scotland in 1859. The son of a builder, his working-class roots were an important part of his identity, including artistically. Much of his oeuvre (notably his etched works) were Socialist in sympathy and alluded to the struggles of the working and impoverished classes. This, combined with his training at the Slade under the French Realist Alphonse Legros, naturally aligned him with the ideologies of the Arts and Crafts movement with whom he also shared a commitment to the rigour of Life Drawing and a reverence for the Old Masters. The prominent designer and architect C. R. Ashbee became a major patron.This focus on draughtsmanship is very much evident in Strang’s work within the genre of portraiture. He produced over 500 portrait sketches in the early 1900s, drawn in black and red chalk. This choice of materials was a deliberate and characteristic referential nod to an earlier Master; in this instance Hans Holbein. The technical prowess and incisive ‘truth’ of these sketches proved so popular that Strang was able to make two consecutive trips to New York in 1904 and 1905 to execute drawings of his many American patrons.Strang also painted many important commissions in oil, notably those with literary connections including Thomas Hardy, Vita Sackville-West and the poet John Masefield. He exhibited oils regularly at the Royal Academy and the International Society, of which he became Vice-President in 1908. In the manner of Whistler, Strang rarely titled his works under the sitter’s names, rather in the guise of subject paintings. An example of this is 1913’s The Opera Cloak, which in fact depicts his beloved daughter Nancy, her cloak held by one of her brothers in the left of the composition.We believe that the highly attractive portrait offered here for sale, Girl with Fan, also potentially depicts Nancy Strang. Dated 1912, it was executed just one year earlier than The Opera Cloak. The sitter shares the same physical characteristics: the assertive jut of the chin, dark brows and pronounced cupid’s bow of the top lip. Strang clearly revelled in the depiction of women. His female sitters are invariably afforded an elegant sensuality and contemplative demeanour. As the artist once remarked to his patron Ashbee, “I’ve tried all my life to do the pretty-pretty but it’s no good…I can’t”. Instead, his likenesses evoke character, modernity and intellect.Leaning away from the overt, painterly glamour of his peers Sargent and Lavery, Strang’s portraiture was not, as one critic of the day described, “polite”. As we have seen, he was neither categorizable as purely a Traditionalist nor a Modernist; his style referenced broadly from both spheres, resulting in a manner entirely his own. Strang’s focus was on objective truth married subtly with a decorative aspect, producing an effect that was both distinctive and widely admired. He was critically revered for his exceptional, considered compositions and the way he eschewed anything extraneous in terms of detail or technique. His use of colour too, was praised for being confident and spare. We see that here with the striking choice of gold, purple, pink and green, linked subtly and balanced precisely, the fundamentally discordant hues somehow attaining harmony.William Strang’s work was featured in prominent exhibitions across many of London’s most respected galleries, including the Grosvenor Gallery, Whitechapel Gallery, Agnews and the Fine Art Society. In 1918 he became President of the International Society of Sculptors, Painters and Gravers and in 1921 was elected an Engraver Member of the Royal Academy. He died suddenly in 1921, shortly after his election as Royal Academician.
Lot 232
A Meissen porcelain rococo clock-case and a stand, 19th century, traces of blue crossed swords mark to clock, blue crossed swords mark to stand, the central part modelled as a waisted rocaille-moulded plinth edged with scrolls, the fielded panels painted with hunting scenes, a dog seated at the front, the upper right-hand corner with a winged head of Time, Diana seated on the left with a bow and a quiver, her left arm supporting a scroll-moulded case fitted with a movement, the enamel dial with Arabic numerals and outer minute track, with timepiece movement, signed Terond & Delorme No.1170? signed to reverse, a hinged pierced circular gilt-metal door at the reverse, a pierced aperture above, the shaped rectangular spreading stand with shells at the canted corners, the moulded panels painted with further vignettes, 49.7 cm high, (2)Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.
Lot 270
After Jacques Bousseau, French, 1681-1740, a bronze figure of Ulysses stringing his bow, late 19th century, depicted semi-nude with flowing robe draped over him as he strings his bow while leaning on a tree stump with his plumed helmet by his feet, on a siena marble base, the bronze - 34.5cm high, 37cm high overall
Lot 400
A George III mahogany bow front serving table, last quarter 18th century, the crossbanded top above plain frieze, on reeded tapering legs, 90cm high, 198cm wide, 71cm deepCondition Report: scratches, stains and old gouges throughout, splits to veneer on top, some beading and veneer missing, some lifting to veneer, top slightly warped, structurally sound
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117845 item(s)/page