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Lot 537
ZOLLER ANTAL, HUNGARY A 100-BORE PERCUSSION SINGLE-SHOT MATCH-RIFLE, no visible serial number, circa 1845, with reblued round 31 1/2in. barrel with flat underside and blending into an octagonal muzzle-section recessed for a ball-starter, raised shallow matted sighting rib signed in gilt 'ZOLLER ANTAL BUDAPEST ACZEL CSO', dove-tailed tunnel fore-sight, blanked off dove-tail for mid-sight, micro adjustable peep-sight to top-tang, gilt borderlines with arabesques at breech, chisel engraved breech-block and fenced snail, the top-tang further chisel engraved with vines against a stippled background, similar engraving to the bar-action lock except also inhabited by a mythical beast and signed in a banner 'ZOLLER ANTAL', dipped and radiused tail, carved and moulded hammer with en-suite engraving, walnut Tyrolean half-stock with carved panel on the right hand side and raised and chisel carved thumb-rest (chipped), heavy, chisel engraved Swiss style iron heel-plate double set triggers, pillared trigger-guard, chequered fore-end and carved tip, no provision for ramrod, traces of colour.
Lot 543
J. SPRINGER FOR NOWOTNY, VIENNA AN 11-BORE PERCUSSION DELUXE DOUBLE-BARRELLED SPORTING-GUN, no visible serial number, circa 1840, with fine etched damascus 28in. barrels, flat top-rib signed in gilt 'J SPRINGER VOR M. NOWOTNY IN WIEN', (losses to inlay), gilt lines and arabesques at breech-end and also marked '2' for a pair, the rib-end engraved with a fox in a woodland setting, engraved complex top-tang featuring a gilt bordered engraving of a hunter in traditional dress, the tang also inlaid with a silver escutcheon bracketed with gilt borders, complex shaped back-action locks chisel engraved with ivy leaves and scrolls against a stippled ground, the dipped elongated tail bordered with the signature 'SPRINGER' on the right and 'IN WIEN' on the left, chisel engraved hammers, walnut half-stock chequered at the wrist (fore-end wood completely replaced), engraved iron furniture, moulded horn scrolled grip to lower tang and probable working replacement ramrod.
Lot 544
Early 17th Century Netherlandish School George Montgomery Bishop of Meath oils on panelÿ 1611, 45" x 34" (114cms x 87cms) Inscribed t.r.ÿ ?Anno Dniÿ 1611ÿ Aetatis fuaÿ 45? In this three quarter-length portrait from the Howth collection, George Montgomery [also Montgomerie] (c.1566-1621) is depicted standing, left hand resting on a red cushion, while in his right hand he holds a Bible. His clerical garb is fine but austere, with minimal decorative lacework on collar and cuffs. On his right thumb is a signet ring. At the top left of the canvas are the Montgomery family coat of arms, a blue shield surmounted by a casque and hand holding a fleur-de-lys. On the shield, a lance and sword crossed, three fleur-de-lys, with three golden rings at the bottom. The shield flanked by scarlet and grey foliate forms, surrounding a casque helmet and terminating in two golden tassels. At the top right of the canvas, an inscription ?Anno. Dniÿ 1611 / Aetatis Fua 45,? indicates that the portrait was painted in 1611, when the sitter was forty-five years of age. This would suggest a birth date of 1566 for George Montgomery, who was born at Braidstane in Ayrshire, Scotland, and who, along with his older brother Hugh, was deeply involved in the settlement of Ulster. The Montgomery family had close connections with King James VI, and soon after James?s accession to the English throne, George was appointed Dean of Norwich, and then Bishop of the diocese of Raphoe in Ireland. To the dismay of his wife, other Irish appointments followed, including Clogher, Derry and, in 1609, Meath. Montgomery was an able administrator, and while his efforts to secure the conversion of Roman Catholics in Ireland to the Protestant faith met with limited success, he is remembered for founding grammar schools and glebes, and for ensuring that ownership of escheated lands of churches and monasteries in Ulster were transferred to the Church of Ireland. Although for the most part an absentee prelate, after his death in London in 1620, in accordance with his wishes, Montgomery?s body was brought back to Ireland and he was interred in the graveyard at Ardbraccan, Co. Meath, where a large monument was erected in his memory. Whatever about the Howth portrait, Samuel Lewis in his 1837 Topographical Dictionary was clearly not impressed: ?The tomb ofÿGeorge Montgomery, bishop of Meath and Clogher, stands on the north side of the slab; and strongly fixes attention by its minglement of pretension, barbarousness, and absurdity.ÿFigures which it exhibits of the bishop, his wife, and his daughter, are the rudest productions of the chisel that can well be conceived.ÿ Beneath the figures are the words, "Surges morieris, judicaberis"ÿ[roughly translated, the dead will rise and be judged]. The three figures on the tomb are said to be George, his wife Susan Steynings, and their only child, Jane, who was born about 1598 and in 1615 married in Nicholas St. Lawrence, 11th Baron Howth, with whom she had seven children. Montgomery described the St. Lawrences as ?a noble house, the best of the Pale of Ireland.? They had reason to be grateful, as a considerable fortune passed to them through the marriage, Montgomery describing it as ?a great burden for settling the estate of the house of Howth.? Susan Steynings died around 1614, and George married secondly Elizabeth Brabazon. He died on 5th January 1620. In the portrait at Howth, the stern expression of Montgomery echoes closely one of the few known portraits of Richard Boyle, 1st Earl of Cork. In these works, both dating from around 1610, the sitters are bearded and wear plain lace collars; their expressions are hard-head and sceptical, as befitted men who devoted their lives to the plantation of Ireland. Another portrait of George Montgomery hangs in Clogher Cathedral in Co. Tyrone; Together with its Companion: Portrait of Susan Steyning (1573-1614), wife of George Montgomery,ÿ Inscribed ?Anno Dniÿ 1611ÿ AEtatisÿ Fecitÿ 43? ÿ Like the companion painting of her husband, George Montgomery, the identity of the artist who painted this portrait of Susan Steyning is not known, but it is broadly in the style of Daniel Mytens the Elder, Adam de Colone or Paul Van Somer, just three of the Netherlandish artists who flocked to London in the late sixteenth and early seventeenth centuries, taking advantage of a rising demand for portraits. Adam de Colone worked also in Edinburgh, and as George Montgomery was from Ayrshire, the artist who painted this portrait may have been a follower of de Colone. In this three quarter-length image, Susan is depicted standing. In her right hand, she holds a Bible, while in her left she has an ornamental silver fan handle, designed to hold ostrich feathers. Such a luxury in early seventeenth-century Ireland would have would have attracted comment, but the portrait seems intended to downplay her fortune, and the fan holder is devoid of feathers. Susan?s dress is black and without ornament, the only hint of wealth conveyed by a few pearls securing her hair. Apart from three rings on her fingers, she wears no jewellery, and with ruff collar and plain lace cuffs, she presents the appearance of a devout wife of a Bishop. As in the portrait of her husband, she wears a signet ring on the thumb of the hand in which she holds a small Bible. The inscription on the painting is difficult to decipher, butÿ appears to date the portrait to 1611, and so it was painted just three years before her death. The eldest daughter of Alice Fry and Phillip Steyning, of Holnicote in Somerset, in 1598 Susan married George Montgomery in Norwich. Montgomery was then appointed to bishoprics in Ireland and their daughter Jane was born in Co. Armagh, around 1598. Susan?s younger sister Margaret Steyning married John Willoughby of Payhembury in Devon, with whom the Montgomerys corresponded, and in the family archive, the ?Trevelyan Papers?, there is a letter from Susan in which she mentions her husband?s going to Ireland, and her daughter?s concerns. After her death, George lost no time in arranging a marriage between Jane, now one of the wealthiest heiresses in early seventeenth-century Ireland, and the eighteen year-old ÿNicholas St. Lawrence, 11th Baron Howth. The marriage brought Jane an aristocratic title, Baroness Howth, while she in turn brought much-needed cash into the old Anglo-Norman Howth family. Nicholas and Jane had seven children, of which one son and four daughters reached adulthood. Their son William became 12th Baron Howth. A Royalist rather than a Parliamentarian, Nicholas died in 1643, while Jane outlived him by many years, and died in 1678. George, Susan and Jane are all buried in the family tomb at Ardbraccan in Co. Meath, which was restored in the mid eighteenth century, around the same time as the rebuilding of Howth Castle.ÿ (2) Dr.ÿPeterÿMurrayÿ2021
Lot 271
STUART DEVLIN: two silver-gilt and enamelled surprise eggsOne boxed, London 1979, ovoid form with textured decoration and polished band, opening to reveal an upswept spray of fronds applied with nine blue enamelled flowers, on a polished silver ground, the second with filigree stand, London 1976, ovoid form with chisel cut textured decoration and polished band, opening to reveal Robin perched within branches feeding three chicks within a nest, with enamelled leaves. (3)For further information on this lot please visit Bonhams.com
Lot 144
London Brighton & South Coast Railway 14in oak cased drop dial chisel bottom chain driven fusee railway clock. The oak chisel bottom case has one side door and a bottom door secured by a ball bearing catch and is stamped in the back 802B. The rectangular plated chain driven fusee movement is in good clean condition. The original dial repainted post 1948 is lettered JOHN WALKER 1 SOUTH MOLTON ST LONDON 802B. The Southern clock records show that this clock was supplied by Grimshaw Baxter & Elliott Ltd to the London Brighton and South Coast Railway in 1891 at a cost of 4-5-0d and was last in railway service at Northfleet Station Platform. An impressive timepiece in working condition complete with pendulum and key.
Lot 166
A pale boxwood kiseruzutsuBy Kano Tessai (1845-1925), late 19th centuryOf muso-zutsu form, engraved with a nightingale perched on a bamboo stem, in deep katakiribori (engraving with an angled chisel emulating brushstrokes) and inscribed with the name Kyoriku, the reverse with a version of a haiku by Murata Kokoku (Hattori Ransetsu); inscribed Ransetsu with a kao, signed Tessai to with a kao. 20.3cm (8in) long.Footnotes:リザーブ設定無し木彫きせる筒 鶯に竹 銘「鉄斎刀（花押）」 19世紀後期Provenance: purchased from Nelly Davies, London, 2006.Wrangham collection, no.2241.The haiku, by Hattori Ransetsu (服部嵐雪, 1654-1707), reads:鴬の / 隣まで来て / 二月かな Uguisu no / tonari made kite / nigatsu kanaThe bush warbler's song / reaching to my neighbour's house / in the second monthThe standard text of this poem ends yube kana (in the evening) but the implication remains that there is no time left for the warbler, a harbinger of the New Year, to reach the poet's own garden. The name Kyoriku, inscribed next to the maker's signature, refers to Morikawa Kyoriku (1656-1715) who, like Ransetsu, is conventionally listed as one of the ten best pupils of Matsuo Basho.The Edward Wrangham Collection of Japanese Art: Part V, lot 95.www.bonhams.com/auctions/20555/lot/95/Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 3
A shakudo tsubaNara School, 18th century Of circular form, carved on the face with two disporting shishi (Chinese mythological lion dogs) in shishiaibori (sunken relief carving) and engraved in katakiribori (engraving with an angled chisel emulating brushstrokes) on the reverse with a windblown peony; signed Masanaga with a kao. 7.6cm (3in).Footnotes:リザーブ設定無し鐔 牡丹唐獅子 銘「正長（花押）」 18世紀Provenance: Roland Hartman collection, purchased at Christie's, London, 1976.For the maker, a student of Nara Toshinaga, see Haynes, Index, no.H.04250.The Edward Wrangham Collection of Japanese Art: Part I, lot 37.www.bonhams.com/auctions/18493/lot/37/Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 8
A shibuichi tsubaIchinomiya School, late 18th/early 19th centuryInlaid in iro-e takazogan with Ono no Komachi, the reverse with a thatched hut engraved in katakiribori (engraving with an angled chisel emulating brushstrokes) and kebori (plain line engraving); signed Ichinomiya Kenryushi Nagayoshi with a kao. 6.7cm (2 5/8in).Footnotes:リザーブ設定無し鐔 卒塔婆小町 銘「一宮見龍子長義（花押）」 18世紀後期/19世紀前期Provenance: purchased at Lempertz, Cologne, 1963.The Edward Wrangham Collection of Japanese Art: Part I, lot 14.www.bonhams.com/auctions/18493/lot/14/Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 6
A large shakudo tsubaBy Somin, Yokoya School, late 18th centuryOf circular form, engraved in fine katakiribori (engraving with an angled chisel emulating brushstrokes) and kebori (plain line engraving) with two shishi (Chinese mythological lion dogs), the reverse similarly engraved with two Oharame (women from Ohara near Kyoto), one carrying a bundle of brushwood on her head while the other stoops to pick up a similar load, the kozuka-hitsu plugged with gilt metal, signed Somin with a kao; with storage box. 8cm (3 1/8in). (2).Footnotes:リザーブ設定無し鍔 獅子・大原女 銘「宗珉（花押）」 18世紀後期The kao is that of Yokoya Somin I (1670-1733) who was succeeded by two further generations, the last of them born in 1795. See Robert E. Haynes, The Index of Japanese Swords Fittings and Associated Artists, Ellwangen, Germany, Nihon Art Publishers, 2001, nos.H08917-9.The Edward Wrangham Collection of Japanese Art: Part VI, lot 11.www.bonhams.com/auctions/22338/lot/11/Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 186
A bamboo kiseruzutsu (pipecase)By Kabi Sanjin, late 19th/early 20th centuryOf otoshi-zutsu form, engraved at the top with a dragon among clouds in bold katakiribori (engraving with an angled chisel emulating brushstrokes) and kebori (plain line engraving); inscribed Daun kofu (seizing the clouds, breathing the winds) and signed Kabi Sanjin with a seal. 21.8cm (8 5/8in) long.Footnotes:リザーブ設定無し竹製きせる筒 雲龍 銘「花美山人 （丸印）」 19世紀後期/20世紀前期Provenance: purchased at Sotheby's, London, 2007.Wrangham collection, no.2253.The Edward Wrangham Collection of Japanese Art: Part VI, lot 60.www.bonhams.com/auctions/22338/lot/60/Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 116
A wood two-case inroBy Josen, after a painting by Hanabusa Itcho (1652-1724), 19th centuryThe dark-striated wood deeply engraved in katakiribori (engraving with an angled chisel emulating brushstrokes) with three horses beside a willow tree; inscribed Hanabusa Itcho ga, signed Josen with a kao. 7cm (2¾in) high.Footnotes:リザーブ設定無し柳に馬図木彫印籠 銘「如泉（花押）」「英一蝶画」 19世紀Provenance: purchased at Christie's, London, 1997.Wrangham collection, no.2118.Published: E. A. Wrangham, The Index of Inro Artists, 1995, p.100, Josen, right column, bottom, centre.The Edward Wrangham Collection of Japanese Art: Part III, lot 356.www.bonhams.com/auctions/20189/lot/356/Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 249
A Meissen group allegorical of Sculpture, late 19th centuryAfter the model by M.V. Acier of 1774, depicting three winged putti, one standing with a hammer and chisel by a female bust on a stand, another seated sketching the bust and a third seated holding a sculpture (the so-called 'Torso Belvedere'), all on rockwork on a lobed, flat-backed base moulded with foliate and Vitruvian scroll borders, 20.8cm high, crossed swords mark in underglaze-blue, incised 'No.4', impressed numeral 143, painter's number 37. in redFootnotes:Provenance:A Private Swiss Collection of 19th century MeissenThis 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 144
A Porphyritic Andesite Axehead, reported to originate from Mali, Southern Sahara, 68 mm long, 85g; a Slate Chisel, identified as being from Northern Mali in the El Djouf Desert, numbered 7, 60 mm long, 19g; a Tuff Adzehead, numbered 54, believed originating from Chad, North Central Africa, 100 mm long, 125g; an Andesite Axehead, believed originating from Chad, North Central Africa, numbered 52, 90 mm long, 138g; a Microgabbro Axehead, identified as originating in Niger, Sub-Saharan Africa, numbered 37, 73 mm long, 117g; a Fine Igneous Axehead, believed originating from Niger, Sub-Saharan Africa, 65 mm long, 80g (6)
Lot 577
A bronze of a bacchanalian cherub,19th century, French, depicted in the process of coopering a barrel with a chisel at his feet, raised on an oval base stamped to the underside 'H.R.',26cm highCondition report: Areas of wear to the lacquered surface, hammer missing from his hand, ingrained with dust and dirt.
Lot 81
A late 18th century Chinoiserie decorated tavern clockWilliam Stevens, CirencesterThe 28 inch black and gilt circular dial with well moulded bezel framing the gilt Roman and Arabic numerals and minute band over a pair of ears and the two-line signature 'Willm. Stevens, CIRENCESTER', the 19 inch shaped trunk door with Chinoiserie scenes incorporating two birds flying over buildings and a pair of walking figures, the sides decorated with flower heads, the chisel-foot base with applied and decorated moulding, the weight driven movement with tapered plates united by four knopped pillars, the four-wheel train with large barrel and anchor escapement TO COMEFootnotes:Provenance:Single family ownership for 23 years. Purchased from Strike One, Islington, London, June 1998.Literature:Discussed in Gatto 'The Tavern Clock', Bath 2010, p.173. Previously housed in the Scole Inn, Norfolk.Rose, E.D. (1978) English Dial Clocks. Suffolk: Antique Collectors' Club. 1978, illustrated in colour page 70, and detail shots page 72.William Stevens was a working member of the Clockmakers Company between circa 1775 and 1812, first in Gloucester, later in Cirencester at The White Hart Inn.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 330
An iron sword belt hook, of cossack type, triangular belt plate with scalloped border and pierced decoration, long upright hook with bud terminal and interrupted by a slotted square-section detail; together with a flint knapping hammer of similar style, slim crescent-shaped head, two-stage handle pierced with slots and flared chisel-like terminal, linked by two loose rings to an iron spike, Turkish or West/Central Asian; also with a set of eight Turkish gunpowder cartridges, wooden, with turned tops and elegantly tapering spouts, fabric stoppers retained by leather straps, in a leather pouch with eight fitted compartments; and a pomegranate shaped powder flask, embossed leather over wood, iron spout with sliding wooden shutter, associated iron belt loop. [4]
Lot 251
MASAYUKI: A WOOD NETSUKE OF A MASK CARVER IMITATING USOFUKI MASKBy Hoshunsai Masayuki, signed Masayuki and kakihanJapan, Edo/Tokyo, Asakusa, second half of 19th centuryFinely crafted as a mask carver, wearing an elaborately folded robe and cap, and holding a chisel and the mask of Usofuki. Amusingly, he is imitating the distorted facial features of Usufoki – perhaps he is gaining inspiration from the act. The underside well-carved with large himotoshi and the signature MASAYUKI with the artist’s kakihan.HEIGHT 3.5 cmCondition: Excellent condition with only some very minor surface wear.Provenance: German private collection, acquired in Japan c. 1980.
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