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Lot 103
Portrait of a lady, presumed to be Sarah, wife of Charles Johnstone of Pontefract, head and shoulders, in white with red-lined shawl, in a painted oval stone cartouche indistinctly signed or inscribed lower right on the stone cartouche oil on canvas 75 x 62cmFootnote: The sitter was the great-grandmother of John Gardner of Chatteris, who died in 1804. Provenance: By descent from the sitter to the Gardners of the Manor House, Chatteris, until removed in 1908 by Algernon Dunn Gardner (1853-1929), great-grandfather of the present owner, to Denston.Condition report: Oil on canvas which has been lined, the picture is in plane with good tension. There are a few small losses in the background above the sitter's head. Old retouchings to the left of the sitter have darkened. The varnish is dull, yellowed and collected in the texture of the paint surface creating a slightly mottled effect to tee flesh tones. There is a light layer of surface dust. The frame is in a good condition.
Lot 2
The Entombment of Christ oil on panel, in a feigned stone oval cartouche 27 x 20.5cmFootnote: The present painting derives from a composition by von Aachen known principally from the print by Raphael Sadeler after the original in the Alte Pinakothek, Munich. Several versions of the composition are known, both in oil and on other supports and most, including one on vellum sold at Sotheby's on 4th of July 2007, lot 194, include in the foreground a female figure seen from behind, which is to be seen in the Sadeler print, though absent here. Another derivative in oil, also in the Munich Alte Pinakothek, is without the foreground female figure as is the case in the present painting.Condition report: 17 / 09 / ??, lot 62 marked to the reverse Oil on panel. The panel is very thin, formed from a single board in vertical orientation is has a slight warp which is accommodated by the frame. The paint layers have a network of cracks which are raised and vulnerable in areas. There are small scattered losses and some slight pitting in the foreground. There are some localised areas of retouching covering small losses and cracks, well matched to the original. The varnish is clear, even and semi-glossy. The frame is in a good condition but the panel is not adequately supported, being held on the reverse with clips, possibly being restrained, leading to the raised paint.
Lot 119
Mixed Lot: Edward VIi silver cigarette case with spot hammered design, with central engraved cartouche, 8.5 x 8.5cm, Birmingham 1909, together with a ladies silver framed compact of shaped oval form, engine turned decoration, hallmarked Birmingham 1944, 10 x 7cm, maker's mark R. Davis & Co, gross weight 193gms
Lot 56
William IV silver christening mug with a deep relief scroll and fluted decoration around the body, shaped handle with a hand engraved cartouche to the front on a cast spreading foot dated 1 September 1835 with further engraving to the lip edge which reads "The Gift of his Godfather John Woodley", hall marked London 1835, makers mark Thomas Edwards, 10 cm high, diameter 9 cm, 191.6 gms.
Lot 58
Robert Strange - Jacobite Banknotes Proof Printed and Signed by Sir D.Y. Cameron, R.A. From the copper plate, with eight designs, 563 x 420mm., of C.P. (monogram for Charles Prince, or Carolus Princeps), on a cartouche with coronet and Prince of Wales' feathers above, over a trophy of arms and flags, on the entablature below are the values of the designs, - One, Two, Three and Six-Pence; the other four being left blank, "the interior part to be filled up by clerks" (Sir Robert Strange's Memoirs), the whole engraved surface 223 x 224mm., inscribed "Printed by D.Y. Cameron 10.7.1928", margins somewhat brownedFootnote: Note: The original copper plate was found near the West end of Loch Laggan, April 1746, probably thrown aside during the flight after Culloden. The plate is the work of Sir Robert Strange, who hastily prepared plates due to a sudden need by the Prince for currency caused by the loss of the "Hazard" sloop on its way from France with a large sum of money on March 25th 1746. Strange was commissioned for notes of amounts from £200 downwards, but no notes were printed, and nothing of the proposed issue has survived, with the exception of the original copper plate. The reason for this is that the Plate was only delivered to Prince Charles's Treasurer a day or two before the battle of Culloden, and the other copper plate for larger notes was never completed. The original plate was purchased by The West Highland Museum in 1928 for £430 at the Cluny sale, with the assistance of a £100 grant from the National Art Collections Fund. In 1928 the Museum arranged for the distinguished Sir D.Y. Cameron R.A., Scottish artist and etcher, to print a limited edition of 57 impressions of special signed proofs, although this one is not numbered, which were sold for the benefit of the Museum.
Lot 390
A 19th century inlaid oak and mahogany longcase clock, the arch topped face with a 12in silvered dial, with Arabic hour markers and pierced spandrels in the neo-classical style, with a subsidiary seconds dial, the hood with swan pediment over fluted pillars, the body with neo-classical inlays, and the door inlaid with Britannia and the Iron within an oval cartouche, 53cm wide, 24cm deep, 237cm highCondition report: Wear to dial, surface scratches, knocks and splits to the case, pendulum lacking
Lot 239
A Japanese carved ivory netsuke, 19h century, carved as a corn cob, 6cm, a further Japanese ivory netsuke, carved as a seated man, a Chinese carved ivory bead, early 20th century, carved as a boy with dog, a carved ivory buddha on a double lotus throne, with shield shape vacant cartouche verso, on wood base, 14cm, and a simulated ivory okimono
Lot 502
An Edwardian silver mounted dressing table mirror, Chester 1904, the heart shaped mirror framed by rococo scrolls and foliage, with vacant cartouche, with easel support, 36cm high, 30cm wide,Condition report: Some small losses to the top, right centre side and just left of the bottom centre.
Lot 114
A very rare political commemorative creamware beaker, circa 1765Staffordshire or Yorkshire, of plain flared cylindrical form with rouletted borders around the rim and foot, painted on the front in red and black with a half-length profile portrait of John Wilkes, a banner inscribed 'Wilkes & Liberty' in black beneath issuing stylised foliate scrollwork, the reverse inscribed 'No. 45' within an open scroll cartouche, a simple black border inside the rim, 7.9cm highFootnotes:John Wilkes (1727-1797) was a controversial MP and journalist who played a critical role in the development of radical politics. The number '45' refers to issue 45 of the 'North Briton', a satirical pamphlet published by Wilkes, in which he mocked the King's speech at the opening of Parliament in April 1763. He was subsequently tried and convicted for seditious libel but freed under Parliamentary Privilege. His supporters used the phrase 'Wilkes, Liberty and Number 45' to show their support for him. He gained something of a following in America, which was preparing for independence from Britain in the 1770s. Decoration in red and black in this style is traditionally attributed to the Robinson and Rhodes workshop in Leeds, but similar work was also done at Staffordshire.For further information on this lot please visit Bonhams.com
Lot 38
A Dutch engraved goblet, mid-18th centuryThe bell bowl with a solid beaded base, decorated with a crowned cartouche containing a pair of clasped hands beneath sun rays and stylised clouds, flanked by floral branches, the reverse inscribed 'LIEFDE EN VREEDE BINDT/ DE TROUW' (Love and Peace Bind Fidelity), the teared stem with two graduated cushion knops above an inverted baluster section, over a conical spreading foot, 23.6cm highFor further information on this lot please visit Bonhams.com
Lot 188
A Worcester armorial plate, circa 1767-70Decorated in the workshop of James Giles, the centre with the arms of Gavin impaling Hearsey, the shield within a distinctive cartouche edged with pink scales and with red and black leaf mantling, surmounted by the crest of a galleon, surrounded by scattered floral sprigs and sprays in dark purple, the shaped rim edged in gold, 22.5cm diamFootnotes:The arms are of David Gavin, a wealthy tailor, and those of his first wife Christina Hearsey who died in 1767. Gavin remarried in 1770 and so this set presumably pre-dates his second marriage, and probably also Christina's death. See Stephen Hanscombe, James Giles China and Glass Painter (2005), no.78, where another plate from the set is illustrated. A similar plate from this service from the Zorensky Collection was sold by Bonhams on 16 March 2004, lot 239 and is illustrated by Spero and Sandon, Worcester Porcelain (1996), p.346, no.438. Smaller plates with lobed borders from this service are illustrated by Gerald Coke, In Search of James Giles (1983), pl.28(a) and H Rissik Marshall, Coloured Worcester Porcelain of the First Period (1954), pl.36, no.781.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 8
An important Venetian enamelled and gilded tazza, first quarter 16th centuryThe broad shallow tray painted to the centre with a circular medallion of a stag recumbent on grass beneath a radiant sun, within white and red line borders, the rim with a gilt scale band embellished with blue-and-white dots flanked by red dots, within blue-and-white dot borders, on a low folded spreading foot, 24.5cm diam, 5.9cm highFootnotes:ProvenanceLady 'Lili' Maria Elisabeth Augusta Cartwright (née von Sandizell)Thence by descent to her son, William Cornwallis Cartwright, Aynhoe Park, OxfordshireThence by family descent to the present ownerThis tazza belongs to a distinctive group of vessels all painted with medallions in a very similar style and palette dating to the first quarter of the 16th century. A small number of these include deer or stags. See for example the jug with a stag to one side and a lion to the other in the Victoria and Albert Museum (accession no. 681-1884), illustrated by Barovier Mentasti et al., Mille Anni di Arte del Vetro a Venezia (1982), pp.102-4, no.112, the honeycomb-moulded tazza with a standing stag from the Salomon De Rothschild collection in the Louvre (accession no. OA 1976), and the large pitcher with a recumbent stag from the M Émile Gavet Collection sold by Galerie Georges Petit in Paris in 1897, lot 585 (present whereabouts unknown).For a tazza of identical form with a similar border to the rim, see that with a medallion of a recumbent doe to the centre in the Corning Museum of Glass (accession no. 2002.3.36). Another of very similar form with a swan or pelican is illustrated by Erwin Baumgartner, Reflets de Venise (2015), pp.57-9, no.11, where the dating of tazzas such as this is also discussed. Compare also to the tazza with a pelican or swan in the Victoria and Albert Museum (accession no. C.2475-1910).Other tazzas painted with female deer include a rib-moulded example in the British Museum (accession no. S.377) illustrated by Hugh Tait, The Golden Age of Venetian Glass (1979), p.29, no.5, one in the former Royal Scottish Museum, illustrated in the Journal of Glass Studies, vol.5 (1963), p.147, no.29, and a bowl with a standing doe in a quatrefoil cartouche sold by Sotheby's on 26 May 1981, lot 204. Tazzas of different form with medallions of other animals all painted beneath a sun in a strikingly similar style are cited by Dwight Lanmon and David Whitehouse, Glass in the Robert Lehman Collection (1993), p.33, and by Baumgartner (2015), p.59.The treatment of the grass, painted in bright green with tiny lines or shapes painted in black, together with the rendition of the sun with distinctive linear dashed rays, is consistent with all of the vessels aforementioned. It is therefore probable that they were decorated in the same workshop in Venice, perhaps even by the same hand. The treatment of the grass can be further compared to the Venetian enamelled goblet sold by Bonhams on 21 May 2014, lot 35. It is perhaps interesting to note that with the exception of the jug with the stag and lion in the Victoria and Albert Museum, all of the recorded vessels differ slightly from the present lot in the addition of water to the foreground.For further information on this lot please visit Bonhams.com
Lot 11
A very rare façon de Venise engraved armorial tazza, 17th centuryCircular with a flat top upturned slightly at the rim, engraved in diamond-point with the cardinal arms of Coscia, a leg within an oval cartouche surmounted by a broad-brimmed hat (galero) suspending ten tassels (fiocchi), flanked by dense scrolling foliage issuing naturalistic flowers including roses and carnations, two butterflies six birds perched amongst them, the spreading foot with a thin trailed collar and folded footrim, 31.5cm diam, 9.6cm highFootnotes:ProvenanceLady 'Lili' Maria Elisabeth Augusta Cartwright (née von Sandizell)Thence by descent to her son, William Cornwallis Cartwright, Aynhoe Park, OxfordshireThence by family descent to the present ownerThe Coscia family was a prominent Neapolitan noble family belonging to the seats of Capuana and Nido. It is unclear which cardinal commissioned this tazza, but engraved armorial pieces such as this are particularly rare. A ewer and basin dating to circa 1690-91, bearing beneath a galero the arms of Raimondo Ferretti (1650-1719), Bishop of Recanati-Loreto and later Archbishop of Ravenna, was sold by Christie's on 5 July 2018, lot 108.The style of the engraving on this tazza has a number of parallels with other engraved examples of Venetian and façon de Venise glass from the 17th century. Whilst this engraving is often crude in its execution, the detail and quality of the present lot is particularly fine. Compare for example the engraved tazza in the Metropolitan Museum of Art (accession no. 1975.1.1195), illustrated by Dwight Lanmon and David Whitehouse, Glass in the Robert Lehman Collection (1993), pp.90-1, no.27 alongside other similarly decorated pieces.For further information on this lot please visit Bonhams.com
Lot 402
SWAN MABIE TODD - Vintage (1920s - 1930s) Gold Filled Swan Mabie Todd Self Filler ring-top fountain pen (length, capped approx. 9.5cm) with engine turned pattern and Swan 14ct gold nib (No 2). 'Swan Pen' Mabie Todd and Co New York, Made in USA to barrel and cartouche engraved "Edie. from Will'
Lot 403
SWAN MABIE TODD - Vintage (1930s) 9ct Gold Swan Mabie Todd Leverless fountain pen with alternating engine-turned and plain panels to cap and barrel. Each part - cap, barrel, twist button and clip - individually hallmarked. Swan 14ct gold nib (No 2). 'Swan' Pen Mabie Todd and Co Ltd, Made in England to barrel and cartouche engraved "W. LEONARDS". In a vintage Swan fountain pen presentation case
Lot 404
SWAN MABIE TODD - Vintage (1930s) Chased Black Swan Mabie Todd L 200/60 Leverless fountain pen with 14ct gold Swan nib (No. 2). Blank cartouche and clipless and bandless cap and 3 Vintage (1940s -1950s) Swan Mabie Todd fountain pens with gold trim and 14ct gold Swan nibs: 1.) Dark Blue 3120 Self Filler with Swan Eternal No. 1 nib; 2.) Black Calligraph Leverless with original 14ct gold Swan nib (No. 2), marked with a large 'C'; 3.) Black 1060 Leverless with Swan 14ct gold nib (No 4)
Lot 406
SWAN MABIE TODD - Vintage (late 1910s-early 1920s) Engine turned Chevron patterned Gold coloured Swan Mabie Todd and Co. New York eyedropper-filler fountain pen, with Mabie Todd 14ct gold nib. Cartouche on barrel inscribed 'Presented to J Price Esq 31.10.22. In original presentation case (ink stained) with glass eyedropper
Lot 409
SWAN MABIE TODD - Vintage (1930s) Black chevron patterned Swan Mabie Todd SF3B Self Filler fountain pen with gold clip and lever, and 14ct gold nib No. 3. Stamped with 'The Investors' Chronicle' on cartouche. In its original box and Vintage (1930s) Russet and Jade Marble Swan Mabie Todd SM 205/63 Self Filler fountain pen with gold trim (black lever) and original 14ct gold Swan nib (No. 2). In a Swan box
Lot 1
A Regency tortoiseshell tea caddy, circa 1820, the rectangular bowfronted caddy with scalloped front around a central cartouche bearing initials, raised on circular brass feet and with similar knob handle, interior with two ivory-handled tortoiseshell veneered lidded compartments, height 16cm.
Lot 407
A 9ct gold Yard-O-Led propelling pencil, with engine turned decoration and cartouche with hand engraved initials 'N.C.H.', clip marked Yard-O-Led, patent no. 422767, London 1959, 124mm long, 22.25g, with Yard-O-Led caseCondition report: Small amount of pencil left.Propelling mechanism appears to be functioning properly.One dent to gold.Surface marks/scratches.
Lot 449
A gold pin set open-faced fob watch, 34mm diameter with a white enamel dial, black Roman numerals and polychrome and gilt floral decoration to the edge, with gold spade hands, hand engraved decoration to the sides and case back, with a vacant cartouche, and metal cuvette and bow, marked 14k, 28.39gCondition report: Currently running. No guarantee as to timekeeping or continued running.Crown winds and hands set.Scratches to glass.Marks and hairline cracks to dial.Wear to the metal bow.Surface marks/scratches to gold.Some slight dents to case back.
Lot 450
A gold key wound open-faced fob watch, 34mm diameter with gilt dial with engraved floral bouquet decoration to the centre, black Roman numerals and blued spade hands, engraved sides and case back with vacant cartouche, marked 14K, with metal cuvette and bow, case no. 106145, 25.94gCondition report: Not currently running.Hands set ok. Scratches to perspex.Some marks/tarnish to dial and wear to numerals.Wear to rolled gold bow.Surface marks/scratches to case, and some dents to case back.
Lot 452
A gold key wound open-faced fob watch, 35mm diameter with white enamel dial, blue Roman numerals and gold spade hands, engraved sides and case back with vacant cartouche, marked 14K, with metal cuvette and bow, case no. 119311, 31.57gCondition report: Not currently running.Hands set ok but are slightly out of line when set to 12.Scratches to perspex.Some marks to dial.Wear to rolled gold bow.Surface marks/scratches to case, and some dents to case back.
Lot 453
A Swiss gold pin set open-faced fob watch, 34mm diameter, with a gilt dial with engraved floral decoration to the centre, Roman numerals and blued hands, engraved case sides and back, with a central vacant cartouche, gold cuvette marked 'Examined by The Sheffield Goldsmiths Company 9 High St.,' case no. 137578, marked 18k, Swiss assay marks, movement marks S & Co, for Stauffer, Son & Co, with later replacement 9ct gold bow, 29.00gCondition report: Currently running. No guarantee as to timekeeping or continued running.Movement winds and hands set ok.Marks to dial. Roman numerals very worn.Light scratches to the perspex.Some dents to sides and caseback.9ct bow is a later replacement.Wear to the top of the bow.Scratches to the gold inner dust cover/cuvette.Underside of inner dust cover marked 18K.Case diameter 34mm as catalogued.
Lot 8
A gold enamel horseshoe locket, royal blue champlevé enamel horseshoe to the front, with engraved sides and back, the hinged back with central vacant scroll cartouche opening to a glazed panel locket interior, tested as approximately 9ct gold, 28 x 19mm, 4.52gCondition report: Surface marks/scratches to gold.Some scratches to the enamel.Slight tarnish to the gold in places.
Lot 257
Edwardian silver cigarette box of rectangular form with planished decoration and domed hinged lid with vacant oval cartouche (Birmingham 1904), Maker Deakin & Francis Ltd, together with another cigarette box of square form with domed hinged lid (Birmingham 1921), 16 and 10cm in length respectively (2)
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