AN 80 BORE FOUR-BARRELLED FLINTLOCK TAP-ACTION PISTOL BY TWIGG, LONDON, CIRCA 1780 with turn-off numbered barrels each cut for a key at the muzzle, border-engraved breeches numbered en suite, box-lock action engraved with a trophy-of-arms on each side, the left carrying a signed oval and fitted with tap-lever, border-engraved tang, sliding thumb-piece safety-catch also locking the steel, flat-sided figured walnut butt, iron trigger-guard engraved with a diamond-shaped panel on the bow, and silver shield-shaped escutcheon engraved with the owner's initials 'JH' (engraving rubbed) 7.7 cm; 3 in barrels
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AN 80 BORE NORTH ITALIAN ROMAN-LOCK HOLSTER PISTOL, MID-18TH CENTURY with tapering barrel formed in four stages, engraved with panels of foliage and reeded over the second and third sections respectively, inlaid with a brass line at the breech, engraved tang, bevelled lock signed 'PAP' (Neue Støckel 4226) on the inside and engraved with scrolling foliage and a grotesque on the outside, figured walnut full stock moulded over the fore-end (the forward portion replaced), and about the tang, engraved iron mounts (areas of pitting) comprising trigger-guard decorated with a warrior profile on the bow and with foliate terminal, openwork side-plate decorated with foliage (cracked), spurred pommel decorated with foliage and fitted with a brass profile bust cap, crowned openwork escutcheon, and a pair of moulded ramrod-pipes, and iron-tipped wooden ramrod, perhaps the original 27.8 cm; 11 on barrel
A CASED PAIR OF 20 BORE SILVER-MOUNTED FLINTLOCK DUELLING PISTOLS BY JAMES (1) BARBAR, LONDON, 1758, MAKER'S MARK OF JEREMIAH ASHLEY with swamped barrels fitted with moulded silver fore-sights, the breeches finely chiselled and gilt with rococo ornament and signed within a border-engraved frame ahead of a shell, struck with London view and proof marks and the barrelsmith's mark, the letters IB beneath a mullet, on the left, gold-lined vents, finely engraved grooved tangs, stepped locks of circa 1830 signed 'Wheeler', fitted with rainproof pans, 'French' cocks, rollers and bolt safety-catches, decorated with bouquets and sunbursts, figured walnut full stocks profusley inlaid with silver wire scrolls over their entire surface (small losses), finely carved with delicate leafy tendrils and a shell about the tangs, full silver mounts cast and chased with rococo designs in low relief, comprising openwork sideplates involving large flowerheads, tendrils and a central shell, trigger-guards with shell terminals beneath a flowerhead canopy, each with a large rococo flowerhead on a punched ground on the bow, engraved spurred pommels with grotesque mask caps, escutcheons engraved wih the owner's crest, a pair of ramrod-pipes, and silver-tipped ramrods with iron worms, probably the original: in early fitted mahogany case lined in green baize (light wear, compartment lids replaced, one small chip), complete with some accessories including red leather-covered three-way flask, bullet mould and rammer, together with two modern detached flintlocks inscribed 'Barbar', the trigger-guards each engraved 368-20-4414 28.2 cm; 11 1/8 in barrels Provenance The John A. Williams Collection of English Pistols, sold Sotheby's, 22nd May 1979, lot 79 James Barbar, son of Lewis Barbar, presented his mark (cited above) on the death of the latter in 1740. He became Gentleman Armourer to George II in 1741, a post he held until 1762, and was Furbisher at Hampton Court until 1767. The crest is that of Morrice.
A FLINTLOCK BLUNDERBUSS PISTOL BY JAMES YATES, CIRCA 1700 with brass barrel formed in four stages divided by raised mouldings, octagonal then polygonal breech engraved with strawberry foliage, signed on the top flat and struck with the London view and proof marks and the maker's marks, engraved iron tang, signed rounded lock engraved en suite with the breech, elmwood full stock (repairs), engraved openwork brass side-pale decorated with scrolling tendrils, spurred iron pommel, and brass trigger-guard engraved with a leafy scroll on the bow and with foliate terminals 16.5 cm; 6 1/2 in barrel Provenance The John A. Williams Collection of English Pistols, sold Sotheby's, 22nd May 1979, lot 15 James Yates, a former apprentice of John Huff in the Blacksmiths Company, was made Free of the Gunmakers Company by redemption 1678, submitted his proof piece 1680 and is last recorded 1707.
A late 19th century German violin, 36cm two-piece back excluding button, interior paper label inscribed Francefco Ruggeri (sic) [...] in Cremona l'anno 1695, outlined throughout with tramline purfling, rosewood tuning pegs and fingerboard, ebony tailpiece, ebonised chin rest, 59.5cm long overall, cased with a bow stamped Corelli, another not stamped and further accessories en suite
A Prussian Infantry sabre Model 1715 or Prussian Garde-Infanterie-Säbel M.1715, 64cm blade brightly etched with crowned FWR cypher for Kind Friedrich Wilhelm Rex, regiment/track numbers found on shell guard and knuckle bow, black leather scabbard, long brass frog hook and brass ball tip, 79.5cm long overall, c. 1786 - 1816
λWalter Steggles (British 1908-1997) Church Street, Bathford Oil on board Signed lower left, titled verso 26 x 30.5cm (10 x 12 in.) Provenance: The family of the artist Walter Steggles was born in Highbury in London in 1908. His family had no immediate artistic connections and yet Walter and his younger brother Harold both became members of what was later known as the East London Group. Between the wars, this Bow-based group of artists were widely exhibited and appreciated, most notably with the Lefevre Gallery, who ran a series of shows between 1929 and 36. Steggles’s work was shown alongside such eminent British artists as Duncan Grant, Mark Gertler, Vanessa Bell, Ivon Hitchens, Christopher Wood and Stanley Spencer as well as international icons such as Cezanne, Degas, Vuillard and Renoir. Wally, as he was known, continued to paint until his death in 1997, the East London Group and all but forgotten addendum to the inter-war years. However, his catalogue of works reveals an artist and a movement that merits closer attention. Walter’s landscape works from this early period are hauntingly emotive and his cityscapes are imbued with the stylistic simplicity so defining of this period of English art history. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
λWalter Steggles (British 1908-1997) Mr Sickert's House, Bathampton Oil on canvas Signed lower left, signed, titled and dated 1976 to stretcher verso 36 x 25.5cm (14 x 10 in.) Provenance: The family of the artist Steggles first met Walter Sickert in 1928 at the art classes in Bow: they they were both contributors to the first East London Group exhibition in 1929 at the Lefevre Gallery, London. Sickert spent time in Bath during the first world war and settled in Bathampton for the last four years of his life. Steggles also moved west during his latter years, living in Bradford on Avon and then Calne, Wiltshire. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
A Belle Epoque diamond set bow bracelet composed of three tapering bow links millegrain set with three principal old-round cut diamonds and graduated eight cut diamonds throughout, the remaining oval links set with five small round cut diamonds, to a box clasp, unmarked Length: 17cm, estimated principal diamond weight: 0.55cts
A pair of George III mahogany hall chairs,centred with painted roundels with the crest of the Harvey family, showing a leopard passant arg pellettee, holding a trefoil slipper vert in the dexter paw, with shield backs, bow front seats on tapering front legs and spade feet,43.5cm wide49cm deep (2)
A Victorian silver goblet inscribed 'Bow Churchyard Handicap Run at Crystal Palace Won by J Stoddart 2nd June 1877', London 1876, height 18.5cm, weight 7 3/4oz. Condition - good, slightly out of shape but appears damage/repair free, minor rubbing to hallmarks, no thin spots, no removed engravings. In house UK P&P £15 + VAT
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