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Lot 821
A late Victorian hallmarked silver cigarette case with pierced Rococo-style scroll decoration and central cartouche, with engraved bust of a figure wearing a seven-pointed crown and seashells around their neck, parcel gilt interior, William Neale & Sons, Chester 1899, 8.3 x 6.3cm, approx 2.4ozt.
Lot 145
A LEATHER INSET WRITING TABLE Fitted with three frieze drawers, and a black leather inset top protected by glass, the legs painted black with classical male bust decoration to each 76cm x 137cm x 69cm Condition: Some abrasion marks to the top and some rubber stoppers for the glass are missing
Lot 832
FEHRLE, JACOB WILHELM (1884-1974) "Herrenbüste" Bronze, braun patiniert, auf der Plinthe monogrammiert und datiert "JWF 46", H: 32 cm. Marmorsockel, H: 12 cm. | FEHRLE, JACOB WILHELM (1884-1974) "Bust of a Man".Bronze, brown patinated, monogrammed and dated on the plinth "JWF 46", h: 32 cm. Marble base, h: 12 cm.
Lot 94
Brian Johnson signed ACDC 10x8 inch colour photo. Brian Francis Johnson (born 5 October 1947) is an English singer and songwriter. In 1980, after the death of Bon Scott, he became the third lead singer of the Australian rock band AC/DC. He and the rest of the band were inducted into the Rock and Roll Hall of Fame in 2003. In March 2016, he temporarily stepped away from the band during the Rock or Bust World Tour due to hearing problems. In September 2020, AC/DC officially confirmed that Johnson along with fellow band-mates Phil Rudd and Cliff Williams had returned in August 2018 to record the band's 2020 album, Power Up. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 21
Nicholas Condy (1793-1857)Interior of an Irish Inn at BallyboylebooOil on canvas 47 x 63.5cm (18½ x 25”)SignedExhibited: London, Royal Academy, 1843, No. 415Exhibited at the Royal Academy in 1843, Condy’s recently rediscovered depiction of an Antrim interior populated by twenty very different individuals and with a rich variety of objects on display is an invaluable portrayal of Ulster country life in the middle of the nineteenth century. Although he described the picture as Interior of an Irish Cottage at Ballyboyleboo, what is shown is an inn, tavern or shebeen, making it a rare early depiction of an Irish public house. In contrast, however, to the small body of work showing Irish pubs by artists such as Charles Henry Cook, Erskine Nicol and Nathaniel Grogan, which invariably feature the Catholic Irish peasantry in stereotyped attitudes often verging on the caricature – here the clientele seems distinctly more mixed in terms of class and confession with a noticeably military flavour. The primary interaction in the painting is between the doubly amputated figure standing on the right in smart but sober attire and the seated black man at left who has suffered the loss of just one foot and who leans back in his chair as he raises a toast. This is an extraordinarily rare image of racial equality in an Irish genre scene of this date. Where black figures appear at all in Irish painting of the period it is invariably as marginal, often servile, subsidiary figures as, for example, in Erskine Nicol’s The 16th, 17th (St Patrick’s Day), and 18th March (National Gallery of Ireland). It seems likely that equality – or at least the superficial appearance of equality – has been gained through shared endeavour on the battlefield, and that the seated black man is a veteran toasting his former commanding officer. Certainly the deportment and dress of the man standing, very comfortably it must be said, on his double prosthetic limbs, suggests his elevated social position. The gathering includes both army and naval elements. An advertising bill on the right seeks able seamen, while the format of Condy’s signature, ‘Lt. Condy bf 43rd regt’ reminds us that he had begun his career as an army officer, serving in the Peninsular War, and retiring on half-pay at Christmas 1818. Continuing the military theme, a bust of the Duke of Wellington looks down from a shelf at upper left in the somewhat indecorous company of candlestick and brass kettle (and with a canoodling couple directly beneath his gaze). Prints of naval victories adorn the walls while to the side of the chimney hangs a toleware candle box and pair of bellows. A drunken sailor has passed out under the table his clay pipe and glass lying smashed in front of him while a serving woman brings more refreshments to those at table – a punch bowl, small glasses for toasting and pipes. Music is provided by a fiddler in the background.Claudia Kinmonth notes that Condy’s Ulster subjects ‘convey a real sense of how poor people’s homes in Antrim may well have been in the 1840s’ (Claudia Kinmonth, Irish Rural Interiors in Art (2006) p. 94). However, he also mixes Irish and English elements within his work, sometimes reusing still-life motifs or even whole figurative groups with which he was pleased. On the shelf to the left, the silver-plated vessel with a pouring spout and a handle on the side was used for serving hot chocolate, a delicacy unlikely to be widely available in Irish pubs of the 1840s, and indeed it, and other elements of the composition, appear again in Estate Workers in a Kitchen Interior (Mount Edgcumbe House). Similarly, a small work in the Royal Albert Memorial Museum and Art Gallery, Exeter, repeats almost verbatim the seated man shown here smoking a pipe. This is clearly a reduction from the present work, rather than the other way round, as the man’s motivation for turning round and looking upwards is lost when the figure is shown in isolation and removed from its context.Condy’s composition is artfully created and rather than the mere ‘slice-of-life’ recording of an interior and the objects within it, he offers knowing and witty allusions to the art of the past and also perhaps to that of his contemporaries. He relishes the chance to paint textures as different as scaly fish, metal, glass and ceramics and to record the differing way that light falls on each. The beautifully painted still-life in the lower right corner consisting of earthenware jug, crutch and broom resting on a barrel offers a deliberate reference to the art of David Teniers who time and again places a similar grouping of objects with a prominent diagonal formed by a brush or similar object to lead the eye into the composition. Similarly the still-life of fish may reference Teniers’s ‘well-kept kitchen compositions’ (‘de welvoorziene keuken’). The quotation of Teniers would have been recognised widely, as the seventeenth-century Flemish artist was synonymous with ‘low-life’ genre scenes such as this and his work was avidly collected and frequently engraved.Even more fundamental as a source of inspiration, however, was the phenomenally successful career of David Wilkie who applied the compositional dynamics of Teniers to modern-life subjects. Like Wilkie, Condy here deliberately echoes Teniers earthy ‘old master tonalities’ and shows a similar ‘delight in details and in rough irregular surfaces’ (David Solkin, Painting out of the Ordinary, Yale University Press, 2008, p. 12). Wilkie had also introduced a black soldier into his famous Chelsea Pensioners (Apsley House). Unlike Cushendall, the subject of another Ulster work by the artist, there is no townland in Antrim called Ballyboyleboo. It seems to be an Anglicization – exaggerating the Irishness of the name – of Ballyboley. In the rich account of life in Ulster of a couple of decades earlier written by John Gamble (published as Society and Manners in Early Nineteenth-Century Ireland, edited by Brendán Mac Suibhne, Dublin, 2011, p. 280, n. 4), Gamble records how he stopped ‘at a lone public house between Larne and Ballymena’ and enjoyed a session in which tall stories were narrated. Mac Suibhne suggests that this may be ‘the premises now call the Ballyboley Inn’. An earlier building on this site may also be the setting for Condy’s work, though an older inn only a few miles distant at The Battery is also a possible candidate.
Lot 250
A CAMEO SET SILVER-GILT BOX, THE CAMEO PROBABLY TORRE DEL GRECO, SECOND HALF 19TH CENTURY oval, the lid set with a finely carved shell cameo profile bust of Venus after the Antique, in a probably Neapolitan gold mount decorated with wirework and granulation (perhaps originally a brooch), the plain later box unmarked box 5.5cm long
Lot 1726
A St Louis frosted and clear glass bust of Napoleon III, raised on a square base inscribed 'CHISLEHURST 1873', moulded factory mark to reverse, height 20cm.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 1590
A small group of decorative ceramics, late 19th century and later, including a pair of Staffordshire pottery spill vases, modelled as a ram and sheep, height 13.5cm, a pair of Staffordshire models of zebra, a Royal Copenhagen otter, No. 2333, and a Jean Gille white glazed bust, entitled 'Hiver'.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 109
Medallion - Jacobite Rebellion Defeated, 1746 medal, bust of the Duke of Cumberland, right, armoured, sash over left shoulder ?, a Highlander, left, kneeling with hat off in subjugation before a crowned rampant Lion of England, right, dated below 1746, on the 16th April 1746 the Jacobite Army of Charles Edward Stuart was decisively defeated by a British Government force under Prince William Augustus, Duke of Cumberland at the Battle of Culloden
Lot 6
A collection of 18th century and later British coinage to include a 1709 Queen Anne 'Third Bust' shilling, a gilt 1818 King George III half crown and gilt 1819 sixpence, 1820 shilling, King George IV 1826 shilling, and an 1826 six pence, Queen Victoria 1897 half crown and 1887 six pence's with an 1899 Hong Kong 5 cent silver coin, together with 1749 King George II Irish half pennies, a 1775 King George III half penny and a 1790's 'John Wilkinson Iron Master' half penny token
Lot 242
Churchilliana - memorabilia, a book, Max Arthur, Churchill, The Life, 2015; Barry Pillar RBA, a stoneware caricature sculpture of Churchill, 15cm, inscribed marks and signed to base; a silver circular tray, London 1965, set with a cupro-nickel Churchill crown, 76g gross; a resin bust, a brass bust; Wedgwood Jasperware commemorative plates; etc
Lot 11
GREAT BRITAIN. George III, 1760-1820. Gold guinea, 1798. London. Fifth laureate bust of George III facing right. Legend reads ·GEORGIVS·III DEI·GRATIA·. / Crowned spade-shaped royal shield of arms, date below, abbreviated legend reads ·M·B·F·ET·H·REX·F·D·B·ET·L·D·S·R·I·A·T·ET·E·.In secure plastic holder, graded NGC UNC Details, certification number 6063018-010. NGC Census in this grade: 13.Total NGC Census: 13Reference: S-3729; KM-609Diameter: 24 mm.Weight: 8.4 g. (AGW=0.2474 oz.)Composition: 916.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 11B
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1892 M. Melbourne. Jubilee bust left, J.E.B. with angled J on base of truncation; second legend position; VICTORIA D: G: BRITT: REGINA F: D:. / St George on horseback slaying the dragon right, horse with long tail; mintmark M in groundline; date and B.P. in exergue. Edge milled.Extremely fine. Reference: S-3867C; Marsh-136; DISH-M17; McD-185Mintage: 3,488,750.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 128
UNITED KINGDOM. Victoria, 1837-1901. Silver double florin, 1887. Royal Mint. Jubilee bust of Queen Victoria facing left; VICTORIA DEI GRATIA. Design by Joseph Edgar Boehm. / Crowned cruciform shields around Star of the Garter, sceptres in angles; date above; BRITT: REG: FID: DEF: around. Edge milled.Uncirculated and toned. Reference: S-3923; KM-763Mintage: 483,347.Weight: 22.6207 g.Composition: 925.0/1000 Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 130
UNITED KINGDOM. Victoria, 1837-1901. Silver florin, 1887. Royal Mint. Proof. Jubilee bust of Queen Victoria facing left; VICTORIA DEI GRATIA Design by Joseph Edgar Boehm. / Crowned, cruciform shields, Star of the Garter in centre, sceptres in angles; date above; BRITT: REG: FID: DEF: around. Design by Leonard Charles Wyon. Edge milled.A/FDC. Reference: S-3925; KM-762Mintage: 1,084.Composition: 925.0/1000 Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 131
UNITED KINGDOM. Victoria, 1837-1901. Silver florin, 1887. Royal Mint. Jubilee bust of Queen Victoria facing left; VICTORIA DEI GRATIA Design by Joseph Edgar Boehm. / Crowned, cruciform shields, Star of the Garter in centre, sceptres in angles; date above; BRITT: REG: FID: DEF: around. Design by Leonard Charles Wyon. Edge milled.Uncirculated and toned. Reference: S-3925; KM-762Mintage: 1,776,903.Composition: 925.0/1000 Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 132
UNITED KINGDOM. Victoria, 1837-1901. Silver florin, 1888. Royal Mint. Jubilee bust of Queen Victoria facing left; VICTORIA DEI GRATIA Design by Joseph Edgar Boehm. / Crowned, cruciform shields, Star of the Garter in centre, sceptres in angles; date above; BRITT: REG: FID: DEF: around. Design by Leonard Charles Wyon. Edge milled.Mint state. Reference: S-3925; KM-762Mintage: 1,547,540.Composition: 925.0/1000 Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 133
UNITED KINGDOM. Victoria, 1837-1901. Silver florin, 1892. Royal Mint. Jubilee bust of Queen Victoria facing left; VICTORIA DEI GRATIA Design by Joseph Edgar Boehm. / Crowned, cruciform shields, Star of the Garter in centre, sceptres in angles; date above; BRITT: REG: FID: DEF: around. Design by Leonard Charles Wyon. Edge milled.Uncirculated. Reference: S-3925; KM-762Mintage: 283,401.Composition: 925.0/1000 Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 134
UNITED KINGDOM. Victoria, 1837-1901. Silver florin, 1893. Royal Mint. Proof.Crowned, old and veiled bust of Queen Victoria facing left; VICTORIA. DEI. GRA. BRITT. REGINA. FID. DEF. IND. IMP. Design by Sir Thomas Brock. / Three shields set in shape of a 'V' mostly within Garter, floral emblems between; crown above; date below; ONE FLORIN TWO SHILLINGS. Design by Edward J. Poynter. Edge milled.A/FDC. Reference: S-3939; KM-781Mintage: 1,667,415.Diameter: 28.3 mm.Weight: 11.31 g.Composition: 925.0/1000 Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 135
UNITED KINGDOM. Victoria, 1837-1901. Silver florin, 1893. Royal Mint. Crowned, old and veiled bust of Queen Victoria facing left; VICTORIA. DEI. GRA. BRITT. REGINA. FID. DEF. IND. IMP. Design by Sir Thomas Brock. / Three shields set in shape of a 'V' mostly within Garter, floral emblems between; crown above; date below; ONE FLORIN TWO SHILLINGS. Design by Edward J. Poynter. Edge milled.Uncirculated. Reference: S-3939; KM-781Mintage: 1,667,415.Diameter: 28.3 mm.Weight: 11.31 g.Composition: 925.0/1000 Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 136
UNITED KINGDOM. Victoria, 1837-1901. Silver florin, 1893. Royal Mint. Crowned, old and veiled bust of Queen Victoria facing left; VICTORIA. DEI. GRA. BRITT. REGINA. FID. DEF. IND. IMP. Design by Sir Thomas Brock. / Three shields set in shape of a 'V' mostly within Garter, floral emblems between; crown above; date below; ONE FLORIN TWO SHILLINGS. Design by Edward J. Poynter. Edge milled.Uncirculated. Reference: S-3939; KM-781Mintage: 1,667,415.Diameter: 28.3 mm.Weight: 11.31 g.Composition: 925.0/1000 Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
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110054 item(s)/page